October 13, 2020

Scam 1992 - The Harshad Mehta Story Web Series Review

 


 

If you want to have a recap of all that happened during the unravelling of India's Greatest Financial Scam and re-live the 80s and 90s evolutionary phase of the Stock Market before it reached the heights of the Y2K boom, please watch "Scam 1992 -The Harshad Mehta Scam" on Sony Liv OTT. Ten hours of unalloyed, gripping story-telling, sincerely drawn and adapted from Sucheta Dalal and Debasis Basu's seminal book "The Scam". We cannot imagine the ease with which we trade in shares and government securities today if we watch that era when we had to endure transfer deeds and outcry times. When the Sensex base was so low that people panicked due to fall in number of points to what we now experience when we measure in percentage falls, its a long way we have come. 
 
Hansal Mehta has captured the essence of the scam in a riveting narrative that will not quench your thirst until you finish all the ten episodes streaming live. Handled with lot of objectivity and commentary underpinned to current happenings - it connects the transitory phase with deftness and maturity - that a three-hour Bollywood movie cannot capture. It is the best OTT output of 2020 and something that is worth all of your ten hours of time - whether you want to re-explain it to your non-savvy mother or driver, or to the Robinhood Investors who haven't yet experienced the kind of "animal spirits", hubris and nemesis that Harshad Mehta once made us experience - when there was no whatsapp and online trading and mutual funds meant only US 64 and PMS. Anshal Thakkar's piercing BGM score only enhances the seriousness of this magnificent film that will soon become a DVD classic. Pratheek Gandhi as Harshad Mehta and Shreya Dhanwantaray as Sucheta Dalal give the performance of their lives. Because it is a retelling that shook the faith in India's nascent capital markets - it deserves wide viewing and patronage - because history keeps rhyming again and again. 
 

May 1, 2020

Covid Lessons From "Sankarabharanam" Movie

 
Just watched "Sankarabharanam" for the umpteenth time on Gemini TV (A week's fest of K Viswanath's films starts today every day). An eternal classic, the film always gives you a message for every season. This time, as my parents, my wife and I were in a trance watching each scene with rapt attention, I noticed a message for the Covid times in "Sankarabharanam". In the pre-climax, as an impoverished Sankara Sastry (JV Somayajulu) walks past the house of his once-upon-a-time percussionist Gopalam (Sakshi Ranga Rao), the former notices the latter trying to tune his Mridangam. Sankara Sastry mildly remarks to Gopalam that his Mridangam is missing a beat. Gopalam then bares out his heart that he has long missed the beat when he deserted the Great Sankara Sastry when he walked out of his "kacheri" in a hasty move - only to regret for the last 12 years. Sastry then consoles Gopalam that it is not Gopalam's fault nor his flaw but the times are such that the crowds can't hear great Indian Classical music. But times won't be so desolate for long, and very soon, good times will roll on and the public will usher in a golden era of good melodious music. Sastry had undying optimism more than the despondent Gopalam about the bad times that will soon be enveloped by sunshine days. And he also gives part of his borrowed surplus to Gopalam to tide over the tough times, even if he himself is struggling to have two square meals a day. Thats the spirit of Optimism and large-heartedness which is needed for Covid times. Be generous in giving to those who are less fortunate than you and never doubt whether good times will come back. 
 
And in the climax, Madhava Rao (Allu Ramalingayya) re-introduces to the audience who have come to hear Sankara Sastry's public recital for the first time in 12 years (which ironically turns out to be his last hurrah). And he says, even in stark poverty and darkest times, Sastry continued to practice his classical music as a maestro will and didn't mind the absence of audience. Instead, Madhava Rao adds, Sastry actually confined himself to the four walls of his house and made all the unseen parasites and viruses and invisible insects and pests his target audience for rehearsing and practicing his performance. Well, that's how Maestros and professionals adapt to tough times. Like the four seasons, the Covid times will be gone before you realize but we must do what we are good at, and take the tidal wave of Covid Scarcity and negativity with a pinch of salt and overcome with optimism. It will then arm us for a better tomorrow - which is just round the corner. Even after forty years, "Sankarabharanam" has a message to be hopeful, optimistic about the future and never waste a good crisis brooding with inaction. Make it count - in ways you become stronger, better and brighter.
 

