Play review: Dhappa (Hindi)

June 25, 2022 by Keyur Seta Leave a Comment

Writer, director, lyricist and producer Akshay Mishra’s Dhappa is a Hindi musical play based in the 1950s era of Hindi cinema. This description will make you expect the drama to play out in a certain way. However, it has a major surprise later on; something you don’t expect from a play of this genre.

Produced by Aum Theatre Mumbai, Dhappa takes place in 1950s Mumbai (then Bombay). Kumar (Pavitra Sarkar) is passionate about acting but he is unable to make it big in the industry. Worse, his crass and rude behavior has made him infamous in the media, especially the tabloids.

Kumar stays with his elder sister Iravati (Sharon Chandra) in a bungalow. She is a gifted Kathak dancer but has been unable to fulfill her wish of becoming a professional artiste. She is much more mature than Kumar and is his guiding force as well as critic.

Meanwhile, the successful foreign-returned novelist Shyam (Puneet Issar) is eager to make his first feature film. Despite being obsessed with the idea of his first film, he doesn’t like watching new Hindi films. He is introduced to Kumar in an unusual way.

Shyam’s idea to make a film gains Kumar’s interest as he feels he will cast him in the lead role. However, Kumar is actually interested in making a film based on Kathak with Iravati. But this doesn’t go well with Kumar. He plainly declines the offer on behalf of Iravati without even asking her. Is it due to jealously, patriarchy or something else?

Dhappa takes you back to the golden right at the onset with Pankhuri Gangwal’s introduction as an anchor.

The story is laced with a lot of drama and conflict and that is played out well on the stage on a majority of the times. Akshay Mishra’s fine presentation of various situations as a director is noteworthy. The elaborated scenes between Kumar and Shyam are a mixture of drama and humour. Kumar’s conversations with Iravati are more serious and deep.

Dhappa boasts of some rich set designing with minute detailing that brings back the bygone era. The use of lights is creative while the background score adapts to different emotions effortlessly. Ajit Kumar Srivastava, Amit Ranjan Srivastava and Radha Srivastava’s musical performances elevate the play.

Pavitra Sarkar succeeds in adding life to the character of Kumar. Along with arrogance, he also displays an undercurrent of vulnerability, which the people outside are unaware of. Sharon Chandra scores well both in her Kathak performances and while playing Iravati. Anuradha Athlekar provides decent support in a role that has more potential later.

The veteran Puneet Issar lives up to his name and gives a mature act, including a long monologue. His character’s comparison with Duryodhan in one scene is amusing and smart.

On the flipside, Dhappa needed to be lesser in duration, especially in the second half where the length is felt. The duration of the song performances could have been reduced in order to make it crisper.

This point, however, won’t hurt you much when the aforementioned twist takes place. The way in which it is presented has the potential of giving you a shock, even if you manage to predict it.

Writer, director, lyricist and producer: Akshay Mishra

Cast: Puneet Issar, Sharon Chandra, Pavitra Sarkar and Anuradha Athlekar

Singers and musicians: Ajit Kumar Srivastava, Amit Ranjan Srivastava and Radha Srivastava

Background score: Amit Sagar

Lights: Shyam Chavan

Also read: Play Review: Subodh Bhave-starrer Ashrunchi Zali Phule

What Aamir Khan said about Shivling & why is his film boycotted?

June 12, 2022 by Keyur Seta 5 Comments

Over the last few years, every time an Aamir Khan film gets ready for release, one particular message or meme related to him starts circulating on social media and What’s App. As you must have guessed, it’s shared by the Right Wing fanatics with an appeal to boycott his upcoming film.

With the release of Laal Singh Chaddha not being far, the same message has started circulating again.

The message claims that Aamir once said in his television show Satyamev Jayate that instead of pouring milk on Shivling, it is better to use that money to feed a poor person. Hence, the message appeals to the audience to boycott his next release and use the money you would have spent on the ticket to help the needy.

