"Barfi" Hindi Movie Review

"Barfi" is one more experimental film directed by Anurag Basu which is in a different format than what we have seen in films like "Life in Metro" or "Gangster". Ranbir Kapoor once again proves that he is ready to take on any role in his march to superstardom - he plays the role of a dumb do-gooder in Darjeeling who splits his affections between an autist girl Priyanka Chopra and a conventionally good-looking, Bengali girl (Ileana D'Cruz). Movie's finest performances are by Ranbir, Ileana (she can act, finally!) and Priyanka. Some of the most exciting camera work on Indian Celluloid comes alive in this musical extravaganza with period-film touch. The touch extends to a differently sounding BGM and music by Pritham. What lets the movie down is entertainment, entertainment and entertainment as Silk would say.

The narrative is confusing - and the director is unable to strike a balance between what he wants to convey and what will appeal cinematically. Flashbacks, which are the last refuge of the skilful director, are used liberally without a method or purpose. After about 150 minutes and several times in the movie, you realise Anurag Basu wont let you go without showing the creative stuff - intermixing art film scenes, Chaplinesque comedy, extravagant landscape shots of Greens in Bengal and a touch of Hollywood musicals. All the efforts dont add up to a convincing film, it looks indulgent and irritatingly artful, sometimes. Ranbir Kapoor has done more experimentation than any Kapoor or Khan in their entire career - "Saawariya", "Rocket Singh",, "RockStar", etc. In his own career interest, he should now act in a script that enhances mass appeal than thinning his luck at the boxx office. Honestly, despite the artful touch, gaps in story-telling make "barfi" over-indulgent. For the effort, I would give it 2.5 out of 5 or else, the movie sucks but for the Emerging Star.

"Life is Beautiful" Telugu Movie Review

“Life is Beautiful” is now not just an Oscar-winning foreign film but also a Telugu film from a much-acclaimed director Shekhar Kammula, an Engineer-turned sophomore director who makes baby leaps with every film and carries youth and family audiences with him. Shekhar’s films are usually titled with English names, words or phrases like “Happy Days”, “Dollar Dreams”, “Anand”, “Godavari” and now “L.I.B” but his heart lies in Telugu household traditions. That’s what made his works ensnare a huge base of viewers across the Telugu-speaking world. Typically, his films have undercurrents of urban middle-class family values, humane and altruistic outlook in principal characters, feelings of nostalgia for things past, cute romantic tracks, autobiographical leanings and a subtle message beamed out through the narrative itself. “LIB” is no different from the above package that one expects from Shekhar. Its another film that resembles “Happy Days” in substance and texture and his earlier films. In this film, he shows the coming-of-age of three youth whose lives get entwined in a colony in Padmarao Nagar, Secunderabad (where else!).


One of them Sreenu (Abhijit) sets foot in Sunshine Colony with his two sisters to complete his Engineering final year so they can study for their courses too; they are set off by their mother Amala for a “reason”. He is joined by two more youth who have their own stories – one is a rustic good Samaritan (perhaps the best character in the film-Nagaraju played by Sudhakar) and the other is a gizmo-creating, dreamy-eyed youth almost similar to Aamir Khan’s character in “3 Idiots” called Abhi (Kaushik). The threesome run into a series of class-divide neighbourhood brawls with a gang of Rich-Dad-Rich-brats who have nothing else to do in life except party, play and all that. When they are not having run-ins with the richer kids in the neighbourhood, the three youth have their share of fun with the loves of their life. Here is where Shekhar Kammula can be faulted with because the storyline is just a leaf out “Happy Days” where for most of the screentime, youth are seen wasting their time on discussing cute women, unfriendly combats and then raproachments. The only difference is, in “LIB”, the setting shifts to a colony from college – so the next setting we can expect from Shekhar Kammula in this coming-of-age trilogy may be in the office or workplace itself – so he can create romance and fights at workplace despite the fact that time is more precious and already paid for. This is the biggest failing in the film – that people have so much time to kill for and have neighbourhood brawls. Whether in Padma Rao Nagar in Secunderabad or a colony in Gachibowli or Banjara Hills, people don’t see their neighbours in years so where’s the case of a class conflict between a B-Class flat society and a Gold-phase neighbourhood? Shekhar has to grow up and see the reality in metro – how the society lives its daily chores and how it interacts with each other segment – the basic fabric is getting increasingly exclusive so the inclusivity amongst the classes is usually idealistic. There’s little scope for any intercourse between those at the periphery and those in high standing – that’s the harsh reality of today’s ecosystem which Shekhar has grossly missed out – and while drumming up to the theme that “life is beautiful” throughout the film, he shows little glimpses of what that beautiful life is all about – its mostly about infatuation, male-female fixation, romance, Mars, Venus and little else, you get the idea.

