Idiot for audience!

My first negative review!

Evam over the past few years has been in the news for their quality of entertainment, razor sharp wit and the unique approach to make a dying art form called theatre contemporary. “An Idiot for Dinner” adapted from the French movie ‘Le Diner De Cons’ which was also the inspiration for Bheja Fry is almost-funny but falls just short of the milieu which can be called humorous. The story is simple, Sanjay Khelavkar and his friends meet every week for a dinner where they invite an idiot and ridicule them and the host with the biggest idiot wins. R.Golden Gopu, is his prize catch one particular week and how Sanjay lands into a mess created by a bad back and Gopu’s idiosyncrasies. It eventually lands a tax inspector, Hari at his place. To make matters worse his wife, Aparna leaves him and how he eventually manages to come out of the mess created by the “idiot” with the help of his friend Sameer is the crux of the play.The subtle irony witnessed in Evam’s earlier production “The Odd Couple” or the easy characterization of “Doubles, Triples and Quadruplets” or even the adept adaptation of “Five point someone” is easily missing. The jokes appear tired, the sequences seem too forced and the humor lacks vigor. What could have been a laugh riot appears a thatched quilt using silk at places and wool at the remaining ones. Smooth at places, coarse at the edges because it lacks the punch. A few sequences are truly funny but those are neither backed by a strong script nor does it offer anything new to the un-amused patrons. The jokes at most times, seem ribald and trivial. For those unfortunate seated in the uncomfortable seats of Ravindra Bharati, the night seemed distinctly sore as it wore on.

My place!

I was really unsure as to posting this, but did it. I really dont know if people are being nice to me only because of the press tag, but still it feels nice!(smug!!)Also, this is one restaurant I like. Also Also, I'm a vegetarian so my food reviews are always one sided.Even so

Tucked away in a quiet street in the midst of the busy Banjara Hills, the quaint Our Place has not just been one of Hyderabad’s best known restaurants but a landmark of sorts. The fabled service, charming environs and lush greenery transport you to a place which can be likened to Peter Pan’s wonder world. Started in 1999, the restaurant has been going from strength to strength to establish itself as one of Hyderabad’s best loved places and an epicurean delight. What keeps it going, according to the charismatic Pooja Raina, the HR “It’s the ability to give people something new each time they come”. Indeed be it the ducklings which enthrall the kids, the cottages for private conversations, the landing which is carved out of a rock and is a perfect setting for a romantic candle light dinner, the extremely popular ghazal shows on the weekends or the languid lawn where one can peacefully enjoy a meal, Our Place is like your grandma’s chest of treasures- there is something for everyone! From the delicious Fruit punch, to the appetizing crisp corn pepper salt (which is any connoisseur’s delight with its crackling mix of flavors), the restaurant gets its ingredients in the correct dose! With signature dishes like Sambhar Rice and murg mulayam paneer, it sure is a gourmet’s delight with its eclectic offering of Mughlai, Chinese, South Indian and Thai food. Famed as much for its landscaped gardens as it is for its Fruit Punch, it is easy to see how this picturesque place holds its own in a city where a restaurant opens every day. The ambience is pleasing, the choice plentiful and the service, extremely agreeable. So, this weekend you plan to go out to a place that truly feels like yours, you know where to head to…Our Place!

Spaces which never existed.

Thirty Umrigar’s “The Space between Us” is just that, the space between humans, which acts as the sacred invisible line, omnipresent and never to be overstepped. The space between a middle class woman and her servant of over three decades, the space between the educated and the improvised, the space between lives so different in vortex, yet pulled together by an incredible hamstring called fate. It is the story of Sera Dubash, a Parsi housewife who is widowed and thus unchained after years of abuse and disappointment, promised the heights of heavens by a marriage which succeeds in plunging her to depths she never imagined could exist, her daughter Dinaz and her marriage and how her fate is cruelly interwoven with that of Bhima-her household help of yore, her constant companion in hours of grief, her sole strand of support in her marriage of lies, neglect and violence. The space between us, is described as “an intimate portrait of a distant yet familiar world”, while the description says most of it, the catch remains in what is left unsaid- that the distant world is too full of common brutalities and familiarity stems from the contempt of not being brave enough to accept things at their truthful value. The most amazing part of the writing is the seeming ease with which blows are taken, Bhima’s ignorance that education is the only way out of her misery and slums, Sera’s carefully crafted world after years of abuse crashes around her and she prefers to look the other side, her effort to keep up appearances, her desperate quest for happiness and the terrible price she has to pay for it and Viraf, cold and gentle, menacing and ugly all colors played out in the blink of an eyelid. The greatest victory of this book is to bring out in force, the trueness of characters, driven by hope, misguided by optimism, disguised as despair and bound by a wavering thread of belief that life would deliver justice, for all its faults. A treasure, the book does not fall in the trappings of other Parsi writers and does manage to help us realize the spaces we surround ourselves with.

