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You are here: Home / Archives for Culture & Society

"I am playing the lead role in "Makad Jaala" albeit with negative shades": Amit Pundir

April 19, 2015 by Shaheen Raaj

Amit Pundir

Hailing from Meerut the bronze & brawny actor happens to be a farmer’s son but has always nurtured dreams of being an actor since childhood.

Amit avers, “Basically I am from Meerut but since last 8 years I am in mumbai trying to make it big in Tinsel Town. My father is a farmer and I have completed my academic qualification from C C  University in Meerut. At last my dreams have come true and I have got a chance to play lead role of Rana in ‘Makad Jaala’, albeit it is a negative role with soft romantic touches. I am enacting the character of a big bad boy who is into eve teasing and what not, but he finally mends his ways. And I am very thankful to my director Dinesh Kumar Sahoo, my co – star Ashmita Bakshi and the entire team of ‘Makad Jaala’ for their sincere & utmost cooperation. My expectation from ‘Makad Jaala’ is good and whoever sees this film will miss his college days and will also get a good message. I am looking out for meaty roles. Things are in the pipeline. Let’s see what happens till then I am keeping my heart, fingers & toes crossed.”

Filed Under: Film Tagged With: Amit Pundir, Bollywood, Film, Makad Jaala, Movie

"In 'Makad Jaala-A Poilitical Trap' I am playing a lead role of a character who is a bold & bindaas girl": Ashmita Bakshi

April 19, 2015 by Shaheen Raaj

Ashmita Bakshi

Ashmita Bakshi, an extremely beautiful girl from Aamchi Mumbai has no qualms in accepting that she had absolutely no connections in Planet Bollywood. Neither did she had any dreams of becoming a celluloid silver screen heroine. Besides she is frank enough to admit that probably her filmic journey may have gained its roots from her college days when like any other bubbly girl even she had taken part in the dance competition & fashion shows of the intercollegiate festival. Anyways Ashmita is now already 1 film old. Her debut film ‘Black Home’ was released just last month and now she is waiting with batted breath for the release of her next film titled ‘Makad Jaala – A Political Trap’.

Ashmita Bakshi

Ashmita avers, “I was born & brought up in Mumbai. You can say that I am a typical Mumbaite girl, an IT graduate topped with an MBA degree. I stay with my family who are absolutely non – filmy. And of course I have no filmy connections whatsoever to my credit. I had never thought even in my wildest imagination that even I would don the grease paint & face the arc lights. So as I was telling you I did take part in the dance competitions & the fashion shows in the intercollegiate festival. Which eventually got me interested to try my hands at acting in films. And luckily for me one of my film titled ‘Black Home’ has already been released on 20th Mar, 2015, In which I did an important character. And now my upcoming film ‘Makad jaala-A Political trap’ is all set for release on 24th Apr, 2015. In ‘Makad Jaala-A Poilitical Trap’ I am playing a lead role of a character whose name is Neha and who is a bold & bindaas girl, one who loves her boyfriend Rada (Amit Pundir) but at the same time I even slap him when he tries to go in the wrong track. Neha potrays the role of a strong headed girl. Personally too, i am a strong supporter of what is right. Strangely enough even before the release of  ‘Makad Jaala-A Political Trap’ I started getting good roles in movies in lead. It changed my life, thanks to my director Dinesh kumar Sahu. I should also thank my co-actor Amit Pundir and the entire team of ‘Makad Jaala-A Political Trap’. To sum it up I would say that I  have more films coming up. One of them is titled ‘Honeymoon Hungama’. No doubt I am playing the main lead in it and for which I have just completed the shoot. I have 2 more films lined up but I shall reveal their names once I sign on the dotted lines.”

Filed Under: Film Tagged With: Ashmita Bakshi, Bollywood, Film, Makad Jaala, Movie

Movie Review: 'Mr. X' is no patch on the scores of other films made earlier based on the invisible genre

April 19, 2015 by Shaheen Raaj

Mr_X_Film

Banner: Vishesh Films
Presenter: Mukesh Bhatt
Producer: Mahesh Bhatt
Director: Vikram Bhatt
Cast: Emraan Hashmi, Amyra Dastur, Arunoday Singh, Somnath Mahto, Bikramjeet Kanwarpal, Tanmay Bhatt & Gurmeet Choudhary
Music: Jeet Ganguly, Ankit Tiwari, Ankur Tiwari & Raju Singh

Following the trail of the Ramsay Brothers, the horror masters of the bygone era, Vikram Bhatt of late had become the uncrowned king of the horror genre. But he has seriously & erroneously erred this time around by treading on a completely diverse genre of sci – fi in his latest offering ‘Mr. X’. As nothing, but nothing at all seems to work in favor of the invisible Mr. X, no not even the 3 dimensional VFX specials effects.