Leave that flaw and the thing about how society is moving on, Shekhar has taken a mature approach to show as many characters as possible which gives a macrocosmic view of an Urban India that is degenerative in values and demeanor. He is immaculate in creating characters clearly etched out and distinct from each other; they flourish in a medium pace narrative that mostly slackens after the second half. What is good about these characters is they will appeal to each one of us in a manner we can relate with in daily lives. Shekhar’s films are still worthy of family audience viewing and by that I also mean what the family should know how each member of the family is thinking or moving directionally. In that sense, he strikes a chord in “LIB” in showcasing what’s on the minds of today’s youth – someone is forced into an MBBS course, someone lies to her brother of an affinity towards a boy-friend, someone saves her boy-friend’s name in mobile phone as “Radha” (girl’s name), someone gets pulled into a trap with material comforts by a friendly boss, someone is mis-guided never to cry in public (this can be hugely repressive and dangerous, as we see). Stuff like this hardly gets highlighting in films even though its happening in our lives because they are taboo topics and Shekhar gives his best shot at uncovering these for the benefit of better supervision by elders and spirited guidance of today’s youth. Shekhar gives his take on these matters in his usual subtextual narratives, matter-of-factly and unobstrusively. Shekhar also puts his trademark dialogues and creates impactful scenes. One such scene is where Abhi’s sister doesn’t make it to Nasr School (its obvious!) because she can’t speak English. In climax, the girl comes back in a spellbee contest with zeal, speaking fluently in English then lapses into Telugu because she says she can’t express herself better in any other language. That’s one of the most intense scenes apart from a few more where the director shows that life is beautiful if you can enjoy the little joys of living and there’s no correlation between making money and staying happy. But some of this comes too little too late after rambling in romance for 150 minutes.

On the whole, the film is watchable once despite the painful resemblance to “Happy Days” and the faulty assumptions about modern-day living. Characterisation is quite consistent for each character and the three principal characters and their lady-loves are livelier than the rest. Amala Akkineni is passable and don’t know why there was so much hoopla about her comeback role, she is seen for less than 10 minutes even in interspersed between first and second half. Anjali Jhaveri has a good role in the film which gets highlighted at crucial turns in the film, she looks as demure as the girl who stirred hearts in “Samara Simha Reddy” and “Preminchukundaam Raa…”. But the glamour and oomph factor in the film is Shriya Saran. With her well-toned figure and selective makeup, Shriya is sensational to watch as an older girl who is charmed by a younger boy who never tires of antics and magic tricks. She is shown in the scantiest of dresses that Shekhar wouldn’t have shown in all of his films so far as a Diva from Venus and the superstar sex appeal of an aging actress who acted with the likes of Rajnikanth, Chiranjeevi and Mahesh Babu is revived well by the director. The other two girls – the lady loves of the two youth are also impressive, one of them Shagun who played Paddu surely has the good looks that will turn her into a bankable heroine. Watch out for her, a Tamanna in the making.

A word or two about the technicals. Padmasri Thota Tharani has created sylvan surroundings that are bewildering in a simple colony in PadmaRao Nagar. Music by Mickey J Meyer is alarmingly close to “Happy Days” soundtrack in most numbers. But I guess, this is because the idiom dictated by the script is similar to that so there’s little scope for improvisation and variety in this film. What I feel is that music directors who get lulled into the same plots sometimes ruin their careers – this happened with RadhaKrishna Murthy and a few others. Mickey J Meyer has scored some great music in the film but the sounding is not different from what we have heard before. For a music director to appeal for eternity, you need a mix of exciting instrumentation, harmonical orchestration, range of rhythms and range of musical genres – if you don’t have all of these you will not make it big. Mickey J Meyer is a trained music composer in the Trinity College, London has all the trappings of an emerging Musical Mind but is not experimenting with new rhythms, richer orchestration and different instrumentation. I get the feeling, his best works are behind not ahead of him as I haven’t heard anything new after “Kotha Bangaaru Lokam’ or “Maro Charithra”. If he gets back to doing some homework on these lines, he can join the likes of DSP, Yuvan Shankar Raja, Mani Sharma, and Harris Jayaraj. Lets not talk about joining the duo of Ilayaraja and AR Rahman. That’s a far cry. The only thing that excited me is the notes using Mandolin – that stood out in a couple of songs that are always forgettable. Cinematography is great. Dialogues by the director himself are quite apt and worth their utterances.