All Lost

The Lost Flamingoes of Bombay by Siddarth Dhanvanth Sanghvi is in many ways a treatise to every relationship which bloomed and withered, a city whose identity lies in its name and to characters whose destinies are lost for ever. What starts off as an ode to the world of stuffed riches quickly transforms itself into the story of inchoate loneliness and the memories and suffering it breeds. Sanghvi proves himself to be the sublime star of sexual innuendoes and innovative terminology. Ever heard of the National Index of Masturbation? Well, you find it here! A compelling narrative about how life plays havoc with four people interlinked with the sometimes quirky and the sometimes quixotic turns of life. Of Karan Seth, a photographer par excellence who mastery in his art is only rivaled by his determination to catch the spirit of Bombay, how he meets with his almost muse- Rhea Dalal, an erstwhile professional potter and currently a housewife who sees in him a spark and vitality resembling her own. Of Zaira, the reigning Bollywood Diva, who’s astounding beauty and sex appeal cannot get her away from a crazed stalker nor get her any closer to the man she loves and her warm relationship with Samar Soni, a piano prodigy who leaves his art and is at comfort knowing himself. Contemporary with a quintessential taste of longing, lust and love, the book appeals to everyone who has loved and lost. Witty prose, elegant narrative and eloquent description run parallel lines while the books enthralls the viewers with its grounded charm and quaint humor. It is impulsive sweeping you off your feet, raunchy without being apologetic and is compelling with its gritty takes on the issues surrounding us. The book plunges you to the lows of concurrent melancholy, raises you to the sky with its celebration of life, makes you laugh with its swipes at the amorous and leaves you seething in despair at the injustice churned out. Short listed for the Man Asian Literary Prize in 2008, the book is the celebration of delicious bursts of freedom, paradoxical relations and time honored prejudices. With its delightful little ironies and immaculate camaraderie, it reviles and regales you in equal measure!

Road to Revolution

What happens when two people meet and try to turn an ordinary life extraordinary? The answer to this powerful and pertinent question forms the crux of director Sam Mendes’s commanding and compelling movie, Revolutionary Road. Starring Leonardo Di Caprio as Jack Wheeler, a man stuck at a job he does not like but is too afraid to risk his stability for the unknown and Kate Winslet as April, his tempestuous wife who wants to gamble with life, take a chance and explore life without being inhibited. The movie is a treatise on the blows dealt by life and the desperate attempts made not to seek solace in the arms of the mundane. It traces the journey of a young couple caught in an everyday life, their doubts, their dreams and the destination they finally reach! Compelling without trying too hard, hard hitting without depending on melodrama, the movie is undiluted class. The effortless enthusiasm with which Kate Winslet slips into the role is original and awe inspiring. At times the endearing housewife who yearns to rekindle the lost passion and at times the embittered woman waging a lone and silent battle against mediocrity, the actress is remarkably composed and vulnerable. Bewitching and brave Kate Winslet radiates in the warmth of one of her best performances ever. Leonardo as the errant and unfaithful husband who does not want to give up his comfort zone is intense, powerful and extremely convincing. As a man caught in the crossfire between his wife’s dreams and his own incapacity to choose, he delivers a flawless performance which mirrors his virtuosity as an actor. Based on a Richard Yates novel this hard hitting drama is indeed revolutionary!