Inspector Raghu Ram, an officer with the Anti Terrorist Department (ATD), in lieu with his colleague cum fiancée Siya Varma (Amyra Dastur), are trying to save a bus full of passengers that’s about to be blasted by a human bomb. Next, just when Raghu Ram & Siya are about to enter into a wedlock, Raghu Ram is once again sent off on a mission  by his superior Bharadwaj (Arunodaya Singh). Raghu Ram escapes after completing the mission. The cops are on his trail but he gets caught by Bharadwaj and his men, who beat him mercilessly and leave him to die. That’s when his friend Popo (Tanmay Bhatt) takes him to his scientist sister, who treats him with an ‘experimental potion’. Even though the potion cures his disfigured body, it lands up making him invisible. He can be seen only in sunlight & ultra violet light. Taking advantage of his invisibility, Raghu starts operating under the name of ‘Mr. X’ and the nightmare in the film in tandem with the audience, watching the antics of ‘Mr. X’ continues.

This latest film ‘Mr. X’ from the Bhatt Empire miserably fails to grab the eyeballs of the viewers. Barring one or two films made earlier on the invisible genre the others have flopped miserably. Not one department of ‘Mr, X’ can be credited for making this film even slightly entertaining to hold the viewers attention. Living up to his image of a serial kisser Emran Hashmi tries to kiss his heroine in an invisible avatar too and this kissing scenario too looks so creepy & corny.

Performance wise Emran Hashmi just sleep walks through his role, as more than half of the screen time he is presented in an invisible avatar. Amyra Dastur too disappoints in her 2nd outing. In fact she appears as a total misfit as Bhatt Empire’s heroine. The extemely talented Arunoday Singh does not get enough scope to prove his histrionics.

Tailpiece: Stay miles away from this ‘Mr. X’ unless you yourself want to end up as an invisible entity.

Filed Under: Film Tagged With: Amyra Dastur, Bollywood, Emraan Hashmi, Film, Movie, Movie Review, Mr X, Vikram Bhatt

Movie Review: Court: A Tale of Law and Injustice

April 18, 2015 by Nasheman

Now running in theatres, Court, an award-winning multilingual drama, studies caste and criminalisation of political dissent through the prism of judiciary.

Chaitanya Tamhane Court

by Manisha Sethi

Baap sarkar… O lord, our Master

How you wield the sword

That stabs the heart

That smashes all life!

With one shot of your gun

The best of people are downed

Down in the dumps!

Yet you did not muffle me

Showed me the courtesy to try me in court

How you rendered a favour unto me

O’ how you rendered a favour to me

Baap sarkar… O lord, our Master

So sings Narayan Kamble upon being released on bail. This ‘ballad of gratitude’ exposes the violence that lies at the heart of law. It places the machinery of law at par with the swords and guns that smash and drown people, much as it may pretend to be its exact opposite.

The Court follows the trial of Narayan Kamble, an ageing ex-mill worker, now part-time tuition teacher and full-time balladeer who sings at street corners, at Ambedkarite meetings, and among workers. Kamble is arrested for abetting suicide of a manhole cleaner who is found dead in the gutters, just days after Kamble has sung his rousing songs in the slum of the now dead man. The prosecution’s case is as follows: How could a man who had cleaned gutters for five years as a contract worker with BMC, who was well aware of the hazardous gases that filled these hellholes, have descended down without proper protection? The absence of any safety equipment amounted to deliberate ignorance of safety norms by the deceased. The dead gutter cleaner had been coaxed and incited by Kamble’s song to inhale toxic gases to gain dignity and respect.

While it may appear to be a satire – and it almost is, given the incredulous charges against Kamble, and even flimsier evidence supplied by the police to support the prosecution’s case – the troubling thing about this plot is that it is wholly plausible in today’s India. There are shades of the Kabir Kala Manch trial as well as Binayak Sen’s, and countless less reported ones. The evidence – recovery of books either never banned, or banned by the British almost a century ago; a stock witness who testifies for the prosecution in several cases; and a letter from a friend in jail urging Kamble to look after his ill mother presented as a conspiracy in code language – is fairly typical of such cases.

Kamble sings, “truth has lost its voice”. But the film also shows us how ‘truth’ is produced in the courtroom. The messy and unruly claims and counterclaims enter the records through the dictation of the sessions judge, cleaned and flattened, in the service of law. In his cross examination by the public prosecutor, Kamble denies having written or performed the song “Manhole workers, all of us should commit suicide by suffocating inside the gutters”, which may have triggered the suicide in question.

“Ok, have you written such a song?

“Not yet.”

“So you might? You don’t mind?

No.

“Note”, tells the judge to his typist, “The accused is claiming that though he has never written or performed such a song, he doesn’t mind doing it either.”

The judge shakes his head, as if to suggest that this admission on Kamble’s part of the possibility of writing such a song in future is as good as an admission of guilt.

Anti-terror laws have raised the pursuit of the slippery and elusive “intention” into a weighty legal category.  This, combined with the widest possible meaning of terror acts (as the public prosecutor says, “it could be bombs or chemical, or any other means of whatever nature, includes anything”), has made it legally possible to criminalize practically every opinion that the government may dislike.

