#Telugu story explanation

[storylovesyou]

జీవిత సత్యాలు Part-1 | Story Loves You | #romantic

[telomeke]

TAG 9 PEOPLE YOU WANT TO GET TO KNOW BETTER

Got tagged by the ever effervescent @waitmyturtles (on this post linked here). Thanks dearie! 💖

THREE SHIPS 🔹 It wasn't intentional but mine are the same as @waitmyturtles–

Pat and Pran

Kurosawa and Adachi

Togawa and Nozue.

FIRST SHIP 🔹 The legendary MaxTul.

LAST SONG 🔹 I can't just put one down here; my taste is eclectic and random, and just the last song will paint the wrong picture.

A selection paints a fuller picture (but it's still curious): Clean Bandit and Zara Larsson's "Symphony" (because it was playing in the gym, and the music video is a masterpiece of an LGBT short film that brings me to tears every time – do watch if you haven't yet. It's beautiful). Also Miley Cyrus' "Flowers", the MSP boys' "You've Got Ma Back" and Tilly Birds' "Just Being Friendly." Gonna mention Dolly Parton's "9 to 5" and Dusty Springfield's "Son of a Preacher Man" too because they both popped up on YouTube. And Adam Lambert's version of Bonnie Tyler's "Holding Out for a Hero" because Tumblr decided to take a complaint about bots and set it to music (blogpost linked here).

LAST MOVIE 🔹 This one is way out of left field: Ponniyin Selvan Part 1 (the first Tamil movie I've watched in years, and it was SO GOOD). The book it's based on is also a classic. I'm not Tamil (or even of Indian ancestry) but the culture and language have a special place in my heart because of a childhood housekeeper/nanny who was more like family. Now thinking of watching RRR, but don't know if I will get around to it, because the energy in the clips seems a bit overwhelming. (Yes, I'm aware it's Telugu and not Tamil.) Prior to this – it was either Dune or Encanto (no hang on, maybe it was Everything Everywhere AAO; have been avoiding the cinema for a while since I couldn't get vaccinated earlier due to allergies and had to stay indoors quite a bit).

CURRENTLY READING 🔹 Don't hate on this – read the full explanation please – but with a tinge of guilt about the ethics of it all I'm re-reading a book about a certain boy wizard and his journey to self-actualization. Yes, I'm aware the author (whom I shall refrain from naming – like a Voldeuxmort) has in recent years fallen out of favor due to her views on trans issues, and is now a pariah among vast swathes of Tumblr, so please don't come at me, but I have my reasons.

When the books first came out I was fascinated by the world-building and concocted etymologies, but that's not the reason I'm re-reading. Thing is, I'm trying to learn another language (vastly different from the ones I do know) and the books are very useful for this. They have translations readily available in almost any language you could want, and I can cross-check any difficult bits with the English version, and I already know the story anyway. Plus there's lots of dialogue and the original author's style (or lack of it) isn't hugely literary – the prose is mostly functional, even pedestrian. And the plainness of the language helps when you're not ready (at learner level) for any leaps of linguistic trickery (except for the fantastical made-up bits, which you wouldn't need to learn anyway).

Also – and this is a big reason – my late mom loved these books, and they were the basis for a lot of shared memories for us. I remember watching the films with her and visiting the memorabilia stores too. They made her very happy, and this in turn made me happy. Mom also passed before any of the author's less savory views became public. So having them about reminds me of Mom a lot, back when things were simpler and without the current climate of nastiness.

So yes the books have become tarnished in my view, but the way I'm looking at it – these are books I already had even before the author's controversies broke to the surface, so it's not like I bought them recently and am indirectly supporting her here. I used to treasure these books for their imaginative content, rather less so now. There is still beauty in them, but they're also devalued in other ways. I'm not going to throw them out just yet (not right now anyway) – because for now they're also portkeys to happy memories and happier times.

I think of them like this – they're like the heirloom antiques passed down from generations before, but then you get them appraised and suddenly you find out they're not quite the precious artifacts you thought they were. But just because Mom's old clock or statue turned out to be a dud, it doesn't mean I can't use it as a doorstop or paperweight (or just another decorative tchotchke). You don't have to give it pride of place on the mantelpiece, but you can keep it for different uses that bring utility to your life in other ways. (And as always the other voice in my head is going "Yeaaah well, but that clock face has radium and the statue is flaking lead paint! You have a toxic doorstop that could kill the dog and that paperweight is also poisoning the worktable!" OK, valid points; just give me a little bit more time to figure this one out, please. 🤷‍♂️)

For now I'm using these books as functional learning aids, rather than throwing them out straightaway (it's better for the environment too, I tell myself). When my grief over Mom's passing fades (as it will, it must) maybe I can let them go of them then. 😥💖

CURRENTLY WATCHING 🔹 These shows:

Moonlight Chicken

My School President

Bad Buddy (always coming back to this one – but I watch my favorite bits on repeat, rather than going sequentially in full chrono)

The Amazing Race 34 (missed out on this when it first came out, so it's a binge watch now).

CURRENTLY CONSUMING 🔹 Gluten-free fruitcake – I have one in the fridge being quickly depleted and two others stashed in the freezer awaiting their turn; a dear friend and relation is a great baker, and when we recently got together after a years-long break (kept apart by the pandemic), he gave me several of these delicious beauties because he knows how much I love them and covet quality baked goods that are also GF (not always easy to find). SO GOOD with hot coffee and Thai BL. Also munching on the odd slice of gourmet bak kwa from a secret source, plus arrowhead chips.

CURRENTLY CRAVING 🔹 Chicken rice because of Moonlight Chicken.

ONWARD TAGS 🔹 Would like to get to know you more: @miscellar, @colourme-feral, @theheightofdishonor, @airenyah, @crzshaly437, @dribs-and-drabbles, @gennianydots, @faillen, @bengiyo. Ah and @respectthepetty too! Oops, I've gone past nine. 🤷‍♂️🤦‍♂️

As always, no obligation to play! But fun if you do. 🥰

[hadeth]

 عَنْ عَبْدِ اللَّهِ بْنِ عَمْرٍو، أَنَّ النَّبِيَّ صلى الله عليه وسلم قَالَ ‏ "‏ بَلِّغُوا عَنِّي وَلَوْ آيَةً، وَحَدِّثُوا عَنْ بَنِي إِسْرَائِيلَ وَلاَ حَرَجَ، وَمَنْ كَذَبَ عَلَىَّ مُتَعَمِّدًا فَلْيَتَبَوَّأْ مَقْعَدَهُ مِنَ النَّارِ ‏"‏‏.‏ صحيح البخاري حديث ٣٤٦١

Narrated `Abdullah bin `Amr: The Prophet (peace be upon him) said, "Convey (my teachings) to the people even if it were a single sentence, and tell others the stories of Bani Israel (which have been taught to you), for it is not sinful to do so. And whoever tells a lie on me intentionally, will surely take his place in the (Hell) Fire." Sahih al-Bukhari 3461 In-book reference : Book 60, Hadith 128

