"Onamaalu" Movie Review (Telugu)

"Onamaalu" in Telugu is an expression used for learning the first letters of the alphabet in school. It is the latest film starring veteran actor Rajendra Prasad. He is an actor who has always had a time-neutral following from NRIs and Indian Residents alike because of associating himself with the most celebrated directors of creative cinema. He has worked with Bapu, Vamshi, Jandhyala, EVV, Krishna Reddy and Krishna Vamshee and has starred in some of the most preciously-revered DVD films of all time in Tollywood. According to me, his defining work in the second avatar as a mature, aged artiste came in the last four films - One, was "Aa Naluguru" (literally means, "those four people who carry our corpse after we are gone"). Second, "Mee Sreyobhilaashi" ("Your Well-Wisher"). Third, "Quick Gun Murugan" (which became a flippant Hollywood co-production that got him international fame). "Ayyare" came and went, but not so much adulation greeted him because he was hardly present in the first half. Now, "Onamaalu" is a fitting fifth film that will enshrine Rajendra Prasad forever in the hearts of Telugu audience. It is a different film and requires a context and patience thats hard to come by in today's multiplex and theatre-controlled environment where the big star movies alone run.

What's the story all about? Its about the scorching pace of Urbanisation and its undermining influence on the source of our values rooted in village. So, Rajendra Prasad is a retired master who gives holistic value-based education in a village in AP and trains batch after batch of students. He is happy being part of a village ecosystem where everyone from Sarpanch to the Post-master live in simple living and high thinking and more importantly, benevolent sharing of the good and the bad, rising above religious and sectarian difference. Time flies and we cut to the scene where, after the passing of his wife Kalyani, he is persuaded to re-locate to the US with his son's family. As he yearns to come back to re-visit his roots in the village, he returns only to find the idealistic world of his former village turned upside down - mass migration of the young generation, deserted look at the school where he taught and apathy of the village folks to what's going on at large. Technology drift has put a spanner in most careers like that of a postman and the teacher, while there's no more large-heartedness of the people and the rustic charms were visibly absent. Does he recreate the old magic? Can he connect with today's generation in loving their roots and going back to the source? That takes the brief climax of the film in a narrative that's reasonably good with occasional flashbacks and cross-flashbacks - take it like "pitta kathalu" (short-story within long story).

There are some hard-hitting dialogues by Mohd Khadeer Babu on the current scenario of nuclear families, hitech lives with low-touch approach, our continuous debasement of everything traditional thinking its not modern.Director K.Kranthi Madhav has characterised well a gentle story of a teacher who teaches all his pupils to be good samaritans without caring about monetary gains. The highlight of the film is the flashback with one batch of pupils taught by Rajendra Prasad - who are quite apart from each other but end up with the value system thats fallen on deaf ears today. Koti has given excellent songs and BGM score. He lifts off the tunes from Adimieus and "Secret Garden" albums, embellishes them with Indian instrumentation to give a memorable feel to the mood of the film. If you want to see a different film with some preachy content, the film will surprise you with the depth and the tearsjerker - you will have to use the handkerchief many times - the content is that touching even if sometimes didactic. Movie length is ideal for the theme - just 125 minutes in all. But watching the film made me nostalgic about the village life. Its heartening to see some memorable old artists like Giri Babu and Chalapathi Rao get meaty and affectionate roles. Rajendra Prasad steals the thunder, yet again  - he has reinvented himself to stay relevant for the times. Comedy is intertwined with the narrative and quite okay.

There are some exceptional scenes in the film which promote tolerance of all religions. No wonder, most sectarian violence or acts of religious hatred and bigotry happen outside of villages in India Today, in cities and towns, hardly ever in villages. The movie also makes fantastic commentary on the generation of NRIs and RIs who, on one hand, send off their kids to opulent schools without knowing what they teach and whether what they teach is relevant to our society or not. On the other hand, they either pack off their parents to Retirement Homes or Old Age Homes or send them lumpsum remittances to upend their maintenance needs while staying apart. The result: they are running away from the source of their origins (parents) and making kids alienated from the very source that made their worlds. Both these trends are gnawing at the roots. There are some soul-searching questions on what constitutes modernity and what is the end-use of all modern-day-living which will go well with the elite. Powerful statements are made on the way some hi-tech schools teach our kids - that milk actually comes in sachets, water actually originates in bottles and rice comes in sacks. Many years ago, Uncle Anant Pai told us that it is important to know the route to your roots through the history and value system thats relevant in India - thats what got him interested to combat the onslaught of Marvel comics  - of Batman and Phantom and Superman comics with relevant and man-making content of Indian stories through Amar Chitra Katha. This movie is closest to that attempt on celluloid. Though there have been movies like "Devasthaanam" etc. in recent past, this movie is more effective. But I doubt, producer and director Kranti Madhav will make enough money. But some movies are always made with the heart- not with an eye on satellite rights. A movie like "Aa Naluguru" or "Sankarabharanam" was never made with a lucrative motive - that they are still watched and count amongst classics is all that matters. Watch this movie too with that expectation - it is far better than "Devasthaanam" because Rajendra Prasad, unlike SPB doesn't over-act. And it makes far more relevant points, despite being didactic.

London Olympics 2012 - The Empire Strikes Back!

London Dreams woke me and my wife at 1.20 pm yesterday night. It was definitely worth a watch. The opening ceremony of 2012 London Olympics was smashing and stylish and proved to be a recession-free demonstration of everything that is British - that strikes a chord in colonial cousins in India or anywhere else they ruled for 200 years. I liked the whole theme engineered by Danny Boyle - the man behind "Slumdog Millionaire". He has chosen the most enduring British Icons that stood the test of time and created a brilliant, concise, ravenous and thoroughly stylish ballad thats almost putative to the viewers at large. The stiff upper lip, the sophisticated humour ( I dare not use "humor" here), the organised rehearsals behind those generous expressions and the general sense of Old world British Pride was all there in PDA format (Public Display of Affectation of being an Imperialist). Everything was precisely spick n span, prim n proper.

I can sense a lot of reading and meticulous brainstorming went into the selection of the icons and idioms that flowed after one another starting with River Thames, Origins of English people across Ireland/Scotland/Other "shires", Birth of the English language, Lord Nelson, William Shakespeare, Magna Carta, the unrivalled British Navy (which ruled the sea shores since Napoleon was defeated), the Industrial Revolution, British Royalty, Cricket, Charles Dickens, Winston Churchill, Humprey Boghart, Peter Pan, Harry Potter, James Bond, members of Beatles, Eurythmics/The Queen (Annie Lennox), British Queen Elizabeth, the movie industry here - call it BAFTA or Lollywood (London's Hollywood). The juxtaposing of Mr Bean with London Symphonic Orchestra was almost magical and rhapsodic. Loved the scale and the execution of all things considered British at the most picturesque ceremony. Yes, 2008 Beijing Olympics was still grander and vulgar display of Affluence by a growing Superpower, but London Olympics Ceremony was a spirited display by a nation that ruled the world once. London hosted Olympics in 1908 (when even my grandfather was not born, the 3rd Modern Olympics) and in 1948 immediately after the World War. In the period since 1948, Britain's pound and sterling pride only dwindled and diminished in value. This was a perfect opportunity to showcase the British phenomenon that as Niall Ferguson wrote in his epic book on "The Empire" gave modern living a chance through a language that thrives from incorporating expressions from other languages, a democracy that paved the way for many others to follow and a business culture that is engraved forever. Whoever thought that Britain is just the 54th state of the United States should re-view the Youtube clippings of the Opening ceremony and re-read history of the world that Britain made.

"Turning Points" by APJ Abdul Kalam: Glimpses of a People's President (Book Review)

Avul Pakir Jainulabdeen Abdul Kalam was India's eleventh President of India and also recepient of Padma Bhushan, Padma Vibhushan and also Bharat Ratna. Like Abraham Lincoln of the United States, he was famous even before he ascended to the Presidency, first as a rocket-missile man and later as an upright President - probably, the best the country has ever known. It was also one of the rockiest tenures for any President with the exception of probably Neelam Sanjeeva Reddy and Babu Rajendra Prasad.  Now, after serving as one of India's best-loved Presidents, APJ Abdul Kalaam has released a highly-readable memoir of his journey through the greatest challenges of his life and career - "Turning Points". Its a worthy sequel to "Wings of Fire"  - the first book that created publishing history. The royalties that acccue from the time the book was released can make it one of the best-selling books by a public figure in India - reaching the commanding heights of success.

"Turning Points" is a sparkling and stimulating read from APJ. In less than two hundred pages, the books covers all the milestones of his remarkable career without repeating much of what he said in earlier books - some of which are million-dollar best-sellers. He covers in fourteen chapters all that he wanted to say with a simplicity that marks his personality that now bears his writing out. Eight turning points, seen before Presidency and one after demitting his office, are covered in one chapter with a childlike innocence. Most of the facets that are covered only go to highlight and extend his astonishing ability to connect to the masses - especially middle-class, elites and children of India. He toured 21 states during his Presidency with the exception of only Lakshadweep, has brought Rashtrapathi Bhavan into the e-governance framework that he had grander designs to revitalise and recast for bringing greater accountability.