A Lucky Star without Tantrums - Rishi Kapoor



 
Rishi Kapoor. One of the most happy-go-lucky actorss in Bollywood. Always cherubic and bubbly. A lucky mascot. For everyone who worked with him. For his father who was reeling under huge losses from "Mere Naam Joker", he became a money-spinning "Bobby". For heroines who got launched with him like Padmini Kolhapuri and Dimple. For co-stars and superstars. And for many producers and directors who found in him the mettle to rub shoulders with multi-starrer giants. He became the proverbial David who charmed many Goliath-like giants with his non-threatening effervescence and ego-less pranks. Most of the films starring Rishi Kapoor became box-office bonanzas for producers though he never got full or deserving credit for his performances that pulled in the crowds.
The only girl he ever got linked with early in career was Dimple who eloped with Rajesh Khanna, even after wearing a ring given by Rishi when they were dating during "Bobby". Of course, he married Neetu Singh finally - and thats one heck of a love-story for a free-wheeling 80s couple who did 13 films together with dazzling chemistry.
 
Raj Kapoor always thought Rishi would make the most successful director (he did direct "Aa Ab Last Chale" which didn't click). But he became the most successful lover in the history of Bollywood: always walks away with the girl, whoever else in the triangle may be - Vinod Chopra, Kamal Hasan or Vinod Mehra. He became Amitabh Bachchan's most famous Tillu Bhai in many memorable hits of the 80s and happy to play second fiddle to the reigning Superstar. As a nice guy, he has so far given the best shot amongst the Raj Kapoor's sons sustaining himself in a career spanning four decades since he first appeared. Before he came in as "Bobby", Bollywood films used to be all about men and women, as a critic remarked. After "Bobby", it was about boys and girls.
 
Rishi Kapoor went on to belt out the most iconic dancing hits and Qawali numbers of an entire generation many of which became titles of blockbusters in 2000s. Before the likes of Govind and Mithun, it was always Rishi who was rated the best dancer for a long time. It was quite an achievement for Rishi- to serenade a heroine, and synchronize dancing steps with her without an effort. The disco lights, the revolving dance floors and the psychedelic lighting bulbs of the 80s would have all looked out of place were it not for the elegance of Rishi Kapoor's cadence and ease. He would break into a song and dance and everybody out there would fall in sync - swirling and crooning without an apology.
 
There are actors down South who followed the same model of Rishi Kapoor in experimenting with new heroines and playing second fiddle in multi-starters as long as they could hold your own - Chandra Mohan in Tollywood and Siva Kumar in Kollywood, they became known as the Rishi Kapoors of their respective Film Industries. Of course, it could be argued the other way too - why not Rishi Kapoor be called the Chandra Mohan of Bollywood? But that's a different topic!
Rishi Kapoor, later transformed into playing played mature characters after his gait and genetic code no longer made him look younger because of the famous Dal Makhni Kapoor staple diet. In the last decade, he became Bollywood's severest conscience keeper raising holy hell every time the Industry stalwarts floundered in responding to the 'crying need of the hour' be it #Metoo or a war-like situation. He also brook no nonsense with his recently released autobiography "Khullam Khulla" (in which he nailed stars like Rajesh Khanna or Amitabh Bachchan with no-holds barred revelations).
 