To those of us reared on a diet of Sunny Deol venting his fury about “tareekh, tareekh aur tareekh”, The Court offers a very calm, even resigned, look at the workings of our lower judiciary.  It unravels the socially conservative skeins of the judiciary: the public prosecutor enjoys an evening out watching anti-immigrant Marathi theatre and wishes that the judge would sentence the accused to 20 years in prison and relieve her of boredom; the judge who gently reprimands the police for not following the police procedure manual during search and seizure and yet doesn’t throw out these tainted seizures; who refuses to hear a litigant who has appeared before him in a sleeveless dress, because it violates his sense of dress code in the court.

The Court is the story of the criminal justice system as well as those it has abandoned: the dead gutter cleaner who drinks himself to insentience so that he can clamber down the manhole, who throws a pebble into the filth and waits for a cockroach to appear so that he knows that there is oxygen down there, who has lost an eye to the deadly gases. This man’s degradation is turned into material evidence of Kamble’s guilt. The Court shows us that law may only rarely be about justice. It is a requiem for gutter cleaners, for the balladeers who sing the truth, for the ideal of justice – and indeed, for all us.

Manisha Sethi is the author of Kafkaland: Prejudice, Law and Counterterrorism in India (Three Essays Collective, 2014). A slightly edited version of this review was first published in The Hindu Business Line.

Filed Under: Film Tagged With: Chaitanya Tamhane, Court, Dalit, Dalits, Film, Movie, Movie Review, Political Prisoners, Prisoners, UAPA

Southern Movies Round Up

April 16, 2015 by Shaheen Raaj

Ennum Eppozhum

As compared to films produced in Bollywoodian & Hollywoodian Cinema arena, South Indian Cinema is rapidly & regularly progressing by churning out its own brand of gems of milestone movies in all the 4 languages namely Kannada, Malyalam, Telugu & Tamil. In an exclusive Nasheman.In, Shaheen Raaj will present a sneak preview of the productional happenings of Southern Cinema every fortnight. Time to stay tuned in.

Vishal & Suseendran Join Hands Again

Vishal & Suseendran join hands again. Here’s the complete details of ‘Paayum Puli’ 2015. After ‘Naan Sigappu Manithan’ Vishal is 2nd time lucky to get the title of yet another superstar’s mega hit movie of the 80’s namely ‘Paayum Puli’. This film brings back Vishal & Suseendran, who earlier on gave the super hit film namely ‘Paandiya Naadu’. Vendhar Movies is the producers of ‘Paayum Puli’ 2015 & Kajal Agarwal is the heroine while Samuthrakani, Soori, Jayaprakash, Murali Sharma & Anandraj play supporting roles.  D. Imman scores the music for Vairamuthu’s lyrics & ‘VIP’ director Velraj handles the camera.  Editor Anthony, Art Director Rajeevan, Stunt Master Anal Arasu & Choreographer Shobi form the core team.

‘Purampokku’s Release Date Locked!

The release date Arya’s next multi starrer film ‘Purampokku has now been  locked. Director S. P. Jananathan’s stylish multi starrer ‘Purampokku’  featuring Arya, Vijay Sethupathi, Karthika Nair & Shaam is now releasing on 1st May, 2015 and Disney UTV chief G. Dananjayan confirmed this on his micro blogging site. The film touches the sensitive issue of capital punishment and is in the political thriller genre. Arya is said to play a social & financial analyst while Vijay Sethupathi & Shaam play a railway coolie & police officer respectively.  Karthika Nair the heroine has performed some risky stunt sequences and it is evident from the trailer that production value is on par with Hollywood flicks.

2 Dates Set For The Release Of ‘Kanchana 2’

2 dates have recently been set for the release of Raghava Lawrence’s ‘Kanchana 2’. After ‘Muni’ & Kanchana’, Raghava Lawrence’s long in the making ‘Kanchana 2’ has created a huge buzz in the industry and among fans after the posters were released a few days back. Raghava Lawrence has already released the trailer of the movie and the comedy horror will hit the screens on the 16th Apr, 2015.

Raghava Lawrence is enacting 6 different roles in ‘Kanchana 2’, which also has Tapsee Pannu, Devadarshini, Kovai Sarala, Raghava’s brother Vino & Nithya Menon in a special appearance.  Music score is taken care of by S. S. Thaman & Sun Pictures are releasing this film after a long gap.

Anushka’s magnum opus ‘Bahubali’ release postponed to July, 2015.

Anushka has put in tremendous hard work for almost 2 years to play the female lead Devasena in S. S. Rajamouli’s bilingual  ‘Bahubali’.  Anushka has undergone vigorous training in sword fighting as part of her homework for the magnum opus. ‘Bahubali’ was scheduled to be released on the 15th of May, 2015 but the film could be postponed by more than a month to sometime in July, 2015 as there is delay in the extensive post production work. Prabhas & Rana Dagubatti play warring brothers in ‘Bahubali’ and the top notch supporting cast includes Sudeep, Tamanaah, Sathyaraj, Ramya Krishnan & Nasser. Madan Karky is responsible for the Tamil dialogues while M. M. Keeravani scores the music.