Its meant to be a tell-all, threadbare account of some of his most controversial decision - the dissolution of the Bihar Assembly, the returning of the bill relating to Office of Profit, the capital punishment decisions of Afzal Guru (on which he was silent), the decision to invite Dr.Singh in 2004 when it could have swung in favor of a foreign citizen Sonia Gandhi. Again, APJ is stoically brief in his analysis of those days that set the country's opposition on fire against Sonia's nomination to the Prime Ministership. Some of these chapters are weakest - in the sense that the ex-President tries to put a non-controversial treatment, choosing to be concise rather than be elaborate and hence, controversial.

History will always remember Presidents and Public figures who are courageous and sterling torch-bearers of integrity, honesty and competence. On that count, APJ scores the finest in recent memory of how a President has conducted himself in public life. Whether it is in meeting more Parliamentarians, State Ministers and Governors, or returning every gift, every single gift he ever received. Talking about why he is reluctant to receive gifts from anyone, he recalls the lasting influence in this matter was his father.  Quoting extensively from Manu Smrithi and holy works of Musllim saints, he quotes that, "When the Almighty appoints a person to a position, He takes care of his provision. If a person takes anything beyond that, it is an illegal gain." He paraphrases Manu again on why one must not accept gifts: No individual must accept gifts for the reason that it places the acceptor under an obligation to the giver and ultimately results in making a person commit immoral or illegal acts. Thats an exceptional value system for any Public figure and APJ has inspired a generation with his behaviour at Rasthrapathi Bhavan.

"Turning Points" is sure to climb the top-seller list because of a very balanced and yet erudite rendition of a productive and inspirational life. APJ has been engagingly fluent in many aspects that are seldom discussed by one public figure - be it education, technology, scientific pursuits, religious tolerance, raising standards of governance and accountability for Parliamentarians and Ministers, Anna Hazare movement, world peace and disarmament. He has a view on most aspects that are bordering on world citizenship and egalatarianism and altruism. All this, with a sense of humility and positivity thats infectious. Even if he hasn't been re-considered for the post of Presidency this time around, APJ's words of wisdom and his vision for making India a Developed Superpower by 2020 resonate well with India's public. I only wish his books get widely translated and read in all languages of the country. The books is not perfect to a fault, but it will not disappoint you, dear reader, whatever be your age or qualification. More power to you, APJ.

Turning Points: A Journey through Challenges by A.P.J Abdul Kalam. Pub: Harper Collins, pp.182, price Rs.199.00

Rajesh Khanna R.I.P. The Original Superstar

Rajesh Khanna. Usually Anand. Kabhi Kabhi Gum. Made blockbusters out of living life for others. Became the First Superstar and encouraged the Next Superstar big time. Shows his large-heartedness at the time. Gave Musical mileage to Kishore Kumar, RD Burman and lyricists. His taste for music was so great that his solo songs with melancholic touch are still playing at cocktail parties and get-togeth...ers with karoake mikes. His band of music goes magically well with nostalgia and single-malt whiskey parties. Without an iota of remix temptations - so much for his blend of music. Rajesh Khanna. Anybody with such a rich timber-sounding filmy name ought to have a whole generation of fresh graduates, housewives and self-employed abide by his name. And so it was with many in my family - my parents and closer elders included. He has taken the pre-liberalisation era of limited opportunities to new cinematic highs by taking a dagger to the hearts of men - and endeared himself to the ladies as a forlorn lover. Of course, this may have encouraged alcoholism and primitive brands of Teacher's whiskey - jocularly called "preacher's whiskey". Rajesh Khanna - also pushed the door open for South-Indian producers and directors and artists (other than heroines) who are not usually mobile. He was also protective of his persona till the very last - similar to Shobanbabu in Tollywood - not acting much in roles below that of the main protagonist. He has his lows in personal life but the highs make it a life worth being celebrated and remembered for. RIP.

 

 

"Cocktail" (Hindi) Movie Review

"Cocktail" is another experiment that brings back the genre of metrosexual romance with the chemistry of a much publicised starcast - Saif Ali Khan, Deepika Padukone and debutante Diana Penty. Homi Adajania is the director and he ropes in the writer-director Imtiaz Ali and another writer to pen the story. Imtiaz Ali is quite unpredictable in his scripts; most of his movies in the past from "Jab We Met" or "Love Aaj Kal" or "Rock Star" have been fluent opuses on love that remains unrequitted till the very end. In this movie, "Cocktail", Imtiaz Ali harnesses his talent at tweaking emotions of love a bit further, he creates a rapport between two girls - Deepika and Diana - then creates a rift between them later through Saif because both the girls want all of him. All this with some common and some bizarre family extensions for all the three.

The treatment is different and title-apt. Homi Adajania uses the laisse~z fare settings of London to weave the characterisations of the three principal actors the way he moulds the story - Deepika as bold and tempestuous, Diana as cautious and conservative and Saif as the quintessential Don Juan - till they all decide to do a flip-flop, in the interest of a happy ending that comes after 146 minutes of a cocktail of emotions. Pun intended. In between, the roles of Bomman Irani and Dimple Kapadia which could have infused variety and connectivity with elderly audiences had they stayed on course a few more minutes. There is also a constant tussle between the BGM score of the impressive duo Saliem-Sulemaan and the intermixed loud jingles of Pritham - despite one or two sonorous songs by Pritham towards the climax, BGM by SS is defining the key moods and moments of the film.

All the three Deepika, Saif and Diana get their share of hogging the limelight but Diana's character is weakest and inconsistent - it is because she is a looker and not an actor. Deepika shines brightest in the second half and tries to carry the film as if it is hers - with audacious dressing, bikini, uninhibitive acting. But at crucial competitive camera movements, our ageing hero Saif Ali Khan shoots from the hip every line that lingers. What he delivers with his eyes and face make it one of his best - he dominates even the hyperactive Bomman Irani sometimes. On the whole, the movie is a multiplex biopic with fast music, good visuals from London and Cape Town and easy fun that is a little more complicated. Could have been shorter - wonder what the Telugu Editor Sreekar Prasad was doing.

"The Intouchables" (English) Movie Dubbed from French

"The Intouchables" is a remarkable French film that swept the top honors last year at all film awards. The standi outside the screen reminds viewers that this film has collected Rs.2000 crores from 40 million viewers world wide - that means more people than what the entire India pay to watch any movie made in India paying per ticket Rs.18 to Rs.500 on any given day. I went without any idea what it was about except that it is a dubbed film from France. No known actors or crew to kill for. The result was hugely satisfying and worth watching. Its a tale of a bond developing between an aristocratic Parisian Phillipe who is quadraplegic (meaning unable to move hands or legs) and his assistant Driss, an African-origin janitor who is reluctantly pulled into the job.

After the movie rolls on, with English subtitles (whose tenses and verbs sometimes do not tally with the audio version of language), the story-telling is vivacious and infectious - the first joke comes within two minutes, then another and another and before you realise that sparks are flying between the two men, the laughter gets uproarious and roof-top-blowing kind. Don't get me wrong, the sense of friendship between the two men is pretty straightforward - they connect to each other's world and discuss everything under the sun - including women, sex, paraglidiing, modern art, parenting, spending habits, theatre and music. They bat for each other despite huge class, wealth and race inequalities.

Its quite incredulous that this movie should have been made in one of the most racist countries in the world. The hilarity of the film can't be emphasised in few sequences - it hits with a frequency that surprises you. There is a shot in which Driss accompanies Phillipe to an Art Exhibition - and Philippe stares at an artwork that has a splash of red in white background and agrees to buy it for 30,000 Euros (not that the French regard Euros as worthwhile currency). Driss says, as if to make a statement on how arbitrary art valuations abound these days, he could paint the same painting for same amount or more, and give blue additionally. In a twist of poetic justice, Driss indeed works on an abstract painting that Philippe pushes in the art mart for 11000 Euros, more out of affection to cheer up Driss.

Scenes like this make the film a charm. What endears the film to the audience, evidenced by the huge audience count so far worldwide, is the universality of the emotions - fear, tears, laughter, sense of achievement, sacrifice, learning from mistakes, serendipidity, fear of trying something for the first time.

The two lead characters are played dexterously well by Francois Cluzet and Omar Sy. Francois Cluzet is the diffident, depressant patient whose limbs are lifeless, so he can only speak and animate his face - he does it masterfully. Omar Sy as Driss, becomes the arms and legs for Philippe - he steals the thunder often, lights up the screen with occasional wisecracks, experiments with boredom and breaks out of the shackles of the mind more than Philippe. His acting resonates as well as the screen presence of guys like Eddie Murphy, Will Smith.

Music  by Ludovico Einaudi is another asset to the film - you get to hear almost all the classical masterpieces from Vivaldi to Beethoven. In between chatting up at the chateaus, lovely piano music is at play most times when the scenes shift to the picturesque French countryside. On the whole, the movie is fun and inspiring - if you have elders who are of restrictive movements because of whatever reasons and can't do without a daily dose of Prozac and Restil, take them to this movie - it will cheer them as an Indian Masala film. I am told that in 1914, ninety percent of all films distributed worldwide were French Films. By 1928, eight five percent of all films distributed were American films. Thats how Americans killed the heart of Euro cinema. Movies like this will help buck the trend.

