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Dehati Disco, trailer launch: Ace choreographer Ganesh Acharya debuts as leading man

Dehati Disco, trailer launch: Ace choreographer Ganesh Acharya debuts as leading man

They chose International Dance Day to release the trailer of the film Dehati (Rural) Disco at the deserted and decrepit Golden Tobacco cigarette factory, in suburban Vile Parle, Mumbai, which stopped production of their Panama brand decades ago, and the place, which was a landmark once upon a time, now constitutes vestigial remain.

Dance has always been the heart of our Indian cinema. We have seen several iconic films based on dance which have left a great impact on the dancers of the world. Keeping the adrenaline rush at its peak, choreographer Ganesh Acharya announced the release of Dehati Disco, in May 2022, and the team uploaded the trailer of the film on 29 April. Present on the occasion were actor dancer Govinda, who has had several fruitful partnerships with Ganesh, choreographer- director Ahmed Khan, whose film Heropanti had released just that day, and Terence Lewis, who has choreographed songs in films like Lagaan, Jhankaar Beats, Goliyon Ki Raasleela Ram-Leela. Ganesh referred to Govinda as “My Bhagwan (my God).” 

Govinda gave a long speech, though he stressed that he has given up politics 15 years ago and had, as a consequence, stopped giving speeches altogether. It was a strange speech, partly inspiring, partly meandering. Those who had come expecting to see Govinda shake a leg were disappointed, for he only moved his larynx.

Helmed by Manoj Sharma, Dehati Disco is a story of Bhola (Ganesh Acharya) and Bheema (Saksham Sharma, Super Dance-Chapter 3 finalist) establishing the importance of dance in their village, Shivpur, where the art form is believed to be a curse. Produced by Gitesh Chandrakar, Vaseem Qureshi and Kamal Kishor Mishra, under Qureshi Productions Pvt ltd and One Entertainment Film Productions, the film features Ganesh Acharya, Ravi Kishan, Manoj Joshi, Rajesh Sharma and Sahi Khan, in significant roles

Manoj Sharma confessed that having Ganesh Acharya on the set was a boon. “He never interfered, but if he felt that a shot would look better if taken in a slightly different way, he used to tell me so. And I would say – Why not? –and he was always right.”

Ravi Kishan, who was not spotted at the event, nevertheless shared his thoughts, “When I read the script, I was completely moved by the story. I couldn't say no to such an inspiring film. Ganesh Ji has done a phenomenal job as always. I was surprised by how full of etiquette Saksham was on the sets. He won all our hearts during the shoot of this film. All I can say is this is a must-watch for all the dance lovers out there.”

The trailer, shown twice, as is the norm, showed Ganesh and a little boy taking up the challenge of competing against Saksham. The former know only rustic steps while the latter has learnt all the latest big city beats. Rajesh Sharma played the father of Saksham while Manoj Joshi played the orthodox leader/priest who is against dance itself. Ravi Kishen was seen fleetingly and it was not clear what role he is playing. Ganesh seemed to go over the top a bit, but this film is surely targetting the gallery, so that’s fine.

To entertain the audience, a large contingent of dancers presented a contest between two sides, one comprising city slickers, while the other dressed as village folk. In the contest, the little boy drew thunderous applause. Guess that is precursor of what we shall see in the film, come 27 May.

Talking about the film, Ganesh Acharya expressed, “Dehati Disco is a very special film for me. The whole cast and crew have done an amazing job on this film. I want to inspire the dancers all over the nation that nothing is impossible. Furthermore, I am sure Dehati Disco will leave a strong impact on the audiences.”

Starting as an assistant to legendary choreographer, Kamal, Ganesh founded his own dance company when he was 12, became a choreographer when he was 19, and worked in his first film, Anaam (1992), when he was 21. He won the Filmfare award for best choreography in 2007 for the song ‘Beedee jalailey’ from Omkara. That very year, 2006, Ganesh choreographed four other notable films: Rang De Basanti, Phir Hera Pheri, Golmaal, and Lage Raho Munna Bhai.

Multi-faceted and multi-talented, Ganesh decided to pursue a career in film direction and made a film called Swami (2007), which he also produced and wrote. Next, Ganesh Acharya directed the comedy film Money Hai To Honey Hai, in 2008. He appeared as a villain in the Tamil film Rowthiram in 2011 and acted in a few other films as well.

His favourite dancer is Govinda, and some of the films in which they worked together are Coolie No. 1, Bade Miyaan Chhote Miyaan, Anari No. 1, Hadh Kar Di Aapne, Jodi No. 1, Ankhiyonse Goli Maare and Bhagam Bhag.

International Dance Day was created by the Dance Committee of the International Theatre Institute ITI, the main partner for the performing arts of UNESCO. Since its creation in 1982, the International Dance Committee and the International Theatre Institute ITI select an outstanding dance personality to write a message for International Dance Day each year. This day is a celebration day for those who can see the value and importance of the art form “dance”, and acts as a wake-up-call for governments, politicians and institutions which have not yet recognised its value to the people and to the individual and have not yet realised its potential for economic growth.

Scheduled to begin at 11 am, the event finally got going at exactly 1 pm. Thankfully, there was lunch on the cards, otherwise 300 stomachs would end up performing Dehati Disco.

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Heropanti 2, Review: A bullet in his bum

Heropanti 2, Review: A bullet in his bum

Denizens of Mumbai and environs might not need the meaning explained, but this is an international portal, and an explanation is in order. The title comes from two words, hero, which needs no translation, and panti, which does. Most probably, it is derived from panthi, which mean traveller. Panthi easily becomes panti, the combination with hero standing for one who follows the hero’s, or heroics’, path. Lead actor Tiger Shroff took a walk along Heropanti lane in an eponymous film, eight years later, which was successful enough to merit a franchise, owned by Nadiadwala Grandson Entertainment. Nadiadwala is the family name of the production house, which was founded by the grandfather of the present head honcho. This is depicted in a pre-credits animation. Heropanti 2 has just about enough mileage to attract real hardcore fans of Tiger, and not too many others. And even the fandom might find their kingdom not popular enough to garner too many votes.

Lying low to avoid being targeted, Babloo, aka RJ, wears spectacles, rides a bicycle and takes up odd jobs, like a security guard and a driver. He is living in London, with his mother, who dotes over him, loves him very much, and keeps praying to various deities to save her son. After he lands a job as a driver for top gaming designer Inaaya, he is forced to contact the CBI headquarters, when he is attacked. To contact his boss, he breaks a wall in his house with a sledge-hammer and retrieves a phone, which connects him instantly. The man at the other end, however, is not Asif Khan, his boss, but someone else, who claims that Khan has retired and he is his successor. The new boss asks him for his code-name and insists that he cannot entertain the call unless Babloo reveals his code-name. Babloo first hesitates, because he knows that his co-ordinates will be found out once he reveals his secret identity. But he finally does so, and, as expected, all hell breaks loose after that. The man is on the payroll of criminals and he, along with his associates, launches a search to find and kill Babloo.