Nora Fatehi The ‘Temper’ Girl To Star In ‘Baahubali’

Nora Fatehi the ‘Temper’ girl will also star In ‘Baahubali’. Nora Fatehi, who sizzled in an energetic item number in NTR’s super hit film, ‘Temper’, is going to do a special song in ‘Baahubali’. S. S. Rajamouli is said to have been very impressed with Nora’s dances in ‘Temper’ and roped her for the song. Of late she has been rehearsing for the song and will soon join the shoot. ‘Baahubali’ work is nearing completion.  and the film is scheduled for a release on 15th May, 2015.

Tamil Actor Rajinikanth Meets Kannada Director Pawan Wadeyar

Tamil actor Rajinikanth meets Kannada director Pawan Wadeyar. Of late Rajinikanth has been going through a rough patch in his career. His recent movies bombed at the box – office and the Super star has been contemplating with which director he has to work with for his next, so that he will bounce back in full form. There are many speculations about the director of his next movie. Some days back it was alleged that A. R. Murugadoss will direct the movie and Aascar Ravichandran may direct it.

But surprisingly Rajinikanth recently met Kannada director Pawan Wadeyar of ‘Potugadu’ fame and this meeting has sparked new speculations that both of them are going to team up soon.

The Film ‘Legend’ Creates New Records

Of late Balakrishna’s blockbuster movie, ‘Legend’, released last year, has created a new record. At a time, when movies are being out of the theatres in just one or two weeks, ‘Legend’ completed 365 days run in 2 theaters and is running towards 400 days. This film, which set the cash registers ringing at the box – office with huge collections, has completed 365 days in Mini Shiva theatre in Emmigannur, Kurnool district with direct four shows. It also completed 365 days in Proddutur (56 days in Arveti theatre & 310 days (single shift 4 shows) at Archana theatre.

The Official Release Date Of ‘Kick 2’ Has Now Been Confirmed

The official release date of ‘Kick 2’ has now been confirmed. Kalyan Ram, who scored a super hit this year with the film, ‘Pataas’, is producing ‘Kick 2’ with Ravi Teja & Rakul Preet Singh in the lead roles. Surender Reddy is the director of this film. 2 songs were shot  in Switzerland and this schedule was completed on 31st Mar, 2015. With the song which starts on 3rd Apr, 2015 at Annapurna Studios, the total shooting will be completed. The makers are planning to release the movie worldwide on 7th May, 2015. Bollywood actor Nikitin Dheer of ‘Chennai Express’ fame is playing the villain in this film.

‘Ennum Epozhum’ & ‘Oru Vadakkan Selfie’ Hits The Marquee

Mohanlal & Nivin Pauly recently met face to face as their movies ‘Ennum Epozhum’ & ‘Oru Vadakkan Selfie’ respectively hit the marquee. Both the movies have upped much anticipation with a lot many factors working for both of them. While the hit team of ‘Malarvadi’ has rejoined for ‘Oru Vadakkan Selfie’ (OVS), the Sathyan Anthikad helmed ‘Ennum Epozhum’ with the star combo of Mohanlal & Manju Warrier also held much promise. Both the movies were expected to do well at the box office.

Aashiq Abu’s ‘Rani Padmini’ is on track.

Aashiq Abu’s next film ‘Rani Padmini’ is right on track despite rumors that one of the lead actresses has been dropped out of the project. The graphic poster of the film has also come out, depicting the 2 lead actresses of the film, Manju Warrier & Rima Kallingal, announcing that the movie will begin rolling soon.

Aashiq Abu has already clarified that the movie is an experimental one which will have the 2 women’s journey. The physical journey that takes them across various terrains throughout India also bring about a strong bond between them and works towards revealing & healing their emotional quotient.

‘Local Train’ Song Canned

A song for ‘Local Train’ was recently canned. The number “Saniha Saniha Noduththiddare Neenu Noduththiddare…….!” featuring Madarangi Krishna & Estar Naronha was captured in the choreography of Chinni Prakash for ‘Local Train’. This film’s earlier name was ‘Chinna Chinna Aase’. A film by Sanjana Cine Arts SH Walke maiden production erected a set for the song penned by Jayanth Kaikini to shoot at Kanteerava Studio. N. Rudramuni has penned the story & the screenplay and also directs this film. For the songs of Arjun Janya 2 famous lyricists Dr V. Nagendra Prasad & Jayanth Kaikini have penned the songs. Keshavaditya worked on the dialogues, Ramesh Babu is cameraman, PR Sounder Raj is editing, Ram Shetty & Ramesh have directed the stunts & Ishwari Kumar art direction are part of the ‘Local Train’.

‘Ugraksha’ Rolls

A new film ‘Ugraksha’ rolled recently. After ‘Ugram’ success a similar sounding title ‘Ugraksha’ went on the floosr recently. An action packed film by Bharat Kumar of Hoskote starring Abhinav Shreyas was clapped for the 1st shot by Karnataka Rakshana Vedike Swabhimani Association Krishne Gowda. KFCC President Thomas D Souza switched on the camera. R Vidhaa has penned story, screenplay, dialogues besides direction for the film.