"David Billa" (Tamil/Telugu) Movie Review

"David Billa" is supposed to be a prequel to the "Billa" franchise. Directed by Chakri Toleti. Telugu folks should know this guy. He was the smiley kid who waits for Kamal Hassan's perfect "Bhangima" in "Sagara Sangamam". Yes, the sa me guy grew up and made "Eenadu" (Remake of "Wednesday"). And now, "David Billa" with Ajit Sir. To be fair, the movie has got everything on the face of it - a kill...er app franchise, excellent technical team of editors, screenplay writers and cinematographers. And some terrific music by Yuvan Shankar Raja. It has a less obese Ajit who is seen as less conceitful than what the character demanded in "The Gambler". To top it, a bevy of villains from Rahman to Sudanshu Pandey. Sudanshu Pandey is definitely a find - he is suave, intense yet subtle and stylish - combines the looks of Kabir Bedi with Mukesh Rushi. He is one of the reasons to see the film. But Ajit does monotonous acting - there is no improvisation and no new swagger and chutzpah that he usually embellishes his portrayal with.

The story unfolds the usual way a Don emerges - a refugee from Sri Lanka, odd jobs of smuggling, working as a retainer, and then climbing up the ladder. We have seen this movie before, you get the feeling. Chakri Toleti, no doubt, has got the talent for intelligent film-making but his sensibilities are more shaped by Hollywood than by native touches. So, the movie seems like a concise procession of stylish visuals with fancy massage girls, slush money, drug-levelled suitcases, and slick gunshots and neck-stabbings. The biggest drawback is lack of entertainment. Romance is also hugely amiss - atleast one of the two girls is good-looking but apart from giving avuncular glances and dont-mess-with-me looks, Ajith comes a cropper there. There seems to be some problem of re-inventing himself for the masses and plots like that of a Don wont help. Chakri Toleti should attempt varied plots to show his talent. The only redeeming feature for me has been Yuvan Shankar Raja - his BGM music is outstanding. You can give the movie a miss because its all gloss and no substance.

"Eega" (Housefly) Movie Review (Telugu)/"Makkhi" Movie Review

"Eega" means housefly in Telugu. Thats the name of SS Rajamouli's latest and most-ambitious film till date. Its the most common and harmless insect heavily spotted even in concrete jungles and unlike mosquitoes and other blood-sucking pests, it is not carnivorous and usually doesn't harm humans - it is a very fidgety creature and moves at lightning speed, hardly stays anchored at a place beyond few seconds. To make a movie on a housefly is itself audacious and insane, nobody has done it ever in Indian Films. In the west, there have been many superhero films and maybe movies on rats, monkeys, sharks, bears and deadly snakes, but not on an insect so insignificant as a housefly - its amongst the lowliest of the lot but has a picturesque body - an amber red head, two hairline whiskers, two mini hands used to navigate direction, two wings that seem to generate sound an equivalent of a helicopter taking off when in motoring mode, and an identifiable body and legs. It has the most athletic body in insect world and director Rajamouli has studied the world of houseflies to the core, except a few lapses which I will come to later. "Eega" is definitely worth a watch once for the fabulous effort to make a superhero out of an urban pest - the director has spared no effort to finetune the movie - in Special Effects, technical departments of art and cinematography, in performances by the lead starcast in which Kannada actor Sudeep excels himself, and in overall pace of the film.

Rajamouli generally lets the story line out in the pre-release buzz. So the story is well-known before: Boy (Naani) meets girl (Samantha). Both fall in love. Enter Villain (Sudeep) who lusts after the girl, kills the boy. Boy gets reborn as "Eega" and takes revenge. Quite a simple and ordinary story, isn't it? But the execution is grander and the classic three-act structure, which Rajamouli always followed, is present here too. The movie is actually a special effects movie and the effects have a running time of more than 100 minutes - that can sometimes tire the viewer. Most of the action sequences are between the "Eega" and the villain; the director applies good logicality to how a harmless housefly can wreak havoc and throw your world upside down if you mess with its lover - it will attack you at the most unexpected places when you are least prepared, like in a steam bath tub when your face protrudes out of the heat tub and all your limbs are dissembled to atttack the insect crawling on your face. Rajamouli creates more scenes like this - when the villain is driving at high-speed, making a board presentation, trying to woo Samantha, or just sleeping. "Eega" just buzzes around, pricks the sense organs and drives out the peace out of Sudeep's mind. Quite wonderfully captured these stunts with amazing detail and Hollywood-style craft. The director uses the well-known laws of physics and some aspects of biology and chemistry in the friction shown between the two characters - Eega and Sudeep.

Most of the movie, MM Keeravani (MM Kreem as known in Bollywood) has given an outstanding BGM score that heightens the impact of the SFX and the moods. Quite rarely, Keeravani stops himself, seldom seen in our movies, to let the foreground become background - meaning, the score becomes silent when the heroine Samantha tries to communicate with the hero-housefly or when the housefly is plotting the next move against Sudeep. Those moments of silence, and the early part of the movie which builds up the romance between Naani and Samantha are the cutest reels of the film. Very few lapses on the part of Rajamouli - his clarity of thought and execution, screenplay (with extended help), characterisation and pacing of the film are terrific. Where he fails is in the entertainment this time - he cuts the romantic part of the film, which he could have shown more with the "Eega" or Naani in relapse which could have endeared the masses. He cuts the most beautiful, melodious song of the movie (probably, the decade) - "Nene Naanine..." to less than two minutes, and allows just two other songs to flourish. He hasn't inputed any comedy track in the film, that can prove costly to its success. A Telugu film without comedy struggles to get repeat audiences. When you spend Rs.43 crores on eye-popping graphics, you should have atleast 15 minutes of comedy. Another drawback in the basic plot: the villain kills the hero first, but the re-incarnated hero with all his killer antics creates fear in the villain's mind but fails to kindle any sense of remorse or regret. Besides, the heroine, after knowing her lover has come back as the housefly, enjoys the company of the housefly. How does a woman co-habit with a housefly? To pun, how does a housewife co-habit with a housefly? Thats absurd.

Well, enough of hyperventilative analysis of a movie that is breathtaking in effects but falls short on practicality and comedy, excels in performances by Sudeep and Samantha. It is most definitely watchable once, and by all kids. Its a proud addition to the creative power of Tollywood. An experiment that earned its spurs for Rajamouli.

"The Amazing Spiderman" Movie Review (138 Minutes)

“The Amazing Spiderman” comes back with an unfamiliar bang and unhurried charm. Andrew Garfield (remember the skinny guy who played the CFO in Facebook “The Social Network”?) replaces the effable Tobey Maguire, and Emmy Stone replaces Kirsten Dunst. Director Mark Webb seems to love his surname so much that he ought to make a webby film out of it. He has done a pretty decent job of building a credible first take on the Spiderman. It delves on the improbable origins of Peter Parker in the annals of cross-genetics and how Peter’s father helps Dr. Curtis Connors in his research using complicated calculus formulae that go into making alogirithms that alter biologically.

A good deal of time gets spent in establishing how Peter Parker (Andrew Garfield) goes on to investigate his roots from adopted father Martin Sheen (always good to see him back in any cameo), meets Dr Curtis Connors, gets bitten by a genetically altered spider and shoots webs at will and walks on walls and jumps from one skyscraper to another in union-jack-red-and-black attire that still looks like an urbane swimming trunk. What can get a spider? A Lizard. And so, the villain Dr.Connors becomes a giant mutant lizard that stomps the streets of New York and pulverizes people and caravans of cars like a Godzilla – most of the stunts between the Spiderman and the giant lizard are nightly in nature. I wonder if this is deliberately done to counter the ensuing next big release of the Summer is Batman’s “The Dark Knight rises”. Nevertheless, the plot moves on to more complex matters – the lizard-man becomes more menacing and engulfing for mankind and our friendly Spiderman gets help from New York Police just in time to thwart Dr.Connor’s dangerous tricks. In between, a decent romance between Andrew Garfield and Emmy Stone that is more prolonged than seen in Spidey movies (without a love triangle).

How Good is the characterization and the performances? To be fair, Andrew Garfield gives a towering performance that will appeal well to the fans of the Marvel Comic character. Early versions of Spiderman starring Tobey Maguire had a genuine likeability about him so it kind of grew on you with an earthy and credulous touch. Present version takes off on the same path of first part of Spiderman released in 2002, takes a long time to establish the family background, the upbringing, and then the accidental transformation of a boy-next-door into discovering the webby instincts. The scenes showing the adhesive nature of the superhero’s hands and feet, and the commanding horsepower of his routine actions resulting in weird consequences like glass-shattering, basket-ball goal-post smashing are eye-popping and well-picturised. Even a simple act of googling his own spidey behavior results in the unraveling of the keyboard letters which is intense and believable. The origins of a superhero and the coming of his age were never shown so fluently in any movie before. Those sequences bind you more the friendliness and acuteness of this character. Most humor is embedded in these initial sequences, afterwards the plot gets thicker and serious with the unbearable tightness of being Spiderman getting to Peter Parker’s head. Character-wise, Martin Sheen, Sally Field and Rhys Ifans (who plays Dr.Connors) play their parts flawlessly. Dr.Connors character lacks texture and depth and definitely comes nowhere close to the swagger of the villain seen in first three Spidey movies. That is the major flaw in this movie – the villain’s characterization lacks substance and enough justification and as if there’s a late realization of this, Director Mark Webb shows him just after the movie’s primary title credits in conversation with another invincible power as to how to betray Spiderman yet again.

