Kabuliwala : Of unconditional love
Ritu
Here is a write-up on Kabuliwala... again at Rediff. This is one of my
all time favourite films and brings tears to my eyes without fail.
MY comments preceeded by ****RC****
Cheers
Ritu
Kabuliwala, a cinematic adaptation of Rabindranath Tagore's famously
poignant short story, brings a lump to your throat each time you watch
it. It makes you wish that more filmmakers would emulate Sanjay Leela
Bhansali (who has recently adapted Sarat Chandra's popular classic,
Devdas) and tap into the rich treasure trove of literary works.
****RC**********************
I'm not certain that one should encourage emulating the likes of
Bhansali... let the souls of the long deceased authors rest in peace
:-)!!..
I think after Gulzar no one has adapted Sarat Chandra's novels. There
have been attempts to adapt contemporary writers works but I cannot
recall any recent commercial effort. Most of these films have been
away from the main-stream. I too think that looking towards literature
for script ideas would bring some sanity into films today.
*************************************************
CREDITS
Producer Director Music Director Stars
Bimal Roy Hemen Gupta Salil Choudhury Balraj Sahni, Usha Kiron,
Sajjan, Sonnu
The opening frames of Kabuliwala establish an idyllic middle class
Bengali family of three, comprising a genial father (Sajjan), a
contented hausfrau Rama (Usha Kiron), and their full-of-beans child,
Mini, who has an imaginative mind and the curiosity of a puppy.
Like in Roy's Sujata, the Hemen Gupta-directed Kabuliwala too
felicitously captures the ethos of a middle-class but educated and
essentially progressive family.
**************************************
I think this was the strong point of the films from the Bengal school
(notably Hrishikesh Mukherjee).. the ethos was very middle-class even
in a suspense film like 'Budha Mil Gaya'. Something most of us could
identify with.
******************************************
When a Kabuliwala (Balraj Sahni) knocks at their door to sell his
spices and dry fruits, Mini, dressed in a mini sari and blouse, hides
below her father's writing desk -- her favourite hideaway.
When her indulgent father cajoles her to speak to the Kabuliwala,
little Mini innocently asks, "Kabuliwala, mujhe jhole mein daalkar le
gaya toh?" [What if Kabuliwala carries me off in his sack?]
It is a fear that has been encouraged by her mother (Usha Kiron), who
does not want the gullible Mini to talk to strangers. But the
Kabuliwala soon wins the child's confidence with his gift of the gab.
He tells Mini that his sack contains an elephant and produces a
fistful of dry fruits for her.
Mischievous Mini reminds the lonely-at-heart Kabuliwala of his own
motherless daughter who he has left behind in his native Kabul. A
close bond is established between Kabuliwala and Mini as he proves to
be attentive listener and also a magnanimous admirer. When Mini
warbles, he raves, "Tum toh bulbul se bhi jyaada achha gaata hai."
[You sing better than a Nightingale.]
This portion of the film is touching in its portrayal of an innocent
child's unabashed fascination for adults who treat them as
individuals; and the need for affection that is common to all
humanity.
Meanwhile, a disapproving Rama, in a bid to prevent Mini sneaking out
to meet the Kabuliwala, makes her wear payals [anklets]. But the
sparkly-eyed Mini outsmarts her and tiptoes to meet her Kabuliwala.
However, when the Kabuliwala brings red bangles for Mini on her
birthday, he is not allowed to meet her. Next morning, she scours the
city for the Kabuliwala, while her frantic father anxiously sets out
in search of her. Kabuliwala chances upon Mini and kisses her small
hands while she feeds him mithai [sweetmeats]. The search party
arrives just then and the prejudiced adults, misread the Kabuliwala's
intentions -- they think he is going to kidnap her. They pounce on him
and pound him to pulp while Mini's cries rent the air.
A series of further crisis crisscross their lives, but their bond
remains unbroken. The Kabuliwala, in a moment of rage, stabs a debtor.
A weeping Mini wants to know why the handcuffed Kabuliwala is being
led away. Harking back to an earlier conversation about Mini going to
her sasural [inlaw's house] after marriage, the Kabuliwala gently
replies, "Bachchi woh aaj hamare sasural ke ghar ko jaatee hai." [I am
on my way to your inlaw's house]
When the Kabuliwala returns from his jail term, 10 long years have
elapsed. The world has moved on, unrelentingly, but time seems to have
frozen for the Kabuliwala. He buys red bangles that would fit a
toddler and goes to meet Mini. But the realisation that Mini has grown
into a girl about to be married, coupled with the fact that Mini now
has no recollection of the Kabuliwala, shatters the old spiceseller.
He is apprehensive if his daughter will remember him at all.
************************************ RC******************************
This part is soooo poignant.. When he holds out those little bangles
and a grown-up Mini looks at him puzzled not remembering him. His
realisation that his own daughter would not remember him anymore is
hearbreaking.
*************************************************************************
The high point of the climax is Mini's father gifting away the money
set aside for Mini's wedding lights to the Kabuliwala to pay the
Kabuliwala's fare to his wattan [homeland] and his eventual reunion
with his daughter. As he reasons with his wife, "Ek majboor baap ko
uski aankhon ka noor mil jaye, toh yehi sabse badi roshni hogi. [What
can be better than seeing a hapless father re-unite with his
daughter?]" Mini supports him and offers her gold bangle for
Kabuliwala's daughter.
Please keep a kerchief around to muffle your sobs. As one father
prepares to part with his daughter; another father prepares to meet
his long-lost offspring.
The film's biggest strength is the evocative story and the heartfelt
performances by Balraj Sahni as Kabuliwala and Sonnu as Mini. Sahni's
interactions with Mini are suffused with tenderness, his laughter
robust, his walk, regal. To give his character a more rounded feel, he
is belligerent and boisterous with the adults -- including a tuneless
singer, and has a philosophical side too as reflected in his response
to 'Ganga aaye kahan se, Ganga jaaye kahan re'. Sonnu as Mini is
uninhibited, the camera seems to be her best ally.
Homespun wisdom and everyday humour is abundant in S Khalil's
dialogue. When Mini's father gently reprimands her for telling lies
with, "Jo jhooth bolte hai unka chhera bigad jaata hai[Liars end up
with a distorted face]" Mini spontaneously recalls her domestic Bhola
and queries, "Bhole ka chehra aisa kyon hain? Woh bahut jhooth bolta
hain?[How come Bhola does not look any different? He lies all the
time.]"