حثَّتِ الشَّريعةُ المُطهَّرةُ على تَبليغِ ما جاءَ به الرَّسولُ صلَّى اللهُ عليه وسلَّمَ، كلٌّ بحَسْبِ استِطاعتِه وعِلمِه، بشَرْطِ تَحرِّي الصِّحَّةِ والصِّدقِ فيما يُبلِّغُ عن اللهِ عزَّ وجلَّ ورَسولِه صلَّى اللهُ عليه وسلَّمَ. وفي هذا الحَديث�� يَقولُ النَّبيُّ صلَّى اللهُ عليه وسلَّمَ: «بَلِّغوا عنِّي ولو آيةً»، أي: أخبِروا النَّاسَ وعَلِّموهم بكلِّ ما جاءَ عَنِّي وبَلَّغتُكم به، مِن قُرآنٍ أو سُنَّةٍ، واقتُصِرَ هنا على الآيةِ؛ ليُسارِعَ كلُّ سامعٍ إلى تَبليغِ ما وَقَع له مِن الآياتِ والعِلمِ، ولو كان قَليلًا، ولو آيةً واحدةً؛ بشَرْطِ أنْ يُبلِّغَ الآيةَ صَحيحةً على وَجْهِها. وقولُه: «آيةً» يَشمَلُ القرآنَ المتواتِرَ والحديثَ النَّبويَّ الصَّحيحَ؛ لأنَّ الحديثَ في حكْمِ الآيةِ القرآنيَّةِ مِن حيث إنَّه وحْيٌ مِن اللهِ عزَّ وجلَّ؛ قال اللهُ تعالَى: {وَمَا آتَاكُمُ الرَّسُولُ فَخُذُوهُ وَمَا نَهَاكُمْ عَنْهُ فَانْتَهُوا} [الحشر: 7]. ثمَّ قال صلَّى اللهُ عليه وسلَّمَ: «وحَدِّثوا عن بَني إسرائيلَ»، أي: وأخْبِروا بما حَدَّثكم به بَنو إسرائيلَ، واسْمَعوا لِمَا يُحدِّثونكم به ممَّا لا يَتعارَضُ مع الشَّرعِ، وبِما لا تَعلَمون كَذِبَه، «ولا حَرَجَ»، أي: لا يَقَعُ عليكم شَيءٌ مِن الإثمِ والذَّنبِ في الحديثِ عنهم. وليس المقصودُ مِن قولِه: «لا حَرَجَ» إباحةَ الكذبِ في أخبارِهم، ورفْعَ الإثمِ عن نقْلِ الكذِبِ عنهم، بلْ هذا تَرخيصٌ في الحديثِ عنهم على البَلاغِ وإنْ لم يَتحقَّقْ ذلك بنَقْلِ الإسنادِ؛ لتَعذُّرِه بطُولِ المُدَّةِ، بخِلافِ أحكامِ شَريعةِ الإسلامِ؛ فإنَّ الأصلَ فيها التَّحديثُ بالاتِّصالِ. ثُمَّ قال صلَّى اللهُ عليه وسلَّمَ: «ومَن كَذَبَ عليَّ مُتعمِّدًا»، أي: مَن قصَدَ الكذِبَ على رَسولِ اللهِ صلَّى اللهُ عليه وسلَّمَ وتَعمَّد ذلك، لا مَن أخطَأَ، فلْيَتهيَّأْ ولْيَستعِدَّ إلى دُخولِه النَّارَ وإلى مَقعدِه الَّذي فيها، الَّذي قدْ أوجَبَه هو على نفْسِه بكَذِبِه على رَسولِ اللهِ صلَّى اللهُ عليه وسلَّمَ، وتَعمُّدِ الكَذِبِ عليه، وهذا وَعيدٌ شَديدٌ دالٌّ على كِبَرِ هذه المعصيةِ. وخَصَّ النَّبيُّ صلَّى اللهُ عليه وسلَّمَ الكذبَ عليه بالتَّحذيرِ -وإنْ كان الكذِبُ كلُّه حَرامًا-؛ لأنَّ كَلامَه صلَّى اللهُ عليه وسلَّمَ تَشريعٌ، وكَلامَ غيرِه ليس كذلك؛ فالكَذِبُ على الرَّسولِ صلَّى اللهُ عليه وسلَّمَ أعظَمُ مَضرَّةً، وأعظمُ إثمًا. وفي الحديث: التَّرهيبُ والتَّحذيرُ مِن الكذبِ على رَسولِ اللهِ صلَّى اللهُ عليه وسلَّمَ.

Hadith Translation/ Explanation : English French Spanish Turkish Urdu Indonesian Bosnian Russian Bengali Chinese Persian Indian Sinhalese Kurdish Portuguese Malayalam Telugu Swahili Tamil Burmese: https://hadeethenc.com/en/browse/hadith/3686

[einprotagonist]

The start to writing.

So, many people including old friends and family did not know that I write some stuff of my own (even though very rarely). And the question about when and how did I get into this always arises, so here I am (lyrics *this is me, there is nowhere else on earth I’d rather be*) telling this short little story.

Don’t mind the lyrics part which keeps occurring in my mind as I write some phrases. XD

Umm.. I was a young kid who was always philosophical about things happening around me. I was involved in a lot of grown-up’s issues even as a child, kind of the mature kid. Yep, eldest son indeed. This lead to me ending up as a more understanding human being than the average of my age group. I would always be knowing what kind of things are to really worry about and what is trivial issue which is only bothering as long as we are giving a shit to it.

So when my father got transferred to a city in the southern India and we all decided to move there with him, it was not an easy decision for me to leave all my friends and the city I grew up in. There logic I gave to myself was that after 2 years we all will get away from each other any ways as we will move onto college life, so I’m taking a leave just a few days earlier than the rest. This new city was a better developed city and had nice education as well as living standards than my old one. OR SO I THOUGHT.

Well, seeking admission into Intermediate schools, I was late to take admission as the sessions had already begun and I could not do an extensive research on which are the good ones in the given time of 2-3 days. It was not really a smartphone era yet. I joined into the most reputed school chain given it was very close to our apartment plus produced great results every year. It was an english medium school and they only had students who were doing intermediate studies, just the 11th and 12th class kids.

I’d always been a part of co-education system and to my surprise this one was a school where both girls and boys did study but not together. They had entirely different floor. What a troll! It was really funny to observe these boys who had never shared a classroom with girls, they talk all kinds of nasty shit only to be silent af when girls pass by. Hahaha.

Well, so I took admission into the school and they gave me choice of subjects which were all what I wanted but the secondary language was only Hindi/Telugu/Sanskrit/Arabic. I could not apprehend the fact that there is no Computer Science/Application! How could you not have one as a part of your education system in this age? IT IS 2013 FFS! I took Hindi for obvious reasons (I am a North Indian and Hindi is my mother tongue) and carried on. -__-

The biggest lie was that they teach in English Medium. They spoke in their regional language all the time and only the equations written on blackboard was in english. Text book questions were in english and the explanations given in classroom were all in Telugu. I did not understand shit. It was a nightmare, I am a guy who listens what is being taught in the classroom and lesser of someone who reads books on his own. I would sit there watching out the window all day long, slowly the teachers also got to know that I can not speak their language and they could not really help it. They could not speak mine either. A couple of teachers tried and their classes were helpful. So 2/5 classes were what I understood. Each class was approximately 2 hours long so I was a dead ass for 6 hours straight every day! LOL

It wouldn’t require a genius to guess that kids also spoke Telugu only, a few of them knew Hindi and a few knew English but it was really hard to have a conversation. The conversations basically lasted 1-5 minutes depending on how much of entertainment they needed from my situation. :P

Half a year passed away like that and I was doing bad on those three subjects. I often complained to principal but he wouldn’t change the teachers just for one guy, specially when the rest of the class is fine with it. So I just sat there, people came to know about a guy who was called U.P. in whole college. Bruh, I was famous. Teachers also called me U.P. now, since my name is a tough one for most people I meet anyways. I had no issues with a nickname.

Then I met a guy who could speak Hindi-English-Punjabi-Telugu. ALL FLUENT! I was so glad to have a conversation with someone for that long, we shared gaming interests and we both came from same kind of schooling before arriving at this school. It felt like a miracle, I’d never met someone there who could connect to me that way.