How Good is the 3-D Effect? Not that good. Except in one of the final stunts where the giant lizard leaps out of nowhere to browbeat the Spiderman, I could not perceive the third dimension with any telling effect. These days, the camera work in 2-D is so exceptional that one need not wear 3-D glasses to feel you are walking in the air with Spiderman over the nightly skyscrapers of the Manhattan, or “touch” that totempole of an Empire State Building or puke a web on the villain’s face. That’s a bit disappointing. Andrew Garfield, as I said before, has worked his lanky frame to give a unique tilt to the character, almost as incredibly as Tobey Maguire does. I am sure the shutterbags will soon report how Andrew has also done gymnastics, martial arts, weights and high-end cardio to stand out as an agile Spiderman – who needs to move at top velocity, in non-linear fashion, at tangent to gravity, within vertical limits. The effort shows - like one pose where he literally does a Shirshasana.

Is there anything else to rave about? Yes, there is. James Horner- that majestic Music composer – the only stalwart who scored award-winning music on a par with John Williams – has scored memorable BGM. Its on Sony Classical and I am going to own one.

I went with low expectations, having watched all of the three Spidey films. This one was quite watchable with few guffaws and one or two Indian tricks. One is Irrfan Khan – it is quite a forgettable role, I wonder if it can be even called a cameo as memorable as what he did in “Slumdog Millionaire”.

Of course, we Indians cannot match Hollywood in SFX or scripting or storyboarding or marketing of a franchise. The spiderman and other comic heroes will continue to make money. The First Spiderman walked away with $400 million at the Box-Office. In India, it collected Rs.26.2 crs. The second, Rs.33.4 crs and the third, Rs.68 crs. All this, when the Income Tax Officers didn’t adjust the Cost Inflation Index for the four years very high between 2002-2007. And we Indians, we will continue to make films that please us not what the world watches. If they make about Spiders, we will make about houseflies. So be it. As far as “The Amazing Spiderman” goes, the Rupee depreciation is going to assure that with 1000 screens hit with the movie (762 screens for “Avatar”), Hollywood is going to rake it even more. Well done, Mark Webb.

Book Review: The Bilderberg Conspiracy-Inside the World's Most Powerful Secret Society by H.Paul Jeffers

When it comes to conspiracy theories, nobody brings out better books than American Writers be it Naomi Klein, Noam Chomsky, John Perkins ("The Confessions of an Economic Hit Man"). There is a voyeur in me that seeks out more such books. My latest find and I must recommend this whole-heartedly is a book by H Paul Jeffers - "The Bilderberg Conspiracy". The Bilderberg is today considered the world's most secret society and also its most powerful comprising the most well-known and famous politicians, businessmen and businesswomen, media owners, celebrities, heads of state, His and Her Holinesses and other Royalty.

As the theory goes, this group called the Bilderberg group has been growing in membership (albeit restrictive to accomodate only the most powerful clique on the planet) ever since the group first met in 1954. The book explains, in spine-chilling detail almost all the major meetings ever convened by the group, at the hotel(s) during the two day retreats at select frequency (annual). What does the group want? Secrecy and Access by its members to the world's resources, permits, and corridors of decision-making to push the group's common and indwividual interests- both political, social and economical. Much of the headline-making events after the World War-II - the Bretton Woods agreement, the UN and the Security Council composition, the Cuban Missile crisis, the Vietnam war, the rumblings of currrency regimes changing from sterling pound to Gold standard, gold standard to dollar, the creation of the "Euro", the oil crisis of the 1970s, the battering of the pound in 1997 and the over-throwing of the Margaret Thatcher government, the list goes on...all these are engineered by the Bilderberg Group. This has had its toll on the stability of world governments, the banking system and the overall functioning of the world capital markets as we see now.


Who are the current members of this group? Henry Kissinger, Bill Clinton, Hillary Clinton, Melinda Gates (wife of Bill Gates), David Rockfeller (yes son of John D Rockfeller), Paul Wolfowitz (thats right, World Bank), Donald Rumsfeld, Tony Blair...You will be surprised the list now includes me and more influential men and women - Ben Bernanke, (Fed Chairman) Thomas Friedman (world's richest journalist? and also the most idiotic!), Paul Volcker (Ex-Fed Chairman), George Soros (quite believable, because he treks the entire world on specious lecture tours which benefit him more than his society), Walter Wriston (Citigroup Ex-Chairman). So, you see, the elite Bilderberg group virtually leaves out few men and women who move the world and this group, according to well-documented research by the author has met 56 times after 1954 almost every year. The last time they met was in June 2008 - in the aftermath of the banking crisis and the decisions taken are well-noted by now. The author has brought out the pulsating sense of what usually goes on in most meetings and the expanse of the stuff that gets discussed which is itself an agenda that topples governments, eases out presidents, and rankles cabinets of sovereign republics.


To be fair, this is breath-takingly revealing and damning of what goes on in world and foreign affairs today and you get the feeling its all true and happening. You will definitely feel there's more you like to know and get informed about this secretive society which is not ritualistic like Freemasons or racisti like Klux Klux Klan. Paul Jeffers has done painstaking research, scenting the trails left by legendary trackers of Bilderberg group like Daniel Estulin, Jim Tucker, Conrad Black, and Tony Gosling. Your world view changes after reading this book and the iconic society because the decisions taken seem to be pushing the personal agenda of this group of all-powerful people under the veils of democracy, open society, free trade and free press, and a vigilant judciary. Seventreen chapters, two hundred and thirty two pages long, racy details pop out per page that is both intense and credible, this book will not allow you to sleep well because the details unearthed are both disturbing and annoying. Would you like to hear that The Economist survey is borne out of a Bilderberg activist? That Richard Nixon was sacked as President not by Watergate Scandal but because the Bilderberg club wanted Nixon out so that "their" man - Gerald Ford can be in. That Berlin Wall was broken down out of this club's resolve. That the agenda of media is aligned to few elite members' interests - US News, Washington Post, etc. That the idea of joining Greece and Portugal and Spain into European Union was "on" since 1957. That Margaret Thatcher was overthrown because she didn't allow UK to join the European Union.


As per the author, the main goal of this group is to create a new world government controlled by a wealthy elite and officials of global corporations (like BP) - to have a world bank, a global currency, centralized political control, world wide free trade and so on. Reading this book so finely investigated and penned will make you read more into the actions of the "elite" who make headlines. For example, why did Hillary Clinton go to Myanmar? What is the real agenda of Melinda Gates who administers free vaccines through Bill Gates and Melinda Foundation? Why does Henry Kissinger who is so anti-India waxing so eloquently on China nowadays? My point is, if Bilderberg conspiracy is true, then there should be more transparency to the group's meetings and its proceedings because it concerns all of us. I now know most answers to why some events really happened - and you will also find out why - even if you don't agree fully, if you read this book.

The Bilderberg Conspiracy by H.Paul Jeffers published by Citadel Press Kensington, pp.234.

Book Review: "Bureaucrazy Gets Crazier: IAS Unmasked" by M.K.Kaw

IAS or the Indian Administrative Service is not just the biggest national pastime (as a combined number of more than a half million seekers write the Prelims every year), it is also the most entertaining and epicentric nucleus of policy-making in India. Even if there's no vertical accountability to "We, the People of India", these Babus have a world of their own - they read The Economist, play golf, attend AMP courses at Harvard, take study sabbaticals at INSEAD and take a ransom to do just do their job. They are easily the most-wide read amongst India's intellectuals and share a world almost like a Bilderberg or a Freemason society.

M.K.Kaw is a retired IAS officer who has been there, done that. He gives a promising preview that entertains as much as it informs in this cheeky book that is sure to be lapped up by all bureaucracy members. M.K.Kaw worked in Himachal Pradesh as well as New Delhi in various postings from Finance Secretary to the Central Pay Commission. The present book is a sequel to an earlier book "Bureaucrazy" published in 1993. It is more elegant, presentable, and full of wit in Wodehousean fashion. Divided into seven parts, and populated with 47 chapters. There is one chapter almost on every conceivable facet of bureaucracy - the ways and means of wives of IAS officers, from egoistic officers like Seshan to diffident members, the need to have Godfathers, to "sir" your officers, the anatomy of corruption, etc. There is only one flaw: while profusely witty and analytical, there's a lot of "bharichaara" and fraternity on the whimsical ways in which the Babus have been ruling our country long after the British Babus have left. Easy read.

