"Dabangg 2" Hindi Movie Review

“Dabangg 2” has come right on the day the world is supposed to end according to Mayan calendar. It didn't end, the world is as bad as before and “Dabangg 2” is as boisterous and larger-than-life as “Dabanng”.  Salman Khan comes with another paisa vasool film that will give the year the smooth velvet touch that has given him the megastar boost.  Dileep Shukla, the writer who collaborated in the first film with Anurag Kashyap’s brother once again penned the story with  better emotional appeal. Arbaaz Khan a.k.a Makkhi Pandey is also the director as the original director has fallen out with the House of Khans.

The movie’s length is a miracle for a Superstar film. In 128 minutes (and this includes the four minute statutory tobacco warning insertions), “Dabangg2” sizzles well especially in the first half. The story takes off just where Chulbul Pandey polishes off Chedhi Singh at Lalbagh after Chedi kills the former’s mother. Now, father Vinod Khanna and Makkhi Arbaaz Khan stay together with Chulbul Pandey (Salman) and Sonakshi. This time, its Kanpur, the Hindi heartland and the new villain is “Baccha Bhaiyya” (Prakash Raj). Chulbul being the eccentric cop with a “Dabangg” attitude, he needles the Baccha party gang of brothers enough to pick up spurs. Friction between Chulbul and Baccha builds upto bloody fights and finally the triumph of the  supercop. And of course, lots of queer comedy, Machiavellian punch lines by Chulbul, sweet romance with Sonakshi Sinha and atleast four to five incredulous fights – fights that define the superhero grade in Bollywood. On the whole, a watchable film except for a weaker second half where the climax wears off weak and soon.

Salman Khan is undoubtedly a treat to watch and has to be credited with the hugely successful characterization of Chulbul Pandey as the uber cool, super fit, wisecracking, omnipotent supercop that appeals to the rustics and the metrosexuals in multiplexes. Salman Khan has hit a purple patch in making hit films that are airlifting him into dizzy orbits out of the reach of other Khans and Kapoors. He acts in about three films every year of which most of them are remakes of  Tollywood/Kollywood superhits. And then came this homegrown lovable characterization of Robin Hood Pandey of “Dabanng” with a classic three-act model but told with an uncanny appeal intermixed with elements that the Hindi heartland folks go bonkers over. Whether it is twisting the belt buckle around the abodomen or whistling on the streets or dancing in satin shirts sans police uniform in the middle of the road, or giving cavalier repartees to the villains who try to bully you – Salman Khan has created a body language unique and machismo-enhancing of “Dabanng”.  It has all the unique elements of a super brand that has entered the second edition so  far but valued at the most ever – Rs.180 crores. That’s still a bit closer to what an average Animation movie in Hollywood budgets at but still “Dabanng 2” sizzles most of the time and doesn’t disappoint overall. When it doesn’t is when Prakash Raj looks less menacing because he hasn’t used his original voice, when the fights are too many and too long and when producer Arbaaz Khan tries to kick-ass himself.  We have to realize that all homegrown brands eventually come into their own making despite shortcomings in logic, pattern, capabilities and characterization.

“Dabanng 2” also has got some great star cast and solid performances by almost everybody. Vinod Khanna tries to redeem his characterization with some comedy, and then there are junior  and senior police colleagues to Chulbul who impress with their comedy timing. Sonakshi Sinha doesn’t dither a bit from her self-contented homemaker looks, her role is neither extra large nor refreshing as in the prequel.  “Gabbar Singh” was a successful remake of “Dabanng” but had few scenes which were reportedly bought by the makers of “Dabanng 2”. One was the Anthakshari scene which was a rage in Telugu and the other was a short scene where the policeman asks his wife not to pick up stuff for him because he believes she is not a doormat or a maid servant. As if to answer some of Salman’s strongest critics who label him as a chauvinist, Salman picks this scene straight fromj “Gabbar Singh” but drops the Anthakshari scene of singing with the criminals in Thane. That could have made a difference in second half where entertainment almost falls flat. What redeems is the breezy item song with Kareena Kapoor  “Fevicol”. Thats one heck of a number and the “Bodyguard” girl decks it up well.