Murali Krish is cameraman and M Sanjeev is music composer. Deepika Kamayya is female lead in this film with Tabla Naani, Sharat Lohitashva, Arun Sagar, Victory Vasu, Muni, Bank Janardhan, Sudhakar, Ugram Manju, Kempe Gowda, Chandan, Dharmatej, Chandan Gamya, Sowmya, Suvarna et al in supporting roles.

Filed Under: Film Tagged With: Film, Movie, SOUTH INDIA

Movie Review: The Water Diviner

April 16, 2015 by Shaheen Raaj

The Water Diviner

Producer: Troy Lum, Andrew Mason & Keith Rodger
Director: Russell Crowe
Star Cast: Russell Krowe, Olga Kurylenko, Jai Courtney, Dylan Georgiades, Sem Yilmaz & Yilmaz Erdogan et al
Genre: Historical Period Drama
Verdict: Good. Worth Watching

Debutante director Russell Crowe’s The Water Diviner is no doubt an entertaining war fare, albeit a bit contrived and artificial as far as its emotional quotient is concern. It is a historical period drama set in Australia and Turkey during the first world war.

Plot: The scenario opens in 1919 after the end of world War I. Joshua Connor (Russell Crowe) an Australian farmer and water diviner returns home one fine day, when his spouse Eliza Connor (Jacqueline McKenzie) is still seen grieving as her 3 sons have not yet returned home from war even after a lapse of 5 years. At last fearing them to be dead Eliza commits suicide and Joshua sets off in search of his missing sons. But Joshua meets with a lot of resistance until Major Hasan (Yilmaz Erdogan) advises captain Lt – Col Cyril Huges (Jai Courtney) to allow Joshua to search for his sons.

Aces: Russell Crowe’s debut directorial finesse as well as the par excellence performances by the trio of Russell Crowe himself in tandem with Olga Kurylenko and Jai Courtney with adequate support from the rest of the cast. Not to forget the brilliant cinematography by Andrew Lesnie.

Minuses: If only it was a purely cross cultural family melodrama and not served as a cocktail of war film.

Last Word: A heart touching tale of a father and his missing sons

Filed Under: Film Tagged With: Film, Hollywood, Movie, Movie Review, Olga Kurylenko, Russell Krowe, The Water Diviner

Vivek Oberoi to get Dada Saheb Phalke Film Foundation award

April 15, 2015 by Nasheman

Vivek Oberoi

Mumbai: Vivek Oberoi who has starred in over 30 films and best known for his powerful portrayals in hits like Company, Saathiya, Masti, Omkara, Grand Masti and Krrish 3 among others was chosen for the prestigious Dada Saheb Phalke award, the highest official recognition for film personalities in India.

The actor who’s also known for his social causes was pleased to learn that the honourable jury members have unanimously decided to confer the Dada Saheb Phalke Film Foundation Phalke Pride award 2015 to him for his excellence, dedication and versatility.

Veteran actor Shashi Kapoor’s name was selected for this year Phalke awards. And industry’s stalwarts like Amitabh Bachchan, Gulzar, Pran, Manna Dey, Dev Anand, Hrishikesh Mukherjee among others in the past. Last year, Jeetendra, Farhan Akhtar, Juhi Chawla, Sunidhi Chauhan and Kapil Sharma won the prestigious award.

Vivek excitedly says, “It’s a huge honour and I’m quite honoured and humbled to receive the award at such an early stage of my career. Thank you for this encouragement so I can keep bettering myself with every piece of work that I do.”

(Agencies)

Filed Under: Film Tagged With: Dada Saheb Phalke Film Foundation, Vivek Oberoi

In final interview, Günter Grass warned against 'war everywhere'

April 15, 2015 by Nasheman

German writer, who died on Monday, was known by some as the ‘conscience of his generation.’

Günter Grass died April 13, 2015.

Günter Grass died April 13, 2015.

by Deirdre Fulton, Common Dreams

Nobel-award winning author and social critic Günter Grass, who died this week at the age of 87, said in his final interview that he worried humanity—now 15 years into the 21st century—could be “sleepwalking” into another world war.

“We have on the one side Ukraine, whose situation is not improving; in Israel and Palestine things are getting worse; the disaster the Americans left in Iraq, the atrocities of Islamic state and the problem of Syria,” he told the Spanish newspaper El País in the interview, which took place at the author’s home in northern Germany on March 21 and was published Tuesday, the day after his death.

“There is war everywhere; we run the risk of committing the same mistakes as before; so without realizing it we can get into a world war as if we were sleepwalking,” he added, also expressing concern about climate change and overpopulation.

The novelist, poet, playwright, and essayist, who pushed his fellow Germans to confront even the most controversial aspects of their history, was known by some as the “conscience of his generation.”