Kabuliwala's philosophy, 'Pyar mohabbat mein ehsaan nahin hota, sirf
pyar mohabbat hota hain' [One does not do favours in love, just gives
unconditionally] is admittedly not the most eye-opening definition of
love. Nevertheless, when woven into a story with as much affection as
Kabuliwala mends Mini's cloth doll, it holds you enthralled
Sidelights:
* Before he joined films, Balraj Sahni had taught Hindi and English at
Rabindranath Tagore's famed institution of learning, Shantiniketan.
It's therefore fitting that Sahni be chosen to play the title role of
this Tagore story.
*****************************************RC*******************************
I cannot imagine anyone but Balraj Sahni doing this role. He was
brilliant. His body language, his eyes, his facial expressions spoke
more than words. He slipped into the role of an afgan effortlessly. He
along with Sanjeev Kumar are the best we've had.
**************************************************************************
* Though she plays a deglamorised role here, Usha Kiron had done films
with Dev Anand (Patita) and Dilip Kumar (Musafir) in the 1950s and
played the crucial role of Raj Kapoor's wife in Nazrana in the same
year as Kabuliwala!
*****************************************RC*******************************
This along with Chupke Chupke are by far the only 2 films in which one
can tolerate Usha Kiran. And she was as deglamourised in Patita and
Musafir as she was here. Her leaning towards hysteria was unbearable.
I remember seeing 'Patita'.. she was such a wrong choice for the role.
She wept hysterically throughout the film and dived for Lalita Pawar's
feet at the slightest excuse. Instead of invoking sympathy for the
rape victim (what she played in Patita) she irritates the hell out of
you. I for one decided oogling at Dev Anand was a better option than
following the film in detail :-)!. I simply forwarded her solo scenes.
**************************************************************************
* Director Hemen Gupta had worked with Balraj Sahni earlier in the
stark Taksaal [1956].
****************************RC******************************************
Anyone knows of any other films of Hemen Gupta? He had directed
another good film called 'Ferry' with Dev Anand and Geeta Bali (again
based in Bengal). I believe he was a revolutionary with links to Subas
Chandra Bose's INA.
********************************************************************
* Kabuliwala had been made five years earlier in Bengali by Tapan
Sinha with the renowned Bengali actor Chabhi Biswas in Sahni's role.
**************************RC********************************
I believe the Bengali version is much better. The biggest problem with
the Hindi version was that it was too long. Kabuliwala is a short
story by Tagore and it does not make enough material for a 3 hour
film. Parts in the middle tend to drag. I for one, when I saw the film
about 2-3 months back forwarded most of that stuff including the song
'Kabuliwala aaya'. The Bangla version is a crisp 1.5 hour film which
drives the point home with greater precision.
**************************************************************************
The Music:
Famous songs from Kabuliwala:
Song Singers
Aye mere pyaare wattan
Manna Dey
Ganga aaye kahan se Hemant Kumar
Kabuliwala Hemant Kumar, Usha
O ya qurbaan Mohammed Rafi
*Kabuliwala was the tenth collaboration between Bimal Roy productions
and Salil Choudhury in eight years. Salil had been introduced to Hindi
films by Roy in Do Bigha Zameen; and the team had already produced
some excellent scores in films like Naukri, Madhumati and Parakh.
*In Kabuliwala, Salil Choudhury's music is perfectly attuned to the
theme. The well-known Ganga aaye kahan se number is a meditative
reflection on life, while Ho saba kehna mere dildaar ko, dil tadapte
hai tere deedar ko, wears the guise of a boisterous number but unveils
the hidden longing of the nomadic pathans for their loved ones.
*The film's numero uno number is indubitably the pathos-laden Aye mere
pyaare wattan, aye mere bichhde chaman. Kudos to Manna Dey for singing
the song with a wealth of feeling.
*********************************RC-********************************
This album is elevated to immortality by just 2 numbers. 'Aye mere
Pyaare Watan' and 'Ganga Aaye kahan se'. Manna Dey is fantastic in
'Aye mere..'. This is one of the rare songs where Manna pours his
heart and soul into the rendition. It never ceases to bring tears to
ones eyes (esp if you are away from home :-)).
One should not forget to mention the lyricist for this song - Prem
Dhawan. (Though he was not very prolific he has some good songs to his
credit like the songs in Manoj Kumar's 'Shaheed'). He touches a chord
somewhere when he says
'Chodke teri zameen ko door aa pahunche hain hum
phir bhi hai yehi tamanna tere zarron ki quasam
hum jahan paida hue us jagah hi nikale dum'
Touche`! (I'm already getting sentimental.. Delhi here I come)
Hemant Mukherjee again is magnificent in 'Ganga Aye Kahan se' which is
based on a bhatiyali tune(song of the fishermen in Bengal). His rich
and sonorous voice fills your soul as he navigates the higher notes.
The lyrics by Gulzar are philosophical and meaningful without slipping
into being abstract(this is Gulzar in his earlier days :-))
A sample
Raat kaari din ujiyara mil gaye dono saaye
sanjh na dekho rang roop ke kaise bhed mitaye
lehraye paani mein jaise dhoop chaon re
********************************************************************************
rkus...@rogers.com
"Ritu" <rc0...@rediffmail.com> wrote:-
Very good article. I agree with you 100%. No one could have
done it better than Balraj Sahni. Truly a memorable movie.
I saw it 20 yrs back and it was so touching that I could
never see it again. Sometime it is better not to see a movie,
however good it may be.
cheers.
RK-
Deb Shanker
> spices and dry fruits, Mini, dressed in a mini sari and blouse, hides
> below her father's writing desk -- her favourite hideaway.
>
> When her indulgent father cajoles her to speak to the Kabuliwala,
> little Mini innocently asks, "Kabuliwala, mujhe jhole mein daalkar le
> gaya toh?" [What if Kabuliwala carries me off in his sack?]
It is true that pathans or kabulibalas otherwise known as afgans are known
to steal young boys and girls and sodomize them before killing them and
throwing the dead bodies in the gutters. This belief is very strong in
certain parts of India.
The love for young kids by the Afgans for sexual pleasure is now being
coming to open as the world keeps an eye on these sexual perverts of
Afganistan. American and British soldiers find it amusing that they get
approached by Afgans for homosexual night out.
Thanks bud.