On the whole, the movie is mostly fun even though I didn’t spot much loud laughter like in earlier films. Despite the shortcomings, “Life is Beautiful” is worth watching once because of the niche Shekhar created for himself but if he doesn’t move on from the nature of plots like these, he will meet with unexpected failures in future because a director who has a grip on all departments like him should try out different genres. It is for this reason that, had I rated “Happy Days” 3.5 out of 5, I will rate “Life is Beautiful” 2.5 out of 5 because I expected more.

"Shirdi Sai" Telugu Movie Review

“Shirdi Sai” is a biopic starring Nagarjuna playing the title role of the mystical phenomenon of Shirdi Sai Baba who is revered by millions of devotees across the world. Shirdi will be thronged by scores of visitors just like ants drawn to sugar, said Sai Baba. It has become as iconic as places of worship of major religions like Jerusalem, Mecca, Benares, Tirupati or Rameshwaram today thanks to a continuing upsurge of devotion to Sai Baba almost in every generation since the passing of the Saint on 15th October 1918. There have been quite a few films on the phenomenon of Shirdi Sai Baba but the most talked works are one by Actor Manoj Kumar involving the best of the Hindi artists and one in Telugu directed by K.Vasu starring Vijaychander in title role. Both these films are etched in public memory and are quite difficult to dislodge because they were simple, true to the main story as spelt out in “Sai Sat Charita”. In case of the latter film (“Shri Shirdi Sai Baba Mahatyam”), apart from evolved acting by Vijaychander and authentic direction without too much dramaticism there was timeless music by Maestro Ilayaraja. Normally, comparisons are quite repulsive but because of the choice of the subject and the fact that “Shirdi Sai” was most publicized before the release several months in the making, one cannot help compare the original movie with this movie.

If you leave out comparisons with the classic and also the overall essence of what made Sai Baba above any controversies, “Shirdi Sai” is good but not excellent by any standards. In fact, despite the huge cinematic exuberance shown by director K. Raghavendra Shankar Rao and the remarkable performance by Nagarjuna in giving an inimitable feel to the persona of Shirdi Sai Baba with his fitness, facial charm and charishma, the film doesn’t give a complete sense of the “Sai Tatva” or the characterization that that every devotee loves to see on screen, having read His Life Storyat least once or many times.



145 minutes is good enough time to settle all that there is to know about Sai Baba and to be fair, KRR tried his best to put forth the personality, the mystique and the salient snippets covered in books like “Sai Leela” and “Sai Sat Charita”. He has selected a reasonably good starcast but I felt that the storyline runs superfast and doesn’t register many scenes of the film like the essential grace, wisdom and guidance as a Guru that Baba gave throughout the fifty years he spent at Shirdi until his Mahasamadhi after entering the village as a youth two decades before the Sepoy Mutiny. He has chosen some lovely episodes to collapse into the narration which is edited beyond the brief. So, what I sense is that the pace of the film is so fast that for someone who has never read His Life Story as a “Parayan” (weekly reading for a wish fulfilment) or well-acquainted with His life, it doesn’t excite enough beyond a few exceptionally good songs and a neat performance.



The movie starts off with an exceptional title song that raises expectations, then wastes a lot of footage on his early origins in Himalayas and other nomadic travels and then alternates between a sketchy narration of Sai Baba’s meteoric rise as a Miracle Saint and unnecessary excursions into silly comedy with Shinde and Ali and gang. In the bid to make it entertaining, Raghavendra Rao has made it very elementary at times and fails to convey the subtler aspects of spirituality that Sai Baba has embraced all his life. Most of the film tries to be entertaining and the characterization of all the people who form part of Sai Baba’s closest disciples are shown hurriedly without extending the impact of His appeal and web of interactions with them for greater wisdom. Obviously, in an exercise of this nature, you have to be selective of the episodes that showcase the Seer’s magic but that’s what KRR should have done - if the movie is made for the current generation, there should have been more interesting elements weaved into the narrative – there were examples from Baba’s book of stories which could have connected with the young and old. For example, there was a story on Bhagawad Gita’s interpretation by Nana, there was a story of a boy who is counselled by Sai Baba not to believe in astrology when writing examinations, there is a story of how the cycle of birth and re-birth can affect our lives and our actions… My point is, a golden opportunity is wasted in most by selecting themes which are more populist in nature and appeal to a wide majority – like the unity of religions, being seen as the universal God by every visitor in Shirdi and being kind and large-hearted. The director could have done better if he had cut down on some characters like the Britisher Wales (played by Srihari blatantly imitating Mohan Babu), Brahmanandam and few others.