On Monday, the Guardian compiled a video of mourners paying tribute to the author:

Filed Under: Culture & Society Tagged With: Günter Grass, Literature, The Tin Drum

From the pages of Dr. Ambedkar's Mook Nayak

April 14, 2015 by Nasheman

The following is the first editorial (translated from Marathi) written by Babasaheb Ambedkar for the very first issue of Mook Nayak published in January 1920! This translation was first published in July 2010 by Dr. Babasaheb Ambedkar Research Institute in Social Growth, Kolhapur. Translated by Dr. B.R. Kamble.

Dr. Ambedkar addressing a conference at Ambedkar Bhawan, Delhi, 20 May 1951.

Dr. Ambedkar addressing a conference at Ambedkar Bhawan, Delhi, 20 May 1951.

Mumbai, Saturday 31st January 1920 [Issue No.1].

If anyone throws his glance on the Indian physical and social world as a spectator he will undoubtedly find this country a home of glaring inequality. Despite the blessings of nature and the things produced in abundance the growing inequality of poverty is so much in existence among the Indian masses that it can be easily noticed by anybody even in his unmindfulness. But no sooner he notices the inequality of poverty among the masses he does not fail to notice the social inequality that exists among the people and this inequality is like the elder sister of the former making the younger one ashamed of it.

Inequality that exists among Indians is of many forms. Inequality due to physical differences and also due to racial differences which is quite common everywhere is also found here. Black-White, tall-dwarf, straight nosed and snub-nosed.Arya- Anarya, Gon=Knod, Yavani-Dravid, Arab, Irani etc. are the differences that surface clearly in some places and though not as clearly defined but they exist in other places in latent form and in some other places in stable form. Religious inequality exists in more severe form than physical and racial inequality. The quarrels and struggles emerging out of religious inequality in several instances go to the extent of blood shedding. No doubt that Hindu, Parsi, Yahudi, Musalman, Chrisitan etc. stand as the walls of religious inequality but more than this if we see with our own subtle eyes the existing inequality among the Hindus we find its form much beyond our imagination and also worth condemning.

The Mang, the Brahmin, the Shenvi, the Maratha, the Mahar, the Chambhar, the Kayastha, the Parsi, the Kori, the Vaishya etc. are the different castes that exist in Hinduism and these are mentioned as this is a Mahar, this is a Brahmin etc.

One need not tell the Hindus how caste feelings among them are more deep-rooted than the feelings of religious oneness. If a European is asked who is he? On his answer that he is an Englishman, a German, a French or and Italian we are satisfied. But this is not so with the Hindus. If one says that I am a Hindu, no one will be satisfied. He must reveal his caste. This means to reveal their humanity the Hindus have to reveal their inequality at every step.

This inequality among the Hindus is as incomparable as it is hateful. Mutual dealing among the Hindus based on their inequality does not suit the character of Hinduism. It is clear that the castes that exist in Hinduism are inspired by the feelings of high and low. Hindus society is just like a tower which has several stories without a ladder or entrance. The man who is born in the lower storey cannot enter the upper story however worthy he may be and the man who is born in the upper storey cannot be driven out into the lower storey however unworthy he may be.

This means it is clear that the feelings of inequality among the castes are not based on the merit or demerit of individuals. The man born in a high caste, however unmeritorious he may be is always regarded as high whereas the man born in a low caste, however meritorious he may be, must always remain low. Another thing is that due to the prohibition of inter-dining and inter-caste marriages each caste has remained aloof from the growth of mutual intimate love. Even if the question of their mutual intimacy is kept aside they are also not free in their mutual dealing even in external matters. Some people’s dealing is only up to their doors. Some castes are regarded as untouchables which means that their touch pollutes other castes. Because of this notion of pollution the untouchables rarely come in contact with other castes. The alienation produced by the absence of inter-dining and inter caste marriages has fostered the feelings of touchables and untouchables so much that these touchable and untouchable castes, though a part of the Hindu society, are in reality living in worlds apart.

Because of this existing Hindu social system the Hindus form in them the three social classes namely the Brahmins, non-brahmins and the depressed classes. Similarly, if attention is paid to the effects that this inequality has produced it will be seen that it has produced different effects on different castes. Of course the Brahmins who are the highest in social grade feel that they are gods on earth. Therefore, this inequality is advantageous to these gods on earth who think that all other castes are born only to serve them. Therefore, by their self-created privileges they are enjoying the fruits of their social position exacting the services of all other castes. If they have any work to their credit, it is only the collection of knowledge and the writing of religious scriptures. But scriptures are full of contradictions and inconsistencies in matters of thought and practice. The writers of these scriptures seem to have been under the influence of intoxication while writing these works otherwise they would not have tied the high thinking and bad practices together. Because on one hand the philosophies in their scriptures preach that both living and non-living are the forms of the same god but on the other hand there is seen an extraordinary inequality in their practices. This is not a sign of them being in their senses.

Right or wrong these Shastras have made enormous impact on the minds of the innocent masses. That the masses are worshipping their enemies as gods on earth, who will accept this? It is easy to understand why the masses have clung to the harmful slavish religious practices worshipping their enemies as their benefactors.