But before I met this guy, I was alone. And in these six or seven months of loneliness - I learned to write whatever happened in my diary. It was a great thing to do, it felt like I’m talking to someone/myself. It made my heart lighter, sometimes happier too. I was not always sadistic but yes I was awfully quiet and had none to talk.

This habit of mine didn’t leave me, I carried it on for a long time. From my point of view that 1-1.5 years of writing was long time. My parents also had to leave the city as the transfer failed after 8 months of hard work and he was offered a new position back in the same city we came from. I was living there on my own and it was good experience. I was doing things on my own that people my age do not generally have to do. It was a great time and all of it had to be written down.

My school days finished, I came back to the old city and I got busy with a lot of people and lost my writing habit. I always tried to pick my diary up and write something but I never got back to the consistency I had.

Almost 7 years have passed since then and I am now trying to write my heart out on this blog of mine.

This is how it began and this is why I write. :)

Let’s go! Target is 1 Heart/Note. LOL

[tamblr]

Language Profile #2 (தமிழ்)

Tamil (தமிழ்)

Check out part 1 before reading this!

For basics of script check out the introduction and letter combinations

Grammar 

Divided into 4 categories: classical, contemporary, colloquial and literary 

Start with the pronouns

Add suffixes for everything! 

Nouns are inflected based on number and case 

Verbs indicate number, tense, gender, person, mood and voice (I know it’s a lot lol)

3 types of sentences: command and request, statement, question 

Suffixes are added through coupling transformations 

Parts of the statement verb: root (action) + middle (tense) + terminal (person, gender, number) 

If there is a suffix followed by a hard consonant do not forget to add the consonant with the dot on top at the end of the previous word (according to the book I’m reading scholars will be really mad!) 

There are 8 cases 

Prepositions becomes postpositions i.e suffixes!! 

The above rules apply for all 4 categories 

BUT the suffixes and pronunciation changes between formal and informal language 

Sentence structure is usually SOV but OSV is also common

Tamil is a null-subject language. Not all Tamil sentences have subjects, verbs and objects. It is possible to construct valid sentences that have only a verb, such as muṭintuviṭṭatu (முடிந்துவிட்டது, "It is completed"), or only a subject and object, such as atu eṉ vīṭu (அது என் வீடு, "That is my house")

Colloquial refers to spoken language and can change/ omit many of the grammar rules applied to written language

Based on the socioeconomic group you’ll find Sanskrit, Telugu, Urdu and English words combined to form hybrid words (there are probably more languages as well)

Not even going to try and touch literary  

Dialects 

Colloquial language changes depending on socioeconomic groups and place 

Tanglish = English + tamil and can be written with both latin and native script and is popular in social media platforms 

There are around 14 dialects 

For explanations for the popular dialects see the links below:

Standard tamil

India-chennai 

Sri Lankan 

Malaysian tamil 

Brahmin tamil 

Source of dialect posts: @currylangs

The other dialects are usually similar to the Indian dialect

Random tips

If you want to study the language formally then start from the written (classical and contemporary) and listen to audiobooks before trying to read 

Once you understand written language it will be easier to understand how suffixes are omitted etc when it is spoken

To understand spoken language you can watch movies and listen to the latest songs (older songs contain literary grammar i.e the forbidden zone for now) 

Also it helps to understand a more detailed history: Tamil: A Biography by David Dean Shulman is definitely a delight to read and you’ll find links to more research in the bibliography 

If you want short stories, check out animated vids like Vikramaditya and Panchatantra (animals will offer life advice) tales on YouTube 

Check out this audiobook podcast: https://kadhaiosai.com 

For a book to start with(once the foundations are covered and are ambitious ) you should pick up Ponniyin Selvan, it has the original Tamil book, an English translation, a simplified explanation of the story on YouTube and an audiobook plus the story is a historical fiction which has incredible diversity of characters and it’s long so by the time you finish it you’ll probably be able to pick up the language both formal and informal (speaking from personal experience y’all) 

these are all based on personal experience and because this can be a pretty tough language to learn so feel free to add more tips and resources!

[stopanaxiety]

In this channel many playlists are available I hope it helps to solve your problem and change the lifestyle

Visit the Channel and solve your problems

Channel URL

https://youtube.com/c/INSPIREFROMBOOKS

Playlist Links

Our Facebook page : https://www.facebook.com/Inspire-from-Books-telugu-107092571363572/ Remaining Book summary playlists in Telugu Inspire from Books in telugu - Complete list - అన్ని పుస్తకాలు https://youtube.com/playlist?list=PLrf6Zl_gTJQDazaDhiu5Uau7_aWZXdJyL Life changing Books- జీవితాన్ని కొత్తగా మార్చుకోవడానికి మార్గాలు తెలిపే పుస్తకాలు https://youtube.com/playlist?list=PLrf6Zl_gTJQBkDxbTJl9DSRmRsziJa7xu Reduce Stress for happy life books- భయాన్ని పోగొట్టి అనందంగా జీవించేందుకు మార్గాలు తెలిపే పుస్తకాలు https://youtube.com/playlist?list=PLrf6Zl_gTJQA29Pl2l2eE7Wfby7fyABxk Motivational Stories - స్పూర్తిని,ఆశని ఇచ్చే కధలు https://youtube.com/playlist?list=PLrf6Zl_gTJQCqlo6ZJ-z0uPIHJcv62Gry Best Motivational Movies Explanation in Telugu - స్పూర్తిని,ఆశని ఇచ్చే సినిమాలు https://youtube.com/playlist?list=PLrf6Zl_gTJQDFCLLt8oSkWPJADGhgtrBm Business helping Books - మీ వ్యాపారాలని లాభసాటిగా పెంచుకునేందుకు మార్గాలు తెలిపే పుస్తాకాలు- https://youtube.com/playlist?list=PLrf6Zl_gTJQAgp_ap08ph6IGqE7bRJC2- Financial Education- ఆర్ధిక జ్ఞాన్నాన్ని పెంచే పుస్తకాలు https://youtube.com/playlist?list=PLrf6Zl_gTJQBtWkPYgTduEUvZQNZWyEt_

[bestsouthindianmovies]

Best South Indian Movies You Must Watch

Nonetheless, there is a significant utility in distinguishing and posting motion pictures that have pushed the limits of the medium over the range of the previous decade. While this rundown can't be all around authoritative, it actually permits us to have a brief look at the different true to life and socio-social mediations that films from a specific geology have been making. It likewise offers us a chance to reflect and see how every one of these local films have been affecting one another, just as their aggregate spot in Indian and world film.  For more visit- best South Indian movies

Thanga Meenkal ('Gold Fish', 2013, Tamil)

In Tamil film, the dad girl relationship is frequently investigated distinctly with regards to another man entering the condition as the young lady's sweetheart or spouse. Thus, basically, the story gets decreased to a contention between two men competing for a similar lady's consideration. As opposed to this cliché design, Ram brazenly unloads the magnificence and untidiness of a dad little girl relationship in Thanga Meenkal (and furthermore later in Peranbu, 2018). By depicting a ridiculously optimistic however vulnerable dad in Thanga Meenkal, Ram compassionately pushes the crowd to consider on what genuinely makes for a decent dad.

Maheshinte Prathikaaram ('Mahesh's Revenge', 2016, Malayalam)

Dileesh Pothan's presentation film opens with a peaceful waterway stream, and the story also continues to stream like one. The magnificence of Pothan's portrayal lies by they way he meshes the topography of the area into the film as an inborn character (this remains constant for his subsequent film, 2017's Thondimuthalum Driksakshiyum, or 'The Mainour and the Witness', too). In Maheshinte Prathikaaram, Pothan gets a short story-esque quality to the film that follows a couple of sensational occasions in the life of exceptionally standard individuals. Investigating the misfortune and addition of affection and honor through its helpless and artistically atypical male characters, the film depicts men with unordinary affectability. The characters and the conditions appear to be genuine to the point that before the finish of the film, you can nearly smell the natural fragrance that develops when downpour falls on dry soil.