Inaaya takes a strong liking to Babloo, and introduces him to her brother, Laila, an effeminate magician, who, behind the veil of magic, runs an international crime syndicate. Laila recognises him as a CBI agent, sent by Khan, and arranges to have him killed. Laila is sure that Babloo, an unequalled computer hacker, is out to ruin his plans of hacking into the computers of crores of Indians on 31st March, a date that signifies the last date for paying income tax. Laila plans to use some of the best hackers in the world to withdraw all these payments, which totally amount to billions of rupees.

Babloo and Laila strike a deal, and he starts working for the evil mastermind. His services are exactly what the doctor ordered. Meanwhile his mother leaves on a pilgrimage to India, to seek blessings for her son. Fact is, she is not his real mother. Babloo’s real family is never even mentioned in the film, let alone shown. But this woman, with a little boy and a husband for family, had all their savings drained by some hacker, including a huge bank loan, which drove her ambulance driver husband to jump off the window. Since then, Babloo treats her as her mother. She hears about Babloo’s affair with Inaaya, and lands up at the Laila den to ask for her hand, just when Laila is about to kill Babloo.

Producer Sajid Nadiadwala takes the credit for the story, while rest of the writing is attributed to Rajat Arora (Dirty Picture, Baadshaho, Azhar). At a press meet some time ago, director-choeographer Ahmed Khan had said that action movies work only when there is a balance of action and emotion. Action, without emotion, is meaningless, he had opined. Couldn’t agree more. Now here is the catch. Heropanti 2 has a lot of action, and more than the average action movie’s share of the emotion. Giving Babloo a foster family, to exploit the bonding, and making him take-up lowly jobs, to show the normal, human side of a killing machine, sound good when you hear about them. Not when you see these tracks on screen.

Sample this. One morning, Babloo wakes up to see that his garrulous Punjabi mother has disappeared. He finds a phone, and switches it on. A recording plays back, in the voice of his mother. She says that she has left for India, on a pilgrimage, to pray for his safety and well-being, at Indian holy places. It is worth noting that does not leave any address of phone number, her flight details, or anything else that would or could connect the two. Yes, she does indeed go for the pilgrimage, and laments the fact that the Thames did not heed her prayers because it is not an Indian (read Hindu) river, and the Ganges will. But is this how mothers leave? Stealthily, in the night? Why? And what happens to the child, who is never shown after that? And when she does connect with him, she tells him she will return after another ten days. Return, she does, but straight into the lion’s den.

Also this. Laila is about to kill his mother when Babloo comes to know about it. He is driving, and far from the centre of the action. He immediately sends an MMS of one of Laila’s inner group baddies in a highly compromising position to the baddie himself, with a message that he should prevent Laila from killing his mother, otherwise…. Mr. Baddie gets the message instantly, sees and reads it in a jiffy, and immediately trains a gun on Laila, stopping the killing. Such sublime faith in technology and human behaviour!

Arora seems to be unsure whether he wants to depict Laila as a homosexual, or merely an overly effeminate character. Neither premise is explored. The effeminate mannerisms are affected and the homosexual angle is given a go by. It will take some believing that Laila operates an international crime syndicate, causes killings and explosions, runs the world best hacking lab, and his sister, his only relative, has no idea about his machinations. Perhaps the fact that he keeps producing roses with long stems, from nowhere, at the drop of a hat, convinces her that he is no more than a harmless magician. Events, including one where he knocks out Babloo’s mother for a several minutes without touching her, are clear indications that he is indeed a magician. Now it is common knowledge that magicians, by and large, are illusionists, so they should have provided some logical, scientific explanations for his tricks.

You would not expect Babloo to die midway through the film, or even at the end, this being a franchise crime thriller. So, when Laila blows up a whole building to kill Babloo, you do not expect him to die. You do, however, expect to see some reaction – police, fire-brigade, etc. After all, blowing up a large building is not like blowing up a balloon. And yet, there he is, coming out of beneath the rubble, and heading towards the graveyard, where Inaaya is looking for his grave, holding an umbrella. He too arrives, holding an umbrella. How much more romantic can you get? Now this is where director Ahmed Khan brings in heightened romance, as another counterpoint to action and emotion. And was Babloo a Christian? We have no idea.

To his credit, the first few scenes, where Inaaya is introduced and meets Babloo, are well directed. Towards the climax, his take on Enter the Dragon, updated to 2022, is quite interesting. The insider jokes, playing on the words ‘tiger’ and ‘shroff’, are there only for the fans to whistle at. Khan also borrows from the Amitabh Bachchan hit of the late 1980s, Shahenshah, with one piece of iconic dialogue coming at you full screen, in the form of a clip.

Why does Laila need to form a consortium of underworld Dons, when he could have easily kept the booty/swag for himself? He has the men and the machinery. Why does he need more than half a dozen Mafia-men to share it with? These Mafia-men come with trigger-happy hirelings. While escaping an attack, Babloo stops a bullet…in his bum. Now he cannot go to a regular hospital, what with him being a secret agent and the unholy in hot pursuit. So, he and Inaaya got to private doctor. When the car stops there, we see an impressive mansion. Babloo says the lady doctor there knows him and will treat him, no questions asked, which she does. We see a part of his bum, but you never know, it might not be the real thing. Khan insists on showing the extraction of the bullet and the stitching of the wound in minute detail. Both of them then decamp. Following them, a handful of gunmen reach that doctor’s clinic and barge right into the reception area. They demand to know the whereabouts of the couple on the run. When the two staff members say they don’t know, the thugs shoot them dead! Why? Shows what human life is worth these days!

A pawn in the game, Tiger Shroff is like a gunman on hire. They have tapped his action skills in all possible ways, in various forms of combat, which he executes with characteristic élan. Ahmed Khan has seen what he is capable of, having directed Tiger in Baaghi 2 and Baaghi 3. You have to wait very long to see him without his shirt, and it might be worth the wait. On the senti side, he is not very bad either, and there is a possibility of exploiting that aspect of his persona. Question is, will he ever be able to get out of the action superhero template? Do producers want to cast him in anything except flying kicks and somersaults fare? Talking of somersaults, I recall at least two occasions when Tiger took several reverse somersaults to reach his adversary, when he could have just run in that direction, and probably reached faster.

Tara Sutaria (Student of the Year 2, Marjaavaan, Tadap), as Inaaya, is extremely comfortable with showing her skin and makes a nice, haughty entry. Her initial few scenes are well-acted, while she seems lost once the madness sets in. What a colossal waste of talent is Nawazuddin Siddiqui as Laila. An ill-defined role, looking short, dark, diminutive, and grinning every time he has to face a tricky situation. The designer suit and tie notwithstanding, he does not convey the image of a person who would even understand high-end IT, let alone plan a colossal hacking heist. There is no sophistication in his dialogue delivery, which should have been there, considering he is a world-class magician. And, oh brother, from no angle can he pass off as Tara Sutaria’s brother.