Bureaucrazy Gets Crazier: IAS Unmasked by M.K.Kaw, pp.196, pub: Konark publishers, price: Rs.250/-.

"Shakuni" (Telugu) "Saguni" (Tamil) Movie Review

“Shakuni” is an interesting title of Karthi’s new film named after the most interesting character in Mahabharata. Despite being a dubbed film (“Saguni” in Tamil), it was  marketed well by Telugu producer Bellamkonda Suresh and generated quite a buzz before other big releases lined up like “Eega” and “Julai”. Its worth the excitement and hype – “Shakuni” played by Karthi, is quite a combination of a convincing political thriller and a light-hearted comedy with romance getting short shrift.

Director N Shankar Dayal creates a credible story that has many layers, backs it with a racy screenplay and great characterizations. Just like Shakuni who, after being wronged by Duryodhana befriends him and eventually brings him to a war that destroys him and his clan, Karthi plays the role of a modern Shakuni. He takes a different path to dethrone Prakash Raj. But why? His only asset is an ancestral home that is now under threat of getting demolished due to a metro rail project awarded to a protégé of Chief Minister Prakash Raj. Karthi seeks the help of the CM but gets shunted out. He then realizes like all voters who vote for cash/expectations that its time to change the king – he pushes one pawn after another, motivates an auto-rickshaw fleet owner (Radhika) to become a corporator and eventually a mayor, then moulds a roadside soothsayer (Nazar) into becoming a Billionaire Godman (he funds the elections) and finally, resurrects the fortunes of a jail inmate in Chenchalguda (rings a bell?) - the inmate (Kota Srinivasa Rao) builds new cadre, fights the elections to defeat Prakash Raj and becomes the new CM.

The transition from a helpless youth to a master strategist in the political affairs of a state is essayed brilliantly by Karthi. As a brother of Super Star Soorya, he hasn’t got much to prove so far with films smacking of off-beat love stories and tribal roles but this movie shows him in better light. He uses his confusingly crooked smile and  confident screen presence with great effect. A role to remember for Karthi; Telugu dubbing in his own voice will endear him more to the masses and classes. A role that runs parallel to him throughout the movie is that of popular Tamil Comedian Santhanam – he is so under-stated, mellowed, raunchy and yet classy – unlike what we associate with Tamil comedians. This must be his finest performance till date. Kota Srinivasa Rao outshines Prakash Raj, and similarly, Radhika outclasses Nazar. Praneetha has got good screen presence but has to improve her looks, heroines have got to reduce the glare of their eyes if they have to connect with the masses.

GV Prakash Kumar, surprise, surprise, creates pleasant music in the film as well as above-par BGM. If the movie becomes a hit, I am sure it will be remade in Hindi, the plot is so irresistible and contemporary with most of its punctuation playing out in our political circles. Dialogues are terrific commentary and have the sharpness expected of a political thriller without being over-the-top. Even though 158 minutes is unusually long, the momentum gathered after the first half do not make it seem arduously long. If at all, the first 30 minutes could have been trimmed; Director tried to create a thin romantic track that is almost invisible in the drama of the politics that engulfs the second half.

After “Rangam” last year, I was quite excited to go for this movie and feel it’s a fine effort worth the time. Such films come but rarely from Tollywood directors – they rarely make story the real hero. This is a wholesome family fare.

I want to be President of India, not Prime Minister!

When the country's next-deserving Prime Minister no longer aspires the job but instead goes for the post of President - it should tell you something about the risk-averseness setting in - even for politicians. An office of power (PM) is less attractive than an office of ornamental power (President), it seems.


An office like Presidency gets you the top perks (a plush residence built by Edward Lutyens and two terrific residences in Secunderabad and Shimla plus a salary of Rs.1.50 lacs p.m that hardly gets spent plus an upkeep cost within a budgeted Rs.22.5 crs.p.a. plus overseas junkets which was highest during the current president's rule) and is the best retirement plan for any politician. Pranab Mukherjee may have had it in him to seek active politics but this move hints that nobody is interested in becoming a PM anymore - it involves too many risks of decision-making, scams, reputational damages and thankless jobs and finally, you are not even in the driving seat. What the hell! Might as well enjoy getting chauffer-driven official state car of custom-built heavily armoured Mercedes Benz S600 (W221) Pullman Guard.

But this is a good sign - it means politicians are getting risk-averse and the bottom of the establishment cycle with multiple headwinds blowing in the corridors of business, society, economy, legislature, media and judiciary is somewhere visible. I am an optimist at heart, and feel this phase will pass soon - we will emerge stronger. Too much pessimism is also unsustainable.

"Corporate Karate" & "Building Brand You" Book Reviews

There have been an explosion of books written by Indians of late. While most of the works of fiction are turning out to be metro reads and portable imitations of best-sellers by authors like Chetan Bhagat, Amish Tripathi and Aswhin Sanghi, there is good output from less-renowned writers on non-fiction. Amongst the many books on corporate survival, there are two interesting books which help novices and sophamores.

"Corporate Karate: The Secret Art of Corporate Self-Defence" by Dwayne Lemos will pleasantly surprise you. The author uses plain, crisp copy-writing vocabulary to craft bite-sized paras on how to navigate your way through the corporate jungle. In all 250 tips on everything from freelancing to using a brief case vs.laptop or when to use leaves, how to greet and how avoid  a burnout, it has quite a bit of sagely wisdom thats surprisingly great copy to read and amazing fun to read. Even seasoned careerists will find more nuggets of wisdom in this book than atttending HRD network summits. Rupees Ninety Five is just and added inducement to lap this book in few tea breaks. What I like more about this book, is the no-nonsense approach while giving some insider tips on how to rise to the top navigating the jerks and sharks. He definitely seems to know what's happening in today's organisations  - a variety of them in fact. That should stand you well during crises. Published by BPI India.

Another book: "Building Brand You!" by Mamata R Talukdar and Sanjiv S Chaudhary gives you a more direct low-down on workstation management, social networking, boss handling, carrying yourselves in appearance/meetings/reviews/parties. There's lot of basic advice thats common-sensical and sometimes didactic. But as we say, such books are hard to come by  - the nearest equivalent of a bible for career-builders in the last few years is Subrato Bagchi's "The Professional" which gives as much lifetime wisdom as what any Indian professional can get to stay and thrive in a job. This book is not as much fun as the first book I referred to but still may be basic wisdom and should be reading for anyone getting into his or her first 90 days on the job. Priced at Rs.195.00 and published by Rupa Publications.

"Shanghai" Movie Review (Hindi)

“Shanghai” is the title of the latest movie directed by Dibakar Banerjee who made films like “Khosla ka Ghosla” and “Oye Lucky”. One of the true tests of finding new benefactors in film financing is to be able to continue to make films irrespective of box office success. If I remember well, DPB has found a PE firm focused on films – CinemaCapital for “Oye Lucky” and of late, it is PVR Pictures. The advantages are too many for a title like this, it will attract multiplex audiences in Mumbai as well as Shanghai, should the movie be released at all. But enough flossing, I think the title “Shanghai” is itself audacious at best. “Don’t imitate Shanghai’s success in India”, that’s the subtle message the director is trying to say.


Is he telling something original? No. As most would have covered, this movie is inspired by “Z”, made in 1969 which got the Best Picture nomination that year. Just to clarify, Costa Gavras directed the film and was made into many films before and after that.

Dibakar Banerjee ropes in the most unlikely cast who are different from each other like Idly and Pav Bhaji. Emraan Hashmi as a petty pornographer (might have been perfect except that the fellow hardly gets to kiss anybody in the film including the subjects of his video), Abhay Deol as a Tam-Brahm Investigating Officer, Farook Sheikh as his gluttony boss, Prosenjit Chatterjee as Prof.Ahmedi, a left-wing activist who is the crux character of the film and Kalki K as his lady-love and student. Then there are other characters - the lady minister who douses in gold ornaments, the two accomplices who abet arson and mindless run-overs on innocent men with a matador van and the cunning wife and widow of Prof.Ahmedi. The whole plot of the film moves on after Prof. Ahmedi gets killed by a group of right-wingers allegedly with the support of the police. And the plot thickens to reveal “fifty shades of darker grey” (pun intended) often seen in Indian corridors of power where politicians and their crony capitalists contrive to grab land masses of poor people as if they are improving their plight but actually, it’s the SEZ scam again and all that.

I can’t believe the story of “Z” fits so well into the current socio-econo-politcal scenario in India as brought out by Dibakar Banerjee. He has attempted a stunning canvass which shows things as they are without an iota of preachiness, letting the characters infuse fire into their actions and words. Each character is true to its core without creating any screen biases for the viewer to take sides thereby creating an unparalleled non-judgementality seldom achieved in our films – a pornographer wants to help the student who wants to uncover the truth, a police officer investigating the murder is upright but he gets influenced by wrong people at times and misreads the clues, a minister who clears all interfering influences on the officer becomes guilty of the crime and the wife of the activist who is killed doesn’t make efforts to nab the murderers but shamelessly stands for election on a sympathy wave. This kind of treatment and characterization is not obtained by close-up shots with latest cameras but by exuberant and skilful screenwriting – Dibakar seems to have a mastery of the medium. He gets superb performances from most people and the message at the end is both stirring and credible. There is almost a feeling that the audience knows who is right and who is wrong based on the camera evidence and the scripted lines each character speaks. I was reminded of the play of Ayn Rand – “The Night of 16th of January” where the audience becomes the jury to decide.