The fall and fall of Ekta Kapoor

There was a time when the name Ekta Kapoor inspired dread and envy in equal measures. As the tempestuous czarina of the small screen notched up one hit after another, there seemed to be nothing the blue eyed princess of small screen cannot get away with. Turbulent tantrums, abrasive anger and an almost legendary temper, no one could cross swords with her and not face peril (read extinction from the small screen). As she ruled the smaller screen she set her sights on the bigger one- movies, which ultimately heralded her free fall. Her Bollywood ventures did not live up to the enormous hype and she eventually gave it more of her time thereby neglecting television, her bread and butter! A producer whose volatile temper was well documented and who could make or break careers with a nod of her head (She famously changed the lead actors of her serials like Kasturi and Kavyaanjali overnight apparently because of the sagging trps) finds herself in a diffident situation today. Her flagship shows have made an exit from Star and with her megalomaniacal mahabarat’s untimely demise, Ekta suddenly seems extremely vulnerable. The chinks in her armor began to appear from the time she shifted her focus to the big screen. Her unrelenting grip and complete domination over her fiefdom was compromised and other shows charged ahead. Ekta Kapoor who made coquettish vamps and unbelievable generation leaps a rage suddenly finds herself out of sync with the audience’s tastes and preferences. With only four shows on air, Balaji Telefilms is at its most vulnerable point from the time it stormed the nation’s living rooms with the rib tickling Hum Paanch. Ekta has made it to the top thanks to her unflagging spirit, gritty demeanor and never say die attitude and while no one can really write her off-time alone will tell us whether the quirky queen will stage a comeback (like many of her memorable characters) and answer her detractors or reveal her clay feet and authenticate the claims of her critics who say that she was only a flash in a pan! Over to her highness!

Boom to Bust

There was a time when a serial on Doordarshan meant the penultimate glory. Family functions were postponed, meal timings were arranged in such a manner that no one missed any minuscule portion of a serial and television became the nation’s favorite pastime which was both addictive and alluring. From the charming Chitrahaar to the humility personified Hum Log, these reel life entities transcended their boundaries and loomed larger than life. The actors were real and wholesome entertaining was given the pride of place. Buniyaad, Fauji, Shanti, Swabhimaan, Dekh Bhai Dekh and Shriman Shrimati were only some of the serials with which people could identify with, chatter about them at impromptu places and relate to them as if they were an extension of their own life. They moved people with their piquant narration, had them in splits over innocuous humor and moved them with the compulsive play of human emotions. It was truly the golden era of Indian Television.

With the advent of cable television Zee took the reigns from DD becoming its legitimate heir, although it did not do such a holistic job, it did manage an enviable task-that of presenting to people the power of change. Serials like Tara, Banegi Apni Baat and Rishtey not only were path breaking but were also hugely successful in breaking stereotypes. They did not limit themselves to pose questions but also demanded answers. Breaking away from the moulds of propriety and chauvinism they played an instrumental role in the coming of age of Indian Television. With an assorted and assiduous range of soaps like Sailaab, Teacher, Campus and Hip Hip Hurray they succeeded in not only retaining viewers but also in attracting new ones. It was a path breaking era and one that explored hitherto virgin territories with finesse.

Circa 2000, entered Ekta kapoor with a magic wand and with her brought a change which would strip Indian Television of its simplicity and naivety. With Star Plus as home ground, she revolutionized television with her unprecedented success and a blitzkrieg to rival that of films. Garish saris and grotesque facial expressions became the order of the day and men became the weaker sex of the small screen. Kyonki, Kahani, Kahin Kissi Roz, Kahin To Hoga brought in TRP’s and money at an unparalleled rate. While the heroines became saintly and god like, vamps became meaner and more menacing. Idealistic Bahus were virgins, voluble and virtuous, capable of enduring inhuman agonies and anguish with a silly smile. It was a phase when Indian television changed forever.

Currently we are in the fourth stage where an alarming 63 channels jostle for attention, Real life Drama, expletives and abuses are all a part of an actor’s ensemble. There is no clear victor and the poor viewer is bereft of choices. Innovation is dead and formula is in. There is no clear winner today, everyone loses! The best entertainment is provided by 24/7 news channels!

Disclaimer:The article was Pt's brainwave not mine!