Madras (2014, Tamil)

Before Pa Ranjith caught the consideration of the country with his Rajinikanth starrers Kabali (2016) and Kaala (2018), he made this energetic, nuanced and layered film on the lives and governmental issues of middle class Dalit-Bahujans in Chennai. While most pop-social references to Chennai by and large incorporate any semblance of Carnatic music sabhas, channel espresso or the Mylapore sanctuary—which are altogether inseparable from the lives of Brahmin Savarnas—Ranjith's film permits the common laborers to recover the city that was worked with their blood and sweat. Madras is especially huge for how it injects Ambedkarite governmental issues into standard Tamil film. The film strangely depicts a scary divider as both a living character and an image of political capital and shows it as the purpose of contention.

Adaminte Makan ('Abu, Son of Adam', 2011, Malayalam)

Probably the most humanistic stories on the lives of Muslims have originated from Malayalam film. In this film, Salim Ahamed follows the yearnings and battles of an older Muslim couple who seek to go on a journey to Mecca. Catching the subtleties of Kerala's Malabar area, the film is a composition on trust, expectation, tirelessness and sympathy. Entertainer Salim Kumar who won the National Award for his job, conveys perhaps the best execution of his vocation. The film's peak explanation on the start and finishing of human interests is certainly one of the most lovely terminations.

Onaayum Aattukkuttiyum ('The Wolf and the Lamb', 2013, Tamil)

Mysskin's metaphorical wilderness story is both basic and philosophical simultaneously. In this colossally holding film, where the functions of the tracker and the pursued are tradable, Mysskin pushes us to mull over on the outrageous brutality and the exceptional sympathy that people are able to do. The movie producer himself stars as the 'wolf' and conveys one of the decade's best speech minutes. Mysskin is a self-proclaimed understudy and devotee of Akira Kurosawa, and in Onaayum Aattukkuttiyum he gets as near the Japanese producer as could reasonably be expected. The tune less film is additionally raised by Ilayaraaja's stunning foundation score.

C/o Kancharapalem (2018, Telugu)

Set in the thin paths of Kancharapalem, a territory in Visakhapatnam, this outside the box film by Maha Venkatesh is all heart. The film compassionately catches the bizarre romantic tales of characters who are infrequently found in the true to life universe. Populated basically by non-proficient entertainers, the appeal of the film lies by they way it can non-critically take a gander at all its characters. Aside from the idiosyncrasy and the flawlessness of the individual stories, the film additionally figures out how to easily mesh each strand into a more extensive socio-political setting. The film's capricious soundtrack makes the account significantly more vital. C/o Kancharapalem is strong evidence of the way that works of art can be made even on a tight spending plan with the correct producers in charge. Also, if the words 'exquisite' and 'beguiling' are abused in this note on the film, it is simply because the film is such.

Kuttram Kadithal ('The Punishment', 2015, Tamil)

Bramma's National Award-winning film is an extraordinary reflection on transgression, blame, discipline and absolution. While the film offers a significant investigate of the pervasive arrangement of training, the most fascinating part of Kuttram Kadithal is its depiction of its lady hero. While a lot of Indian film can't think past sexual or different types of brutality at whatever point a focal female character is included, Bramma's film powerfully follows the character of Merlin, a faithful Christian and a teacher (played by the fantastic Radhika Prasidhha) as she wrestles with an intense feeling of blame.

Aedan: Garden of Desire (2018, Malayalam)

In this film that uncovers itself as a story inside a story, Sanju Surendran plays with the genuine and the strange. Albeit set in a town in Kottayam, its characters could possibly be from a Gabriel Garcia Marquez tale. Investigating the complexities of human feelings—desire, energy and envy—Surendran takes us through a story that is unhurried however holding simultaneously. The three befuddling stories are described with an expressive visual quality that permits Surendran to differentiate magnificence and agony through want and demise.

Kadhalum Kadandhu Pogum ('Love Too Shall Pass', 2016, Tamil)

To sidestep Nalan Kumarasamy's Soodhu Kavvum ('Gambling will Befall', 2013) and make space for his subsequent film may seem like an unexpected decision. However, in the event that you intently take a gander at how Kadhalum Kadandhu Pogum flawlessly investigates and depicts the sensitive space among fellowship and sentiment, it may be anything but difficult to perceive any reason why. In this moderate blending story that feels like a prequel to the sentimental story that may follow, Vijay Sethupathi and Madonna Sebastian convey one of their most beguiling yet practical exhibitions. The scene where the two characters embrace each other just because may be one of the subtlest yet most powerful minutes in the Tamil sentimental type. While the film is a change of the Korean film My Dear Desperado, Kumarasamy easily limits it to the Tamil milieu and makes it his own.

Thithi ('Funeral', 2015, Kannada)

Catching the account of four ages of men in a Gowda family, the key to the viability of Ram Reddy's film lies in how precisely screenwriter Ere Gowda comprehends the town Node Koppalu (Mandya locale, Karnataka) and its kin. The film catches the arrangement of occasions that follow the passing of the oldest 'Century' Gowda and the occasions are both sensible and absurdist simultaneously. It includes the clashing quest for the men from three ensuing ages in the family and the energetic locals who are seeking after an excessive dining experience at the burial service. While the clamorous and philosophical nature of the film helps one to remember Italian movie producer Federico Fellini's Amarcord (1973), Thithi is solidly established in its provincial socio-political setting. The persuading exhibitions regarding the non-proficient entertainers helps hugely in keeping the account exceptionally valid.

Lucia (2013, Kannada)

Alright, it may seem like cheating to push for an eleventh film in a rundown of ten movies. However, of course, for a film like Lucia that twists all current artistic standards, one ought to be permitted to twist the principles of a rundown too. Pawan Kumar's film about the equal existences of its hero as an attendant and a film star plays precarious psyche games with the watcher and continually moves between the genuine and envisioned universes. Also, the film offers a significant critique on the territory of Kannada film and the demise of single-screen theaters. Lucia will without a doubt keep on staying a significant film for pushing the limits of realistic accounts.

[haomains]

Indian woman head shave video

INDIAN WOMAN HEAD SHAVE VIDEO PORTABLE

Along with the wigs, several small decorative items such as hair ribbons, kohl, various kinds of combs, stickers women put on their foreheads, and jadagantalu, the bells that hang from long, plaited hair, are all on sale, displayed on a wooden rack she carried with her. Devani also makes and sells beautiful, long wigs for women apart from buying hair. We will buy hair from you!” she shouts once again. She had been giving him the medicine they gave at the Government hospital thrice a day, but the fever hasn’t reduced. She touched him and realized he still had a fever. Her two-year-old is lying without movement in the bag, with eyes closed.