From the support, Amrita Singh as Babloo’s mother is the surprise packet. Like Nawazuddin, her role too is badly written, but she manages to rise above it, thanks to some over-the-top traits that are shown as part of her psyche. Zakir Hussain as Asif Khan is his usual, confident self. Often made to play characters on either side of the law, Zakir has a natural, spontaneous approach to acting that usually stands him in good stead. Lastly, there is Kriti Sanon, who has obliged the team with an item number as the end credit tiles roll. Names of the other actors – there are too many of them, playing minor roles – were not available at the time this was written.

Two names that were available are that of cinematographer Kabir Lal and the music composer, A.R. Rahman. Kabir does a fine job with the lenses, encapsulating colours, action and angles with professional finesse. We do not have the editor’s name. Had the action and emotion been balanced, the two hours and 25 minutes (another source says 2.22) might not have felt longer than they did. It is obvious that many scenes have either been completely deleted or truncated, to reduce the length to a manageable duration, causing jerks in continuity. Music by A. R. Rahman offers curiosity value only in the shape of ‘Miss hairaan’, a number rendered by Tiger and Nisa Shetty, though the situation is forcibly fitted to the song. By no stretch of imagination a Rafi or Kishore, Tiger just about manages to carry the tune. The other three songs have no recall value.

For a film like Heropanti 2, only hard-boiled Tiger Shroff’s fans can help it get a respectable run at the box office. On the other hand, if they too are disappointed, as was this reviewer, the heroics will only land in the film a fix.

Rating: **

Trailer: https://www.youtube.com/watch?v=HC1nKHybA24

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Escaype Live, trailer launch and press meet: Two Sidhharths, one JJ, many escaype artistes

Escaype Live, trailer launch and press meet: Two Sidhharths, one JJ and many escaype artistes

Disney + Hotstar, one of a handful of leading OTT platforms, has formulated what it calls the “biggest social thriller of the year”. They have named it Escaype Live and it is described as “the most relevant story of current times.”

Created and directed by Siddharth Kumar Tewary, it took three years to make, against an estimated six months, and will release only on Disney+ Hotstar, on 20th May.

How far would you go, to achieve instant fame and fortune? Well we have had a few programmes on TV that deal with singing, dancing and talents that defy definition. Escaype Live is close to the last category, dubbed “the first-of-its-kind social thriller”. Set in the landscape across the country, the series explores the different journeys of six regular Indians as they struggle to win fame and fortune, on a social media app called Escaype Live, which promises virtual diamonds as points (votes) and Rs. 3 crore to the winning contestant.

Present on the occasion, at Hotel Grand Hyatt in suburban Mumbai, were Siddharth Kumar Tewary, and the cast, including Siddharth, Jaaved Jaaferi (JJ), Shweta Tripathi Sharma, Swastika Mukherjee, Plabita Borthakur, Waluscha D. Souza, Ritvik Sahore, Sumedh Mudgalkar, Geetika Vidya Ohlyan, Jagjeet Sandhu, Rohit Chandel and child actor Aadyaa Sharma.

Escaype Live is a fictional narrative, penned by Jaya Mishra and Siddharth Kumar Tewary, that is likely to seem very true and real. The story features a bunch of “content creators”, with different paths, but one goal - to produce content that should go viral, to emerge victorious in a life-changing competition. Produced under Siddharth Kumar Tewary's One Life Studios, the nine-episodic series heavily emphasises the human tendency of being competitive and its drive to succeed. The essence of the series explores the lengths content creators and tech giants are willing to reach, to achieve their aspirations.

Traversing different cities of India, the series leveraged different dialogue writers for each city, to add regional authenticity. Dance Rani (a cute girl in her pre-teens, who just said “thank you”)’ story, based in Jaisalmer saw her dialogues being penned by Vinod Sharma, while Amcha’s lines were penned by Amol Surve. Similarly, Banaras-based characters of Meena Kumari and Sunaina’s dialogues were written by Ranveer Pratap Singh, while Darkie and Fetish Girl’s dialogues were penned by Jaya Mishra and Siddharth Kumar Tewary themselves.

Gaurav Banerjee, Head, Content Disney+ Hotstar and HSM Entertainment Network, Disney Star India, said, “As we expand our library of exciting thrillers, Escaype Live will also mark Disney+ Hotstar’s first-ever social-thriller that holds a mirror to our society.”

Talking about what made him take-up this one-of-a-kind series, director Tewary said, “I wanted to tell a story of the world we live in today, where social media is not just a habit, but has become a form of emotional expression. Life has moved beyond being liked and disliked or being followed and unfollowed. Whether social media as an entity is good or bad is depends on whose story we are telling and what they actually want out of their lives – are their dreams real? Or are they merely trying to ‘escaype’ their reality! At its core, Escaype Live gives us an insight into the minds of people living in the world of social media. Are we ready? Or are we already in it? For me, Gaurav and Nikhil, along with the entire team at Disney + Hotstar, has always displayed big ambition, and it’s their desire to push boundaries with original content choices that made them my first and only choice to collaborate with on this series.”

Siddharth, the director’s namesake, who plays the series lead, said, “What drew me to Escaype Live was the script and my character. It excited me that it dealt with social media, and while one has the freedom to do as they please, sometimes with anonymity and sometimes without, it also always brings up the ethical question of what is right and what is wrong. That to me is what makes the show explosive, and exciting.” It takes some believing that the Delhi-born, Chennai settled Siddharth, who has acted in multi-lingual films, has been in the film industry for over 20 years.

For Jaaved Jaaferi, this story about the technology climate impacting our lives is unique. He said, “The show is layered with intricately crafted characters, who have dual personas, in reality, and as content creators. Escaype Live is an intriguing tale that captures the majority of contemporary humankind’s desire to create a name, be remembered, and succeed; sometimes going to any length to achieve that goal. In this emerging digital era, the series is poignant, as it recognises the beauty as well as the darker side of social media. What convinced me to come on board was the sheer passion with which Sidhharth approached the subject, when he first met me, to sign me on.”

Jaaved, whose official age is 59 going on 60, just cannot be at that age. I have known him since the two of us were kids, and he cannot be 11 years younger than me. But I will take his word for it. He did seem a bit peeved when one after another, the glitterati said that they had grown-up watching his shows. Siddharth, however, jocularly reassured him that this was their way of hiding their guilt about their own age. In just one week, this was the second time that a Jaaved show was being announced, which is good for his career, whether he is 59 or 65. He quoted an appropriate sher (couplet) of Allama Iqbal, saying that good effort might not have par (wings), but it has parvaaz (flight).