Of course, his fine acting continued with the likes of Irrfan Khan and Amitabh Bachchan ("102 not out") and he would have easily given another shot at third innings at a time when his son Ranbir Kapoor is earning solid spurs as the next Superstar of Bollywood. That speaks a lot of about the original first family of Bollywood - the Kapoor Clan whose gene pool keeps gifting Superstars and Divas who became endearing icons of Indian Cinema. Rishi has travelled as far, if not farther than all his great uncles but perhaps will have the last laugh once his son conquers Bollywood one day, if not already. It is quite ironic that the Star who gave India's first song on self-quarantining ("Hum Tum Ek Kamre Me Bandh Ho...") should pass out during India's self-quarantine period. And in his passing, the whole nation says "Om Shanti Om" to the man who sang the most famous anthem of the 80s with the same words. Truly, Rishida will be missed by the 80s generation and one hopes that his legacy will be carried on by son Ranbir Kapoor to the next level. 
 
My favorite films of Rishi Kapoor:
1. Karz
2. Amar Akbar Anthony
3. Chandini
4. Zamaane Ko Dikhana Hai
5. Sagar
 

April 29, 2020

Life of an Infinite Actor - Irrfan Khan









Irrfan Khan. Undoubtedly, the best actor of this generation who gave a stunning range of films that will keep resonating as long as we go. Whether it's a blink-and-a-miss role in "Spiderman" or a brief role in "Slumdog Millionaire" or any of the stylish performances in "Piku", "Talwar", "Pan Singh Tomar", "Life of Pi", "Maqbool", you cannot take your eyes off screen when Irrfan Khan is emoting. It doesn't matter what he is wearing or how he's shaved for the film, you have to be at your best hearing sense to grasp all the text and subtext in his acting with his murmuring accent and a swagger that doesn't look seem like a swagger.

In "Piku" you can see the sweat and blood of Deepika Padukone and a herculean effort by Amitabh Bachchan to compete for the attention of the audience whereas Irrfan Khan made it look so effortless on screen. Likewise whether he is explaining a Siska bulb benefits or a Vodafone recharge ad or doing a jig with Shah Rukh Khan at a film festival whether art films are as good as mainstream films. In spite of the irony of the 2000s where a lead actor's remuneration become as big an overhead as a budget of a film, Khan's swashbuckle and finesse in acting became a toast of every film he got associated with. Hollywood also cast him in many films but when it comes to Irrfan's lines, there was something always ethereal, magical and evocative than the other actor's lines. Yes, and the subtlety he brought to screen didn't threaten the other actors sharing space with him unlike say, a Shatrughan Sinha but enhanced the "repeat watchability quotient" of the film without an elaborate overlay or an over-assertive baritone like that of Nana Patekar.

While we never noticed who really took the baton from the arty films caravan of actors like Naseruddin Shah, Irrfan Khan created his own inimitable and enduring shelf-space in a world dominated by the three Khans until a few years ago. And unlike Naseruddin Shah, Irrfan took the torch of towering performance from film after film and passed the baton to actors like Nawazuddin Siddiqui and many other stage actors and superstars in mainstream plots and commercial films. Thank God, Tollywood also cast him in a forgettable role as a comic villain in "Sainikudu" with Mahesh Babu and Trisha. But Thank God, Tollywood didn't checkmate his fledgling career with fat cheques that would have merely created another Prakash Raj or Shaji Shinde in South Cinema.

In the finite gallery of films that Irrfan Khan got associated with including the many international collaborations that put him limelight as a draw for Asian audiences, it will remain a nonpareil feat for any other actor to beat in this generation. Most actors of his calibre would have wasted their raw talent with more commercial themes or silly gaffes or sundry makeups of a granny or a transgender or a bandit and so on. Not so in the books of Mr Khan. When he dons a role, the role becomes a reprise in the interpretation of the irrepressible Khan himself - no need for any bells and whistles of the character or any set property. It therefore becomes important that the legacy of Irrfan Khan is a fascinating history of how a late-bloomer annexed chartered and uncharted territories across the globe and built a space that even time cannot erase forever. There will be many more odes to Khan as the world wakes up to cold fact that he is no more. One of them will be how Irrfan Khan's latest film "Angrezi Medium" got released on the OTT platform amidst the Covid blackout of theaters world over. This may well be the future of all small and medium budget films and to get associated with the debut on an OTT platform also goes to the credit of Irrfan Khan. As he passes out in the holy month of Ramzan, I pray that Irrfan Khan finds peace wherever he goes next and strength to his young family who survives him. You were quite a draw, Irrfan whether we saw you first on TV, Silver screen or OTT.