INDIAN WOMAN HEAD SHAVE VIDEO PORTABLE

Pushing the hair aside, she looked into her shoulder bag, which also functioned as a portable crib. But, the dry hair is clearly unable to withstand the wind now. She started at home after tying her long hair together. How long has it been since she applied some hair oil? The hair strands are too dry and are just flying in the air. Since spending any amount from that money would mean not having enough to pay those sellers, she has chosen to starve instead of buying something to eat.Ī strong wind blew Devani’s front hair away, covering her face with it. She has two hundred rupees with her to give to people who would sell their hair to her. Realizing that earning money is the only way to silence her mother-in-law, Devani took to the roads on an empty stomach early in the morning, soon after finishing her daily ablutions. Looking at Devani reminds her of her son, perhaps. So, Devani faces some harassment every day and her mother-in-law always taunts her. Her mother-in-law, who was good to Devani when her husband was alive, blamed her for his death. Her husband had died unable to handle the deceit of his business partner, not out of any disease. It has been three weeks since she had three meals a day. Her gait shows how tired she was, having eaten nothing since morning. She is thin, with a thinner face and sunken eyes. “We will buy your hair! Hundred rupees for a hundred grams of hair!” Devani walked into a street announcing her arrival.ĭevani is perhaps around thirty-five years old. With the author’s permission, I made the part where he explains the wig-making process longer, for clarity in the translated version. While translating, kinship terms, forms of address, and a few other culture-specific words are left untranslated, adding a brief explanation where needed. This story depicts one such wigmaker, who contemplates on the unsustainable nature of their trade in the present-day world, and takes a step towards self-reliance to support her small family. This competition for leftover hair made the life of the traditional wigmakers difficult, as they couldn't afford to pay such large amounts to buy the hair needed to make the wigs. Selling hair is now a lucrative business and some larger temples even hold auctions to sell such hair, with bidders from other countries willing to pay millions of rupees. However, changing lifestyles changed this traditional setup, and hair became a valuable commodity traded for large amounts of money. They made the wigs at home and sold them in the market to earn their livelihood. In addition to these, they also traded fallen hair strands from private householders offering small items such as combs in return. Wigmakers in the part of South India where the story happens traditionally relied on the hair they collected from barbers and temples where devotees tonsured their hair. It depicts the life of a traditional wigmaker. Translator’s Note: This short story first appeared in Telugu about a decade ago in the author’s short story collection bearing the name of this story itself. Telugu title: సిక్కెంటిక/sikkeMTika (Tr: Tangled Hair), Translation by V.B.Sowmya

[mmorgstorm]

Brahmotsavam movie in ma

BRAHMOTSAVAM MOVIE IN MA TV

Moral of the colourful story: A montage of beautiful visuals (Rathnavelu’s brilliance), lots of happy people, and frequent song and dance routines may be the perfect ingredients for a ‘brahmotsavam’, but the end result needn’t necessarily be a good film. Rao Ramesh, as usual, gives a stellar act, but what’s the use? Everyone else does what’s expected. Honestly, we’ve seen so much of this fawning over Mahesh’s fabled good looks that it’s boring now, especially when you go as far as to make a little kid ask him if he’ll marry her. For much of the film, he is just hanging around, smiling and looking pretty. Sadly, you don’t get to see enough of that. That one shot where he paces up and down, with pain, confusion and despair on his face, all at once, gives you a peek into what Mahesh can do as an actor. Mahesh Babu’s performance in the pre-interval sequence is the best part of the film. Nothing really happens, except that somewhere along the way, hero realises he loves heroine. The hero goes around meeting extended family (we never know why), and keeps hopping from Nagpur to Solapur to Haridwar to Kasi and finally, Bangalore. But wait, she’s not even his girlfriend, yet. The next moment, he’s on a whirlwind tour of India, girlfriend (Samantha) in tow, in search of his roots. One moment, we are thinking the hero (Mahesh Babu), distraught after his father’s untimely death, will take on the mantle and keep the family together. The director doesn’t know what he wants to really convey with all these good people. But till the end, there’s no explanation why they’re all so good. The film starts off by introducing all the “manchi” people in this huge, and “manchi”, family. So much so, it makes us want to ask, Addala garu, we get it. So much so, you can’t help but root for the hero’s first love, Kasi (Kajal) who dumps him, unable to cope with his saccharine sweet forever-happy family. And Brahmotsavam takes this indulgence to the next level - it’s about values, values, values and oh, more values. You saw glimpses of it in Seethamma Vakitlo Sirimalle Chettu. If that’s not syrupy enough, there’s ample use of pretty people smiling all the time their prettiness further amplified with all those glossy filters. Think very large, very happy families, living in palatial homes, doling out lengthy dialogues on family values. Movie Review: With Brahmotsavam, Srikanth Addala has tried to deliver a Sooraj Barjatya experience to the Telugu cinema goer.

BRAHMOTSAVAM MOVIE IN MA TV

Synopsis: Addala garu, we get it… the world has a lot of good people. JioCinema - Watch your favourite TV Shows, Movies, Kids, Music Videos- Hindi, Tamil, Bengali, Kannada, Marathi, Bhojpuri with Colors, Sony, Zee, MTV, Disney in HD.

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Gemini tv chakravakam serial today episode

A repeat telecast of the show first aired on 11 July 2016 at 2:30pm on Gemini TV, and now it airs at 12:30pm. A version translated into entitled Chakravaka airs in. Loud Speaker.Ĭhakravakam, a version of this serial translated into, airs on. Chakravakam Super Hit Telugu Serial Title Track - Duration: 3:13. CHAKRAVAKAM SERIAL REAL NAMES OF CHARACTERS IN THE SERIAL. Babu Writer: Bindu Naidu Producer: Srikanth Ent. Starring: Preeti Amin, Sagar, Likitha, Ramaprabha, Selvaraj, A.R.C. Starring: Indraneeil, Prithi Amin, Likitha Ramaprabha Chakravakam is a highly popular Telugu serial created by Manjula Naidu, which airs on Gemini TV. Watch Chakravakam Telugu Serial Online Latest Epsiode: E642-Part1: Part2 - 20th July Previous Episodes: E641-Part1: Part2 - 19th July E640-Part1: Part2. We would like to show you a explanation right here but the site wont permit us. Watch TV Shows Online Free Watch your favorite TV serial online for free. 3-9x40 Trophy XLT Riflescopes Riflescope pdf manual download. Were worked together for Chakravakam serial. Gemini Tv Chakravakam Serial Today Epde Pdf Manual Download. TV-Actor / Telugu / Telugu TV-Actor / indraneil-varma. Telugu Actor Indraneil Varma acted in Serials Aparanji. Of episodes 1,111 Production Producer(s) Sudhakar Pallamala Running time 15-20 minutes Release Original network Original release 3 November 2003 – 15 February 2008 Chronology Preceded by Ruthuragalu Followed by, Chakravakam is a highly popular serial created by Manjula Naidu. Babu Arvind Nomula Opening theme Chakravakam Country of origin Original language(s) Telugu No. Ltd Written by Directed by Manjula Naidu Starring Prithi Amin Likitha Ramaprabha Selvaraj A.R.C. This serial is rated as the highest trp rating serial in whole telugu TV serials. Watch all the latest & previous episodes of Chakravakam telugu daily serial which is telecasted in & in online only on. The story tells whether love can survive when our children and parents cannot live up to our expectations. Diamond Audio Technology Gem 2.0-Usb Driver. Serial Name: Chakravakam Channel: Gemini Starring: Indraneeil, Prithi Amin, Likitha Ramaprabha Chakravakam is a highly popular Telugu serial created by Manjula Naidu, which airs on Gemini TV. Kanye West 808 And Heartbreak Download Zip. Chakravakam Telugu Serial Characters Average ratng: 3,8/5 998reviews Gemini Tv Chakravakam Serial Today Episode Rating: 7,0/10 4500 reviews YuppTV is the largest internet TV provider with over 200+ Live TV channels online in 13 languages.

[mindmingles01]

Tamilgun Genius

Tamil Gun Genius is one of the essential sites that is getting an increasing number of well-known Tamil movie downloads.

Tollywood, the south Indian entertainment worldwide is developing at a speedy speed and now there are particular locales that let you download Tamil new development photographs on the web. 

From the start, Tollywood used to control Telugu motion pictures essentially however as of now it has also started dispersing distinctive language development photographs like Tamil films, Malayalam motion pictures, and Kannada development photographs. 