How true is the message?

The message is fake. Aamir has never said that in Satyamev Jayate. In fact, a topic related to religion or religious beliefs was never addressed in that TV show. Some messages also claim that the actor made that comment in his blockbuster PK (2014). This claim is also false.

Still, if someone can find a video of him saying such a thing, please pass it on. Not that him saying such a thing would justify the boycott, more so after you read below.

Aamir Khan boycott — Aamir Khan in PK and Paresh Rawal in OMG Oh My God!

Who said it then?

Interestingly, the message against pouring milk on Shivling was given by Paresh Rawal’s character Kanjibhai in his film OMG Oh My God (2012). In fact, the character in the movie shares an in-depth and hard-hitting opinion on why it is futile to pour milk on the Shivling, as can be seen from the scene below.

But it doesn’t end here. During the promotion of the same movie, Akshay Kumar, who plays Lord Krishna in it, gave a bold personal opinion on why one shouldn’t pour milk on the Shivling. In fact, he didn’t stop at that. He also criticized the practice of pouring oil on Lord Hanuman’s deity on Saturdays. Watch the video below.

Those spreading communal hatred on the internet and social media have turned a blind eye at Rawal and Akshay’s comments. It is impossible that they are completely unaware about the comments made by these two actors, considering how much research their IT cell carries out.

But don’t expect any such boycott messages for these two actors since their surname isn’t Khan. As we all know, Rawal is also a member of the BJP (Bharatiya Janata Party) and an MP (Member of Parliament). Akshay’s fondness for the party is known far and wide.

We are reminded of it every time we eat a mango.

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Rann keeps getting more relevant and that’s not a good sign

Samrat Prithviraj is a cinematic version of a What’s App forward

June 4, 2022 by Keyur Seta Leave a Comment

Dr Chandraprakash Dwivedi’s Samrat Prithviraj is supposed to be based on the life of the 12^th century king and warrior Prithviraj III or Prithviraj Chauhan. The film focuses on his enmity with Muhammad Ghori of Ghazni in acquiring control over Delhi.

The film’s artistic camerawork and vibrant costumes make it an eye-pleasing affair. Some stunts during the battle scenes also stand out. From the performances, Sonu Sood is the best of the lot with a mature act as Chand Bardai.

But these positives are too few in number when it comes to the minuses. The film has a haphazard narrative throughout. For example, it starts on a tense note but soon loses grip and this is maintained throughout the duration. The forceful inclusion of songs adds to the misery.

A major negative point here is the casting of Akshay Kumar as Prithviraj. The actor never appears in character and it seems he wasn’t even interested in getting the body language right. Debutant and Miss World 2017 Manushi Chhillar has the looks but is pretty average when it comes to acting chops. And the less said about the awkward age gap between the two the better.

But these issues don’t appear as problematic as the film’s political propaganda. It is easy to forgive bad content, which is made aplenty in Hindi cinema, as it’s not intentional. But it’s difficult to overlook propaganda dished out to please the Right Wingers. This, surely, can’t be unintentional.

The film’s makers, during various promotional events, stated that the film is based on actual facts and that Dwivedi carried out research for as many as 18 years. However, such gigantic effort is never seen in Samrat Prihviraj.

(SPOILERS ahead)

Historical accounts state that Prithviraj was killed by Ghori. Astonishingly, the film goes onto show that it was Prithviraj who killed Ghori whereas the latter lived more than the former. It is one thing to take creative liberty. It’s altogether another thing to change an entire narrative of history just to suit your real target audience, which is ready to accept whatever is dished out to them if it suits their narrative.

If they are ready to believe textual ‘information’ in What’s App forwards, they will obviously believe the same forwarded message portrayed on the screen in a grand scale. That’s what this film is – a cinematic version of a What’s App forward.

Amidst such problematic content, the film, out of nowhere, makes you laugh unintentionally when Sanyogita heroically sings ‘Yoddha Ban Gayi Main’ and, while the song is ending, commits jauhar [self-immolation].