Here are my top picks of Irrfan Khan's filmology:

1. LunchBox
2. Talwar
3. Piku
4. The Namesake
4. Maqbool
5. Life of Pi
6. Life in a Metro
7. Pan Singh Tomar
8. Hindi Medium
9. Qarib Qarib Single
10. Carvan


#IrrfanKhan #IrrfanKhanFilms #LegendsOfIndianCinema #WorldCinemaLegends #Bollywood

January 16, 2020

Sankranti Movie Ratings (Telugu) "Darbar"/ "Sari Leru Neekevvaru"/ "Ala Vaikuntapuram lo"/ "Entha Manchi Vaadavura"

Sankranti films are always special. And I have seldom missed in the last twenty years. Didn't have the time to review in detail, though because reviews hardly matter for Sankranti releases. You will somehow watch with your gang of birds flocked together in urban or rustic settings. But I will give my strong opinions (as strong as ever) if it still counts:

1. "Darbar" (starring Thalaivaa Rajnikanth)...Telugu

Average film with below-par story and straight narration by AR Murgadoss. We expect nothing but mediocrity from Rajni and yet fall for his swagger and mechanical drills but are more harsh in our expectations when it comes to other Tamil Superstars like Kamal Hassan, Suriyaa or Vikram. It seems to get incurable and hopeless with each passing year for Rajni except last year when "Betta" had electrifying Rajni effects.

Rating: 2.5/5

2. "Sarileru Neekevvaru" (starring Superstar Mahesh Babu)...Telugu

A routine story with high dose of entertainment and commensurate performances by actors alongside Superstar. Notable are Prakash Raj, Rajendra Prasad, Rao Ramesh and Vijay Shanti. Rashmika is cute but over-the-top in the movie with her ibby-jibbies. Highlight of the film is Mahesh Babu's out-of-comfort-zone acting and body language that reminds you of films like "Khaleja" and "Dookudu". His characterization is also refreshing as to how a soldier would mend civilians losing their civic sense and sense of civilization. If only he allowed more space for etching out Vijay Shanti's character, the film would have gone to another level. But the soldier's take on society is both pleasant and rapturous thanks to Anil Ravipudi's directing. Despite the film moving on predictable lines post-interval, his clarity and grip on what he wants the audience to take away from the film is complete. Tamannah Bhatia gets the most flattering item song for any item girl in the industry so far. Length could have been shorter by 25 minutes. If there is anything for Mahesh Babu to consolidate his position, he should reduce focus on his good looks and screen time and invest in better and more interesting stories. Yet, 169 minutes is mostly watchable once.