Deb
yeskay
>
> ************************************ RC******************************
> This part is soooo poignant.. When he holds out those little bangles
> and a grown-up Mini looks at him puzzled not remembering him. His
> realisation that his own daughter would not remember him anymore is
> hearbreaking.
> *************************************************************************
>
I haven't yet seen this movie and also your comments on the movie will be
one of the reasons I will never see this movie. I don't want to spend a
weekend trying to console my teary-eyed wife explaining it's after all a
movie. sissy garbage! :)
> *****************************************RC*******************************
> I cannot imagine anyone but Balraj Sahni doing this role. He was
> brilliant. His body language, his eyes, his facial expressions spoke
> more than words. He slipped into the role of an afgan effortlessly. He
> along with Sanjeev Kumar are the best we've had.
>
> **************************************************************************
Yes very true. I have liked him in almost all movies. No overacting, very
human and relatable. He was excellent in Garam Hawa.
>
> *********************************RC-********************************
> This album is elevated to immortality by just 2 numbers. 'Aye mere
> Pyaare Watan' and 'Ganga Aaye kahan se'. Manna Dey is fantastic in
> 'Aye mere..'. This is one of the rare songs where Manna pours his
> heart and soul into the rendition. It never ceases to bring tears to
> ones eyes (esp if you are away from home :-)).
>
> One should not forget to mention the lyricist for this song - Prem
> Dhawan. (Though he was not very prolific he has some good songs to his
> credit like the songs in Manoj Kumar's 'Shaheed'). He touches a chord
> somewhere when he says
>
> 'Chodke teri zameen ko door aa pahunche hain hum
> phir bhi hai yehi tamanna tere zarron ki quasam
> hum jahan paida hue us jagah hi nikale dum'
>
> Touche`! (I'm already getting sentimental.. Delhi here I come)
I think this is a incorrect usage of Touche`. It is normally exclaimed when you
are defeated in a perfecly logical argument.
Main Entry: tou·ché
Pronunciation: tü-'shA
Function: interjection
Etymology: French, from past participle of toucher to touch, from Old
French tuchier
Date: 1904
-- used to acknowledge a hit in fencing or the success or
appropriateness of an argument, an accusation, or a witty point
Alok
>
> *****************************************RC*******************************
> This along with Chupke Chupke are by far the only 2 films in which one
> can tolerate Usha Kiran.
What role does she play in Chupke Chupke? I am trying to remember who is
Usha Kiran anyway.
> I remember seeing 'Patita'.. she was such a wrong choice for the role.
> She wept hysterically throughout the film and dived for Lalita Pawar's
> feet at the slightest excuse. Instead of invoking sympathy for the
> rape victim (what she played in Patita) she irritates the hell out of
> you. I for one decided oogling at Dev Anand was a better option than
> following the film in detail :-)!. I simply forwarded her solo scenes.
Coming from you, is this unexpected? Sigmund Freud should have invented
a term called "Dev-Anand fixation" just like so many other "fixations"
he wrote about :)
> **************************RC********************************
> I believe the Bengali version is much better. The biggest problem with
> the Hindi version was that it was too long. Kabuliwala is a short
> story by Tagore and it does not make enough material for a 3 hour
> film. Parts in the middle tend to drag. I for one, when I saw the film
> about 2-3 months back forwarded most of that stuff including the song
> 'Kabuliwala aaya'. The Bangla version is a crisp 1.5 hour film which
> drives the point home with greater precision.
> **************************************************************************
I found this which you may like (the subtitles are so small, it makes
little (no pun intended) sense to me):
http://www.calcuttaweb.com/cinema/kabuliwala_clip.htm
> Touche`! (I'm already getting sentimental.. Delhi here I come)
Yes, it is much better now without the diesel buses.
-Alok
--
Prediction is very difficult, especially of the future.
- Niels Bohr
Alok
<rkus...@rogers.com> wrote:
> Very good article. I agree with you 100%. No one could have done it
> better than Balraj Sahni. Truly a memorable movie.
>
Boy, people here *are* old! And certainly know much more about Indian
movies that I do.
-Alok
--
Everything should be made as simple as possible, but not simpler.
-- Albert Einstein
D
made a really fulfilling movie (or something like that) it was Do Beega
Zameen.
Check it out. Very true to life, and the perfect
its-not-always-a-happy-ending kind of a movie.
pEACe
Dev
rkus...@rogers.com
The scene where the rider on the rickshaw promises him more
money if he could make it faster, BS's acting was awesome.
RK-
"D" <de...@ihug.com.au> wrote in message news:aefet3$6sn$1...@lust.ihug.co.nz...
Ninad
> In article <8777cccd.02061...@posting.google.com>, Ritu wrote:
> >
> > *****************************************RC*******************************
> > This along with Chupke Chupke are by far the only 2 films in which one
> > can tolerate Usha Kiran.
>
> What role does she play in Chupke Chupke? I am trying to remember who is
> Usha Kiran anyway.
>
Sharmila Tagore's elder sis (Om Prakashs' wife).
Ninad.
Shishir Yerramilli
> In article <aed7pm$60l7f$1...@ID-75254.news.dfncis.de>,
> <rkus...@rogers.com> wrote:
> > Very good article. I agree with you 100%. No one could have done it
> > better than Balraj Sahni. Truly a memorable movie.
> >
> > I saw it 20 yrs back and ...
>
> Boy, people here *are* old! And certainly know much more about Indian
> movies that I do.
Now Alok that is not polite,especially if you are adressing
ladies(not in this case anyway).Wouldnt you rather something like
'chronologically gifted'? :)
>
> -Alok
Shishir Yerramilli
> > When a Kabuliwala (Balraj Sahni) knocks at their door to sell his
> > spices and dry fruits, Mini, dressed in a mini sari and blouse, hides
> > below her father's writing desk -- her favourite hideaway.
> >
> > When her indulgent father cajoles her to speak to the Kabuliwala,
> > little Mini innocently asks, "Kabuliwala, mujhe jhole mein daalkar le
> > gaya toh?" [What if Kabuliwala carries me off in his sack?]
>
> It is true that pathans or kabulibalas otherwise known as afgans are known
> to steal young boys and girls and sodomize them before killing them and
> throwing the dead bodies in the gutters. This belief is very strong in
> certain parts of India.
,no wonder the homosexual pederast Greeks identified with them!(some
Greek historians trace the Hellenic origins to Afghanistan on basis of
similar religion and culture.Today they are called Kaffirs).I can
understand the concern Minnie's parents have with Kabuliwala
considering the deviant nature of Afghans!