Strangely, the promotions of Prithviraj Chauhan also saw Dwivedi claiming that the film is based on the text Prithviraj Raso, a poem written by Chand Bardai. Now this particular text is past-historical and part-fictional. So why also claim that the film is a historical account?

But the film doesn’t do justice even with Prithviraj Raso. The text mentions that after marrying Sanyogita, Prithviraj spent too much time with her while ignoring the state affairs. Nothing of this is shown in the film.

Of course, this would have been too much to bear for their What’s App audience. So the writer-director omits this part. This is exactly how one prepares a What’s App forward.

But it’s surprising that their real audience is fine with the film claiming Prithviraj to be the ‘last Hindu king.’ They don’t remember various other Hindu kings born much later, including Shivaji Maharaj?

Irony just committed jauhar…

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Why are south films dominating? Is Bollywood on the decline?

This actor played both Ram and Sita in a movie

May 29, 2022 by Keyur Seta 2 Comments

Legendary filmmaker Dhundiraj Govind Phalke aka Dadasaheb Phalke gave birth to Indian cinema after he made the very first Indian movie Raja Harishchandra in 1913. Hence, he is known as the father of Indian cinema.

Phalke was smitten by the Hindu mythology. Hence, his films were mostly based on various mythological tales. One such film he made four years after Raja Harishchandra was Lanka Dahan.

Lanka Dahan is based on one episode from the epic Ramayana. Sita is abducted by Ravana and kept in Lanka [now Sri Lanka]. Her husband Lord Rama joins hands with his greatest devotee Hanuman along with his vaanar sena [army of animals] to help free Sita. In order to confirm if Sita is indeed in Lanka, Hanuman flies off to the island and finds Sita over there.

He presents the ring given by Rama as his identity and proof. While Hanuman is about to return, he is captured by Ravana’s army and is presented in the court. Ravana orders Hanuman’s tail to be set on fire. As soon as his tail is ignited, Hanuman escapes from the court and burns the entire city of Lanka with his tail [Hence, the title Lanka Dahan. Dahan translates to “setting anything on fire”].

Anna Salunke as Sita in Lanka Dahan — Photo courtesy: Wikipedia

Hanuman escapes from Lanka and gets reunited with Rama at the other shore of the Indian ocean. His act gives a blow to Ravana’s morale.

Women weren’t allowed to act in movies in those days. So it was a common practice to cast men in female characters after working a lot on their look and attire. Actor Anna Salunke regularly played female characters in Phalke’s movies. The filmmaker had cast him for the first time in his first aforementioned movie Raja Harishchandra.

Salunke used to work in a small restaurant in the Grant Road locality of Mumbai. When Phalke was struggling to find a female to play the role of Taramati in Raja Harishchandra, he, out of sheer co-incidence, came across Salunke in the restaurant. After getting convinced that he can be a good fit for Taramati, Phalke immediately cast him. Salunke continued his association with the filmmaker in his future films.

Salunke achieved a rarest of the rare feat in Phalke’s Lanka Dahan after he was cast as both Rama and Sita in the movie. The reason for casting the same actor in both the roles isn’t known. But it made Salunke the first actor in Indian cinema to play a double role.

Even more than 100 years after the film released, this remains a rare feat of a man playing the role of two people of two different genders in one movie. In the picture above, Salunke is seen as Sita.

This trivia was recently shared in the event CineTalkies in Mumbai organized by the Information and Broadcasting Ministry.

Rare find of a scene from Lanka Dahan:

Also read:

Review of Harishchandrachi Factory – based on the making of Phalke’s first movie

Book review: On The Deathbed by Karthik K B Rao

May 22, 2022 by Keyur Seta Leave a Comment

To say that the Coronavirus or COVID-19 played havoc in the world in the last two years or so would be an understatement. It made people go through hell and changed the way of life for the entire world.