Rating: 3/5

3. "Ala Vaikuntapuramlo" (starring Stylish Star Allu Arjun)...Telugu

Trivikram created an entertaining narrative of 165 minutes about a theme stealth-borrowed from an old Telugu film classic starring NTR and R Nageshwar Rao "Inti Guttu". He re-interpreted the film for the new-age audience well but there are fatal flaws in the film which are not discernible to the audience. Yes, you can ignore baby-swapping as a doable crime 20 years back. But Trivikram who defends middle-class moralities and lectures on their upkeep has created a story which has faultiness on middle-class morality. Firstly, no middle-class father foregoes his baby boy to enter a billionaire family so he may get ahead in life and riches. Secondly, no adopted son disowns his past upbringing to crave for a billionaire's mansion at the very moment the secret unfolds. Thirdly, it is irresponsible on Trivikram's part to paint the picture as rosy as a "Lion King" destiny in picturing Allu Arjun's moment of destiny just like in Walt Disney tale where a baby Simbha learns that his blood is leonine and hence cut out for bigger things like ruling the kingdom. Yes, blood is thicker than water but in reality your upbringing and environment makes all the difference in how you shape your daily moments and destiny. In characterizing the contrasting roles played by Sushant and Allu Arjun, director shows as if none of the inputs or parental guidance provided by either set of parents has any bearing on the way their personalities are shaped. This is ridiculous and self-perpetuating myth which only leads to inequalities in society. The most famous case is the "Nobel Prize Winner Sperm Bank Experiment" where someone thought it is best to impregnate as many women with the sperm bank of Nobel Prize winners so that mankind will get more geniuses like Nobel winners. Trivikram's thesis in the movie is that outrageous and preposterous. I am appalled that along with many other flaws as pointed earlier, it is middle class audiences who are raving about the film as a cult classic. Nonsense. Despite that, the film is carried entirely by Allu Arjun with a never-before performance that stands out in all departments. Thaman's BGM and musical score are also a stand-out; his transformation from copying fast-track western albums to creating new sounds with refreshing mix of traditional and western instrumentation is the story of the last three years as to who is ruling the sound waves in TFI. Stunts are always creative in Trivikram's films but when you are surrounded by so many bashers, how does anybody get so creative to wield a woman's dupatta or a car windshield to polish off the villains beats me! Entertainment quotient is high though comedy content is low. What disappointed me is lack of clarity in Trivikram's taking in the film right from points mentioned above to Murali Sharma's unrepentant characterization. At least a minute out of the 165 minutes could have been taken to round off Murali Sharma's litany of crimes. Watchable once.

Rating: 3/5

4. "Entha Manchi Vaadavuraa" (Starring Kalyan Ram)...Telugu

Vegesna Satish comes with interesting concepts that hold some message for the new generation drifting apart from the world we grew up in the 60s and 70s. This time he comes with a theme of filling the void left by growing generation gap in our society. Like buying bottled water and twiggy-ordered food, he builds a beautiful plot around hero Kalyan Ram and his fiancé Mehreen. Kalyan sees every family has an emotional bond missing with the loss of a dear one be it a grand-father, son, sister, daughter or an aunt and so he sets up a company which "leases" the missing kin until the emotional needs are fulfilled. It is a slow narrative of 144 minutes with only three songs but content is unique and layered with good performances by hero and heroine besides a galaxy of vintage actors like Annapurna, Suhasini, Sarath Babu and Giri Babu. Like "Shatamaanam Bhavati", Satish has a knack of presenting relevant messages to keep our social structure intact in the wake of increasing nuclearisation of families and isolation of the elderly generation with the dawn of new technologies and general apathies. It is tough to expect jazzed up entertainment in this kind of narrative but if you are patient for the first thirty minutes, you will get some moments of epiphany in the film. Music by Gopi Sundar is outstanding. Watchable once with the elders.

Rating: 2.75/5

#Darbar #SarileruNeekevvaru #AlaVaikuntapuramlo #EnthaManchiVaadavuRaa" #SankrantiReleases #SankrantiMovies

January 8, 2020

Narayanaguda Nostalgia

Narayanaguda. YMCA. Used to be an epic dimension of our daily lives in 80s. It is all set to change from this Sankranti as the last of the metro train stations (part of the green line) will open this festival connecting one of the busiest areas to the bustling Hyderabad Metro to one of the most vibrant areas which had its sparkling days filled with fun and frustrations (of traffic). Narayanaguda metro once opened will go all the way to Mahatma Gandhi Bus Depot in Gowliguda taking the narrowest roads of Sultan Bazar, Badi Chowdi, Chikkadpally all the way to Secunderabad Railway Station. This part of Hyderabad, this dense part of Hyderabad is where we lived for a large part of our lives once my parents decided to settle down in Hyderabad. Where do I start recollecting the symbols of our childhood which have now disappeared or relocated to other ares?
Padmavati Stationery. Still one of the best stationery shops for artists and students with the best of paper and drawing materials but fragmented so much that each brother of the third generation has taken one part of the Stationery business.