Tollywood development photographs are respected for their development scenes, top-notch stories essentially as a result of the screenplay. 

This is the explanation Tollywood motion pictures have gotten additional notable over the long haul and are a superb side interest in the United States of America

To guarantee that Tollywood motion pictures are appealing to a broad assortment of masses, Tollywood producers make development photographs named in various tongues and scattered the United States of America over to the exact group. 

The site to Watch Tamil Films Online Aside from India, the pack for Tamil motion pictures is filling universally specifically in nations like Sri Lanka, Malaysia, the United States, Saudi Arabia and that is just the beginning. 

The developing notoriety has made Tollywood so notable that it has become an equivalent contender of rivalry with Bollywood itself. 

What is Tamil Gun Genius? 

In case you are a Telugu, Tamil, Malayalam and Kannada development picture lover, you presumably heard the call Tamil Gun by and large already. 

Tamil Gun Genius is no doubt the most extreme broadly perceived locales to download Telugu, Tamil, and Malayalam and Kannada films. 

It is likewise respected with the guide of utilizing the call of Tamilgunrockers with the guide of its devotees and the individuals who use it routinely. 

Here it's essential that few individuals use Tamilgun.be to download films, that is a stolen web webpage for Tamilgun.com. 

The most recent Tamil Movies Download For Free Tamil Gun Genius is perceived to be potentially the greatest compatriot in locales to download the greatest current Tamil and Telugu Movies. 

Be that since it might, Tamil Gun isn't constantly limited to this class yet you may in like manner download Tamil Bollywood named development photographs greatest right now from this web site on the web. 

The leaders of the website are moderately powerful and that they are cautious for the greatest current conveyances, do their theft and call them in the right language for the posse. 

Regardless, know that taking a gander at a film online on Tamilgun or Downloading a film from Tamilgun stage 2 isn't generally legitimate as those development photographs are appropriated and hereafter should presently don't be unrivalled in any construction. 

Since the website online is progressing such an assortment of theft, it’s miles at the hit summary of the police and online bad behaviour office. 

Regardless, who's the proprietor and head of the website online is as yet a mystery. 

This makes it extra endeavouring for them to find the genuine overseer of the website on the web and spot him at the rear of the bars. 

Similarly, the undertakings of the overall population power to notice the individual besides will no bring about the truth that the website online crashes habitually and the ensuing cycle wants to be situated from the extremely beginning yet once more. 

New Bollywood Film on Tamilgun.Work Tamil Gun Genius offers the appropriated copies of different development photographs underneath Tamilgun.Work. 

The website online has now not, at this point unimportant overview of appropriated Bollywood and Tollywood films reachable for download. 

The very uber superstar strong of the film ensured Anil Kapoor, John Abraham, Arshad Warsi, Pulkit Samrath, Kriti Kharbanda, Urvashi Rautela, and Sourav Shukla.

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[krishnaprasad-blog]

If the English market is tough for serious players in Indian journalism, keeping the head above the water in the languages is a humongous challenge. So immense, so expensive, and so impossible is the task of attracting readers and viewers, and keeping them engaged with quality content, that nearly nobody is attempting to do it.

The British Broadcasting Corporation is a stand-out exception.

In an arena filled with itsy-bitsy, tits-and-ass, click-bait majors—madly chasing eyeballs with the fake, frothy and frivolous; and conning agencies, advertisers (and themselves) with eye-popping numbers of “uniques”—BBC is an isle of calm. Quietly doing what it does best—journalism—and leaving audiences informed and empowered.

Rupa Jha is head of BBC Languages in India, responsible for content in Hindi, Tamil, Telugu, Marathi, Gujarati and Punjabi. Her mandate: to enhance the “strength, depth, range and quality” of all BBC multimedia output, words mostly alien to bottomline-obsessed managers, in a mad race to the bottom.

***

Q: How does BBC as an international broadcaster view the Indian language market?

Rupa Jha: The BBC has been working in Hindi, Tamil, Urdu and Bengali for more than seven decades. It recently decided to expand its portfolio to realise the potential of a wider language market. Hence, the creation of BBC news services in Telugu, Punjabi, Gujarati and Marathi.

Obviously, the language market in India is extremely crowded, with more than 900 TV channels, thousands of websites and hundreds of radio stations, but it struck us that there was a place for a brand known for credibility, trust and a world view; a brand that could challenge the status quo and be a strong counterweight to the rising challenge of fake news and the “echo chamber” effect.

The four new languages services were launched in 2017, following a “digital-first” strategy supported by a partner-based TV presence. It was the biggest expansion of the BBC in India, since the 1940s.  We hired around 150 new staff and created a state-of-the-art production hub, making Delhi the second biggest BBC bureau after Nairobi.

The bureau also houses two new, ultra-modern TV studios, giving our new TV programmes a fresh look and presentation that stands out for high production values and distinctive story telling. We also have five satellite offices where small teams shoot, edit and produce local content at the state level.

***

BBC’s “news needs wheel”

Q: What does the Indian language viewer, listener, surfer look for from BBC’s various language services that she doesn’t get from established legacy players?

Rupa Jha: The regional market is dominated by hyper-local content. So the content strategy of the BBC in this market of languages is to make a differentiated offer and become a trusted window for people to understand the place of India in the world.

Original content is at the centre of this strategy with a special focus on serving underserved audiences such as the young and women.

We aim to drive audience growth by expanding our traditional appeal amongst “news connoisseurs” into a wider group of “news nibblers”.

Our research told us that local players tend to focus their news coverage mainly on the “what” and “when” but there is little effort being made to explain the “why”.  This helped us to develop a model we call our “news needs wheel”.

This showed that audiences wanted the BBC to provide perspective and context, together with stories that educate, inspire and offer solutions. We use this model not only to tell international stories but also to help develop narratives on the local by stepping back and looking at the big picture.

Based on our understanding of “news needs”, our content strategy is to decode national/regional stories for all language audiences and help generate an interest in news that is beyond hyperlocal.

***

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Q: What does BBC do in the languages that Indian media houses can’t, won’t, don’t? How does it approach Bharat?

Rupa Jha: We believe the BBC stands out for its values and principles. BBC editorial guidelines are the same for all operations, whether based in the UK or outside. The DNA of the organisation is our editorial values.

Trust is the foundation of the BBC.

“We are independent, impartial and honest.

“We are truthful and fair in all our dealings.

“We make decisions based on our values, stick by them and take responsibility for them.

“We behave with integrity and do what we say we’re going to do.

“We take pride in that and ensure that we don’t get seduced by a desire to be the first to break news, something that can easily cost your credibility.”

We acknowledge that the BBC in India is not the first port of call for people. Our assumption is that what they do want from us is analysis and explanation of an event.

We have a huge loyal audience in rural India and we ensure that we cater to that segment of society through our editorial agenda. Because of this we have a specific focus on marginalised communities, women, farmers and stories of human rights, development and justice.

A good example is presented by this current election period. We have been running a month of special output called “Reality Check” where the promises made by the political class and those in power is being assessed. We do regular fact-check stories, busting the fake news.

# We have also had special coverage around Muslims in India called “Being Muslim in India” and we cover stories around caste identity regularly.

# We had a season in Marathi called Ambedkar and Me, showcasing stories of successful Dalit entrepreneurs.

# We have featured stories of women from across the country, under the banner “BBCShe”, stories of choices men and women made called “His choice” and “Her choice”.

# We have also committed ourselves to deliver strong contextual coverage of Kashmir—for example, we had a series of stories from the region based around looking at violence through the eyes of children.

# We also have a special focus on tribal issues. Our recent coverage of Pulwama and aftermath is a case in point where we worked hard to ensure neutrality and balance in coverage based on facts.