This was more evident during the second wave of the virus. When the first wave subsided, many of us assumed that the worst was over but that turned out to be false and how. Many healthy individuals literally went through horrid times.

One of those unfortunate ones was author Karthik K B Rao. His book On The Deathbed: My Encounter With The COVID-19 Virus lists down his ordeal after getting infected and his fightback in a narrative form.

Karthik and his wife Sushma got infected with the virus in May 2021. While his wife’s condition wasn’t severe, the same wasn’t the case with Karthik. The virus started affecting him at such a high level that he started facing numerous issues, including low oxygen levels. It was an uphill task to get him admitted in the ICU (Intensive Care Unit) of a government hospital.

But that wasn’t the end of the ordeal for Karthik. It was actually the beginning. He had to be shifted to a private hospital in the middle of the night as his condition deteriorated further and there were doubts being raised about his survival.

The aforementioned description of the content might give an idea that On The Deathbed is a sad or, at least, a very serious book. But that is far from the case. While the book does narrate how he went through hell and had to struggle even to carry out the simplest of tasks as answering nature’s calls, it is told in an engaging manner with regular doses of witty and, at times, dark humor.

In fact, after finishing the initial few pages itself, I forgot that On The Deathbed is non-fiction. It actually appears more like those survival genre films like Trapped (2017). Just like the film, we feel for the protagonist here as he goes through a rollercoaster ride of survival. There is a feeling of relief in the end, although we know beforehand that Karthik has survived.

Also read: Book review – The Hidden Hindu

A surprise element is the portion in the end written by his wife Sushma. One realizes that she went through a bigger hell than her husband. Even this aspect is narrated like gripping fiction.

The author is able to achieve the means despite using simple, everyday language that can appeal even to an ordinary layman, just like his earlier book The Mahabharata Code.

The only minus point here is the author addressing the virus as ‘Chinki virus’ once. This could have been avoided as it sounds problematic.

Overall: On The Deathbed: My Encounter With The COVID-19 Virus is a gripping tale of survival of a couple that went through hell during the second wave.

Rating: 4 out of 5

Publishers: Notion Press

Pages: 124

Price: Rs 200

Puneet Issar to play a film director in the period musical play Dhappa

May 19, 2022 by Keyur Seta 5 Comments

The last time veteran actor Puneet Issar was seen on stage was in his mythological play Mahabharata: The Epic Tale where he played the iconic character of Duryodhan for which he is known.

He will now be seen in a completely different production titled Dhappa in the role of a foreign-returned filmmaker named Shyam.

Written and directed by Akshay Mishra, the play is produced by him and Sharon Chandra for Aum Theatre Mumbai. Chandra is also one of the actors in the play and she will also be performing an eight-minute kathak dance. She is a trained Kathak dancer from Jaipur Gharana. She is originally from Fiji Islands and has worked in numerous plays.

The play also stars Pavitra Sarkar and Anuradha Athlekar.

Dhappa is based in the film industry of Bombay in the 1950s. Kumar is a struggling actor who could never make it big. He is also infamous in the media for his rude and crass behavior. Even though acting was never his choice, he still tried to keep the flame alive only for his sister Iravati, whose ambition of dance could never be a reality.

Along comes Shyam, a foreign-returned director who is going to film his dream project. Shyam soon becomes a friend and confidant to Kumar. Kumar is overjoyed thinking that maybe he will get a chance to prove his mettle as a successful actor. But Shyam has other plans in mind.

Speaking about the play and his casting, Issar said in a statement, “It is an utmost delight working with Akshay Mishra and Aum Theatre Mumbai. My role in Dhappa is something that I have never explored but have always yearned for. I remember asking Akshay why he thought of me for the role as I have always played opposite characters. I always wanted to play a soft-spoken character but never got the opportunity. This young team is very close to me and they are my people. I am excited for everyone to see Dhappa and believe me this magnificent play is here to stay!”