Banaras (Varanasi) babe Shweta Tripathi Sharma, who plays a pivotal role in the series, said, “The rise of social media has taken the world by storm! While it comes with advantages, we have to evaluate a lot about its flip side as well. Escaype Live is one such story that talks about the same and its impact in today’s age and time! As soon as I read about the concept, I knew I had to tell this story because it was relevant and a much-needed conversation. The character I play is full of hope and love, someone I resonate with a lot. It is a surprise package! I am sure the audience will like her a lot.”

A star in West Bengal, Swastika Mukherjee was quite surprised when she got the call. “My Hindi is not too good, and I often get the gender wrong (a common Bengali issue, when speaking Hindi). But here was an opportunity to work in an environment where I would be challenged. Back in Kolkata, after doing so much work, whatever I do is usually okayed without a problem. Not so in Escaype Live. I needed a director to push me out of my comfort zone, and Sidhharth has done just that. What you will see on the show is his interpretation of my character, and not me just doing what I felt was needed.”

Fetish Girl Plabita Borthakur (sounds like an Assam connection) confessed that she was unsure about how to approach her character. She had little idea about what a fetish girl is supposed to do. “But Sidhharth did it for me. He showed me exactly how to do it. (Siddharth interjected with “Are you trying to say that there is another side to me?”). She was stylishly, but very modestly dressed, and gave all due credit for her appearance to the “Make-up and costume team”. The idea of a Fetish Girl is new, as far as I can recall, and it will be interesting to see how far will she push the boundary, with Indian audiences’ moral sensitivities in mind. If we go by what she wore at the event, it might be a bit tame.

Other speakers spoke too, but the two Sidhharths hogged the microphone and chipped in about 30 minutes together.

Escape has been shot across multiple, unique locations, including Benaras, Bangalore, Delhi, Jaisalmer, Mumbai, and Gujarat, during truly testing Covid times, to bring cultural relevance and show how social media is affecting people, even at remote places.

A really psychedelic entrance had been devised at the hotel’s Grand Ballroom, with many ultraviolet and other rays creating a rainbow effect. The stage, too, was imaginatively designed. Before you entered the seating area, you could take your picture against a choice of three backgrounds, and it would be mailed to you, they said. This is a common feature of many such gatherings, and I usually avoid getting photographed. But this time, I relented, because three of my friends in succession opted for it. The photo came by email, as promised. When things began to happen, 75 minutes after the scheduled time,

Jaaved was the first to take centre-stage, and then he walked away. When he reappeared, he spoke to three of the participants, each on a panel of mobile phone-shaped giant frames. The trailer was then shown, twice. Like most trailers these days, there was little you could make out about the show besides what had already been told to you. Oh yes! It was exciting, beyond doubt.

Compèring the show was a young Social Media star, Nikunj. He was too casual. Being informal is a good quality, but being super-casual, to the point of looking disinterested, is something that compères must avoid. Also, in an audience that consists largely of journalists, most of who are doing their job and are not there because of any fan following, to expect them to applaud ‘thunderously’ every time a name was announced or a personality came-up on stage, is too much. Yet, there was some applause, which worked for the show.

Why is there a y in ‘escaype’? To avoid trade-mark issues, escape being a dictionary word that cannot be owned? Or for any other reason? And what does ‘Live’ really signify, since the episodes have already been shot? The cast and crew made their escaype before explaining. What was then live, at 5.15 pm, was a feast not commonly laid out for journalists. If you sampled just one piece each from the spread of goodies on the buffet table, you were likely to have to skip dinner. For once, it was HIGH Tea, in the true sense of the word.

Trailer: https://youtu.be/CO8kImGw8lE

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RIFF 08, 2022, 14: Synopses of films screened, Part II

RIFF 08, 2022, 14: Synopses of films screened, Part II

(24) Film Name : Chhipkali

Director : Koushik Kar

Beyond our materialistic world, there lies an unexplored dimension, where a series of incidents occur but they surpass our conscious mind. Based on this context, our story revolves around an interrogative conversation between a detective and a suspect regarding a murder case. This story challenges our conscious mindset, outlook towards the perceptible world, our society, its norms and the entire judiciary. It questions our limited understanding of the world, our misconceptions about life, derived only from what we directly witness; thus highlighting our incapability to look beyond the stereotyped realism.

 

(25) Film Name : Krishan Bhakt Narsi Nani Bai Ro Mayro

Director : Rajendra Gupta

The film is based on life events of famous saint Narsi Mehta

 

(26) Film Name : Mrityudand

Director : Dinesh Rajpurohit

Radha, The Daughter of Dhanari of the Village Farmers Family Is Raped by Rakha, The Grandson of the Village Headman Bhairav. Hence Radha commits Suicide Fearing the Respect of the Society and Her Home. Angered by this, Both Radha’s Brothers go to kill Rakha, But Rakha Kills Them. As soon as Bhairav comes to know this, fearing that he will be defamed in the society, he approaches Dhanari and offers him with Threats, that It is better you leave Village and go Away Before you Get Disreputed In the Society, In return for which I will Give You Land, So Dhanari Leaves the village And Goes. As Bhairav gets upset with Rakha, he decides to get him out of the house,Rakha’s uncle comes and talks about taking him to his house. But there also he kept tries seduce his aunt, When Bhairav and his family come to know about this, They give death penalty as punishment.

 

(27) Film Name : Sakuntalam

Director : Dushyanth Sridhar

Set in an era pre-dating the Mahābhārata, the film tells the story of Śakuntalā, the daughter of Sage Viśwāmitra and the damsel Menakā, and her love for King Duśyanta. Duśyanta, the King of of that time, belonged to the Chandravamsa and the Puru Dynasty. After a marriage which results in Śakuntalā becoming pregnant, the King goes back to his capital promising to come back for her, but does not. Later, when Śakuntalā goes to his palace to claim her love, he has forgotten her, much to her shock and disappointment. The film stars Payal Shetty (debut) and Shubham Sahrawat (debut) in lead roles with Y. Gee Mahendran, Mohanraman, ‘TV’ Varadarajan and Sivakumar playing important characters. Rajkumar Bharati, great grandson of Subramania Bharathi, has composed the music, and Sai Shravanam, who was the Sound Recordist for Academy award winning Life of Pi, is the music producer for the film. Audiography is by A.S.Lakshminarayan, a two-time National Award winner. Editing is by B. Lenin, a five-time National Award winner. Make-up is by Pattanam Rasheed, another National Award winner. Costumes were designed by Lakshmi Srinath.

 

(28) Film Name: Bank Loan

Director: Rashmi S - Poornashri R

Saraswati and Tanu come from a lower middle class family, who eager to start a business by using a central government loan for women empowerment. In that mode both approaches several banks. But a bank does not come forward to lend them. They come in contact with manager John Peter (JP) via a loan agent. JP agrees to sanction loan, on one condition that both of them should join him as dating for a jolly trip. Both inevitably go on a trip with him because of their money problems at home. Meanwhile Tanu meets Santosh, as well-wisher, and he plans to uncover several JP’s scams. But JP desperate for a big debt scandal in the bank, and was been suspended from work. When Santosh tells JP to reveal his scandals, JP removes gun to shoot him. In this friction JP gets heart attack. But all three decide to save him, takes to the hospital and JP survives. JP gives his own money to Tanu and Saraswati, for this gratitude.