Dibakar Banerjee also gets extravagant and classy output from the technical departments of editing, cinematography and music by Vishal Shekar. A special mention, I feel, must be made of Michael Mcarthy ( I waited for end titles to note this name) who scored background music. It’s a great experiment I thought must be closer to what a Rasoolkutty and AR Rahman achieve together. The music is vibrant and apt and evocative like in Satyajit Ray films but the background sounds around the scene are also mercilessly captured – so you find the tindrum vibrations of the staircase leading to the living room where action is, or you find the near and far drumbeats of the next byelanes away from the scene or you find a literal pin-drop sound which doesn’t distract but adds a rare natural feel.


114 minutes of this film must be breezy viewing but there are occasional lags. Treat them like the occasional indulgences of a brilliant Bengali film-maker. This is good, realistic and entertaining too without any cinematic liberties. I can’t remember when NFDC last co-produced a film made for mainstream audiences. Performances-wise, Abhay Deol and Emraan Hashmi come out quite good. Farook Sheikh shows his shinier side of acting so well- why isn’t he seen as often as Naseeruddin Shah, I wonder? Prosenjit Chatterjee, the leading Bengali actor is the most memorable face in the film, not Kalki (she is forgettable). His intensity on the screen while he is going is hard to beat. On the whole, if you are in the mood for a good arty-realistic commercial cinema from a dapper film-maker DPB, its worth a while.

How To Talk like an Economist

This year's top-selling book on flipkart is not a NYT best-seller of fiction and non-fiction. Its the most unreadable and eminently erudite book written by a D.Lit professor. Yes, I am talking about Oxford University Press's "Indian Economic Survey 2011-2012." edited and written by Dr.Kaushik Basu, the famed economist and PMO's trusted lieutenant who waxes eloquent on various data points of the Indian Economy, invented a game called Dudoku (like Sudoku, with 2*2 matrix), written and edited more than 30 odd books on Economics and its multiple constituents.

This is the last Economic Survey, as the preface states penned by Dr Kaushik Basu and the book is a raging hit on the online book stores. Priced at Rs.450/- it has the last word on the macroeconomical foundations of Indian Economy from Banking to Forex Markets, from Agriculture to Education, from Balance of Payments to Direct Taxes, and gives you a fascinating peep into the Indian Economy. I would say, reading the ES is like doing a diploma in Indian Economics. Its that profund and intense. I wish this becomes compulsory reading for everybody who uses statistics on Indian economy at the drop of a hat- from journalists, editorial writers, bureaucrats, bankers and politicians. We don't know who will replace Kaushik Basu who has been writing the story post-liberalisation reforms for several decades last. But this swan song is worthy of your time and rewards you with counter-intuitive datapoints that may help you win a debate or score a point or two.

Another good addition to give a panoramic view of statistics on India on everything from economic issues to socio-demographic issues, from which industries allow automatic approval for FDI investments, how many times was the Constitution amended, which state in India sends the maximum emigration workers (Okay, Kerala but how many?) and how much increase happened to the Chief Justice of India since, say 2005? Questions like these sound like objective questions from Competition Success Review or a Civils Prelims exam but the codification of data in 1400 pages over 32 chapters is quite a task which requires attention to detail, cogency of information and authenticity  - something that Publications Division is believed for. In a way, the first book above complements this second book. Both the books are to be kept at arm's length  - and may help you whether or not you are an Economics forecaster, politician, journalist, investment professional or a Member of Parliament. These two are the fast-track routes to gaining economical proficiency.

"Endukante...Premante" Movie Review (Telugu)

“Endukante Premante” (Because it is Love) is the new film on the block. Stars a twinkling Diva Tamanna. And energetic star Ram – who carries himself like a miniature Pawan Kalyan cum Mahesh Babu cum Ravi Teja. Produced by his Chartered Accountant uncle “Sravanti” Ravi Kishore whose family consists of CPAs and CAs and Wall Street MBAs except this movie-crazy Ram who has been on a purple patch since “Kandireega”. Who is the Director? A.Karunakaran – a creative director and Ad-Maker who was pulled into films accidentally. After a decade plus and about half a dozen movies later, he is still remembered for films renowned for rich texture and neat family entertainment values – “Tholi Prema” (First Love), “Vasu”, “Happy”, “Ulhaasanga Utsaahanga” (which became a tagline for Red FM), “Darling”. Karunakaran has got a penchant for making different films with sonorous music and ROFL entertainment that never left the patronage of Balcony audiences. He lives up to that promise in most parts with this movie with about 165 minutes of rollercoaster ride of emotions using some bizarre twists that are sometimes inexplicable and mostly inexorable. Overall, it is quite watchable but for some lazy editing.

The film’s essential theme, sorry to poop the suspense, is about two estranged lovers in one lifetime and later how they re-unite in current lifetime where one lover (Tamanna) faces a near-death experience and the never-say-die spirit of her body guides the hero (Ram) through the maze of Interlaken, Zurich and Paris to set up a climax in Hyderabad where eventually she battles for her life and comes back to life. So, its all about that spirit and mortal combat but the journey evokes shades of every movie that tested these waters and scenes are almost cut-and-pasted. You get a feeling of seeing this movie before – in the scenes and the thread of the storyline – in “Avatar”, “Magadheera”, “Aatma Bandham” , “Ghost”. The climax even reminds you of the near-tragic twist in “Vasant Kokila” (“Sadma” in Hindi) where once the body wakes up to life and the spirit of Tamanna vanishes, the subject’s life protector Ram is forgotten by Tamanna. Like in “Black” movie. There is a sequence that reminds you of “3 Idiots” where the spirit guides the man how to resuscitate a person from cardiac arrest. Rings a bell?So, its quite a complicated plot made longer because comedy, action and entertainment is enmeshed into the story. Karunakaran has got the talent to extract uproarious comedy from his actors, he gets the laughs with super ease. Despite the plot sounding implausible and bizarre, the director knits it well and creates a ruckus pre-and-post-interval. Performances by both Ram and Tamanna are vibrant and competing in scale with each other. Tamanna is indeed the surprise package in the film and she delivers her finest performance – thoroughly enchanting and professional. It is not Ram’s film, it is Tamanna’s – credit uncle and nephew for that. Almost everybody else sizzles – old and new.

There are enough punchlines for every character and that makes this film the second-most exacting in terms of A-320 Airbus-filled starcast by the director after “Darling”. Bigger than “Darling” and more daring and audacious. Kona Venkat adds a weighty presence both as a dialogue-writer and villain. Rishi as the main villain is intense too. Music director, GV Prakash Kumar, nephew of A R Rahman, is becoming a source of worry. His output is getting inconsistent, he uses the wrong notes at the wrong time. While the songs are a bit too westernized to resonate well with all classes, his BGM score needs avuncular help from Rahaman. Just because he has talent, doesn’t mean you underscore or embellish when, frankly, the best way is to do the opposite. Composing BGMs is an art- let him learn from legends like Ilayaraja and Rahaman or guys like DSP and Mani Sharma.

To sum up, this may not be Karunakaran’s best film till date but it won’t disappoint you because it’s a new genre, a fresh starcast, neat family fare and a cracker of a comedy. You can watch it once. You can watch it more had the movie been shorter by 2 reels. Maybe the director who wears a cap, has felt a surge of creativity from too many movies but it is important for this director to thrive – he may falter on the execution side occasionally but never gives a crass output or one that makes the family audiences cringe.

Tollywood's "Gabbar Singh" is one of top five grossers!

According to `Business Standard’, as on June 1, `Gabbar Singh’ (Telugu remake of Dabangg) grossed Rs.128 crores in box office collections taking it closer to Dabangg’s Rs.173 crores. This makes the remake catapult into the all-time five grossers. That’s the power of mass-masala fares and box-office magic which eludes realistic cinema. I have always had a liking for this kind of escapist cinema despite my occasional tantrums. And it doesn’t matter whether we like the movie or not, the audience poll says it all. That seals it. So, it was with `Dookudu’ or `Raccha’ or movies like `Kick’.


I am ever curious about the commercial cinema fans who flock to such fare and how it translates economically. When I watch a movie, I keep my thinking hat aside, my `Satyajit Ray’ mind at home and enjoy the flow looking at the commercial sensibilities. Yes, there are occasions we love art cinema and good classy films like `Ala Modalaindi’ but cinema is a mass medium, not an art exhibition for connoisseurs.

Unlike any other art, cinema is the only medium that doesn’t require the patron to be literate. You don’t have to be a cinema-literate as in book-literate or an art-literate or a gold-literate to buy or consume cinema. You just need a funny bone and a pulse to enjoy. Those who criticise a movie is good or bad should do keeping in mind the mass-reach of this medium – every day, 3.2 crore Indians watch cinema, pay Rs.28 per ticket on an average, and forget their foibles and problems in the three hours of watching a movie. The only time they take a break is during the Intermission time – which was first introduced in the world in the 1920s and then after the movie ends. As long as the content is non-offensive, non-sectarian and non-preachy and off-beat, a movie should get most likes.