The Petrol Pump of Narayanaguda has survived. But opposite Padmavati Stationery there was another famous stationery shop called Anil Stationery. While Padmavati was run by close-knit Vysya community, Anil Stationery had two big shops run by marwaris. Both these shops competed with cut-throat pricing and competitiveness but once the patriarch died, both the groups fell out but Anil Stationery folded up sooner, giving way to a commercial complex that houses some quick service restaurant and another Padmavati branch of the brothers who split.

Next to Anil was the Camlin shop - still the original favorite for school-kids - which had the best of charcoal pencils, postal colors and orange-color geometry boxes proudly branding Camlin. That shop disappeared almost a decade back but while it lasted it was the sole distributor of Camlin products and one of the best-kept secrets of Narayanaguda. They hardly sold retail products and encouraged walk-in customers to buy wares from Padmavati or Anil next-door. But our family had a great relationship and I used to draw and paint in my middle-school using all the special high-quality colors from Camlin including oil pastels and oil colors. The high-point for me was in 1979 when I won the All India Children's Painting Competition conducted by an agency as popular as Shankar's.
Right next to our house, which was atop Padmavati was a famous tailor called YAK's tailors. The fellow was more famous than today's Reid and Taylors or Manyavars or Kochin's. He was designing bespoke suits and exotic dresses for aristocratic men and corporate executives. I don't remember having anything bought for myself because I was still a toddler and by the time I wore pants I was out of that area. My father had a great rapport with YAK's. The highlight of YAK's was in the 80s when Megastar Chiranjeevi burst open in Cinema. After the film "Devanthakudu" was released which had Chiranjeevi tame the mighty god Yama, YAK's owner got an idea to produce a film with Chiranjeevi by launching his daughter as heroine. The film was titled "Dhairyavanthudu". I don't remember much about the film but it bombed at the box-office leaving YAK's Tailors financially crippled. Within a few months, YAK's folded up and disappeared from the Streets of Narayanaguda.