>
> The love for young kids by the Afgans for sexual pleasure is now being
> coming to open as the world keeps an eye on these sexual perverts of
> Afganistan. American and British soldiers find it amusing that they get
> approached by Afgans for homosexual night out.
>
> Thanks bud.
>
Im with Deb on this.I remember Kabuliwala as a sad film.However
lets put things in perspective.Afghans are savages!There!Too bad
Russians did such a half ass job of eliminating them.Even if thousands
of seemingly innocent Kabuliwala type characters were vaporised during
that time,I will not shed a tear for those barbarians.
> Deb
Cricfan
The late Usha Kiran was also the mother of Tanvi Kiran, who became
known as Tanvi Azmi after she married Baba Azmi. UK was a famour
Marathi actress. She had also acted in the old Hindi film 'Patita'.
Cheers
Arun
D
Balraj Ji actually wrode a Rickshaw for a couple of weeks (or months?) to
get into the chracter. He was of the last generation of actors to do such
things for the sake of characterization.
Prithvi Raj Kappoor or someone walked some big desert once which was also
because of a movie's situation.
<rkus...@rogers.com> wrote in message
news:aefmd9$6jra9$1...@ID-75254.news.dfncis.de...
Ritu
> Ritu wrote:
> >
>
> > ************************************ RC******************************
> > This part is soooo poignant.. When he holds out those little bangles
> > and a grown-up Mini looks at him puzzled not remembering him. His
> > realisation that his own daughter would not remember him anymore is
> > hearbreaking.
>
> > ***********************************************************************
> **
> I haven't yet seen this movie and also your comments on the movie will be
> one of the reasons I will never see this movie. I don't want to spend a
> weekend trying to console my teary-eyed wife explaining it's after all a
> movie. sissy garbage! :)
Men are from Mars Woman are from Venus! If your wife sheds a truckload
of tears it means she really enjoyed the film and had a fruitful
week-end.. don't deny her the pleasure :)!
>
> > *****************************************RC****************************
> ***
> > I cannot imagine anyone but Balraj Sahni doing this role. He was
> > brilliant. His body language, his eyes, his facial expressions spoke
> > more than words. He slipped into the role of an afgan effortlessly. He
> > along with Sanjeev Kumar are the best we've had.
> >
>
> > ***********************************************************************
> ***
>
> Yes very true. I have liked him in almost all movies. No overacting, very
>
> human and relatable. He was excellent in Garam Hawa.
Did he play any negetive roles as well? Can't recall any off-hand. He
excelled in sympathetic roles.
>
>
> >
>
> > *********************************RC-********************************
> > This album is elevated to immortality by just 2 numbers. 'Aye mere
> > Pyaare Watan' and 'Ganga Aaye kahan se'. Manna Dey is fantastic in
> > 'Aye mere..'. This is one of the rare songs where Manna pours his
> > heart and soul into the rendition. It never ceases to bring tears to
> > ones eyes (esp if you are away from home :-)).
> >
>
> > One should not forget to mention the lyricist for this song - Prem
> > Dhawan. (Though he was not very prolific he has some good songs to his
> > credit like the songs in Manoj Kumar's 'Shaheed'). He touches a chord
> > somewhere when he says
> >
>
> > 'Chodke teri zameen ko door aa pahunche hain hum
> > phir bhi hai yehi tamanna tere zarron ki quasam
> > hum jahan paida hue us jagah hi nikale dum'
> >
>
> > Touche`! (I'm already getting sentimental.. Delhi here I come)
>
> I think this is a incorrect usage of Touche`. It is normally exclaimed wh
> en you
> are defeated in a perfecly logical argument.
I know.. we just extend it sometimes to mean a point well made or a
thing well said. But yes, in the strict sense of the word it is
incorrect usage.
Ritu
Ritu
> >
> > *****************************************RC*******************************
> > This along with Chupke Chupke are by far the only 2 films in which one
> > can tolerate Usha Kiran.
>
> What role does she play in Chupke Chupke? I am trying to remember who is
> Usha Kiran anyway.
Sharmila's elder sister as already pointed out. She was also one of
Jaya's aunts in 'Bawarchi'
>
> > I remember seeing 'Patita'.. she was such a wrong choice for the role.
> > She wept hysterically throughout the film and dived for Lalita Pawar's
> > feet at the slightest excuse. Instead of invoking sympathy for the
> > rape victim (what she played in Patita) she irritates the hell out of
> > you. I for one decided oogling at Dev Anand was a better option than
> > following the film in detail :-)!. I simply forwarded her solo scenes.
>
> Coming from you, is this unexpected? Sigmund Freud should have invented
> a term called "Dev-Anand fixation" just like so many other "fixations"
> he wrote about :)
Ofcourse, though I'm not the only one suffering from this disorder(Dev
Anand has that effect on most people). What say Madsji?
>
> > **************************RC********************************
> > I believe the Bengali version is much better. The biggest problem with
> > the Hindi version was that it was too long. Kabuliwala is a short
> > story by Tagore and it does not make enough material for a 3 hour
> > film. Parts in the middle tend to drag. I for one, when I saw the film
> > about 2-3 months back forwarded most of that stuff including the song
> > 'Kabuliwala aaya'. The Bangla version is a crisp 1.5 hour film which
> > drives the point home with greater precision.
> > **************************************************************************
>
> I found this which you may like (the subtitles are so small, it makes
> little (no pun intended) sense to me):
>
> http://www.calcuttaweb.com/cinema/kabuliwala_clip.htm
I could dechiper what they said... 'What do you carry in your bag
Kabuliwala'
>
> > Touche`! (I'm already getting sentimental.. Delhi here I come)
>
> Yes, it is much better now without the diesel buses.
I believe so.. they started with a greening drive as well. I'm glad
the govt. has finally woken up!
-Ritu
Cricfan
> Balraj Ji actually wrode a Rickshaw for a couple of weeks (or months?) to
> get into the chracter. He was of the last generation of actors to do such
> things for the sake of characterization.
>
Not true. If anything, the number of method actors have increased
since the 1970's with the advent of parallel cinema. Everyone tries to
top De Niro ['Raging Bull']. The stories concerning Naseer, Om Puri et
al are legion. Why, as late as 2002, Vivek Oberoi spent a lot of time
in the slums of Dharavi for Company.
Speaking of which - I saw Company again on Sunday. This time on DVD.