Jai Shri Krishna

Lord Krishna was supposed to personify the words- dark and beautiful. One look at the Lord Krishna in the serial “Jai Shri Krishna” on Colors dispels all preconceived notions. The God here is played by an amazing cute and endearing child who is winning over friends and foes alike with a charisma unheard of in a two year old! Targeting viewers of all age groups the serial has been wowing one and all as witnessed by its steady climb in the TRP charts. A prime time slot (at 8.30) has only helped the ratings zoom northwards. The cast consists of relative new comers who are content with playing second fiddle to the child. A remarkable feature is the amazing use of child actors all who are below the age of five. One can only imagine the effort which has been put it to extract such incredible performances.
The chemistry between the kids is crackling, be it during the portrayal of the doomed love between Radha and Krishna or the misadventures of Krishna and Balrama. The serial clicks because of its exuberant energy and the tacit handling of story which keeps viewers hooked and because of the deft manner in which it chronicles the childhood of one of India’s best loved Gods. It is also a medium through which children who are otherwise hooked to play stations and palmtops can learn about the age old mythological stories which define the paradigm of our cultural ethos. One commendable feature is that the serial doles out the all important message about the victory of good over evil without being too preachy or tedious. However a criticism which has dogged the show is that regarding the glamorization of innocuous childhood and indulging in certain liberties thereby trivializing the message imparted. What comes to its rescue is the fact that the presentation (especially in cases where children are involved) needs to evolve along with the generations to make them more relatable. The music, being immensely hummable blends itself in the narration. It goes on to prove that all one needs in dealing with epics like Ramayana and Mahabharata is simplicity and not gauzy sets, intrepid costumes and six packs unlike a la monster called (Ekta Kapoor’s)Mahabarata!

Shantaram

Shantaram, the amazing biography of Gregory David Roberts has had a buzz about it ever since it has hit the bookshelves. Candid, unobtrusive and irresistible in storyline and narration the book stands out for it description of the entity called life .At times awe inspiring and at times spine chilling this is the account of the author’s life, a beauteous journey which made him break out of an Australian prison and come to India on a forged passport, live in a slum as a doctor, work for the Mumbai Underworld and even fight against the Russians in Afganistan, every line of this fascinating book is profound and verbose. For a book of more than 900 pages to be a page turner is no mean feat and the author has done this with an amazing sense of alacrity. The supporting characters are well etched out and completely justify their use in the story line. One of the outstanding features of this book is the celerity with which it espouses philosophy which is all encompassing and includes everything from the Big bang theory to the ancient wisdom of India. The book is chronicled with examples and one liners which manage to convey the amazing depth of the writer’s thought process.
An astonishing fact is that the book was destroyed as many as six times when the author had first written it in the prison, it is but an exemplary example of the tenacity and grit of the author who has finished it in the face of such adversity with such élan! No aspect of life is left out and the nefarious ways in which life doles out blows to individuals who struggle to come to terms with the startling turn of events is captured in a compelling manner. Another quality which leaves a mark on the reader is the restrained lyricism of words which manage to leave a lasting impression. It is extremely easy for one to relate to the events unfolding in the book because of the sheer force of story telling employed. It poses questions, demands answers and induces many such incidents which are thought proving and gut wrenching.It also unleashes the hypnotic power of truth by concealing it in the simplest of words.
The greatest achievement of this book is however the manner and spirit in which it chooses to express itself, lines which seem commonplace but are not, incidents which seem trivial but are often hiding in them the mystical force of fate and the tacit method it employs to drive the point home-don’t ever give up! It manages to transport the reader to a world of adventure, triumph and sorrow with the usage of its exotic words and eclectic vocabulary. A survivor’s account the book is an uninhibited victory over odds. It coerces you to challenge its notions, seduces you only to spurn you and rivets you with unabashed fury. In a world where everything shiny sells,this book is the uncrowned and unparalleled king of understatement.

