5 seconds into a Mithun-da song: The guitarists wield their instruments like phallic objects.
Archive for the 'Mithunda' Category
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You learn something everyday. Being an ardent fan of Prabhuji Mithun, I thought I knew most of what there was to know about him.
I was wrong.
I did not know there was a high-demand variety of powerful bulls named after Mithun-da.
Inspired by Frans Johansson’s “The Medici Effect” with its theme of how innovation can be made to happen by mixing disparate cultural influences in unusual ways, I have decided to unleash the Greatbong signature line of clothing, a heady cocktail of Mithunism, voodoo art, intellectual bankruptcy and the desire to make a buck.
Frankly the need to get into the garment design industry is something I have felt for long—the world desperately craves for a line of fashion that appeals to an alternate aesthetic, apparel that pokes you in the eye with a statement, a collection of garments that cry out “This IS me”, a force of nature that does to the “Gandhi” penstroke and the Che-Bob Marley T-shirt design what Attila the Hun did to the Roman Empre.
[This post has some video clips (each less than 2 minutes) I uploaded to Youtube. You need to keep "sound on" to appreciate them to the fullest extent]
Agar tujhe halwa khana hain, to tujhe dance karna parega. Dance dance.
–Dance Dance
I love dance. Indian movie dance specifically, not the ta-thaiiya classical stuff. I am way too much of a Philistine to understand the subtle interplay between Abhinaya, Laya and Ang. Accepted.
But of late I have become jaded by the endless stream of remixes, item numbers and special appearances all of which feature girls who are virtually indistinguishable from each other, possessing unrealistic curves, wearing little more than lingerie dancing under flashing lights or pouring rain.
Jaded yes. By the mind-numbing predictability. And by the sheer disconnect the moves of the dancers have with those of real-life folk —you, me, Sujata auntie and Probir uncle.
[Warning: Long post]
Taran Adarsh, India’s greatest movie reviewer EVER fires a salvo at those whom he dubs “pseudo journos with zero knowledge of film-making and business”.
Which I think includes me.(blogger=pseudo-journo)
Now KABHI ALVIDA NAA KEHNA faces the flak. So what’s new? Nothing. It’s the same old story. The moment a big film hits the screens, a section of the film industry [also include some pseudo journos with zero knowledge of film-making and business] has a constipated look on their faces. Text messages degrading the film fly left, right and centre. ‘It wouldn’t sustain beyond Friday’, ‘Bakwas hain’, ‘The director has lost it’, ‘Paisa kamaya, par reputation khatam’ Haven’t we heard all this and more [the nastiest of talk] before? Let’s not forget, a tree which bears fruits is always stoned. Jo hain naamwala, wohi to badnaam hain.
Indeed. He exhorts:
Why are we so skeptical when it comes to embracing bold themes? Why should Hindi cinema be confined to those three/four stories that are as old as the hills? Why shouldn’t we welcome changes?
So here’s a pseudo-journo’s challenge to Mr. Adarsh. I am going to review KABHI AAGE KAABHI PEECHE — a movie which only I have seen as of yet and which will be released to the general public during Deewali. I am going to try to review it using a style heavily internalized from the great Mr. Adarsh. (Kindly refer here for the gold standard).
The question is: ” Can there be a “bolder” movie than the one below? Are the Indian audiences mature enough for this?”
Read on. And try to find the answers.
R