Liked it even better than the first time I saw it. When i saw it the
first time, I was concentrating on the story as well as the acting of
Oberoi. This time around, I paid more attention to subtle nuances of
Mohanlal, Devgun, Manisha, Antara and even the bit actors. An amazing
concert of great acting, superb direction, deft camerawork, editing
and truly awesome cinematography. Just see the film for the
light/shadow effect on Devgun alone.
There is a promo in the DVD in which Vivek Oberoi talks about seeing
"Mohanlal Sir" shoot for the first time for Company. He talked about
how blown he was after watching the "genius" use a paperweight for a
prop and twirl it with a menacing "rhythm". Oberoi's eyes glowed in
admiration when he remembered that shot. The words in quotes are
Oberoi's. I thought that it was fascinating to hear a first time actor
talk about such a subtle act. I was also impressed with his choice of
words. A very articulate fellow.
Cheers
Arun
Alok
> Alok <ganda...@rediffmail.com> wrote in message news:<slrnagm0dl.1...@karma.astro.Virginia.EDU>...
>> I found this which you may like (the subtitles are so small, it makes
>> little (no pun intended) sense to me):
>>
>> http://www.calcuttaweb.com/cinema/kabuliwala_clip.htm
>
> I could dechiper what they said... 'What do you carry in your bag
> Kabuliwala'
They say a lot more than that. After reading your post, it was obvious
that the scene in question was the "elephant in the bag" scene. :-)
>> > Touche`! (I'm already getting sentimental.. Delhi here I come)
>>
>> Yes, it is much better now without the diesel buses.
>
> I believe so.. they started with a greening drive as well. I'm glad
> the govt. has finally woken up!
<OT>
Yes, it was quite frustrating in the beginning. Particularly if you read
"Down to Earth" from "Centre for Science and Environment".
</OT>
-Alok
--
Biology is the only science in which multiplication means the same
thing as division.
Alok
> "D" <de...@ihug.com.au> wrote in message news:<aejvch$hk7$1...@lust.ihug.co.nz>...
>> Balraj Ji actually wrode a Rickshaw for a couple of weeks (or months?) to
>> get into the chracter. He was of the last generation of actors to do such
>> things for the sake of characterization.
>>
>
> Not true. If anything, the number of method actors have increased
> since the 1970's with the advent of parallel cinema. Everyone tries to
> top De Niro ['Raging Bull']. The stories concerning Naseer, Om Puri et
> al are legion. Why, as late as 2002, Vivek Oberoi spent a lot of time
> in the slums of Dharavi for Company.
>
> Speaking of which - I saw Company again on Sunday. This time on DVD.
> Liked it even better than the first time I saw it. When i saw it the
> first time, I was concentrating on the story as well as the acting of
> Oberoi. This time around, I paid more attention to subtle nuances of
> Mohanlal, Devgun, Manisha, Antara and even the bit actors. An amazing
> concert of great acting, superb direction, deft camerawork, editing
> and truly awesome cinematography. Just see the film for the
> light/shadow effect on Devgun alone.
I liked the use of wide-angle lens at many places. Of course I agree
with whatever you say: the movie is amazing. RGV has rapidly become my
favorite director. If only he was not obsessed with Urmila. :-)
<snip>
-Alok
--
Common sense is the collection of prejudices acquired by age eighteen.
-- Albert Einstein
D
> since the 1970's with the advent of parallel cinema. Everyone tries to
> top De Niro ['Raging Bull']. The stories concerning Naseer, Om Puri et
> al are legion. Why, as late as 2002, Vivek Oberoi spent a lot of time
> in the slums of Dharavi for Company.
Oh yeah, I forgot about that. Im sure Vivek Oberoi will soon become once of
my ver few fav actors. And you can sure as hell tell this guy is serious
about quality. It dosn't however count for everybody. Give me another
example please?
> Speaking of which - I saw Company again on Sunday. This time on DVD.
> Liked it even better than the first time I saw it. When i saw it the
> first time, I was concentrating on the story as well as the acting of
> Oberoi. This time around, I paid more attention to subtle nuances of
> Mohanlal, Devgun, Manisha, Antara and even the bit actors. An amazing
> concert of great acting, superb direction, deft camerawork, editing
> and truly awesome cinematography. Just see the film for the
> light/shadow effect on Devgun alone.
Definitely, the scene towards the end when Chandu is in jail with Mohanlal
(whatever his name was.), and is talking with Malik whos in Malaysia right
before he gets shot, uses camera angles and lighting so metaphorically.
Everything is signified and dignified. Malik on top of the world. The
simplicity of dead. Chandu in jail. The simplicity of being alive, but the
complications of life itself. Mohanlal, the middle man, umm...its hard to
explain but notice that scene. Its amazing when you think about it.
> There is a promo in the DVD in which Vivek Oberoi talks about seeing
> "Mohanlal Sir" shoot for the first time for Company. He talked about
> how blown he was after watching the "genius" use a paperweight for a
> prop and twirl it with a menacing "rhythm". Oberoi's eyes glowed in
> admiration when he remembered that shot. The words in quotes are
> Oberoi's. I thought that it was fascinating to hear a first time actor
> talk about such a subtle act. I was also impressed with his choice of
> words. A very articulate fellow.
Shit! Now I'm sure I got a fake DVD. My DVD just had the movie and that was
all, and it wasn't THAT great a quality either. I just passed it as being a
typical indian DVD with no effort put into the presentation of the DVD. How
could I think that about something associated with RGV!?!!??!?! <:-O
> Cheers
> Arun
pEACe
Dev
D
> I liked the use of wide-angle lens at many places. Of course I agree
> with whatever you say: the movie is amazing. RGV has rapidly become my
> favorite director. If only he was not obsessed with Urmila. :-)
Likewise. I don't mind Urmila. I like RGV so damn much that I accept his
decision to stick with her as a wise one. He MUST be doing the right thing
by it! ;)
pEACe
Dev
Mads
> Ofcourse, though I'm not the only one suffering from this disorder(Dev
> Anand has that effect on most people). What say Madsji?
Oh come on Rituji, you embarass me with such effusive praise. Here's
something that might interest you ...
http://timesofindia.indiatimes.com/articleshow.asp?art_id=13096035&sType=1
-M
Shishir Yerramilli
If Rituji and Madhuraji can explain why Dev Anand has a fascination for
Nepal and Switzerland,that would be appreciated.Also though his films
are apparently high budget would it kill him to hire a decent cinematographer?