 

(29) Film Name : Belosa (The Brave)

Director : Manoj Haribhau Bhange

The film is about a tribal girl named Savitri and her society which is far away from economic, educational and social factors. Savitri's father is arrested on false charges of theft and her mother also goes missing, in which Savitri struggles for her life and finds her mother.

 

(30) Film Name : Boorai Kaa Ant (End of Evil)

Director : Mohammed Saleem (Munna Bhai)

We always teach our children to respect their elders, but the elder members of the same household have cigarettes or tobacco or any intoxicant with them by getting them. When they consume, those children also become victims of those drugs after seeing the elder members of the house and that is why humans end but evil never ends, based on this the story of two friends, Sandy and Javed.

 

(31) Film Name : Meekha

Director : Jophy Abraham

Meekha the adopted son of Patrick was asked to killed by his master Varkey at a particular

circumstance. The story revolves around the emotional journey of Patrick before and after the death of

Meekha.

(32) Film Name : Someday

Director : Shefali Shah

Synopsis : ‘IF THE DISEASE DOESN’T KILL US, THE DISTANCE WILL’. An unprecedented situation has forced us to question our being. Is our existence in solitary an existence at all? Someday is a story of two women, united by the umbilical cord, separated by a door. Vidhi, a frontline warrior consumed by the medical situation tormenting us. After 15 days on duty she comes home to a 7-day quarantine. But, can one call it home, when there’s only distance between her and the one she loves, her Mom, who is gradually turning into a relic of herself due to Alzheimer’s. They share conversations from the past and the future with no present to tie them. Some real, some imaginary. Their togetherness oscillating between what was, what can’t be, and what may just be SOMEDAY.

 

(33) Film Name : Gaaye Hamari Mata Hai (Cow is our Mother)

Director : Shuja Ali

The film is based on Especially A2 Milk of Indian cow which is considered as a complete nutrition. Its benefits are in scriptures and whole science behind it has been passed from generation to generation. Mythology even describe that Cow helps a person to reach heaven easily. Short synopsis: One Australian Businessman Who is a great follower of Indian Mythology wants take few of the purest Indian Cows with him so that the other part of the world can also get the blessing of great Indian goddess cow. But The Mythological gurus want him to pass a test to prove that he really deserves and would be able to take care of cow the same way they were doing from thousands of years. The whole journey then begins and touches different segments of life in society, including the hardships of poor people, politics to win in the race of survival, difference of opinion among different sections of a huge society, Fight against cruel & greedy existents and Dreams of a common man. It’s a way through a complex, unpredictable journey which has a taste of every emotion of life including thrill, love, devotion, happiness, Fear, anger, disgust, surprise, excitement, amusement, shame, satisfaction and pride. A view of life through this film will surely being a power pack unique experience with numerous

learning’s to audience.

 

(34) Film Name : An Unrevealed Secret

Director : Swastik Jain

It is normal to have a horror dream same as this story. "AN UNREVEALED SECRET" is a story based on horror nightmare. Rohan celebrating his birthday with Bunty at his house, suddenly disappeared with his friend and the story goes on....

 

(35) Film Name : Namma Children's India.com (Our Children's India.com)

Director : N. R. Nanjunde Gowda

Siri, the centre of attraction of the film is a child who is loved by everyone. Her father who is an employee in the health department once reveals the facts of malnutrition and the sufferings of down trodden, economically weaker section. When Siri finds out about the tragic death of a construction labours child who she was very attached to due to malnutrition, she falls into a mood of depression. After being advised by a doctor she starts to regain her strength and is very determined to find a solution. In this era of technological advancement, she then joins hands with her friends by developing an app to serve the needy. How she achieves it is interestingly narrated by the acclaimed director.

 

(36) Film Name : Frince

Director : Ram

It is based on a short story by the master film maker Satyajit Ray. We often say that ‘memory is a strange business’. There are always things which keeps us hooked to our past, they might not be definitive, but they do exist. One such thing of past brings Jayant, along with his friend Shankar, back to his hometown Jodhpur, where he is made to confront his childhood and supernatural belief.

 

(37) Film Name : Riddle

Umang Patel

“Riddle” means the event or place we can’t explain or Understand. In this film there is a beautiful village in mountains, but also there is a mysterious temple on mountain. A boy who is a traveller went there to explore. While exploring the beautiful village he come to know that there is a mysterious on mountain. This story is about his journey and the mystery.

(38) Film Name : Mhari Pyari Baisa

Director : Narpat Singh Gaur

The film is based on Beti Bachao Abhiyan, a Thakur killed girl after her birth. but after some years he realises his mistake. Finally, he needs girl kid and prays to god for giving a baby girl

 

(39) Film Name : Tooti Chappal

Director : Kuldeep Vyas

This story is about Magan a pshycopath charcter, he is possessive for his "Chappal". Her wife fights with him every day for his behaviour. This short film amazed you when demonetization was announced and it takes a horrific turn in story.

 

(40) Film Name : Ek Tasveer

Director : Iliyas Belim

EK TASVEER is an emotionally driven music video song showed the anxiety, misery, sadness while parting ways with love. This grief has connected to many in their lifetime once. So it says love can never be painful, but the separation is!!!

 

(41) Film Name : Lambi Si Sadak

Director : Kunal Sanjay Mehra, Rohit Puri, Tushar Dahima

Lambi Si Sadak song carries out all the emotions of a lost son (Kunal) communicating emotionally to his father through this song. Kunal has effortlessly shown his feeling into the song that how he misses his father and he will remain in his heart forever and endlessly. The song was released on his official YouTube channel especially on his late dad's birthday i.e. on the 29th November 2021

(42) Film Name : Delude

Director : Nischal Sharma

A squad of four Gen Z commandos are after a list, which has the names of teenagers who are going to be recruited for a terrorist organisation. They fight along those who killed high rank officer and find the guy with the list. Upon interrogation they get to know about their boss and that the list transfer is going to be held manually in a celebration party. Being in disguise they reach the spot only to be ambushed by the terrorists there. They are taken and tortured but fight off and get free. Finally, they reach a spot to stop a live recruitment of youngsters, fight a war and kill the right hand of the enemy forces boss. Did they fail? Did they win? This time, violence can be an answer

(43) Film Name : Kitchen - 19

Director : Eshan Harsh

With the COVID - 19 pandemic putting India under an extended lockdown, many working people and students who live by themselves or depend on another person to cook for them, were in a quandary. The virus also limited potentially dangerous trip to market, food priced surged and people felt pressure on their wallets. This short film showcases how a young girl took this problem as an opportunity and decided to learn to cook by herself.