Music by Sajid-Wajid and BGM by Sandeep Shirodkar are good and suiting the grammar of “Dabanng”. Music played a big part in the first part and here too, the BGM score must be a case study on how to elevate a superhero’s antics into a cult status. Dialogues are the most exceptional since whoever wrote for “The Dirty Picture”  or “Gangs of Wasseypur”.  Only those who understand Hindi well can make out except for the simple ones like “Kungfu Pandey” etc. Maybe that’s why Prakash Raj who created a laugh riot in “Singham” with his inimitable voice did not  dub his own voice. On the whole, Bollywood has got its own brand of franchisees which are surpassing Box-office takings while encashing on the mounting global appeal – “Dhoom”, “Gol Maal” and so on. “Dabangg 2” is a worthy sequel to a delightful homegrown superbrand because it has redefined Box office magic. First time, it was a sensation but this time it left a lot to be desired though, especially in the second half. For that and for the reduction of the villain to being just another piece in the Salman Khan police story from Khadi to shirtless stage in 128 minutes, it deserves 3 out of 5 – but not a point more.

"Yeto Vellipoyindi Manasu" (Telugu/ “Neethane Enn Ponvasantham”(Tamil) Movie Review

“Yeto Vellipoyindi Manasu” (Telugu) or “Neethane Enn Ponvasantham”(Tamil) is Gautam Vasudev Menon’s latest film whose audio was released many months before the release date. Reason: Maestro Ilaya Raja composed music for the film. Maestro Ilaya Raja had done exceedingly well in the songs which are already chart-toppers. Atleast four out of the seven songs are haunting, hummable and lullaby-melodious. Music-wise, Ilaya Raja has done his part in giving amazing songs for the season, but director Gautam Menon hasn’t capitalized well on the genius of the Maestro. This is because the BGM is hardly perceived in the film – about 65 per cent of the movie is on silent track showing either dialogues between the hero and heroine, hero and his family, hero and his friend – and there is lack of cinematic twists or oscillation of emotions to let music drive the rest. That is why, for fans of Ilaya Raja, the film is a disappointment- sans the songs – which are already a “hit”. As a composer, Ilaya Raja has had an outstanding record in giving memorable BGMs and RR with directors like Mani Ratnam, Ram Gopal Varma, Bapu, K Balachandar, Suresh Krissna, Vishwanath, BharatiRaja, Balu Mahendra, Singeetham Srinivasa Rao, Vamshi and others. It is clearly director’s fault in failing to utilize such a talent that comes rarer than a Halley’s comet. Something has gone wrong with the soundtrack, in short.




What’s the movie all about? Naani and Samantha play Varun and Nithya - two mador-each-other kids who grow up in the same school, go to the same college and have the hots for each other despite huge strata differences, so different that Nithya vacations in Australia whereas Varun goes for Annavaram. And the story continues with time lapses at different periods with many cold wars and hot patchups, without any variety. Varun wakes up one day to be career-conscious while driving some sense in Nithya too that she needs to find a purpose in life beyond him. He writes CAT exams, gets into IIM Kozhikode (where else, Kerala!) and makes his career count – and then revisits his first love – who has found a new calling. She is helping out victims of Tsunami creating a new household. Varun and Nithya overcome their egos and regain each other’s love with a happy ending. Samantha is gorgeous and cute, sometimes tries to look erotic and sensual at the same time. But her style of acting will run out of steam soon if she continues with her ibby-jibbies - girly giggles, self-conscious eye gazes and half-smiles. She is also getting into a rare trap of letting her voice-over Chinmayi dictate her body language – that will make her trapped in an alien voice without giving vent to her talent. In the golden days, you had voices like Saritha, Shilpa and Roja Ramani heighten the characters with their voices dubbed for femme fatales. But Chinmayi is a good singer but comes out dramatically different in voice over – and Samantha is an easy bait for her; here, Samantha dances to the husky and superficial voice of Chinmayi on screen. Naani is a great actor and has put in the right sincerity required for a role of this kind. He is never loud, always apt and remarkably cool.