As part of this performance, Issar will also be seen giving a monologue titled Patthar Ke Pankh, which was written decades ago by his father Mr Suresh Issar, a noted director and producer.

On how the play came into being, Mishra said, “These two years, I resorted to re-watching some old movies and I was still mesmerized. Movies from the 1950s and 60s are never a one-time watch. The dances, music, costumes, and sets were so endearing. One always looks up to these veterans who have worked tirelessly and given us such invaluable gems. We are forever indebted to their work which gives us a glimpse of a beautiful era gone by. I wanted to recreate some of that time through a play. And Dhappa was born!”

He added, “But it was not an easy feat. I researched a lot on the types of thumris that were played during that era and endeavored to write thumris that resonated with my audience. I was inspired by the thumris sung by Shamshad Begum, Begum Akhtar, Siddheshwari Devi, and many more and tried to recreate a little sprinkle of that golden era that these maestros ruled in. I can’t wait for the audience to hear these beautiful pieces of music.”

Mishra has also written the lyrics for the play, including the thumris. He is famous for his experimental play Nangi Aawazein, based on a short story by Saadat Hasan Manto.

The play will feature live singing from singers, Radha Srivastava, Amit Ranjan Srivastava and Ajit Kumar Srivastava.

Dhappa will be premiered on 18 June at Bandra’s St. Andrews Auditorium at 7 pm.

Why Kaluwitharana’s stint in ’96 World Cup is overrated

May 4, 2022 by Keyur Seta 2 Comments

Note: The aim of this article is not to insult or badmouth Romesh Kaluwitharana. This is just an attempt to present some facts and statistics that are generally overlooked when it comes to the 1996 World Cup

The 1996 World Cup turned out to be memorable because an underdog team like Sri Lanka not only emerged victorious but played like true champions throughout. Aravinda De Silva became the hero for them in the final against Sri Lanka at Lahore where he scored an unbeaten 107 and picked up 3 wickets.

But a large amount of credit has been given to Sri Lanka’s openers Sanath Jayasuriya and Romesh Kaluwitharana. Both the batters were given the license to go after the bowling right from the word go and score as many runs as possible during the field restrictions (15 overs).

Both were known to revolutionize the role of opening batters. They started opening the batting in the series in Australia just before the 1996 World Cup and it worked during that tour.

Till today, Jayasuriya and Kaluwitharana are known as the destructive opening pair of the 96 cup. I have read numerous articles saying the same and heard commentators over the years glorifying both of them as dangerous batters of that series.

However, that is far from true. There is no doubt that Jayasuriya had a great world cup both with the bat and the ball and was rightly adjudged the man of the series. But to say that Kaluwitharana was also a success story in that series doesn’t sound logical.

While this might sound harsh, that isn’t my intention here. Just have a look at his scores in the whole series:

v/s Zimbabwe: 0

v/s India: 26

v/s Kenya: 33

v/s England: 8

v/s India: 0

v/s Australia: 6

ESPNCricinfo in an article says “he [Kaluwitharana] was an integral figure in Sri Lanka’s astonishing World Cup victory that winter.” But his aforementioned performances tell a completely different story. He played 6 innings in that series and his total number of runs amount to just 73! His average comes down to just 12.16.

When you say that a batter had a good world cup, one would expect at least one score of 50 from him. If not this, there should be at least few scores in the 30s and 40s as that would have helped the team get a good opening partnership. But Kaluwitharana scored in double figures just twice.

He gave a good start to Sri Lanka in just two matches and one of them was against an associate team that was playing international cricket for the first time. On top of that, he had two golden ducks. He failed to score in all the three matches in the knockout stage where his total remained just 14 runs.

How can he be considered a ‘integral figure’ in Sri Lanka’s victory? You can’t be considered an important contributor to the team if you don’t contribute.