Out of 145 minutes of the film, atleast 30 minutes of the film is taken away by repetitive comedy which is not required in a film of this genre, another 20 minutes of the film goes in some cinematic shots of showing celestial skies, origins and establishment of the character, then the story with characters gets built quickly almost like a précis of the book without highlighting aspects that people would have loved to watch – how Baba spent his day, how he lived, how he created the customs that are followed in Shirdi today, how Shirdi looked like in those days, and how he mentored and touched millions of lives. Because of little time for maneuver in the way of the treatment, he had summarized most of the aspects in song format leaving the audience to pick what they can. It doesn’t take even two minutes to explain what are the nine paths of devotion that Baba explained to one of his closest disciples Lakshmibai Shinde, as recounted in the Sat Charita, but we have none of it that way. Baba just hands out the nine coins to Lakshmibai and then tells her to remember the nine paths of devotion (these are actually, listening, devotional music, remembering, worship, obeisance, service, friendliness, self-surrender and feet worship). There are quite many scenes like these which make less impression on a mind never exposed to Sai Tatva. What redeems the film is music by MM Keeravani and performance by Nagarjuna and Srikanth and few others. Keeravani’s music doesn’t have the trappings of Ilayaraja but it has a unique hummability that give his music the enchantment it deserves. However, one of the best songs of the album “Maanava Sevee Madhava Senani…” is cut out in the film disappointing music-lovers.

To be fair, Raghavendra Rao has done better than his previous films in this genre by sticking to near-authenticity and above all, neatness on a scale never done before – he has captured only the simplest essence of Shirdi Sai Baba and made a poetic film within a concise format without too much authenticity or care to endear to all. For example, instead of showing Queen Victoria’s portrait in a police station, we see Queen Elizabeth-II. Instead of Rotis, we see Butter Naans. And so on. Because it is neither “Mahatyam” nor “Katha”, and the title is “Shirdi Sai”, he has shown a non-linear procession of how a Saint became a Miracle Man and later became deified for generations. There are many omissions and commissions but it didn’t create the urge to want to visit Shirdi as it did in me when I watched the older films on Baba few decades back. Nagarjuna, however, should be proud of his achievement and delivers an unblemished role as Baba – if the movie clicks mostly despite the shortcomings of the director, it is because of Nagarjuna that one must feel compelled to see it atleast once. That makes this movie get rated 3 instead of 2.5. It is a good movie but no way excellent.

The Business of Tollywood: An appreciation of film costs

"Julayi" movie collects over Rs.11 crores in Nizam region. "Eega" movie collected over Rs.15 crs. in the same region during its 50-day run. "Sudigaadu" collected over Rs.2 crores in Hyderabad region alone in its first week clocking over 91 per cent occupancy on opening weekend. So, Tollywood has had a better run this year compared to previous year as many of big-star releases turned out to be good hits starting with "Businessman". The run of Tamil film releases this year dubbed into Telugu hasn't been that great despite increasing openness and awareness of Kollywood films in Andhra Pradesh.

Now that the starting bets have been good for Tollywood, the season in the second-half of the year is hotting up with some spectacular releases lined up. "Life is Beautiful"(Shekar Kammula), "Shirdi Sai" (Nagarjuna), "Rebel" (Prabhas), "Cameraman Ganga tho Rambabu" (Pawan Kalyan) and so on...looks like September - October will see some big-ticket releases including the much-awaited multi-starrer "Seethamma Vakitlo Siri Malle Chettu" (Mahesh and Venkatesh), we'll call it "SVSMC".