The lighter moments in the film come when Krishnudu and Samantha’s friends appear on screen. But the movie is mostly a drag and lousy to watch. It is tediously long at 151 minutes, monologous at most times, and inspid when dialogues appear. Gautam Menon couldn’t prevent the shadow of “Yee maaya Chesaave” on the film at most places – the film is again a quasi-documentary of love from K-12 days to Career days, mostly shows dialogues between the boy and girl in the form of conflicts in ego, perceptions and attitudes, and again shows a happy ending. Unless there are more episodes of variety to project on screen from Gautam’s personal experiences, Gautam should put paid to these twilight sagas of love and return to action films or police investigation stories, which are his forte. The movie could have done better with editing, and screenplay deftness. Some of the scenes are abrupt and don't  connect with the previous ones.Lastly, he should get over the leanings of documentary film-makers; every scene comes with a subtitle: Nithya and Varun in school, Nithya and Varun at age 24 and so on. The audiences are too smarter to decipher these - if you want to show an annotated photo and video album from your personal life, show it on youtube and get more clicks but why does he have to inflict them on the audiences? On the whole, a boring and disappointing film from Mr Menon. I would rate it 1.5 on 5.

Pandit Ravi Shankar - When the Sitar fell silent.

Pandit Ravi Shankar’s life was epoch-making till the very end. He was born in Benares – the holiest of the cities and passed away at 92 in North America which now celebrates his brand of music as Indian Classical Music – nobody else exists in their eyes. Ravi Shankar has mesmerized audiences across the globe with his iconic mastery of Sitar; when he played, Sitar sounds so sonorific and fluid. It inspired many who became legends in our own times like George Harrison, daughter Anoushka Ravishankar and the splendid Prem Joshua. My own friend Ram Vakkalanka who is now settled in Canada is an accomplished Sitarist who trained under one of the Master’s direct disciples.

He was awarded every progressive award possible in the planet of music and arts – the Grammys, Oscar nominations, fourteen Doctorates, highest civilian awards in France and India. Not many musicians who are contemporaries of Pandit Ravi Shankar received the Padmas in run up to the ultimate coronation in India – Bharat Ratna. Pandit Ravi Shankar understood what the audiences wanted – whether in India, Eurasia, Far East or the opera-hungry West. That he could inspire the icons of a generation like Beatles speaks of the universal appeal of his music. My first impressions of listening to Pandit Ravi Shankar was on DD channels where he played in France, in opening game ceremonies and in famous performances at International conclaves. And then came the film “Gandhi” where I learnt Ravi Shankar scored the BGM and the songs (the few that were shown in the end). Whether it was the march of the British to prevent the Salt Satyagrahis or that haunting melody for over 13 minutes when young Gandhi travels across the country in the train where he sees everything from poverty to peasantry – those visuals were powerfully enriched by the Maestro’s outstanding music. Those days, BGMs were hard to  get so I used to record the OSTs on audio cassettes whenever “Gandhi” was aired on DD. I still get ecstatic when I listen to the music scored by Pt.Ravi Shankar. He used the right mix of melodies and orchestration as demanded in a film of that stature. It was mostly unique and Indian, and yet had the aura that anybody else would have floundered for Richard Attenborough. Even Gandhi would  have been proud of “Gandhi”’s music by  Ravi Shankar.

I always felt that Ravi Shankar had the right grasp of Indian Classical Music to embellish it further with his feel for what can blend well with Western Classical Music. He can be minimalist, subtle and classy at the same time while making the audience clamor for more. While “Gandhi” may be his finest hour in scoring BGM, he was also the natural choice for the Apu Trilogy of Satyajit Ray. The title theme for Apu in “Pather Panchali” that says it all in less than 90 seconds is one of the most memorable themes in Indian celluloid. In those days, it had the class of some of the Western masters in making a theme stick forever. Of course, Satyajit Ray never engaged Ravi Shankar after the trilogy but he had admitted in many interviews that only Ravi Shankar had the synchronization with him on the role of music in the film grammar – he felt that only Ravi Shankar understood the relationship of music to the film. Satyajit Ray never forgot what Ravi Shankar wrote for his films and probably never tried any other music directors after two failed experiments with Ustad Vilayat Khan and Akbar Ali Khan. That shows the consummate genius of Pandit Ravi Shankar in adjusting his talents to the metrics of any medium – live, recorded or in-film. There were also other musicians who became music directors for films. L Subramaniam had a dash with a few films like “Salaam Bombay”, L Vaidyanathan in “Pushpak”, Shiv-Hari (the Santoorist-Flutist duo) for Yash Chopra films. But all of them met with limited success – they had to call it a day sooner whereas Ravi Shankar scored the music as a privilege to the audience. It is like a preface to the world audiences and it is still etched well in public memory.