(44) Film Name : Kala Musical

Director : Seshu KMR

"KALA" A Musical Saga, A Visual experience of a beautiful dream of a young girl and her unleashing of her aspirations

(45) Film Name : Bulletproof Anand

Director : Alok Sharma

Two small-time goons Bada Bruce Lee (Bruce Lee Senior) and Chhota Bruce Lee (Bruce Lee Junior) grab hold of the dreaded gangster Anand, hailed in the underworld as Bulletproof Anand. Anand earned that title because of his notorious history of escaping death despite more than 27 attacks on his life. Starring Festival Favorite Actors Sanjai Mishra, Anshuman Jha and Jaaved Jaaferi in a never seen before avatar. Bullet Proof Anand is an ode to the verbose 90s Gangster films. This is the story of three misfit gangsters, an elusive femme fatale and a lit dynamite in a hapless location.

(46) Film Name : Rangrez

Director : Himanshu Kiran Sharma

Rangrez is a story of Rangoli a girl Photographer with full achromatopsia disease how she survived in her routine life confidently

(47) Film Name: Newton's Pendulum

Director : Kushal Jadhav

A renowned psychiatrist, Dr. Vaidya, and his young assistant, Dr. Radhika, experiences the shock of their lives when one of the old patients, Ajay, hijacks Dr. Vaidya's cabin with a life threatening agenda.

 

(48) Film Name : B. B. Lal "Doyen of Indian Archaeology”

Director : Dr. Ramadevi Sekhar and Mr. Ebenezer Annadoss

Indian culture is an invaluable possession of our society. Indian culture is the oldest of all the cultures of the world. In spite of facing many ups and downs Indian culture is shining with all its glory and splendour. Culture is the soul of Nation. Through Epics and Legends, we know our History. The history is proved by Archaeologists. One such legendary Archaeologist Prof. BB Lal. For 75 years, from 1943 Prof Lal did nothing except bringing back the forgotten past of Hindu civilisation. His discovery of Harrapan sites in the newly formed Indian state post partition lead to an entire new nomenclature of the ancient civilisation as Indus- Saraswati valley civilisation and he has categorically disproven the Aryan Invasion and Migration Theory as colonial mischief to undermine the greatness of the Nation’s original inhabitants. Prof B B Lal traced the towns and cities associated with Mahabharata and came out with irrefutable findings and excavated five Ramayana related sites including, Ayodhya, Bharadwaj Ashram, Nandigram, Chitrakoot and Shringaverapura. These findings were key in restoration of Ramjanmabhumi in Ayodhya back to the Hindus. In the district of Hanumangarh, state of Rajasthan, Kalibangan, the fortified city has brought to the light, settlements of Mature Harappan times, ascribable to 3000-2600 BCE. The Kalibangan at Western Rajasthan has given the evidences of the earliest agricultural settlement which is ever discovered in an excavation anywhere in the world. This site at Rajasthan shows a ploughed field, the first site of this nature in the world “ ever revealed through excavation” greatest contribution of Prof. BB. Lal. Shri Shankar Lal Sundarbai Shasun Jain College for Women is honored and privileged to film up the wonderful journey of the Padma Vibhushan awardee Prof. B. B. Lal "Doyen of Indian Archaeology” as a documentary film to inculcate the Indian history and culture to the present generation.

(49) Film Name : Trivedi Ji

Director : Rajesh Tailang

The film tells the story of a woman stuck in her apartment during the COVID-19 pandemic and trying to survive on depleting food supplies and conversations with her aloe vera plant.

 

(50) Film Name : Anubandh

Director : Sharafat Ali , Anand Singh Chouhan

Anubandh is based on Real Events book 'Yatharat Se Parichay'by Anuradha Adwani it's a story of old people who are living in Anubandh Vradhjan house how their family send them here and what kind of help them get from Anubandh Vradhjan kutir.

(51) Film Name : Dollu (The Drum)

Director : Sagar Puranik

Dollu is the story of Bhadra, a Dollu drummer-dancer. Time puts his team to test as money becomes a bigger factor for the team while passion takes a backseat. The team leaves their village behind in search of greener pastures only to land in an unforgiving metropolitan city, Bengaluru. Bhadra realises that their temple's annual rituals would remain incomplete without the team's performance. He sets to reunite his team to keep the centuries' old tradition alive. The hardships he faces and his path of realisation that art isn't defined by the constructs of the society; forms the journey of Dollu.

(52) Film Name : Namak

Director : Tanuj Vyas

It is a story, set in a fictitious place Kharpur, a small village of Rajasthan, where salt is produced in abundant quantity from a saline water lake. There is a perception about the village that there is salinity in its air and water and this salinity that is outside, gets accumulated within the people, which never ends.

 

(53) Film Name : Chirmi

Director : Sarthak Kanojia

Chirmi Song is about on the relationship of daughter & Father, it's a two Generations father &

daughter love from Childhood to Adulthood.

 

(54) Film Name : Gajra

Director : Vineet Sharma

Life, a wonderful unsolved Enigma. A puzzle to many and a poetry by the philosophers. As it still remains unknown yet it's lived by all in many ways, in different ways, in easy ways and mostly in difficult ways. No one has ever concluded as to how the fates of different people get entwined in this one singular Life which is so diverse beyond anybody's comprehension. The question still remains unanswered as to how in this one Life, people live different lives yet come together at least once through a cord that weaves their fates with the same fabric. Call it love, humanity, empathy or anything as long as the vibes keep people connected. And the outcome of all the connections are not necessarily defined. Many result in an indescribable abstract outcome. Not everything, not every emotion has to be conventional. 'Gajra' is one such unconventional Metaphor that bridges the two world's- the aristocrat Mr. Agarwal and his humble chauffer- Ramakant, which displays a sublime outcome of a peculiarly 'Human' experience they both share on one fine day, thereby enriching Mr. Agarwal's life, vis-a-vis

Ramakant.

 

(55) Film Name : Sweet Biriyani

Director : Jeyachandra Hashmi

Sweet Biriyani deals with a food delivery guy and his experiences in a single day. Marimuthu, a law student, delivers food for his family’s economic needs. He enjoys riding the bike all day, listening to a variety of songs. On what looked like an ordinary day, Marimuthu encounters humiliation, prejudice, and arrogance. How did he find his solace, and what was his retaliation? Sweet Biriyani answers it intensely and humanely

 

(56) Film Name : Bittersweet

Director : Ananth Narayan Mahadevan

BITTER SWEET is a dramatic true account of a shocking ritual in the cash-rich sugar industry of Maharashtra, that could be emotionally draining and biologically devastating! The film tells the true story of Satya Bhama the woman who condemned the ritual of having to remove her womb and compared it to the dark slave ages of America. The perpetrators and the victims do not realise that they are toying with the balance of nature and maybe wiping out an entire future civilization.