Let's guess how the costing of "SVSMC" will add up. I have taken a ball-park estimate based on some simplistic back-of-the-envelope calculations of how these costs will add up and later how they will be marked to recover. They may be wrong but I hope the thought process should clarify to you how film costs generally add up in budgets which are becoming huger and monstrous. It becomes necessary to understand them because the blind bets are placed by the group who are not impervious to the speculative nature of films - the Movie Distributor. Lets see an example, first, before we conclude:

"Seethamma Vakitlo Siri Malle Chettu" Movie Costs:

Superstar Mahesh Babu's Remuneration:  Rs.8 crores.
Victory Venkatesh's Remuneration:          Rs.4 crores.
Director's Remuneration/Music Director   Rs.2 crores.
Samantha's remuneration                          Rs.1 crore.
Miscellaneous artists remuneration            Rs.2 crores.
Miscellaneous technician's remuneration    Rs.3 crores
Shooting cost for 100 Days @Rs.5 lacs    Rs.5 crores.
                                                              -----------------
Total cost so far for SVSMC                    Rs.25  crores.

Since it is unlikely that the producer will bear all the costs by self, he will take loan @ 3 per cent from the money-lenders and financiers to fund this cost. That will be about Rs.4.50 crores. Or roughly, say Rs.5 crores. That means the total cost without budgeting any contingency run-ups and other escalations by delays caused due to other reasons comes to Rs.30 crores.

We haven't added the distribution and marketing costs including the audio function which is becoming an eye-ball attracting event. Considering these, it becomes imperative to keep costs and shooting schedules under tight leash and you have to raise the buzz about the movie well-before the release so that you can out-sell and recover the costs as effectively as possible.

How do we recover the costs?
Satellite rights recover a good sum, say Rs.6-8 crores. Then comes overseas territory sales which can fetch about Rs.3-5 crores. Then comes the big stakes of Andhra Pradesh which will be sold at whopping sums. Take Nizam Region, for example. Assuming each show sells Rs.20,000/- multiplied by 7 days multiplied by 5 shows average multiplied by 350 screens will give Rs.24.50 crores. Thats how the bets will start at first- then they will negotiate it down or up based on the eyeballs and added attractions in the movie. In this whole game, commercial banks play it safe in recovery of costs - they will not fund above Rs.5 crores and get away with their interest and principal repayments well before the release of the film.

The riskiest category will be the distributor who can expect a return in binary numbers, zero or one, meaning hit or flop. If its a hit, they rake it in. If its a flop, they are finished.

But coming back to the crux of the budgets, this is broadly how they stack up and this should give you an example of how film costs are incurred, how they are marketed and how they are recovered.

"Mugamoodi" (Tamil) "Mask" (Telugu) Movie Review

"Mugamoodi" (Tamil) is dubbed as "Mask" (Telugu) released today amidst unprecedented expectations from one of the slickest directors of Kollywood - Mysskin. I watched a few Tamil movies in original in my life but I have largely followed the work of some great film-makers of the last decade like Bala, Menon, Murugadoss, KV Anand and now Mysskin. Mysskin is bibliophile, a director who infuses fire and imagination into his direction and galvanises all the 24 crafts to give an exciting cinematic output. He has made some acclaimed films like "Anjathe", "Chithiram Pesudadi". He has made a film called "Nandalala" where he brought back the orchestral beauty and composer's breath of maestro Ilayaraja. In "Mask", he prefaces with a dedication to the master Bruce Lee who's life story is somewhat revisited in the storyline.

This movie "Mask" is something that held me excited for weeks. It is worth the wait. Its the story of a normal boy Jiiva who is the best pupil in martial arts in a non-descript school run by his Master who follows Bruce Lee. Like Bruce Lee who learns Karate but later invents his own stunts by "knowing self", his master encourages Jiiva to be an original hero instead of trying to become somebody. In his journey towards discovering himself, he falls in love with Pooja Hegde (debutante) who is the daughter of a Commissioner of Police (Nasser) who is on a mission to nab a gang of masked men who kill old couples at nights and rob them of gold. In a freak incident, Jiiva wears a "mask" to woo the girl and succeeds in the capture of the some of the mysterious gangsters one night. That "mask" eventually becomes his "identity" as a superhero as he becomes the most endowed person to catch the culprits. He gets some scientific help from his grandfather played well by veteran Girish Karnad.He gets the bad guy (Narain) who turns out to be an ace adversary of his Master and eventually wins the hearts of Pooja and all. But only after knowing one last trick from his master. Quite a simple but many-layered story that has a well-conceived starcast, and a classic three-act. A dashing introduction, an interval with a big-bang and an elaborate, spectacular climax.