The Brahmins, thinking that if the masses are kept ignorant they can be driven out to any direction, have kept the knowledge confined to them alone making it as their sole monopoly, and the masses thinking that this is their own real religion are following it. There are enough examples of Brahmins during their rule punishing those non-brahmins who inspite of the Brahmins warning that acquiring the scriptural knowledge is not their profession, tried to acquire that knowledge either openly or secretly.

It is clear that in the absence of authority and knowledge non-brahmins remained backward and their progress was arrested but at least poverty was not their lot. Because it was not difficult for them to earn their livelihood throughagriculture, by trade and commerce or by state services. But the effect of social inequality on the people called untouchables has been devastating. The vast masses of untouchables are undoubtedly sunk deep into the confluence of feebleness (helplessness), poverty and ignorance.

Meanness produced by their slavery with which they have been used to for many years is keeping them backward. They think that the wretched condition in which they are placed is their lot and it is god ordained. This thinking can be removed from their mind only by imparting knowledge (education) to them. But the costly education is a purchasable commodity and the untouchables because of their poverty are unable to purchase it and even if few of them are able to purchase it they are not allowed to enter the schools because the stigma of untouchablilty is permanently attached to them.

The stigma of untouchability has restricted their freedom of profession and therefore, their efforts to remove their poverty are not fructifying. In professions like trade and commerce they are very rarely found. As they can find no place to try for their fortune they are constrained to remain as manual labourers. Seeing these untouchables, nay the out-castes, who are living in wretched conditions, the 33 crores of gods but again these are Hindu gods, at least Allah maybe be taking pity of them. Even the people other than the Hindus will also condemn these out-castes because even when their whole humanity has been deprived of them they are not rising against their suppression. They are not human beings, they are just insects.

There are people even among the untouchable communities who say that the untouchables are sandwiched from all corners and there is no way out to escape from their existing insect like living. The untouchables have no knowledge (education) because they are poor and they are powerless because they have no knowledge. This is a correct logic but it should not be forgotten that it reduces the importance of those who are fighting against the practice of untouchability. The real humanity lies in breaking the barriers. It is a good sign that the sense of humanity (self-respect) is growing among the untouchable communities. Because of the evil practices in Hinduism the crores of high caste people who are irrational, obstinate and are not even god fearing are treating our people as untouchables. As long as these people treating us as untouchables are there, our people are bound to remain in a miserable condition. It is a happy augury that our people have realized this whole social dilemma.

The untouchable communities have also realized that now the upper caste Hindus taking advantage of their easy access to the British Government in India misrepresent the case of the untouchables to the Government. The untouchable communities have demanded that since casteism and caste hatred prevail in this country in highest degree in practice, for the realisation of genuine Swarajya (self-rule) the untouchables must have a share in country’s political power through their independently (separately) chosen representatives. Therefore, the untouchables have complained to the government over the stand taken by the upper caste Hindus who in their stand have opposed the demand made by the untouchable communities. The untouchables have now understood the tactics of caste Hindus who by gaining political power, it is likely, would use that power to perpetuate the social inequality. This agitation of the untouchables against the design of the caste Hindus is a sign of growing awakening among the untouchables.

There is no better source than the newspaper to suggest the remedy against the injustice that is being done to our people at present and will be done in future, and also to discus the ways and means for our progress in future. If we throw even a cursory glance over the newspapers that are published in Bombay Presidency it will be found that many among these papers take care in protecting the interest only of some (upper) castes. And these have no interest in caring for the interest of other castes. Not only this but sometimes they go against the interest of other castes. Our warning to these newspapers is that if any one caste remains degraded it will have it shocking effects on other castes too. Society is like a boat. Suppose a sailor in the boat, with the intent of causing some damage to other sailors or for making fun of them to see that they are frightened, strikes a hole in others’compartment because of his destructive mentality, the result will be that along with other sailors he will also sink sooner or later. Similarly, a caste which makes other castes suffer will also undoubtedly suffer directly or indirectly. Newspapers, therefore, interested in their own selfish interests should not follow the examples of a clever fool who deceives others and protects his own interests.

Fortunately, there are some newspapers, which appreciate the rationality of our argument. The papers like Din-Mitra, Jagruk, Deccan Rayat, Vijayi Maratha, Dnyan-Prakash, Subodh-Patrika etc. often discuss the problems of the untouchables in their columns. But it is also clear that these papers are occupied with the problems of non-brahmins, whose population is big enough in number. Therefore, devoting sufficient space for untoucahbles problems is not possible for them. Anybody will admit that there is a need of an independent newspaper to discuss especially the problems arising out of the miserable condition of the so-called untouchables. This newspaper is born to meet this need.

To devote to the discussion mainly on untouchables’ problems the newspaper such has Somwamshiya Mitra, Hindu Nagarik and Vittal Vidvamsak, were born but hey did not live long. The paper Bahishkrit Bharat is somehow continuing with difficulty. I end this matter with assurance that if the subscribers extend their proper co-operation the paper Mook Nayak will courageously work for the great cause of our people to show them the right path and their experience will show them that our assurance was not wrong.