 

(57)Film Name : Bhagavadajjukam (The Monk and the Courtesan)

Director : Yadu Vijayakrishnan

Shandilyan is the disciple of Parivrajaka, a Buddhist monk. He comes across with Vasanthasena, a courtesan. Vasanthasena dies on spot as a result of Yamadoota's carelessness.

Witnessing Shandilya's lamentation, Parivrajaka transfers his soul to the body of Vasanthasena. What ensues is nothing but series of comical events. The satirical story features the collision of two worlds.

 

(58) Film Name : Semkhor

Director : Aimee Baruah

DIRO, a SAMSA man, goes to a neighbouring village to take part in the HANGSEU BISU which leads him to be confined and incidentally dies there. As a consequence, DIRO's wife has to take the entire responsibility of his three children. Working as an assistant mid-wife, she has to face several experiences which she despises. According to the custom of SEMKHOR if a woman dies during child bearing the infant is buried alive along with the mother. Diro's wife got her only daughter MURI married to DINAR at the age of 11 yrs only. Unfortunately, Muri dies just after giving birth to a girl child. In a society where a woman can't even take a decision, how Diro's wife brings a new life to the infant of MURI is like an indication of a new dawn.

This is the second and concluding part of the synopses of the films shown at the 8^th Rajasthan International Film Festival, 25-30 March, 2022. The synopses are reproduced as received, with minor corrections and some formatting.

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Turkish businessman and philanthropist Osman Kavala sentenced to life over Gezi Park protests

An Istanbul court on Monday sentenced Turkish civil rights activist and philanthropist Osman Kavala to life in prison for "attempting to overthrow the government," according to state-run news agency Anadolu, concluding a high-profile trial that has concerned Western nations and human rights groups.

UK officials focus on possible adenovirus link to cases of hepatitis in children

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Europe agrees to sweeping new regulations for tech platforms

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Experts: this is the best cash back card of 2022

At least 168 killed in western Darfur violence, aid group says

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Israeli PM Naftali Bennett says security decisions taken in Jerusalem and Gaza are 'not political'

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Nine people found from missing Japanese sightseeing boat, coast guard says

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TIPS redoes Rahman’s Rangeela hit, Mangta hai kya, with new music video

TIPS redoes Rahman’s Rangeela hit, Mangta hai kya, with new music video

It was a new venue for me, though not very far from my house. Located high above a leading footwear brand showroom on Linking Road, Santa Cruz, Bombay Adda (hangout) is a cosy place, just right for the size of the turnout on April 22. The occasion was the launch of the reprised version of A.R. Rahman’s hit from the film Rangeela, released 27 years ago, by TIPS Music, the company that had released the Rangeela music back then as well. Incidentally, Rangeela was Rahman’s first Hindi score. All the personalities associated with the new version were present, along with a substantial media turnout.

Ganesh Acharya, Chirantann Bhatt, Deeksha Toor, Kumar Taurani, Aditya Seal, Palak Tiwari and Aditya Narayan

Directed and choreographed by Ganesh Acharya, the music video features Palak Tiwari and Aditya Seal. It is sung by Aditya Narayan, who has quite some time back, emerged from the shadow of his illustrious father, Udit Narayan, and Deeksha Toor. The music, which retains a lot of the original feel, is the handiwork of Chirantann Bhatt.

Quite obviously, the sensuous moves, passionate dance and mesmerising expressions of Urmila Matondkar in the original ‘Mangta hai kya’ (What do you want) made the song quite a craze. In its 2022 recreated version, two of the hottest properties of Bollywood, Aditya Seal and Palak Tiwari, and a host of male and female dancers, have given a fresh new lease of life to the pulsating track. Picturised in All Saints School, with the teens and twenties dancers sporting school uniforms and gyrating to a short story-like episode, probably inspired by Archie-Betty-Veronica, the song is nothing if not foot-tapping.

TIPS, which is run by the two brothers, Kumar and Ramesh Taurani, has divided its business into films and music, with Ramesh looking after the films sector. Kumar Taurani, who carries his advancing years lightly, said on the occasion, “There’s something magical about old songs, which has the power to revive memories. They become even more interesting when recreated to match the sensibilities of the newer generation. We have a bank of 800 songs that we are considering for remixing. Of these, 4-5 have already been done and will be released soon. Our plan is to release 10 such songs/videos every year.”

Aditya Narayan said on the occasion, “Remakes are risky, comparison is inevitable. ‘Mangta Hai Kya’ is a classic and we have done our best to give it a new variation." In an answer to a question, he commented that of all partnerships between his father and various music directors, he rates the Rahman-Udit Narayan work right up there.

Aditya Seal (pronounced Seel by everybody, but I can wager his surname is Syal; this is probably his fifth music video): "I see it becoming a party, club favourite. It's peppy, catchy and groovy. It was a pleasure working with TIPS Music, which is one of the best music labels in India. Keeping our fingers crossed"

Palak Tiwari, daughter of actress Shweta Tiwari, who was flattered to have her name taken in the same breath as that of her mother, opined, "It is an honour to be a part of the remake of an iconic song with TIPS. ‘Mangta hai kya’ is one of my personal favourites from the 90s. More than a recreation, I would say it is a millennium version. We hope that the audience loves it as much as we do."

Deeksha Toor, who had struggled to gain a foothold in the Mumbai music industry for four years and had gone back to native Delhi when she got the call for this song, said, “I have grown-up listening to the song, and now singing it feels surreal. I would like to thank TIPS for bringing me on board as a singer. I had a great time. I never knew that destiny would be so kind that the first song I ever hummed as a toddler would become the first, biggest song of my music career. If destiny exists, I think this is what it means.

Ganesh Acharya said that there was little to direct in the video, after he had decided to give it a school setting, and given the artistes a school uniforms to dance in. “Choreography, feel and vibe of the song is totally different from the original. The steps, back in the day, matched the 90s era, I have given it a modern twist, as to cater to today’s audience. But we have added very little in terms of phrasing."

Asked about his creative process in composing the song, Chirantann Bhatt revealed "Creating music for ‘Mangta hai kya’ was nostalgia. Having said that I was clear that I didn't want people to listen to it and say that oh, it's nice because it sounds similar. I want people to say, the music is different that's why they like it."

Composed by A.R. Rahman, the original was written by Rahman’s regular, Mehboob. Additional lyrics have been provided by Manoj Yadav, whose presence was missed. The event, which was inordinately delayed, was compèred by RJ Roshan of a local FM radio station. Having compèred a dozen TIPS events in the 80s and 90s, I confess that I was getting a bit emotional, sitting in the audience. Roshan mispronounced Chirantann twice and then asked him the meaning of his name, which, he told the gathering, means ‘immortal, forever’. They made a joke about it, and it was all accepted in bonhomie. The afternoon continued, with a dozen media-persons wanting to interview the talent, take pictures, selfies and make videos, and was followed by lunch. Should have been Hi-tea, considering it was 4.15 pm, but whatever the fare, it was welcome.