Shishir Yerramilli
> > Ritu wrote:
> > >
>
> > > ************************************ RC******************************
> > > This part is soooo poignant.. When he holds out those little bangles
> > > and a grown-up Mini looks at him puzzled not remembering him. His
> > > realisation that his own daughter would not remember him anymore is
> > > hearbreaking.
>
> > > ***********************************************************************
> > **
>
> > I haven't yet seen this movie and also your comments on the movie will be
> > one of the reasons I will never see this movie. I don't want to spend a
> > weekend trying to console my teary-eyed wife explaining it's after all a
> > movie. sissy garbage! :)
>
> Men are from Mars Woman are from Venus!
Why is John Gray still allowed to live?
Shishir Yerramilli
> > Ritu wrote:
> > >
>
> > > ************************************ RC******************************
> > > This part is soooo poignant.. When he holds out those little bangles
> > > and a grown-up Mini looks at him puzzled not remembering him. His
> > > realisation that his own daughter would not remember him anymore is
> > > hearbreaking.
>
> > > ***********************************************************************
> > **
>
> > I haven't yet seen this movie and also your comments on the movie will be
> > one of the reasons I will never see this movie. I don't want to spend a
> > weekend trying to console my teary-eyed wife explaining it's after all a
> > movie. sissy garbage! :)
>
> Men are from Mars Woman are from Venus!
Why do men still allow John Gray to live?
Ritu
> "D" <de...@ihug.com.au> wrote in message news:<aejvch$hk7$1...@lust.ihug.co.nz>...
> > Balraj Ji actually wrode a Rickshaw for a couple of weeks (or months?) to
> > get into the chracter. He was of the last generation of actors to do such
> > things for the sake of characterization.
> >
>
> Not true. If anything, the number of method actors have increased
> since the 1970's with the advent of parallel cinema. Everyone tries to
> top De Niro ['Raging Bull']. The stories concerning Naseer, Om Puri et
> al are legion. Why, as late as 2002, Vivek Oberoi spent a lot of time
> in the slums of Dharavi for Company.
>
> Speaking of which - I saw Company again on Sunday. This time on DVD.
> Liked it even better than the first time I saw it. When i saw it the
> first time, I was concentrating on the story as well as the acting of
> Oberoi. This time around, I paid more attention to subtle nuances of
> Mohanlal, Devgun, Manisha, Antara and even the bit actors. An amazing
> concert of great acting, superb direction, deft camerawork, editing
> and truly awesome cinematography. Just see the film for the
> light/shadow effect on Devgun alone.
>
Alok <ganda...@rediffmail.com> wrote in message
<Snipped>
> > Speaking of which - I saw Company again on Sunday. This time on DVD.
> > Liked it even better than the first time I saw it. When i saw it the
> > first time, I was concentrating on the story as well as the acting of
> > Oberoi. This time around, I paid more attention to subtle nuances of
> > Mohanlal, Devgun, Manisha, Antara and even the bit actors. An amazing
> > concert of great acting, superb direction, deft camerawork, editing
> > and truly awesome cinematography. Just see the film for the
> > light/shadow effect on Devgun alone.
>
> I liked the use of wide-angle lens at many places. Of course I agree
> with whatever you say: the movie is amazing. RGV has rapidly become my
> favorite director. If only he was not obsessed with Urmila. :-)
I finally saw Company. What a film! This is the first full-fledged
RGV film I've seen. I've seen both Satya and Rangeela in snatches and
never thought as much (I'm not very fond of these underworld sagas).
But this film is brilliant.
The film had been lying with me for 3 weeks and I hadn't got down to
see it. Finally my brother was visiting me and I gave him a choice b/w
Padosan and Company(he has no patience for Dev Anand films!) and he
gave me a look so as to say 'why do you ask silly questions...
obviously Company'! So to give my brother 'company' I sat with him
through the film and am I glad I did.
The first thing that strikes you about the film is it's slick pace (a
regular with RGV). But what leaves a lasting impression are the
characterizations. Very well thought-out. No leaning towards
dramatics, no glorification of violence and absolutely steering clear
of cliches. And the best part is that it's a film with a message. The
futility of life in the world of crime is brought out effectively
without an iota of sermonizing.
Coming to performances, Ajay Devgan is as usual apt. I've always liked
him. Understated and intense. The first film I saw of his was Zakhm so
I did not have any transition problems as people who saw his initial
googlies did. (Infact when I direct a film.. since Dev Anand is too
old I shall consider Ajay Devgan :-))
Manisha Koirala, Antara Mali and Seema Biswas are also very good. But
it's Vivek Oberoi who takes the cake. He is amazing. The various
shades and subtle nuances that he has imparted to his role are a
rarity in today's mainstream cinema. He brings the character of Chandu
alive. The expressions, the body language and ofcourse the dialogue
delivery.. he's a pro. Though he had an author backed role, I feel he
has risen above the script. The last time I went ballistic over such a
performance was with Tom Hanks in Forrest Gump.
Last but not the least I loved Mohanlal. His was a characterization
triumph. Never before has a police chief been depicted as he was
(maybe Amir Khan in Sarfarosh). He executed the role with the finesse
of a veteran. There was something very endearing about him. And the
heavily accented Hindi added charm to his character. Beautifully done!
All in all the first thing that both my brother and I said after
finishing watching this film was.. this is the kind of film we should
send to the Oscars rather than feel good mush like Lagaan.
A standing ovation to you RGV!
Cheers
Ritu
Ritu
Why do you say that Shishirji? I don't think Dev Anandji has a
fascination for either Switzerland or Nepal. Yes, he shot parts of
'Prem Pujari' in Switzerland (notably the song 'Phoolon ke Rang se')
but then he left Switzerland for the likes for Yash Chopra. Apart from
Hare Rama Hare Krishna I can't think of
any other Dev Saab film shot in Nepal.. it's just what has registered
in your mind :-)
And why do you say his films are high budget? His films basically
sustain on the returns of the 'Anand Recording Studio' and rights of
his old films. His films are almost always devoid of any stars because
he cannot afford them. When stars act in his films they act in free
(out of respect for the great man)..... however what makes you think
the cinematography in the films is not good. It's pretty OK.
What say Madhuraji?