RK Library used to be at the place opposite Deepak bus stand. It was the single-best library of the twin cities and used to be one of the heritage icons of Hyderabad. Everything from "Competition Success Review" to "India Today" to Archie Comics to TinTin to Amar Chitra Katha and PG Wodehouse used to be there. It was the best watering hole for youngsters as well as elders looking for sensational headline copies of "Blitz" and "Illustrated Weekly of India" or "Sunday" magazine. Within a constrained room of 300 sqft, Rashid and his father who ran the shop with passion and commitment to keep the reading habit alive those days. It formed the bedrock of my reading habit, made me win several quizzes including the Tinkle Quiz where I stood Second in 1983 beaten only by Vamsee Juluri, actress Jamuna Ramana Rao's prodigal son. RK Library, when I last saw a few years ago disappeared as Rashid became less interested to keep the circulating library alive, his interests were into skating since then and that became his main bread-winner vocation. What I miss is those scribbles in a long-rule registers Rashid used to maintain which had on each page the name of the book renter, the rent of one rupee to two rupees per day for each magazine and the deposit money of around Rupees Twenty Five to Fifty. Magazines like "Time", "Newsweek", "Life" and "Punch" had higher rents and hiked deposit fees. It used to be quite a sight those days to see all the boys and girls park their BSA-SLR bicycles and pretend to browse the books and periodicals when actually we were all interested to observe each other and flirt if possible. After we moved out of the area and moved away from Narayanaguda, when I started building my own book collection which is sizable by any standard, I always had one eye on Rashid's collection. If there was anybody on earth who had all the books of PG Wodehouse, I knew it has to be Rashid. But Alas! I lost touch at the crucial time he made up his mind to dispose off all his collection to one of the used-book sharks of the city.
As you walk down the path of Deepak theater from YMCA, many other shops which had epic followership have disappeared from the street. Keerti Medical Shop next to the Irani Restaurant was the most famous medical shop of those days run by Gujarati brothers - met with the same fate as Padmavati. Lack of succession planning and split among the brothers. Bapujee Electricals was another famous electrical shop which had seen better days. Swatantra Medicals, one of the best medical shops opposite Deepak. It survives but as a pale shadow of what it used to be. BN Brothers - undoubtedly the best grocer and supermarket of the 70s and 80s - it had the best variety chocolates, talcum powders, dry fruits and other confectionary items. Households flocked to BN Brothers to give any fancy general store item or edible item including the knick knacks for birthday parties. Next to them was a bakery run by Aga Khan muslims - it had the best salt biscuits and crescent chand biscuits and fruit juices those days. Again disappeared. Rao & Co, another famous dealer of electronic items had a loyal customer from our house, my mother. In those days, my father had a salary of six hundred rupees and my mother drew one hundred and fifty rupees from their vocations but Mr Rao always found a financing solution to everything we added in the eighties including USHA sewing machine, Dyanora TV, Philips Radio, Sony Taperecorder and so on. The last time my mother and I visited Mr Rao was in late nineties when cable television already became a rage and my mother bought another color TV for my Baamma on finance.

Back those days, it was possible to breeze through any distance of unto 3 kms in manual-pulled rickshaws. It cost us just fifty paise to go to Chikkadpally to meet my cousins. And most theaters were in the vicinity of Narayanaguda. Shanti theater is still around, Deepak was next-door too, Venkatesa and Srinivasa we used to walk to, Basant theater and Venkataramana and Padmavati theaters we used to walk to. We took rickshaws only to go to RTC X Road theaters like Sangam, Sudarshan, Sandhya and Subhash (now Usha Mayuri). Odeon and Saptagiri came much later. Or even to go to Thyagaraya Gaana Sabha in Chikkadpally. That reminds me of Kishore Theater and the funny story about it when my father started practicing and also did some project consultancy.
Kishore was one of the best theaters those days and had an unsusually elegant facade. You could walk into the door by buying the ticket right next to the door - it gave you a nice cosy feeling. No other theater gave you that ambience except maybe Liberty theater in Himayatnagar. But Kishore was a great theater and it was so close, closer to our home than either Deepak or Shanti theaters. So close that once my parents goaded me and my brother Aditya to go to "Alien" a scary movie about a creature popping out of your stomach in space. The movie scared my younger brother so much that he said I am walking back home while I said I will hang on. He ran out of the theater scared while I selfishly watched the movie - but it was so safe and close those days to watch a movie in Kishore. If I remember, two of the biggest flop films of the 80s had their movies inaugurate the theater. One was a Jitendra starrer "Aasha" and the other was a Telugu film called "Buchibabu" starring ANR and Jayaprada. Both bombed at the box office but Kishore gave us amazing memories including films like "Rahasya Goodachari" starring Krishna and Jayaprada and countless Hollywood films including Bond thrillers. Then all of a sudden the theater was shut and everything from Supermarket to Furniture shops sprung up on the outer facade of the theater.