Whether it was solo performances or jugalbandis or a collaborative exercise with a bigger orchestra, Panditji was unique and uncomprising. He  was credited to introduce many firsts  in public performances – first to give the Tabla player a solo, first to make program notes, first to introduce sound checks (which spawned an entire industry in sound recordings and arrangements), first to introduce “friendly combats”.  I have attended a live performance of Panditji and his daughter Anoushka RaviShankar in HICC Hyderabad a few years back – and he was as magical as ever with fingers that were still stringing beautifully. Unlike many other musicians of contemporary fame, he knew  when to stop, when to make it sound spontaneous, when to annotate his music, when to let the others get full limelight and when to chastise an audience if they are found to be listless.

Though I have not read his first book “My music, my Life”, I had the fortune to get hold of his second book , more of a memoir “Raaga Malika”. What an exquisite and charming book set in lovely and musical font with elegant layout and exciting photo albums. It had also got a wonderful narrative of Ravi Shankar’s journey to greatness. I am of the opinion that Ravi Shankar had gone where few other Indian musicians had travelled because he was a complete musician presentable in full  - articulate in English, intelligent, charming and famously flirtatious with the ladies, replete with all the etiquette and manners of fully accomplished Indian musicians, and always representing India at her best. At age 92, when he passed away on a day that wont come in another hundred years, he lived the most eventful life that any musician would die for. His output across classical and fusion music must have reverberated across every acoustic auditorium around the world. Panditji, you have left a legacy of love, music and daughters who will carry on your name to greater heights. R.I.P

"Krishnam Vande Jagadguru" Telugu Movie Review

“Krishnam Vande Jagadguru” is quite a resonant title taken from a Sanskrit Sloka in Bhagavatam. It has Rana  Daggubati who hasn’t yet tasted Box Office success and casts Nayanatara in her first glam role after “Srirama Rajyam”. Director Radhakrishna Jagarlamudi is known for themes which are seldom dwelled upon on celluloid. In “Gamyam” he talks about being a humanist instead of a hedonist and enjoying the journey more than the destination in life. In “Vedam” he talks about the essence of right living and right thinking taking stories of five different people and blending them in the climax to drum up  the broad message of Vedas. It broke new ground in presentation and clearly remains a unique film of sorts  - in genre, theme and vivacity. “KVJ” his current, therefore, built a crescendo of expectations  - it has the implicit backing of the king of script-judgements D Suresh Babu, and all the paternal support that comes with such backing – theatres, distribution, the works. It is touted to be the real launch film of Rana. Does it deliver? Maybe, but it’s a mixed bag, according to me.

The story is quite explosive. Loosely borrowed from the famous “Surabhi” Nageswar Rao character. The patriarch of Surabhi theatre  (Kota Srinivasa Rao) runs the troupe with new generation of artists who show mixed commitment to the craft. One of them is BTech Babu (Rana) who is the “manasa putra” of Kota Srinivasa Rao, he is 6’3”tall, handsome, built like a planet and pulls off any role from the mythologies from Abhimanyu and Ghatotkachha to Narasimha and Krishna Avatars. He is the only hope for Kota to enact his magnum opus “Krishnam Vande Jagadguru” in Bellary Mines but BTech Babu has plans to study in US. Crest-fallen, Kota  dies. Shaken by Kota’s death and his past, BTech Babu re-dedicates himself and unites the troupe to  carry on the tradition. This takes him to Bellary where he falls in love with Nayanatara (an investigative documentary film-maker on mining scam). He also meets with the real baddies of Bellary – Murali Sharma and Milan Gunajee and finds more economic and social arson leading to imbalances in the surroundings of Bellary. Then the climax in a filmy way where Btech Babu pounces on the real villain who disturbed his ecosystem: While playing Narasimha Avatar, he pounces upon the villain (find out yourself) and eventually lets the displaced villagers give a fire exit to the villain.  