Why am I making a mountain of this molehill of a datapoint on `Gabbar Singh’? Because I am irked by Outlook magazine’s collector’s edition of 100 years of Indian Cinema. But for making a fleeting reference to Telugu movies, there is no special mention of Tollywood or its enterprising breed. For them, Telugus are also part of `Madrasis’. If Bollywood regained its lustre over the last few years at the BO, thank the Tollywood and the Kollywood filmmakers for lending their scripts and even talent for making blockbusters out of superhits in South Indian vernaculars. Salman Khan to Aamir Khan, Akshay Kumar to John Abraham, everybody is borrowing brilliance from Tollywood or Kollywood (Tamil film industry). To under-recognise their contribution in commercial cinema is to do gross injustice to Tollywood’s contribution.

Earlier, I wrote a post on why Tollywood is better than Bollywood – I will expand on that a bit later. Right now, Telugu fans should rejoice that a regional movie has tasted resounding success crossing $22 Million at the Box Office. A guy like Salman Khan paid advance of Rs.50 lakhs for incorporating the famous `Anthakshari’ comedy sequence of `Gabbar Singh’ into `Dabangg-2. The power of ideas. The power of Tollywood. More power to you.

`Outlook’ should realise that watching a movie is not the same as going to Cannes film festival and get plaudits from pundits who make movies for themselves. Satyajit Ray films are a class apart always, no doubt, but let’s not forget that throughout his career, Ray didn’t get funding from anybody but the State Government. Cinema sense and sensibilities are two very different things. And movies like `Gabbar Singh’ have proved yet again what Box Office power can be unleashed by making sensible movies for the masses.

Here’s a toast to all those entertaining filmmakers of Tollywood – let your outlook not change even if mainstream media is not looking your way.

MAA TV vs. Gemini TV vs. ETV vs. Zee Telugu

Earlier, films used to clash only at the Box Office, on Fridays. But now, most clashes aren't  happening there. TV Channels is where the action is. Yesterday, amidst much fanfare, MAA TV has set the timing for telecast of "Dookudu", Tollywood's biggest blockbuster at 6pm Sunday. Lot of billboard advertising, radio ads and countless promos have gone into driving traffic for the film premiere which was purchased for well over Rs.5 crs. All set for 6 pm slot. But Gemini TV, AP's No.1 channel is not an easy competitor - atleast, they never let go an opportunity to nibble into rival channels' market share. They telecast another blockbuster "Kaanchana", a ghost-thriller movie of Raghava Lawrence at 3.30pm which is actually sleeping time for most Sunday TV watchers. But the climax is red-hot and must-watch for any film buff, it was stretching beyond 6pm - which made the edgy MAA TV delay the "Dookudu" telecast beyond half-hour. Last half-hour saw enormous channel-surfing as viewers were glued to the "Kaanchana" climax. Meanwhile, MAATV showed the curtain-raiser of "Dookudu" to fill in the half-hour during which "Kaanchana" ended.

The drama didn't end there. At 6.30pm, Gemini TV showed another hit of 2011, "Mr.Perfect" starring Prabhas and Kajal. That coincided exactly with "Dookudu" and the ad slots were carefully chosen not to clash with each other channel. But the movie on Gemini ended atleast 45 minutes before "Dookudu" finally got completed on MAA TV - with actors' clippings, samantha's comments and finally a re-run of the most hilarious episodes of the film stretching the run time from 6pm-10.30 pm. Only, "Ben Hur" and "Meraa Naam Joker" would have beaten that record running time. I am always intrigued by the rival strategies and counter-strategies of TV Channels in AP - they try to outdo each other. But I think, maturity-wise, MAA TV and ETV are better-off than the competitive Gemini TV. Gemini just can't give up fighting - whether its a Zee Telugu premiere or a MAA TV Blockbuster. Why do I say that? The total Ad revenue size of AP TV channels is Rs.700 crs. The prime slots take bulk of the revenue. It is therefore wise and economical for channels to vie for viewers' attention more carefully instead of making the advertisers lose money on programmes which don't get undivided atttention. The pecking order for entertainment channels in AP is as follows: No.1 Gemini TV, No.2 MAA TV, No.3 ETV and No.4 Zee Telugu. So, the race is between the top 3 really with channel share (sum of all channels in the group brand like MAA or Gemini) going upto 10-15 per cent.

Thats why the stakes are high for the top 3 but what I find intriguing is Gemini never gives in easily to the No.2 or No.3. And so, all throughout the day, yesterday, in order to tackle "Dookudu", it built steady traffic through blockbuster after blockbuster. Started with "Kick", then "Kaanchana" and then finally showdown with "Dookudu" - "Mr Perfect". Even though MAA TV now has the movie rights for the top five all-time Industry hits in Tollywood - 1. Dookudu 2. Magadheera 3. Arundhati 4.Pokiri and 5. Simha, there's a tendency to over-pay and raise the bidding stakes for producers of superhits. This is a game where the channels lose out which ETV doesn't get into. Gemini TV does get into the bidding game but doesn't over-pay. It picks one out of every four movies bid for satellite rights but ensures it stays in the competition but doesn't end up over-paying. "Gabbar Singh" the next industry all-time grosser is currently going for Rs.9 crores. We have to see who picked it.

ETV also tried its best to nibble into the viewership yesterday by airing a special program on SPB "Nenu Naa Swara Kartalu". The program took away some eyeballs from "Dookudu" in the middle. Advantage ETV and Gemini TV have over MAA and Zee is the vintage viewership and loyal base. Through old classics bought for a song and long-running musical shows and serials, they have ensured higher profitability and longer loyalties. Can you believe a movie like "Shankarabharanam" rights were bought by Gemini for Rs.1 lac only? Interesting strategies from different channels.

"Adhinayakudu" Movie Review (Telugu)

"Adhinayakudu" is a 3G wireless gift for Balayya (Balakrishna) fans - it shows Balayya in son, father and grand-father roles. Parachuri Murali is the writer-director ( I don't know which other movies he directed with a famous surname like that). The story is set in Rayalaseema backdrop but comes with a different treatment that his fans are usually used to. Harish Chandra Prasad is the patriarch who rules the hearts of the masses in many villages by getting FDI approvals for an iron-ore project in Kurnool. He convinces many and moves against many odds to get the project approved so that more people turn to employment instead of taking up sickles and bombshells. His son Rajendra Prasad takes on the responsibility of carrying out intent of the father. But the villains who don't like the good samaritans divide the father and son and what more, connive to brainwash the grandson in his infancy to kill the grandfather. This is the story that is unravelled in the end - but the story begins differently - the juvenile who grows up in Mumbai follows his roots to Rayalaseema and then the familiar climax - after lots of twists, flashback, romance, comedy and fights.


To be fair, Parachuri Murali weaves an intelligent plot with three diverse roles for Balayya and infuses life into the scripting and screenplay. The movie moves with a verve and freshness not usually associated with a Balakrishna movie. Dialogues are classy not crass, music is just about okay even though Kalyani Mallik - the less-talented music director of MM Keeravani tries hard especially in one or two numbers and OST. Lakshmi Rai sizzles with her thread-bare revelations in two songs and carries on her glamor well. The main villains led by Kota Sreenivasa Rao and Ajay do a good job. Brahmanandam comes up with a fine performance - and his comedy with the young Balakrishna masquerading as an alien from Mars is hilarious and fresh fun. Violence is also grossly toned down and so are the dialogues - they are not at all political and censorable, I am surprised they are written by somebody other than Parachuri brothers but bearing the same surname.

There are few observations on the film. In his anxiety to project all three characters in equal length, director adopts a racy track to collapse many frames and moods in quick succession - at times, it comes out good but sometimes the intensity is diluted. There is a danger, just like VV Vinayak's screenplay in "Chenna KeshavaReddy" that the characterisation goes adrift because of the need to show a screen friction between father and son, and later between son and grandson. Sometimes, you do get confused in having to take sides with the three characterisations - they never syncronise in one moment except for a fleeting phase during flashback. 15 Reels is also a bit long for a movie nowadays despite efforts to edit most scenes. Director has a talent and grip over making intelligent and sensibile cinema and for that he deserves a pat - you can watch it once for the treatment and the thrills and the diversity of roles played by an ageing hero. Even though I am not a great fan of Balakrishna, this movie shows him in better light than his movies in the past. I wonder why "Adhinayakudu" was delayed for 4 months without a buyer - it is passable fare and watchable for most of the time. I only wonder whether the fans, who seem to be calling most of the shots in Tollywood, will take an under-tone, under-stated Balayya. This is a better performance for NBK than "Srirama Rajyam".