Kaluwitharana’s overall career was surely much better than this. He was a good partner for Jayasuriya before and after the 1996 World Cup. But to say he was a part of a destructive opening pair in the 96 cup would be more than an overstatement.

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Why south films are dominating? Is Bollywood on the decline?

April 26, 2022 by Keyur Seta 3 Comments

The last six months, ever since theatres re-opened all across India at the end of last year, have seen some major box office hits in India. The top three of them have been from the south Indian film industry. These include the likes of Pushpa: The Rise, RRR and KGF Chapter 2.

Interestingly, apart from their original languages, these films they have also done phenomenally well in its Hindi dubbed versions in the Hindi belts of India – regions where predominantly Hindi films work.

They have also outperformed quite a few big-ticket Hindi films that were expected to do well. This is forcing a lot of people to ask the question as to why south films are working big time in the Hindi markets these days, especially on social media.

Going by the films that have succeeded, the answer to the question is simple. These films are finding massive audience base because these are entertaining films. Over here, entertaining means absolute mass entertainers.

These are films where a popular hero (or heroes) with a good amount of fan following plays a rough and tough character who can beat the hell out of the bad guys, gets to mouth some heroic dialogues and shake a leg on fast dance numbers. Pushpa, RRR and KGF fall in these categories of films and were decent content-wise too. Hence they have achieved massive success all over the country.

This is also giving rise to the question whether Bollywood or Hindi film industry is on the decline. It is being said on numerous occasions that south industry is all set to dominate and put behind the Hindi industry. I read a lot enthusiastic comments on social media daily where someone or the other states that Bollywood is slowly getting finished or is sinking.

I personally feel these are baseless statements. One needs to understand that there has been a change in the way audience consumes films in the post-pandemic era. People are visiting theatres in large numbers only for massy commercial films that provide larger-than-life entertainment.

That’s the reason why the aforementioned south films have done so well. And that is also the reason why Rohit Shetty’s Sooryavanshi became a runaway hit and that too at a time when there was uncertainty at the box office. After all, it was the first big Hindi film to release post-pandemic and the producers themselves weren’t sure how it would perform. But it had non-stop entertainment and this was enough for the cash registers to start ringing.

The same can be said about the success of Gangubai Kathiawadi. It might be a film about the life of a sex worker but it was narrated by Sanjay Leela Bhansali in a larger-than-life and entertaining manner. It was also helped by the presence of superstar Alia Bhatt who showed as much confidence and swag as any hero in a hero-centric massy film.

The Kashmir Files is an exception as it’s not a typical Bollywood movie. It created massive interest for people of a particular political ideology who felt it’s their duty to watch this film in theatres. This doesn’t mean that those with a different political view didn’t see the film.

On the other hand, films like Chandigarh Kare Aashiqui, Badhaai Do and Jersey have failed despite getting positive reviews and word-of-mouth. This is because they were sensible, content-oriented films and not the larger-than-life masala entertainers.

Hence, as per the change in audience consumption, they didn’t do well in theatres. People are preferring to watch such type of films on OTT [over-the-top] platforms. Now, a film worth watching in theatre has to be a big-screen experience. A major proof of this change is that even someone like Ayushmann Khurrana, who was considered a bankable star before the pandemic, couldn’t help the cause of Chandigarh Kare Aashiqui.

Of course, Satyameva Jayate 2 was also aimed as a massy entertainer but the film got rejected because of its terrible content. The film at least needs to be decent to be successful. Because of the same reason, the Hindi version of Radhe Shyam sank despite the presence of the Baahubali actor Prabhas. The same was the cast with Vijay’s Beast. So it’s not at all big south films are doing well in Hindi.

There’s no denying that the quality of Hindi films in recent times hasn’t been up-to-the-mark or at high standards. The industry has been criticized for its obsession with remaking successful south Indian movies over and over again.

But this certainly doesn’t mean that Bollywood is sinking or is on the decline. It’s just that only commercial films with big stars and decent content are doing well right now because of the change in audience’s manner of consumption.