A success story that is uncommon, TIPS, the company started as a music shop, selling records. I first met a very young Kumar Taurani in the office of the Gramophone Company of India Limited (HMV), back in the 70s. Little did I know then that they would emerge as one of the country’s largest music marketing and film production companies, and that I would be compèring so many of their events. Back then, Kumar and Ramesh used to say that TIPS was an acronym for To Introduce Playback Singers. And they did introduce so many of them. Then, when the era of versions came along, they had hundreds, if not thousands, of releases on cassettes that gave both popular as well as lesser known singers opportunities to showcase their talents. The only thing they diversified into was making films, which was a natural progression. Today, TIPS is not an acronym but a synonym, a brand for big stuff.

Video Footage:

Part 1

https://drive.google.com/file/d/1q3nUgwnyHdk8yeNgT-BiPhnkCX4JwDGh/view?usp=sharing

Part 2

https://drive.google.com/file/d/1MhR4Tw2cN_KPzB5Iu1lvFOffs4Vu0j3G/view?usp=sharing

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Montreal Canadiens icon and hockey Hall of Famer Guy Lafleur dies at 70

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0% intro APR until nearly 2024 is 100% insane

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Guilty Minds: Amazon Prime’s new series brings the court-room into your drawing room

Guilty Minds: Amazon Prime’s new series brings the court-room into your drawing room

A first in the genre for Amazon, the series dramatises ten court-room cases and encapsulates the proceedings, one in each episode. In real-life, court cases in India often take decades to reach conclusion, but directors Shefali Bhushan and co-director Jayant Digambar Somalkar make sure that each case reaches its end at the end of the episode. The series will start streaming on 22 April, can be seen by Prime members in India and across 240 countries and territories worldwide. It stars Shriya Pilgaonkar, Varun Mitra, Namrata Sheth, Sugandha Garg, Kulbhushan Kharbanda, Satish Kaushik, Benjamin Gilani, Virendra Sharma, Diksha Juneja, Pranay Pachauri, Deepak Kalra and Chitrangada Satrupa, with many guest appearances, that include Karishma Tanna and Shakti Kapoor.

Trying to be different, the producers decided to hold a press meet at a Mumbai Institute that offers an MBA in Law, followed by lunch. This ensured a huge turnout of the students, and a sizeable presence of the media too. Proceedings were held in three parts. Firstly, we had the lead pair, Shriya Pilgaonkar and Varun Mitra, enacting a scene from the series, partly with the help of a script, a bit awkwardly, with oddly constructed sentences. Next, we had a panel, including two practicing senior advocates, Monica Datta and Ravindra Suryawanshi, answering questions put to them by Prof. Paritosh Basu, Senior Professor and Chairman, LL.B. MBA, from the institute. This turned out to be a rather long-drawn affair, after an inordinate delay in starting the proceedings in the first place, and was followed by a brief media interaction. The advocates shared valuable on the ground experiences, ranging from the dramatic to the comic, from the corridors justice.

Prof. Basu kept probing the lead actors and the director about the dichotomy of unrealistic court-room cases as depicted in films and television and whether the team was influenced by this baggage while shooting Guilty Minds. Shefali, who comes from an impeccable lineage of lawyers and is the only member of her family who did not take-up practicing law, explained the constraints of making the series too realistic. Though there is drama, emotion and comedy in reality, these occur rarely. Moreover, the medium has its own demands, and the main one being the constraint of time. Shriya Pilgaonkar could not recall all the legal terms that she had learnt for the role when the series was shot two years ago, and insisted that Shriya is different from the character she plays, even in terms of moral standards, vis-à-vis crime. Varun said that he surrendered to Shefali, once on the set, and got into the character. He put aside his own real persona while essaying the role.

In an answer to this writer’s question, Shefali revealed that the original title of the series was mens rea (Latin for guilty/culpable mind). Mens rea is taken into account usually while computing the sentence for a crime. When questioned further, whether she has dwelled into aspects like the pre-determined, pre-meditated (soch-samajhkar) aspects of crime, she replied that she has touched upon this aspect too. A Mass Communication student, Shefali is a film-maker, writer and producer. Apart from this, she also sings and plays a few instruments. She has studied Hindustani Classical and researched folk music.

Her father is Shanti Bhushan, who is a senior advocate in the Supreme Court of India and was a former law minister of India, while her brother Prashant Bhushan, is a lawyer and an activist. Her mother is Kumud Bhushan, who is a trained Kathak dancer and painter. She was born in Allahabad, Uttar Pradesh, and when she was five years old, her family moved to Delhi. She completed her schooling at Modern School in New Delhi and her graduation with Economics Honours from Delhi University, in 1992. Before Guilty Minds, she has made a film called Jugni (2016), her debut, which she wrote, directed, and co-produced, and a short film called Tambur. An actress too, she did roles in The Song of Scorpions, Tambur, Iyatta and Mission Sunday. As an artiste, her motto is “How to say it without really saying it.”

“Guilty Minds, for me, is more than just a series based on two prolific lawyers who fight for justice and their clients. It is a representation of all that I’ve learned about the law through my family. Growing up, the Law was a constant topic of discussion on the dinner table at my house and I have always been intrigued by it. So, I wanted to present a realistic take on the legal system and Guilty Minds does that through the varied cases it explores.” said Shefali Bhushan. “I couldn’t have found better collaborators than Amazon Prime Video for making this series and showcasing it to audiences worldwide. I hope the viewers will love it as much as I loved creating the series.”

The slender Shriya Pilgaonkar (Mirzapur) and the average good-looking guy Varun Mitra (Jalebi, Tejas) play the young and ambitious lawyers, who embark on similar journeys but along different paths. Both have studied together in law college. But now, while one (she) is the epitome of virtue, the other (he) is associated with a leading law firm, dealing with all shades of grey, believing that no client is guilty until proven so. 

On the occasion, Aparna Purohit, Head of India Originals, Amazon Prime Video, said “At Prime Video, our endeavour has been to create and showcase content that is just as diverse as our customers. Amazon Original Guilty Minds is our first legal drama and an exciting new addition to our library. The series is our first collaboration with creator and director, Shefali Bhushan, who has presented an authentic and realistic portrayal of Indian courts through a variety of relatable cases. And, the phenomenal performances by our actors have breathed life into the narrative, making Guilty Minds a truly thrilling and compelling watch.”

Rohini, who has graduated from a promising RJ to an excellent compère, was the mistress of ceremonies, and did a wonderful job. Wonder how much rehearsing went into it, but that is really immaterial. Keep it up, Rohini!  

Trailer: https://www.youtube.com/watch?v=LP8goZ3Ok6s

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