Director Krish had picked an explosive theme of Mining loot and its effect on the underbellies affected by it. He blends it half-heartedly with the declining patronage for theatre arts with the influx of media and economic boom leading to evolving forms of crisp entertainment. He lacks the control and finesse to blend both. In 136 minutes, he shows half-hearted will to grapple with the issues of the movie. Unlike Bengali and Marathi theatre, why did Telugu theatre vanish after centuries of fantastic run? There must be reasons beyond the evident – could it be mass urbanization or media invasion? Could better improvisation of language (simplification, actually) helped? Could they have picked up shorter and more vibrant and relevant themes? Any craft dies not because of falling patronage but only because of lack of marketing initiatives and perceived value – those aspects were not properly investigated. If Annamacharya had sung several thousand keerthanas, how come only few are sung with telling noticeability by even the unitiated? Some soul-searching needs to be done by Telugu theatre why such a decline befell it  - those who don’t adapt to the changing times in technology, presentation, content, theme or relevance, they are bound to perish. Krish disappointingly, has done no justice to the relevance of this debate. Instead, he sprinkles a few powerful dialogues that art is that which wakes you up from dreams, not the dream itself. Point taken, but how does the art become sustainable, remunerative and fulfilling? Krish doesn’t answer:  If you use  language that’s not crisp or clear to the current generation, the theatre has no hope in hell. But if you make it entertaining and improvise, it can survive the odds as in cities like Pune, Mumbai, Kolkata etc. For every “Surabhi” example, we need to see why some others have succeeded like “Prithvi” or “Qadar Ali Baig theatre” or some noted English theatres. Everybody loves a good play and stage performance and I can vouch that given good presentation and content, people will go to any lengths to watch theatre, there’s no dearth of audience here.

Krish also under-utilises his own strengths in documenting social problems well in his assessment of the mining mafia. Even though so much has happened in Bellary, and Goa mining scams, some justice is happening in terms of export bans, invoking of the RTI, land acquisition laws,  etc. I don’t want to delve deep into this issue as there are other larger points of debate which can be tackled separately. Showing how mining barons terrorise the villagers is just old-school villainy. When you have the main villain as “Reddappa”, there is so much scope for bringing real-life characterization and depth to sophisticated villainy. Krish fails to deliver here as well as in the characterization of most roles in the film. Nayanatara is a documentary film-maker on the mining scams. We don’t think she is either intelligent nor capable of the task at hand in the way she is characterized; she is mostly seducing Rana, dancing with him or running with her camera in Ambassador car. And what is the connection between a CBI officer and a documentary film-maker? Do they authorize film-makers to shoot documentaries and give leads? Murali Sharma is a talented villain who continues to be short-changed in Telugu films, he had scope to give a fiery performance but is again given short-shrift. The three best characters in the film are L.B.Sriram as the safekeeper of sand, Brahmanandam as “Rampam” and Posani Krishna Murali as “Tipu Sultan” car driver. Infact, the lightest moments in the film are when Brahmanandam takes a dig at stage artists and when Posani Krishna Murali sizzles on screen with his antics.  Their screen presence electrifies for the moments they appear.

Rana  Daggubati definitely has a diction that is top of the tree and credit must be given for his awesome dialogue-delivery of tough Telugu. He looks very impressive in the roles of mythological characters especially as Abhimanyu and Narasimha but he needs to improve his looks and work on what is the best facial hairdo for a person of his hulk and height. He looked better in “Dum Maro Dum” and previous movies in terms of looks than in this movie. He probably looks better with a stubble or a beard and a moustache like Victory Venkatesh (btw,  Venkatesh has a guest appearance with Sameera Reddy in a song). But he delivers a heartful performance that may make him win more hearts. Had Krish concentrated on every scene one at a time, the intensity of Rana would have come alive because he has streaks of fiery acting like Venky. Krish has treaks of my uncle Bapu – he doesn’t allow a scene to fully develop to its potential (like they say in Telugu, “scene panda ledu”).  Music by Mani Sharma  sounds unlike him and lacks the class and masterly touch of his earlier films. I get a sense that Krish imposes his own restrictions on the music output expected for BGM and songs except in “Vedam”. The background song with SPB at about half-dozen moments of the film brings out the pathos well.  There are songs which abruptly break into the flow of the scenes - like the circus song. What mars the film also is the degree of violence – it has some scenes that you will cringe to watch like tongue-slaying and hot-water throat bath etc. Why do they show such scenes? Why compound cruelty with clarity? I understand the censors have ordered for 36 seconds of brutal violence to be cut but only 12 seconds are cut in some theatres and the rest are showing off.