One of the less-known secrets of Kishore was that he asked my father to prepare a project report on alternatives to a movie-flex. My father gave a detailed project report and said it will cost Rupees Fifty Thousand those days.The owner agreed to pay but after collecting the Report dodged payment for several weeks and months. Eventually, my father realized he rendered charity to the owner. After a gap of over a decade, Kishore became SaiKishore theater and I remember watching a movie called "Alladin" in 90s. That was the last we saw Kishore screen a film. It went the same way as Sangeet. In the entire street of Narayanaguda, only one theater remains and that is Shanti.
As you stroll past Shanti theater, few shops retained their character and personality. A general store run by an aunty, a typewriting institute run by two committed brothers which gave Oriental Typewriting a run for money, an Irani restaurant that was buzzing with people right until midnight, an Excise Police Station and the Narayanaguda Police Station. All of them have disappeared. What remains are few icons like the YMCA, the watch repair shop tucked between two garment outlets, the Andhra Bank and the Sivananda Mithai Bhandar (which still has the best Palak Pakoda in town!),Kalpana Hair Dresses, the Cane Furniture Shops and Canara Bank. Unlike the Sultan Bazar merchants, the Narayanaguda shop-keepers never got pressurized to move out elsewhere. But they were disrupted, or got short-changed by the cross-currents of technology, business cycles, family feuds or change in consumer demand and tastes. It makes for a more detailed examination of street history that changed forever well-before the Metro Station can dismounted many motifs and icons of small business history for good. Narayanaguda was once the epicenter of everything happening in Hyderabad. This post doesn't cover so many other outlets including Balaji Bajrang Mithai Bhandar (still has the best Dhokla, Ajmer Kalakhand, Gulab Jamun in town), PT Reddy Museum (which had a great collection of a Dentist who used to have a TV Set - the only one those days  - so residents of Narayanaguda used to flock to the TV every Sunday when Doordarshan started showing movies every Sunday, Srinivasa Hotel (which had good idly and Sambar) and Vijay Cottage (which had good sweets and tasty curd).

Many of them had seen epic booms but couldn't survive to pass on the baton to the next generation. Like Apollo Ice Creams which had the best Tutty Frutty ice creams and other mouth-watering desserts in Hyderabad (almost like Ajanta Cool Drinks in Vijayawada near Besant Road!).
Narayanaguda had other infamous bits of history too. In the 1980s, the YMCA Chowrastha next to Shanti theater used to see everything from 7th Class to Tenth Class exam question papers leaked on the streets in the wee hours of the day. It was a sight to behold when anxious parents of mediocre students jostled with each other to pay hundreds of rupees to buy subject question paper - and all this happened right in front of the Narayanaguda Police Station. With Metro Station getting hooked to Narayanaguda at Madapati Hanumantha Rao school, a new era dawns in an area which had the best entertainment, education and shopping ecosystem once upon a time in Hyderabad. It is all history now.

October 30, 2019

"Bigil" (Tamil)/ "Whistle" (Telugu) Film Review



"Bigil" is a fine example of how a blockbuster unfolds and ends with 178 minutes of Vijayana. Yes, its a sports film and also has gangster movie shades. Hence, you see a combo of "Chak De" and "Baasha". Director Atlee has given a pass to many rules of soccer game but the energy levels never drop - infact the second half is the brightest second half ever seen in recent films. Vijay shines well both as father and son Bigil and this must be his finest performance. BGM by AR Rahman and almost all the songs scored are gold-diggers which will haunt you long. Go for 'Bigil' ('Whistle' in Telugu) even if you are not a Vijay fan. From the times of doing remakes of Mahesh Babu films and doing chocolate boy films, Vijay has come a long way. As for Atlee who is now sought after by the likes of Shah Rukh Khan and NTR Jr to direct films for them, this is crowning glory. If only the first half is pruned a bit, and those over-the-top football moments edited out, "Bigel" would have been a cult classic. The highlight of the film is the sequence of getting a housewife and an acid attack victim into the team - much impact without much ado there. Despite the director and the hero flaunting their religious leanings in close camera shots, the film will mint its way to the top this year at least in Tamil belt. 

"Jailor" (Telugu/Tamil) Movie Review: Electrifying!

        "Jailer" is an electrifying entertainer in commercial format by Nelson who always builds a complex web of crime and police...