This English translation by Dr. B.R. Kamble was first published in July 2010 by Dr. Babasaheb Ambedkar Research Institute in Social Growth, Kohlapur.

Filed Under: Culture & Society Tagged With: B R Ambedkar, Caste, Caste System, Dalit, Hindu, Mook Nayak

"Bollywood has seen my varied avatars, now I am all set to be a producer": Dhananjay Galani

April 14, 2015 by Shaheen Raaj

Dhananjay Galani

Dhananjay L. Galani has donned varied avatars since his arrival in Bollywood with starry dreams in his eyes. It was indeed a long journey when he had 1st ended up as an officer in the Anti Piracy Squad. His next stopover, to gain the perfect knowledge of films, was in the distribution & exhibition arena. And finally he did get a chance to be a full-fledged actor when he donned the grease paint and faced the arc lights for the 1st time ever for his good friend namely stand up comedian Sunil Pal’s film ‘Money Back Guaranrtee’. And now he is on Cloud 9 as he is all set to don the mantle of a producer with his as yet untitled venture namely ‘Production No 1’ based on the interesting & the controversial topic of MMS scandal and starring a Ukrainian actress named NATALIYA KOZHENOVA. Present herewith is a recent trelephonic encounter with Dhananjay Galani where he gives the latest update about his illustrious & chequered Bollywoodian career.

Of late you seem to be on Cloud 9! So what’s Up?

“Baat hi kuch aisi hai Shaheen Sir!” Since the last time we had a telephonic chat there has been a latest development in my career. Yes! After donning the varied multifaceted hats I have recently turned a producer. Bollywood has seen my varied avatar’s namely that of an actor, distributor, exhibitor, film promoter, And now I am all set to be a producer”

Go on! You can share your joy with us!

You see till this date I had distributed & exhibited many films under my home production banner Lavlin Films and under the same banner I am now all set to produce my 1st ever film.

And what is your 1st ever film as a producer all about?

My 1st ever film falls into a thriller & suspense genre topped with oodles of glamour & sensousnes. It is all about the pre-planned MMS scandal of innocent girls. A foreigner comes to India and she is lured to make her MMS tape. But the anticlimax is that the foreigner is actually a cop in disguise who has actually & specially come to India to do an expose on the so called MMS scandal. My film is going on the floors early next month. And at present the working title is ‘Production No. 1’.

And which actress have you chosen to perform this challenging role?

I have chosen none other than my favorite actress NATALIYA KOZHENOVA to perform this challenging role. She is a Ukranian actress of Russian origin. She has already done 2 films namely ‘Anjuna Beach’ & ‘Super Model’ and my film will be her hat trick film.

Fine! Now would you like to go a little bit in a flashback mode?

Yeah! That’s fine with me. So just to refresh everyone’s memory I always had this great love for cinema and I also had the desire to act. In Mumbai under the pretext of going for a stroll I often used to land up in filmcity where I got a chance to meet and know many film stars. And then I ended up working for an anti piracy squad named Bharat Copyright Protection and conducted raids in many places of Maharashta & Gujarat and filed a case against many people involved in piracy. Then with the blessings of Anil Nagrath I ended up opening a distribution office and then it was Anil Nagrarth who got me my first film namely Jiten Purohit’s  ‘Deewangi Ne Hadh Kardi’ and then the distribution business started flourishing and since my partner, in distribution business, Devendra Singh Tavar’s daughter’s name was Lovlin we also named our company as Lovlin Films. Under my company Lovlin Films I started distributing Bollywood, Hollywood & Marathi films too. Earlier on we had distributed films like ‘Deewangi Ne Hadh Kar Di’, ‘Shahrukh Bola Khubsoorat Hai Tu’, ‘Yeh Dooriyan’, ‘Bhindi Bazaar’, ‘Strange Love Story’, ‘Ek Sangeen Dastaan’, ‘Universal Soldier 4’, ‘Parker’, ‘Pyar Mein Aisa Hota Hai’, ‘Aasa Mee Tasa Mee’ and many many more. Then on I seriously thought of expanding and continuing with the business of distribution & exhibition. Last year I also released an Ahirani language film named ‘O Tuni Maay’. I had also started the business of film promotion and the 1st film in this regard was Diya Bajpayee & Rahat Kazmi’s ‘Identity Card’, Karanveer Bohra & Hemant Madhukar’s ‘Mumbai 125 Km’ et al. And I also got my 1st ever chance of acting wih many established actors through Sunil Pal’s film ‘Money Back Guarantee’. I also did its full promotion in Nagpur & Jaipur city like the print & digital media, radio interview, mall activities and varied colleges. And I also promoted the 1st ever Ahgirani language film ‘O Tuni Maay’ in Khandesh in Dhulia city and Vidarbh in Nagpur city. That’s as far as I can rewind my flashback. And now in a Fast forward moody mode I am waiting with batted breath to kick start my 1st ever film as a producer. Period!

Filed Under: Film Tagged With: Bollywood, Dhananjay Galani, Dhananjay L Galani, Film, Movie

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