On the whole, a movie with mixed-bag results and could have been better handled by Krish because he had a great opportunity. I hope he becomes deft enough to be equal to the themes he selects henceforth. I will give this movie 2.5 out of 5 as I was disappointed a bit. It is watchable more in the first half than the second.

R.I.P Balasaheb Thackaray

Balasahab Thackaray shares his surname with a famous English novelist (William M Thackeray) who in turn shares his first name with the world’s most famous playwright (William Shakespeare). I firmly believe that Balasaheb’s life is an interesting mixture of half a dozen Shakespearan plays and “Vanity Fair” written by the original Thackaray. He commanded a following that shames the twitter following of Dalai Lama or the facebook friends of Mark Zuckerberg and definitely commands more silent followership than the likes of Puttaparthi Sai Baba or any film celebrity. He has achieved a cult status that’s colossal and unassailable in many many years for now - because of his nationalistic fervor, unrivalled outspokenness and a Zionist love for India that’s at once messianic and heart-warming. Balasaheb was the final authority when it comes to anything that concerns Indian pride and self-respect and carefully used pulse-points that created euphoric waves of opprobrium whenever India’s masses were vulnerable to mass hysteria to do his bidding – whether it was playing a cricket series with Pakistan, Sania marrying a Pakistani, Sanjay Dutt’bail or Salman Khan’s behavior, Amitabh’s exit from politics after Bofors, or whether national security laws kept a vigil on terrorists. What Balasaheb bade was final, and woe betide anybody who went against. Balasaheb had achieved all this with a hysterical mass following outside the reaches of Sadgurus and Superstars and led an interesting life that had enough contradictions that can trigger a few hundred Bollywood films (infact many were inspired by him). There will be lot of questions that intrigued biographers and journalists always – Was he really a catnip? Were all the finest femme fatales deflowered at his bidding? Why did he favor Telugus over Tamils in the famous tirade against non-Marathas? Why was he such a mad fan of Hitler and how much of Zionism influenced his “anti-immigration policy”? What led to the parting of his nephew and the death of his son? If he was so strong, how did so many Satraps shoot up even at the peak of Shiv Sena’s meteoric rise like Sharad Pawar and Pramod Mahajan? Has Mumbai moved on during the last five years or so because of anachronistic anti-immigration stance adopted by the Shivsena? All said and done, it was a life more colorful than the most larger-than-life figures seldom seen in world history. Bal Thackeray commanded a premium right till his end and had he stuck to his calling of a caricaturist like RK Laxman who shared his desk at Free Press Journal or confined to writing “Burning Words” like Babu Rao Patel, Bal Thackaray wouldn’t have been a phenomenon as the world knows him today. We all aspire to live interesting lives. Bal Thackaray had a cracker of a life from the time he was out of the womb. Balasaheb has been the only voice outside of Congress who lent credence and vitality to every world view that mattered on foreign affairs, diginitaries visiting India across the fields, whether we should encourage multi-culturalism and what is good for our security. We should be thankful for Balasaheb that but for him and Sushma Swaraj, we would have had a foreign citizen Sonia Gandhi as a Prime Minister. History always had a place of honor for fierce patriots like Savarkar and Shivaji, Rana Pratap and Prithviraj Chauhan – Balasaheb built a business and political empire out of nationalist fervor and zeal that sometime bordered on the theatre of the absurd. May his soul R.I.P.

"How Will You Measure Your Life?" Book Review

"How Do You Measure Your Life?" is one of the most exciting self-help books I have come across in years. It starts off like a business book with a blurb that promises to help you find fulfilment using lessons from some of the world's greatest businesses. Deceptively alluring for a Senior Management book-reader, it draws you charmingly into the issues that keep us away from lasting happiness and sense of making a contribution to life.   We gather the book is a creative collaboration between three different folks who have differing views on God and Spirituality. The main author of the book is Clayton M Christensen, who wrote "The Innovator's Dilemma" which became a sensation in triggering a huge debate in what sustains market leadership.This book grew out of a speech Christensen used to give on finding a meaning and happiness in life at Harvard Business School. James Allworth, the second author, is a graduate of the same school where Christensen teaches. Karen Dillon was the editor of Harvard Business Review who helped chisel the thoughts of the duo into an immensely readable and lively commentary on what makes living worthwhile - sometimes bordering on spirituality, most times offering plenty of sage counsel on the right living without being preachy.