Book Review: "Markets Never Forget" by Ken Fisher

There are a handful of books which survey the march of history and its implications for the serious long-term investor in stocks. "Devil Take the Hindmost" by Edward Chancellor is one book for the times. You have classics like "Extraordinary Popular Delusions and the Madness of Crowds" and "Manias, Panics and Crashes" which have gone into updated editions for every cycle downturn of the Equity asset class.

A famous cover story on "BusinessWeek" (Now "Bloomberg Business Week") came out in 1987 which lamented with a rant that's now known as an epochal error - "The Death of Equities". Financial Writers have always  found the obsession with Markets and Crashes as a soap-opera to expand the continuum of history of over 200 years of recorded market movements beginning with the late 18th Century till date. "Markets Never Forget: But People Do" is one more worthy addition to the literature on market history and the perspectives one can glean from the historical gyrations of stock prices. Who is the author? Ken Fisher, one of the few Investment Managers, who prides himself as a Forbes Billionaire Advisor for the Forbes Billionaire Club. Fisher has been the fourth-longest running columnist for Forbes Magazine and runs a firm - Fisher Investments. This is eighth book and its quite evident Ken Fisher can write well, weave facts and historical data points into a fluent narrative that is bound to encourage long-term stock investing. The timing couldn't have been better - its come at a time when the markets fear a Lehman-like moment and are getting psyched out of the cut-and-dry march of equity markets over the last five years.

Ken Fisher says that markets have always been volatile and there is never a dull moment in stock investing but one should learn how to overcome the behavioural biases that will creep into our memory and actions that tell us "This time is different" and we end up making the same mistakes that cost us money and time. He gives countless examples of moments in market history when people have shunned from the markets, got fooled by averages and generally got sandwiched between getting in and out of secular bear or bull markets. Ken Fisher gives fascinating, brick-by-brick tour of the American Stock Markets, the various phases of crashes and rallies punctuated by hundreds of mini-pulls of investor extreme reactions owing to government debt cycle ups and downs, corporate profitability fluctuations, and political bickerings. He infuses lot of authenticity by giving tabulation of all the returns, and the sharp movements of the markets in v-shaped curve, j-shaped curves, and v-w-shaped curves  --that surprised even the most maverick forecasters of the day.

Ken says that investors fail to be right most of the time because they forget the past and even refuse to learn from the mistakes of the past. They get overwhelmed by greed or fear but also forget that being greedy or fearful didn't work out for them in the past. In the process, they get head-faked by what later turns out to be normal volatility - because they forget they've lived through volatility many times before. They over-react - either too bearish or too bullish- based on some widely dispersed media report that later turns out to be highly overstated or just plain wrong and often backward.  Take for example, volatility. Ken Fisher says that contrary to what the media projects, the maximum volatility between these three asset-classes - Oil, stocks and a food commodity like Onion, was, surprise, witnessed in Onions, more than that of oil and stocks. Between 2000 and 2010, Standard Deviation for oil was 33.8% but for onions it was 211.4%. Contrast this with the SD of Stocks- a mere 19.41%. And then he constructs an argument, saying that there are other variables that are equally volatile- like inflation, government deficits, or GDP growth rates on a monthly basis - and the stock markets discount all of that and move on quite well.

What is the lesson here for investors? Ken Fisher tells us that a sense of market history is a powerful tool to help begin reducing your error rate and help begin getting better investing results. The book is divided into eight chapters with excellent examples and data tables. Each chapter highlights a dimension of history - of market averages, volatility of the asset-classes, traps in thinking, interface of politics with economics, rise and fall of bull and bear markets, and the interlinkages of the global markets. Ken Fisher is quite an intelligent and respected market commentator and a Fund Manager of repute. Few people also know that Ken Fisher is the son of the legendary of legendary Growth Investor Philip Fisher. Philip Fisher wrote the classic "Common Stocks and Uncommon Profits." It is still a must-read for any serious stock investor. Ken Fisher gives a reassuring book of market history whose revelations will bring joy to anyone investing in stocks for living or retirement. Even if there are no examples from Emerging Markets, the book is spirited and comprehensive.

"Markets Never Forget (But People Do)" by Ken Fisher. Wiley India Pvt Ltd. Price Rs.399.00, pp.  216.

Advice from China, in lighter vein!

Advice to Sonia from China on handling Jagan:


1. To catch the tiger's cub, one must enter the tiger's den.

2. Do not use firewood to put out a fire.

3. Going too far is as wrong as falling short.

4. One tree does not make a forest.

5. When fortune flees even gold loses its luster. When fortune returns, even iron shines bright.

6. An idol-maker does not worship the gods: he knows what stuff they are made of.

7. A hundred men scrambling to fetch a gourd by cart will accomplish less than one man holding it in his hand.

8. An arrogant and complacent leader is sure to meet with defeat.

9. It is foolish to anger the majority, nor is it wise to do simply as you please. If your deeds displease the people, then disaster will surely follow.

10. A tyrannical government is worse than a man-eating tiger.



Advice to Jagan that never came from China:

1. Even oceans may at last run dry.

2. When you have wealth, why should you strive for more?

3. All questions have two sides.

4. Much property is a trap for the stupid.

5. Those whose ways are different cannot lay plans for one another.

6. When you see a straight piece of wood, you do not want to make it into a wheel.

7. Misfortunes never come alone.

8. Do not expose money to eyes.

9. In good times, the wise man works for the state. In bad times, he looks after himself.

10. Take care of the small things.



Advice from Sonia and Jagan to China:

1. Heroes are made by the times. (Jagan)

2. Though brothers may have private feud they fight as one against the alien foe. (Jagan)

3. To give peace to the Empire and suppress rebellion, a large sword and a long spear are necessary. What use is a pen? (Sonia)

4. The views of men of wise counsel are much the same. (Both).

5. Although I am thin in appearance, the Empire is fat. (Jagan).

6. It is harder to deal with the weeds once they have spread. (Jagan)

7. There is no victory in winning a hundred battles. There is a victory in subduing your enemy without fighting at all. (Jagan).

8. When the first indications of error begin to appear in the state, Heaven sends forth ominous portents and calamities to warn men and announce the fact. (Sonia)

9. Having a son is unlucky indeed. These days it is better to have a daughter. Your daughter can be married to your neighbour. Your son will be buried under the weeds. (Sonia)

10. Kingdoms rise and kingdoms fall, but its the common people who suffer. (Both)

- Compiled from the Little Book of Chinese proverbs. With malice towards none.

Can today's Politicians beat Nehru's Prison Term of 1637 days?

Did you know that Jawaharlal Nehru, India's first Prime Minister, who passed away today served a total prison term of 1637 days during the Freedom Struggle? Gandhiji would have broken more records in going to jail too as did many other stalwarts. And today, a prominent politician Jagan Mohan Reddy's arrest by CBI is being headlined in all TV Channels as earth-shattering news. Is going to jail so much fun? And for What? Can any Indian Politician in India ever be put behind in bars for so many days as Nehru or Gandhi did? I shudder to think whats happening to India Today.

Satyameva Jayate - Doctor and the 3rd Idiot!

So "Satyameva Jayate" this Sunday takes on the Doctors abusing the trust of the patients. Even though there are instances of abuse, it is not on a scale that I am alarmed of. Some of my best friends are doctors - I know and appreciate what it takes to become a doctor. But let me not get into the issue of Doctors itself - they should be treated at a level above the rest of the professionals. But no...w that Aamir Khan has moved on from Family Abuse issues to Society Abuse issues from select professions, I want to ask Aamir: Who are all going to be in the AK net? And who is going to be outside it?


Will Aamir also cover Civil Contractors, Lawyers, Architects, Politicians, corrupt Government officials, PMO, Party Presidents, Promoters of listed companies, Mutual Fund Managers, Subsidy-Adminstrators, Drug Inspectors, Engineers of Public Works, Statisticians and Economists of Yore, journalists, Editors and press reporters, NGO officials, Forbes Billionaires, Teachers, Syllabus creators, Educationists and Tutorial Owners, Corporators and Legislators, Priests and Mullahs, TV Channel Programming Heads, Newspaper Barons, TRP Market Researchers, Violent-and-Porn Film Producers, Transport Operators. Will he cover folks from his own profession who suffer from extremes of social apathy to harbingering social awareness? What about my own tribe - Bankers, Wealth Managers, Tax Advisors, Auditors, Chartered Accountants, and Salesmen selling olive oil remedies? It appears Aamir Khan may spare my profession anyway - because we deal with, inter alia, an asset-class in which India's households invests less than 3 per cent. And we are doing a better job than the doctors. But lets leave it at that.

At this rate, Aamir Khan might declare all professions to be dishonest or he should start with his profession - Films - and set an example first before taking holier-than-thou attitude on other professions. Doctors ratio is already pathetic in India; 99 percent of the population have never developed awareness of their own body and they rely on doctors to bail them out. Most of them are genuine and good and the five percent who take the patient for a ride abound in every profession, with or without a hippocratic oath. Family issues - issues affecting the child, the girl, the woman, the bride and the boy - might deserve rich highlighting. But issues around aggrievement of an individual from a particular profession need not be a public farce - there are relevant acts and enough measures to address them. Oh, Aamir - maine Kyaa sochaa thaa aur thu kyaa nikala!