Ritu
Ritu
Shishirji, why do you feel Dev Anandji has a fascination for
Switzerland and Nepal? AFAIR he shot only Prem Pujari in Switzerland
(notably the song 'Phoolon ke Rang se') after which he left it for the
likes of Yash Chopra. HRHK was the only film which he shot in Nepal..
seems these two films left a profound impression on you. :-)
And again, who says Dev Saab makes high budget films. His films
sustain on the funds generated by the 'Anand recording studio' and
right of his old films. not too much. That's why he always has
newcomers. Big stars whenever they work for him almost always refuse
to accept any payments from him (out of respect for him)..
But, again I think the cinematography is fine. What was wrong with it?
What say Madhuraji?
Cheers
Ritu
Alok
wrote:
> yshi...@hotmail.com (Shishir Yerramilli) wrote in message
> news:<370a0b0.02061...@posting.google.com>...
>>
>> for Nepal and Switzerland,that would be appreciated.Also though his
>> films are apparently high budget would it kill him to hire a decent
>> cinematographer?
>
> Why do you say that Shishirji? I don't think Dev Anandji has a
> fascination for either Switzerland or Nepal. Yes, he shot parts of
> 'Prem Pujari' in Switzerland (notably the song 'Phoolon ke Rang se')
> but then he left Switzerland for the likes for Yash Chopra. Apart from
> Hare Rama Hare Krishna I can't think of any other Dev Saab film shot
> in Nepal.. it's just what has registered
> in your mind :-)
>
> And why do you say his films are high budget? His films basically
> sustain on the returns of the 'Anand Recording Studio' and rights of
> his old films. His films are almost always devoid of any stars because
> he cannot afford them. When stars act in his films they act in free
> (out of respect for the great man)..... however what makes you think
> the cinematography in the films is not good. It's pretty OK.
>
> What say Madhuraji?
Waiting for the day when people call me "Alokji". :-)
Seriously, what is this "ji" stuff??
-Alok
--
If I had only known, I would have been a locksmith.
-- Albert Einstein
Alok
> Switzerland and Nepal? AFAIR he shot only Prem Pujari in Switzerland
> (notably the song 'Phoolon ke Rang se') after which he left it for the
> likes of Yash Chopra. HRHK was the only film which he shot in Nepal..
> seems these two films left a profound impression on you. :-)
>
> And again, who says Dev Saab makes high budget films. His films
> sustain on the funds generated by the 'Anand recording studio' and
> right of his old films. not too much. That's why he always has
> newcomers. Big stars whenever they work for him almost always refuse
> to accept any payments from him (out of respect for him)..
>
> But, again I think the cinematography is fine. What was wrong with it?
>
> What say Madhuraji?
Is it only me who has the feeling of deja vu? Maybe they changed the
code so subtly... :)
-Alok
--
The faster I go, the behinder I get.
-- Lewis Carroll
Mads
> Waiting for the day when people call me "Alokji". :-)
>
> Seriously, what is this "ji" stuff??
>
> -Alok
Alok ji,
there, that should make Friday all the better ! So far as the 'ji' bit
goes, its just Rituji trying to deflect attention from our ageing Don
Juan aka Dev Anand, by calling others 'ji'.
Rituji, apkey Devji ko kehana ... abhi bus bhi karoji ( Its time to
call it quits !)
On a more serious note ( ahem, is that possible when one talks of Mr.
Anand ?) I have to agree with Ritu in that the ideas behind his
scripts are visionary ( at times), its the execution that is sadly
lacking - Dev Sahab in my humble opinion should have stayed in front
of the camera anad allowed brother Vijay to stay behind it, its when
the two of them swapped roles that the problems began !!
As to the reason why stars of the grade of Hema Malini continue to act
in his films ( for free) is primarily because he keeps promising them
that this (the current film) shall be his swan song and the poor
things seem to keep buying it time after time. I know I shall not hear
the last of this from Rituji but honestly, the DA that I like is the
black and white chappy, not the horrid monstrosity with the horrendous
hairstyle, the LOUD clothes in all shades of red that he turned into
with the advent of color !!
My twopenny worth...
M
Ritu
Yeah blame Google posting for it ... hung me up with an error message
put still posted it! I would say the reproduction was pretty close
(patting my self on the back ;-)
Cheers
Ritu
Ritu
Your wait is over Alokji..Why did you not tell us of this desire ever before :-)
>
> Seriously, what is this "ji" stuff??
Nothing, general sidey timepass!
Cheers
Ritu
>
> -Alok
Shishir Yerramilli
> > Nepal and Switzerland,that would be appreciated.Also though his films
> > are apparently high budget would it kill him to hire a decent cinematographer?
>
> Shishirji, why do you feel Dev Anandji has a fascination for
> Switzerland and Nepal? AFAIR he shot only Prem Pujari in Switzerland
> (notably the song 'Phoolon ke Rang se') after which he left it for the
> likes of Yash Chopra. HRHK was the only film which he shot in Nepal..
> seems these two films left a profound impression on you. :-)
Oh come on..His later films all spouted foreign locations eg. 'Sau
Crore'.There are many others but I cant remember them off the top of
my head!Of course I would watch his films for humor value as the plots
were so ludicrous.Also a good chunk of 'Johnny Mera Naam' was shot in
Nepal.
>
> And again, who says Dev Saab makes high budget films. His films
> sustain on the funds generated by the 'Anand recording studio' and
> right of his old films. not too much. That's why he always has
> newcomers. Big stars whenever they work for him almost always refuse
> to accept any payments from him (out of respect for him)..
Still he uses a lot of locations that seem to cost a lot of
money.And he doesnt skimp on the wardrobe and set department.
>
> But, again I think the cinematography is fine. What was wrong with it?
Its garish and unimaginative,I wouldnt be surprised if that hack
Manmohan Singh is the cinematographer.Mind you sometimes garish
lighting and colors are very breathtaking and effective ,eg Luciano
Tovoli's lighting scheme in Dario Argento's 'Suspiria'.But hacks like
Manmohan Singh simply lack taste and imagination.
Shishir Yerramilli
Rangeela is not an underworld saga!It is rose tinted and humoros
view of the Bombay film industry.
Shishir Yerramilli
>
> I liked the use of wide-angle lens at many places. Of course I agree
> with whatever you say: the movie is amazing. RGV has rapidly become my
> favorite director. If only he was not obsessed with Urmila. :-)
>
critic and author Dr. Robert C. Cumbow and he gave a short review thru
email...