The book is neatly divided into ten chapters running to less than 207 pages. It seeks to answer primarily three questions that unlike the Innovator's dilemma, haunt every graduating student: 1. How can I be sure that  I will be successful and happy in my career? 2. How can my relationship with my family and close friends become an enduring source of happiness? 3. How can I live a life of integrity - and stay out of jail? Pretty simple, right? Yet we observe from Rajat Gupta to David Madoff, breaches of integrity abound, even if differing in degrees. Most folks have got a problem with atleast one of the three aspects inquired into by the authors. Christensen offers plenty of refreshed and relevant examples from the world of business, sports and celebrities to take us through a tour of how to answer these three questions so we may find if life's worth it.

Christensen divides the book into three sections each analysing the questions on finding respectively one's mojo in career, family and living a life of integrity without ending up in jail. The chapters on how to choose one's calling in life and the ones on bringing up children are brilliantly analysed with telling value and counter-intuitive evidence from business research. As the author says, " I don't have an opinion. The theory has an opinion." This is not a typical book that gives quick-fix solutions to perennial dilemmas. It gives the right paradigm-changing objective assessment of some of the simplest questions that we must really be asking ourselves in order to make our lives count. I recommend this book irresptive of how early or late you are in life. It sure tickles you to make those critical decisions that will deliver results in all the three areas of life - career, family and character.

"How Will You Measure Your life?" by Clayton M Christensen, James Allworth & Karen Dillon, pp.221, pub. Harper Collins

Lessons of 1962 Sino-Indian War: Have we learnt?

My dad has read every book there is to read on Indo-China War of 1962 (for that matter on every war!) which completes the 50th Anniversary today. According to his perceptible reading, India has never learnt any lessons for 50 years because despite the public outcry against Nehru after the humiliating defeat by China, it has yet to de-classify the Brookes Report (commissioned to study the wages of war). But primarily, much like the ill-famed Panchasheel policy of Nehru, there are five reasons why we lost the war to China:


1. A weak-willed Nehru's blind-bets on China's "peace initiatives".

2. Keeping Nehru's weak (first cousin) BrijmohanKoll as In-charge for war. He was so inept, my dad tells, he applied for "sick leave" when a full-scale war was on in Northeast. Which General-in-war want to be on "leave"?

3. A communist-at-heart Krishna Menon was our honorable Defence Minister during war - and he continued to blunder and get blindsided by China - until impeachment came his way.

4. Lack of preparedness in both skill, scale of weaponry and strategy - blundering after blunder, believing "headfakes" and "false alarms".

5. Wishful thinking, Utopian drams and Living on Mythical assumptions - that China can never attack India, that China is at the foot of Himalayas whereas India is on top of the mountain ranges, that we don't need to modernise or coordinate artillery and airforce, that we should retreat when outnumbered by the enemy (except the legendary Capt.Shaitan Singh).



According to my father, the real unexpected help to India came from two forces - one, the brave Nagas and other tribes in Northeast who never supported India at other times rallied behind the Indian Army in their weak battles with Chinese and two, United States of America - John F Kennedy - who "big-brothered" Pakistan not to take undue advantage of the Sino-Indian War by simultaneously attacking from East and West Pakistan. (Pakistan obliged until 1965 and then 1971). So, the lessons are many but after 50 years, the country is owed a full de-classification on how we lost - honor and lakhs of hectares of sovereign territory - to a fellow BRIC nation. As my dad says, "It is clear the Indian psyche is so scarred that we know why we will never admit this defeat - and Nehru also cringed, collapsed and cut short his life by atleast 8 years."



Even JP Datta or Manoj Kumar never made films on this war because as Indians, we would rather flex our muscles against weaker military nations and show off our bravado. But if we are determined, focused and realistic in self-introspection, then we should re-assess our strengths and weaknesses in the military battlefield, equip better, pulverise our disempowering myths - and avenge our defeat in economical battlefields. Thats what progressive nations humiliated in war have done - examples, South Korea (crushed by Japan), Japan (by US), China (by Japan), and Germany (by Allies). All of them regained national pride. What about India? Remember this always, on Oct.20th.