***

Q: It used to be said that Indians looked at and listened to BBC for its credibility. Is that still the case after the growth of homegrown media? How do you achieve this? What are the tell-tale signs of a fake story for you?

Rupa Jha: Yes, of course. Credibility is the tag that has helped us grow in the market. We work hard on the training of all our full-time journalists and stringers to ensure they fully understand our editorial guidelines so that they understand the BBC way of reporting. This training is a continuous process and takes up a significant part of our budget.

We also have a very strong system of editorial checks and balances. All our language services cross-check and triangulate their stories, and also liaise with the London headquarters through a central planning desk which also ensures that there is a flow of news that is checked and verified. We have standing instructions not to run stories unless there are two independent sources or if we have our own direct sources.

On top of all the above principles and practices, we fact-check stories daily, mostly viral stories. We have also invested resources in a lot of “on-the-ground, eye-witness reporting” at a time when other Indian media have been reducing the amount they do.

***

Q: As the head of BBC languages in India, what does your work entail, how many people do you lead, how do you go about spotting and farming out stories, what kind of stories do you like, etc?

Rupa Jha: My job is to coordinate and oversee the whole of the BBC languages operation in India and to be a vital link to BBC HQ in London. I directly manage ten Service Leads and make sure staff across services in Delhi are properly managed, recruited and developed. As head, it is my task to ensure that there is a strong, creative culture across the bureau, that every member of staff understands clearly what we are doing and who we are doing it for.

My aim is to ensure all services provide a distinctive offering to the Indian market, with a focus on original and solutions-based journalism, mobile-first content, social media engagement and a mixture of news and near news content. I also have to make sure we are optimising our content on every platform and in each language.

We leverage our strength in international news to report Indian news with a global context, i.e. stories that will compare Indian issues to those in the rest of the world and global stories that are made relevant to an Indian audience. To attract new audiences to the BBC, the new services address diverse content needs of the youth and female audiences and deliver the quality, independent journalism that is lacking in this market.

***

Q: There are thousands studying journalism especially in the languages. What would you advise them about the way forward? How can they equip themselves to work for the BBC some day? Can they freelance for you?

Rupa Jha: I feel the language scene in journalism is flourishing. Digital is the way forward, so take the plunge. Whatever format you work in, understand that a good story is a good story. Understanding the eco-system where we operate is vital.

We don’t ONLY look for those who have a degree in journalism. For the BBC that’s not the only consideration because we feel if you are curious and passionate and can tell a good story, you can become a journalist.

It’s a fantastic profession which needs people with courage, imagination and conviction. They can surely freelance for us by sending their CV and work sample to us.

***

Photograph: courtesy Rupa Jha

Slides: courtesy WAN-IFRA

News connoisseurs to news nibblers: how BBC is approaching journalism in Indian languages with five words fast disappearing from our ‘bhasha’: trust, credibility, strength, depth, quality If the English market is tough for serious players in Indian journalism, keeping the head above the water in the languages is a humongous challenge. 1,663 more words

[vsplusonline]

Sridevi achieved what many of our biggest heroes could not, shares her biographer Satyarth Nayak - Times of India

New Post has been published on https://apzweb.com/sridevi-achieved-what-many-of-our-biggest-heroes-could-not-shares-her-biographer-satyarth-nayak-times-of-india/

Sridevi achieved what many of our biggest heroes could not, shares her biographer Satyarth Nayak - Times of India

Today marks the second death anniversary of Indian cinema’s superstar, Sridevi. Capturing her illustrious journey in his book Sridevi: The eternal screen goddess, Satyarth Nayak remembers the legend who played some path breaking roles and left a permanent void in the Indian film industry. Here is the lowdown of the chat…

Your first book was a mystery thriller. What inspired you to write Sridevi’s biography? I have been an ardent admirer of Sridevi and I had always been appalled by the fact that there was no elaborate book celebrating her prolific career. Hailed as India’s First Female Superstar, she not only remains the longest running No.1 actress in Hindi Cinema but she’s the only actress who was No.1 in Hindi, Tamil and Telugu cinema. Such was her stardom that she towered above her male co-stars and became the ‘hero’ of her films. She is also the only heroine who made a triumphant comeback post her marriage, thus shattering Bollywood rules, just as she had challenged industry patriarchy throughout her career. Her legacy spans fifty years and yet there was no book chronicling these legendary achievements of her. I guess Sridevi’s massive body of work was intimidating for most writers and I glad my book got to celebrate the female megastar. While the initial idea of this book had been discussed with her and Boney sir, post her untimely demise, it’s now taken the shape and form of a tribute to her inspiring cinematic journey. I am grateful to both Boney sir and Penguin for helping me turn my vision into reality.

Today marks the death anniversary of the legendary actress. Since you have literally lived through her life, what are your emotions? My deepest emotion is that Sri’s untimely demise is a big blow to the cause of actresses in cinema. Sridevi had the guts to refuse films opposite Amitabh unless she had an equally solid role. Amitabh had to woo her by sending her a truckload of flowers to finally get her to act opposite him in Khuda Gawah. It just shows that she was always someone who flowed against the tide. She respected her own stardom and talent and wanted to remind the audiences of the true glory of an Indian film heroine. She became the ‘hero’ of her films and raised the status of the Indian film heroine to a whole new dimension. Today we talk about misogyny, patriarchy, sexism and toxic masculinity in the industry and Sridevi had battled it all in the eighties and emerged victorious. She was respectfully addressed as ‘Mai’ in Bollywood who had become more powerful than her male co-stars and was even paid more than them. It’s even more relevant today and I want it to be a big take-away for the readers of this book. She not only empowered her audiences but also became a messiah for the LGBT community worldwide. She was the only star who could be No.1 in Hindi, Tamil and Telugu industries. By becoming a truly pan-Indian megastar, Sridevi achieved what many of our biggest heroes could not. She will forever remain an inspiration for generations of actresses to come.

What was the biggest challenge you faced while writing Sridevi’s biography? One big challenge was what to keep out of the book given that Sridevi’s career is so prolific. This was a book about an actress whose career spanned 50 years, 5 languages and 300 films. Condensing this gargantuan journey in a book was quite daunting but that was also fun. Another big challenge was to write this book in the absence of Sridevi. If she would have been alive, the narrative would have been even more personal. Thankfully, I had a huge stack of film magazines from the 80s and 90s that form a part of my personal collection. They are filled with interviews of Sridevi through various stages of her career. In her absence, those quotes have become her voice in my book. When you read those, you will get glimpses of both the person and the performer that she was.

What were the elements you steered clear of while penning the biography? I have consciously avoided anything that falls in the realm of speculation. Everything in the book is certified and factual. All information given has been double-checked for authenticity and duly attributed to sources. Hence any data which is mere conjecture has been kept out of the book. While I was initially keen to interview Janhvi and Khushi, Boney sir advised me against it as it would have been emotionally taxing for both of them. So I avoided intruding on that personal space of grief. Also there are many conspiracy theories floating around regarding Sri’s sudden demise. Thankfully many credible voices spoke to me about it and I have attempted to provide a rational explanation of her death.

What is the biggest treat for readers in the book? The biggest treat would be the memories and rare anecdotes about Sridevi that everyone I have interviewed have shared for the book. I was fortunate to interview over 70 personalities, both in Bollywood and down south, who were associated with Sridevi both personally and professionally. Those interviews have yielded fascinating stories. Like while Kamal Haasan reveals the pranks he pulled on Sri, Anil Kapoor reminisces about the Marwah wedding night in Dubai when he met Sri for the last time. While Rajinikanth remembers moments from his first film with Sridevi, Nagarjuna reveals an incident that somewhat forewarns the manner of Sri’s tragic demise. While Chiranjeevi shares what he learnt from Sridevi, Karan Johar recollects her personal traits that he discovered watching her on sets. While Raghavendra Rao talks about a near fatal incident that happened with Sridevi when she was a child star, Ram Gopal Varma shares his favourite Sridevi moment off-screen. And while Shruti Haasan shares the life lesson that she picked up from Sri, Kajol and Vidya Balan tell you why she remains their biggest inspiration. You will also find personal anecdotes about how Sridevi coped with her father’s death and her mother’s botched up surgery in New York. Many such anecdotes form the beating heart of the book.