Mysskin is surely the master of the movie as he reveals his gripping form in all departments. He ropes in exceptional foreign talent in editing, stunts, cinematography whose work shines brightly on screen. Dialogues are crisp but not dramatic and hardly humorous. Thats the intent of the film as the director deliberately builds tension from first frame till last giving a free hand to music director "K" to experiment with a range of electrifying compositions in the moods of the film. But "K" uses both symphonies and silences to punctuate the film in all its intended nuances by the director. Already "K"'s music is a hit in Tamil with three of its main songs making it to the top while the music CD itself has all the key orchestral themes as numbers on the track. I liked the two songs that give the best relief in the film - one of them squeezes in the very first jingle Ilayaraja composed in his career. Vintage Ilayaraja continues to inspire generations of music composers. "K" is another reason to watch "Mask".

Mysskin has got most parts of the film right making it quite watchable in spite of the length of 160 minutes. It could have been shorter. He has given an intelligent film with good starcast and narrative depth that will see his fan club grow in Tollywood. He blends the best of world cinema with a Hollywood touch - but he may have done better if had dumbed some scenes and narration for lay audience. Humor and mass entertainment (on the lines of Shankar) is missing in the film. Jiiva looks good and raring to go places with this film after "Rangam". Pooja Hegde is the most covered face in Kollywood before this film but I wonder whether such adulation is deserving for her after seeing the footage. The best part of the film is that Mysskin did not show one special effect in spite of being a "superhero" film. Thats because, he wants to show that it's all in the mind - you don't have to be a Superman, Batman, I-Man or Spiderman to become a superhero in life. Know thyself and project the superhero within- is the subtle message. I will give 3.5/5.00 for "Mask" because intelligent film-making must survive.

Uncertainty is Not Injurious to Anybody!

Gregory Meyer, a commentator in Financial Times wrote last weekend that Uncertainty is the only thing markets can be certain about. This is quite suggestive that we all live on the edge - and thats what the chief executives and head honchos are paid for - you will never get to do decision-making under all knowns. You have to make decisions amidst all the mayhem and clouds on the horizon. Right now, there is lack of visibility on everything to do with Policy Decisions, Economic Growth  and Corporate Investment Climate - that the payoff for those taking even marginal/incremental risk is lilkely to hugely rewarding.



The story goes that FT archives threw up 2,877 articles with search word "uncertainty" in 2005 before the Subprime crisis. Now, well into 2012, there are 3,290 articles with the word "uncertainty". Which year is more critical? Or, more uncertain? Can't say much but there are always two categories of people who face uncertainty - in business, careers or anything to do with life. Those who accept uncertainty as a fact of life - and have a vision for the day after uncertainty blows over. Then there are those who have tunnel vision, see crisis in every oppportunity, get flummoxed by the half-dozen doomsday specialists - Roubini, Gross, Taleb, Mauldin, Faber and Soros - and then watch television and read newspapers that spell more bad news. Remember, the TRPs for bad news, and harbingers of bad news are always higher - these experts (who have an axe to grind for what they pontificate) command more eyeballs than what good news can attract. Remember, that for every General Motors that closed down for bankruptcy (and now allowed to revive), the market share went to few others in Automaker space. For every 99 companies or businesses that cannot escape the "valley of death", there will be one company or two or three that rises to market leadership. That hardly gets reported. Thats the way life is. I have always loved uncertainty - in markets, in life, in Chess and Black Jack, in relationships and in money matters. Uncertainty helps  me focus better and get back to basics.


Those who abhor uncertainty should live in bunkers, wear Sunita Williams spacesuits, go for gold-digging, and give non-collaterized deposits to PSU or Private or foreign banks (which as Dr.YV Reddy succinctly put, will be lent at low cost to the Government whenever the government wants - which Dr Reddy says is the biggest con game going on in the world of banking today). The aim of this story is to look at uncertainty in new light - welcome it, it can benefit you if you are enterprising.

A K Hangal @95. RIP. Bollywood's Angelic Old Man.

AK Hangal. RIP @95. I had the fortune to meet this towering stage/film personality when he gave me an interview at CPI congress. It was a heady feeling to push my way as a sophomore journo/freelancer for "Deccan Chronicle". We met at Railway Guest House at SCR. He was charming and gentlemanly. But the caption my editor gave for this story in DC forever estranged him - it hurt him for he was a communist at heart. I pray for his peaceful soul journey wherever he is. He gave me one of my earliest press stories while I was still in journalism school - and a scoop to boast of. Even if he has essayed fewer roles, he will be remembered forever - his multiple hats as theatre personality, as Rahim Chacha in "Sholay", as a CPI activist - all gave him a halo. He is the most-loved old man of Hindi Cinema.