I watched COMPANY this weekend. I liked the style very much, though I
could have done without all the jump-cutting. The characterizations
and acting styles were quite compelling. It was like GODFATHER,
GOODFELLAS, and a John Woo movie, all in one. I must say I found the
first 40 minutes or so incomprehensible--couldn't keep the characters
and their motivations straight at all. But once Malik bhai wiped out
most of them, it no longer mattered who they were--and once it became
the story of Malik and Chandu, it was easier to follow. I didn't mind
the music video interludes, either. The one they used for the backdrop
of the main title sequence was especially good.
Since this is an RGV thread ,here is his review of 'Kaun'.It was a
bit difficult for him as the DVD didnt have subtitles but he managed
to catch most of the nuances thanx to Matondkar and Bajpai's animated
performances , the visual style of the film and his background in
films.
Watched the movie this weekend. Yes, very interesting. He uses space
much like Carpenter(John Carpenter), and especially uses techniques
that Carpenter learned from Hitchcock. He also uses some "pure
Hitchcock" stuff--such as the barrel of the gun waving in the
foreground when four-eyes is talking to the girl, or the girl noticing
four-eyes loosening his necktie. I also saw some Argento
techniques--but a lot of those came ultimately from Hitchcock as well.
Then there were the "Repulsion" bits. But the way the director laced
all this together was pretty original--especially the long sequence in
which the four-eyed guy rings at the door or knocks at the window,
again and again, before he finally gets into the house.
I wasn't fooled by the "dream" sequence early in the film, or by the
kitten under the bed. But the revelation that the phone wires had been
cut was a terrific moment (JOLT #1). Who cut them and when? It forces
you in a moment to reinterpret everything that has happened. Four-eyes
apparently thinks there is someone else in the house who must have
done it, since he didn't do it himself, and since the guy in the
leather jacket apparently couldn't have done it either. Of course, I
don't know this, since I don't understand Hindi; but I assume he goes
after the girl to warn her that someone else is in the house--and
that's when (JOLT #2) he finds the body of Mr. Malhotra, whom we've
pretty much forgotten about. And that precipitates the wild last act.
That actress had quite a range--though she overplayed both the fearful
victim and the insane murderess.
singh
full of barbarians, Vedic Indians themselves referred to them as mlecchas.
Pakistan/Afghanistan has always been a land invaded by foreigners whose
dream was to enter India proper.
"Shishir Yerramilli" <yshi...@hotmail.com> wrote in message
news:370a0b0.02061...@posting.google.com...
Ritu
> Rituji, apkey Devji ko kehana ... abhi bus bhi karoji ( Its time to
> call it quits !)
Madhuraji, as long as Devji has fans like you how can he call it
quits? Never say Never!
>
> On a more serious note ( ahem, is that possible when one talks of Mr.
> Anand ?) I have to agree with Ritu in that the ideas behind his
> scripts are visionary ( at times), its the execution that is sadly
> lacking -
> I know I shall not hear the last of this from Rituji
You got that one right!
>but honestly, the DA that I like is the
> black and white chappy,
What could Dev Saab do without your approval Madhuraji..???
The bane of the good man's existence are third class fans like you!
>not the horrid monstrosity with the horrendous
> hairstyle, the LOUD clothes in all shades of red that he turned into
> with the advent of color !!
That's the problem.. your grouse against him is his dress sense and
the color Red. How superficial! (Expected out of fair-weather fans
like you)
However, I think you can blame Dev Anand's grotesque dress sense on
the fashions those days rather than his own personal taste. He was
always tastefully turned out in the b/w days but as times changed he
too changed with the times :-D! And admit it... the man had Panache to
carry off whatever he did.
Anyway, in IMO the problem with Dev Anand in his post Tere Mere Sapne
(post Vijay Anand ) phase was not as much with appearance as it with
was his fascination for direction. While in the 50s Dev Anand
surrounded himself with very talented people(Vijay Anand, Raj Khosla,
Chetan Anand, SD Burman, Sahir, Fali Mistry) by the 70s he had either
alienated himself from that team or they had died. In this stage the
'image' of Dev Anand became the driving force. End result was a
self-indulgent phase of fuelling this image. (An actor-director rarely
can keep himself immune to this phenomena as is evident from the past
cases of Guru Dutt, Raj Kapoor and even Vijay Anand after he took a
fancy for the camera).
Every artist has a peak creativity period after which he loses form.
We rarely analyze/crucify the artist for his non-creative phase.
Nobody remembers RD Burman for his 80s music just as no one remembers
Raj Kapoor for 'Do Jasoos' or Dilip Kumar for 'Bairaag' or for the
matter of fact Guru Dutt for 'Chaudavin ka Chaand'. Similarly one
should remember Dev Anand for his pre Tere Mere Sapne films rather
than films like Swami Dada.
> My twopenny worth...
So Madsji, rise above your fascination for the color red... and chuck
the two pennies into a wishing well ..(and you know what you have to
ask for!!)
with kindest regards,
Ritu
Mads
> What could Dev Saab do without your approval Madhuraji..???
> The bane of the good man's existence are third class fans like you!
Third class, wow that's something my gran uses a lot ;)
> He was always tastefully turned out in the b/w days ...
You were no doubt able to tell the colors that he had on despite the
film being b&w. Sigh, wish I was a first class fan !! Have a heart
Rituji, the only reason he appeared to be 'tastefully turned out'in
the good ole days was because there were no colors there to assail
your eyes. I do agree it takes a lot of panache to go in front of the
camera wearing a sweater that has these huge reindeer on it ( in
Manzil wasn't it !) !!
> Every artist has a peak creativity period after which he loses form.
When was DA's peak creativity ??? Sorry, you walked into that one !
> We rarely analyze/crucify the artist for his non-creative phase.
> Nobody remembers RD Burman for his 80s music just as no one remembers
> Raj Kapoor for 'Do Jasoos' or Dilip Kumar for 'Bairaag' or for the
> matter of fact Guru Dutt for 'Chaudavin ka Chaand'.
Ah, but then I never claimed to be a DK or GD fan, and Raaaaaaaaj
Kapppppppoooooor ... Ritu ! You and I need to talk !!
Similarly one should remember Dev Anand for his pre Tere Mere Sapne
films rather than films like Swami Dada.
I do, its just that he keeps putting forth stuff like Censor etc and
Ritu keeps insisting that we watch the stuff .... !!
> with kindest regards,
Nah, that was not kind at all Rituji. I think you were consistently
mean to our man Dev. Comparing him to Raj Kapoor .... yech !!
-M