What is the feedback you are getting about the book? I am ecstatic that the book has been getting a wonderful response from readers. Many keep tweeting to me to share how much they have loved the book because it reveals so many unknown things about her. For many, it has also been an emotional experience to relive Sridevi’s fascinating journey that culminated with such an untimely end. One fan actually wrote to me saying this book has become like Bhagvad Gita for him! That her admirers have loved the book is the biggest reward for me. The reviews have also been fantastic and we have already entered the bestseller list on Amazon.

Last but not the least, why do you write? Scribo ergo sum. I write therefore I am. Period.

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[todaybharatnews]

via Today Bharat nbsp; The ease with which director Venky Kudumula created the jokes in the no-holds-barred comedy scenes doesnrsquo;t translate to the seriousness needed for the rest of the themes. nbsp; In Bheeshma, the protagonist is a single, extremely desperate guy (insert Distracted Boyfriend meme) who introduces himself as a meme-maker (only later do we realise, he makes extraordinarily bad memes). But letrsquo;s not worry about what our protagonist does ndash; he is a degree dropout too if you were wondering ndash; because like we all know the director didnrsquo;t rope in a brilliant actor like Rashmika Mandanna (who plays Chaitra) just so she could investigate vegetables in an organic farming company. Like in Geeta Govindam, Chaitra is a pretty trope, and her job is to tell the audience again and again and again (phew, insert lsquo;Itrsquo;s been 84 yearsrsquo; meme) how lucky it is for a woman to be loved by someone like Bheeshma (Nithiin), because he would go to any extent for the woman he loves (insert Baby Yoda puppy eyes meme). Doesnrsquo;t matter if he canrsquo;t stop staring at her waist in the middle of an office, or if he enjoys staring at her uncomfortable self in a cab despite her pleas, or lies to her about being an ACP when he is only an unpaid driver. All of these are just expressions of his love. And yet, she falls for him (thatrsquo;s a writer offering all the wasted young men hope of the type even Shawshank Redemption couldnrsquo;t give you) because she overhears him say that ldquo;young people shouldnrsquo;t be judged just because they are hanging out aimlessly with each otherrdquo;, blah blah. She also sees him fight a dozen people, and thatrsquo;s impressive too. In the end she just blurts out the three-word mantra, because otherwise the story wouldnrsquo;t go ahead, would it? And if you gasp at that scene, saying lsquo;Whaaaarsquo;, itrsquo;s your fault (insert Witch Mountain The Rock driving meme). Why did you even bring your IQ with you to the movie theatre? What were you expecting? A movie on the next agricultural revolution in India and how one man saves the few seeds frozen in an old manrsquo;s attic, seeds that can save a country from the upcoming famine? No way! Amidst this romance, we see a tug of war between an organic farming giant, Bheeshma, and a chemical-driven, high-yield hybrid technology ushered in by a smart-looking man called Raghavan (Jisshu Sengupta). The movie is a clash between Raghavanrsquo;s wicked brain and Bheeshma. How did Bheeshma even enter that high-stakes game ndash; because of the Chairman of the Bheeshma group of industries (Anant Nag), another classic clicheacute; because whatrsquo;s the formula for a guy who builds a multi-million dollar 50-year-old organic farming company ndash; he has to act and sound old, he is single, always holding a fat book, sometimes a mythological one, and he acts as if he knows whatrsquo;s going to unfurl, simple. That chairman decides to make the younger Bheeshma the CEO. Why? (insert lsquo;Kabhi kabhi lagta hai apun hi bhagwan hairsquo; meme). Well, because the younger Bheeshma is a good guy, the kind who will help even someone he doesnrsquo;t know and will go to any extent for the woman he loves. A sage-like chairman digging into the love interest of a guy but not into his otherwise unproductive lifestyle is quite funny in its own right. nbsp; Exactly when you are tired of all the irrationality the story presents, you get the punchline. There is a simple explanation for all of it ndash; Bheeshma is just a lucky guy. And the villain (Raghavan) just admits in the end that it is okay to clash with a powerful guy, but hard to clash with a lucky guy. See, simple. No need to get a degree, no need to be smart, no need to be wise or qualified. Just accidentally stumble into all the right places. What works for Bheeshma though is the comedy. The movie runs on a very simple formula ndash; joke, joke, cringeworthy-scene about Bheeshmarsquo;s desire for a girlfriend and later his horniness for Chaitra, unnecessary song, fight, joke, joke, some gyaan, cringeworthy-scenehellip; you know the drill! Almost every couple of moments in the movie there is a fun punchline that gets you laughing and you forget the cringe before and after. Before you know, the movie is done and we see a guy who is pretty much good for nothing get a dream woman, a dream company, and an IPS officer for a father-in-law who is apparently called stupid by Bheeshmarsquo;s dad (insert Sarcastic Willy Wonka meme). I couldnrsquo;t help but relate to Vennela Kishorersquo;s character Parimal, whose life takes a bad turn because of Bheeshma, and who returns with a vengeance only to find that Bheeshma is invincible. Vennela Kishore has the best lines in the movie and along with Raghu Babu gives us some hilarious moments. Vennela Kishore spends the entire movie looking frustrated, and all he can do is wonder and crack self-deprecating jokes (insert Dancing Baby meme). The movie does have some funny sequences like Bheeshma chatting with Chaitrarsquo;s father (Sampath Raj) thinking it is her. But all the fun makes you wonder if the story was unnecessarily rehashed. What probably started out as the story of a lsquo;lucky guyrsquo; probably felt too flimsy to the makers. How do you beef up any non-existent Telugu movie plot these days ndash; bring in the farmers, show their pain. Lo and behold, we have meaningful cinema (insert Spongebob Nobody Cares meme). Sai Sriramrsquo;s camera work here has to come for a little praise as he fills the whole movie with bright light and greenery is never too far away in any frame, giving the movie a feel-good touch-up that is needed. And then to justify it, wersquo;ve got to have a couple of fights. They are hyper-unrealistic but hey, donrsquo;t you whistle when Mahesh Babu or Dhanush bash people, hundreds of them. Why so biased against Nithiin bashing them, ya? Rashmika, who has featured in a lot of memes lately after her role in Sarileru, yet again plays an insipid character that is pointless in the larger scheme of things. Chaitra falls for a guy who falls for her because he is single ndash; thatrsquo;s the summary of their love story. Rashmikarsquo;s fine comic timing blends into the moviersquo;s comedy sub-plots, but really, all we are seeing is a talented actor ground to dust. Sampath Raj is wasted yet again, and barring a couple of now-routine dad jokes Naresh leaves no mark either. Anant Nag, a doyen of Indian theatre, plays his role with elegance. Unfortunately, it is hard to say his character or the dialogues given to him were remotely close to elegance. You get the sense that director Venky Kudumula and his group of writers, if they existed, wanted to make it all sound intelligent and wise, but the ease with which they create the jokes in the no-holds-barred comedy scenes doesnrsquo;t translate to the seriousness needed for the rest of the themes. In the end the movie felt like you were watching a standup comedy act on YouTube interspersed with unwanted ads with good-looking actors and jingles that wonrsquo;t register in your head.