Nawab Sahib Qibla

Nawab Sahib Qibla, a play in the ongoing Qadir Ali Baig Theatre Festival is a humorous take on the decadent turns life takes. A presentation from the Rafi Theatre Production from Lahore the play managed to be both funny and thought provoking at the same time. With the Duration of a little over an hour the Play is aimed primarily at reviving the interest in theatre in Hyderabad. Presented in Urdu, it managed to elicit an eclectic mix of audience of both the connoisseurs of theatre and Plebeian youngsters experimenting with a very interesting (albeit dying) art form. The Play traces the journey of Nawab Sahib Qibla who falls onto bad times owing to his reckless spending and his trysts with women of ill repute. When he has to resort to selling his ancestral House and property he is amazed to know that the buyer is none other than his loyal Servant of umpteen years, Rehman(played by a slick and extremely convincing Usmaan Peerzada) who ends up not only as the master of the property but also manages to steal the girl the Nawab has eyes for! The Play written in the 1940’s is designed to be a comedy of manners. The simple set manages to successfully recreate the lost age of Nawabs complete with their love for repose and requiescence, the leisure of long evening talks, the music from the gramophone records complete with a hookah and a paan-daan!! The play is a wonderfully witted social satire on the ways and follies of the Rich. A scene which succinctly explains this fact is when the Nawab is asked to take up some work by his Lawyer to substantiate his mearge earnings, the Nawab responds by saying “ Koi Kaam Nahi”, an attitude which speaks volumes about the laid back lifestyle of the Nawabs.(Something which us Hyderbadis can instantly relate to as we are the true inheritors of the Nizami-Nawab Culture). Muhammad Qavi Khan, an eminent Pakistani Theatre artist brings to life the Character of the Nawab, a man who has lost all his fortune but seeks to ward off the impending crisis by selling off the last remaining dregs of his ancestral Property. With his subtle acting overtones and delightful comic timing he delivers a flawlessly refined performance. The high point of the play comes right at the end when the role reversal of the Master and Servant is shown ironically in the Salaam which the Nawab gives his Servant who is the New Owner of His House!Times do change fast and how!! The only sore point was the continuous ringing of mobile phones,which did manage to irritate a few and infuriate the other few! All in all a refreshing Concept which adds a new dimension to a genre called sophisticated comedy!

Balika Vadu

Balika Vadu,the latest show on colors is grabbing quite a few eyeballs of late.Set in rural Rajasthan the show deals with a refreshingly different and relevant social theme-child marriages,which is still a common practice in many parts of Rajasthan,Uttar Pradesh and even in the tribal parts of Andhra Pradesh!The story deals with Anandi(Avika Gaur who essays the role with amazing dexterity and is a true find),married at an early age and how she finds her feet in a rich household under the severe gaze of her grand mother in law Kalyani(Surekha Sikri,the national award winner playing the curmudgeon with a heart with unrivaled finesse)with help from her understanding in laws who are quite helpless to go against the wishes of Kalyani.It also shows the pain of Bhairav who wants to treat his daughter in law like his own child and has to deal with a dominating mother with her orthodox beliefs and Sumitra(Sadia Siddiqui who emotes wonderfully through her eyes)trapped between her duty as a daughter in law and her love for her son's wife who is after all a kid.Why does this show strike a chord? Because it strikes a chord between the demands of a TRP driven world of competitive television and the need to deliver a hard hitting social statement.Because the kids have done an amazing job and so has everyone around them.Because it is a refreshing change from the overdressed and over rated soaps which rule the roost today.Because even the social message flashed at the end of each episode is extremely endearing.Because the kids behave their age,don't mouth irritatingly smart one liners and do not behave like wannabe adults.Well shot without the irritating and needless zooming of camera it succeeds in bringing out the vibrant hues of Rajasthan through it's dexterous use of colors and sights.It tells us that widows are,even in this age of Ipod's and Botox treatments,subjected to incorrigible behavior by their own kith and kin.While credit should be given to the casting directors,the producers also should be given credit for treading on a off beaten bath.Through it's subtle narration and novel interpretation it reminds us of a time when television was a medium to deal with serious societal issues.The show has come under criticism from some quarters because it uses kids as props...but then how do you address issues related to children if you don't use them?Another reason it has been rebuked is because it is too dramatic but then dosen't melodrama add it's own zing to things at times? A sensible start has been made,my own hope is that it treads on similar grounds and comes to a logical ending rather than to keep wandering for years!