The big commercial films lined up for release from here onwards are expected to do well if the content is decent enough. Can’t say the same about films that are thought-provoking and not aimed at the masses as these films are now considered worthy only for OTT.

This will go on at least till the near future. After that, things may or may not change.

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When Sachin, the bowler, bailed out India in THRILLING situations

April 23, 2022 by Keyur Seta Leave a Comment

Sachin Tendulkar is considered the legend of the game and the best batsman to have played the game. But those who have grown up alongside his career would know that he was an underrated and underused bowler.

Tendulkar has had a number of successes with the ball, including two 5-wicket and 4-wicket hauls. He picked up 154 ODI wickets and 46 test wickets in his long career. But apart from being the highest wicket-taker in these matches, he also rolled his arm over for just an over or even a ball in situations that were purely nail-biting in few ODIs; where the match could have gone anywhere but for his calm and calculative bowling.

These are those moments:

Hero Cup: India vs South Africa (1993):

This was a must-win match for both teams as it was the semi-final. The winner was set to play either West Indies or Sri Lanka in the final. The match, as Ravi Shastri would say, went right down to the wire. India batted first and were all out exactly at 50 overs for just 195. South Africa never got going and struggled during the chase.

In the end, South Africa needed 6 off 6 balls with 8 wickets down. During this time, skipper Mohammad Azharuddin gave the ball to Tendulkar. After getting Fanie de Villiers runout of the first ball, he literally made Allan Donald dance on his tunes by not allowing him to take any run on the next three balls. McMillain, the set batsmen, stood frustrated at the other end.

Donald finally got a single on the fifth ball and McMillain needed to score a boundary off the last ball. He was unable to connect well and just managed to take a single. India won by two wickets.

Titan Cup: India vs Australia (1996):

Tendulkar had a phenomenal record against Australia with the bat. But he has also made life tough for the Aussies with the ball. He had a 5-wicket and 4-wicket hall each against them in 1998. But he also had a small but major achievement with the ball against Australia in the unofficial semi-final of the Titan Cup in 1996 in Chandigarh. The winner of this match was to play South Africa in the final.

This situation was similar to the one in the Hero Cup semi-final. India scored 289 for 6 batting first with skipper Azharuddin again top-scoring with 89. This match also turned out to be a thriller with Australia needing 6 runs of the final over. Sachin was the captain on this occasion. He decided to bowl the last over himself. Again, he hadn’t bowled in the entire innings.

Tendulkar bowled a length ball to Brad Hogg who looked good in that innings. He tried to play the sweep but got hit on the pads and there was an appeal for LBW. McGrath, at the other end, took the run but Hogg was busy watching the ball. Hence, it was too late for him to reach the other end as keeper Nayan Mongia succeeded in a direct hit. India won by 5 runs.

Benson & Hedges World Series: India vs West Indies (1991)

This is one of the most underrated heroics of Tendulkar with the ball. It was the first match of the Benson & Hedges World Series between India and West Indies and it ended in a tie. Tendulkar had a major role to play in it.

In this low-scoring match at Perth, India were bundled out for just 126. In reply, West Indies kept losing wickets at regular intervals, which ensured that India was always in the game. This was the match where Javagal Srinath got Keith Arthurton bowled in the famous way after squaring him up.

When West Indies were reduced to 113 for 9, it looked like India would win from there on. But a gutsy last wicket stand between Anderson Cummins and Patrick Patterson got them on par with India’s score of 126.

This was the first time that captain Azharuddin threw the ball to Tendulkar in such a tense situation. And like the two aforementioned incidents, he hadn’t bowled in the entire inning. He gave away five runs in the first five balls of the over. But on the last ball, he got Cummins caught at second slip by Azharuddin in a spectacular manner.

We all know how Tendulkar kept a calm head despite crores of people scrutinizing him while having high hopes from him when he is batting. But the aforementioned incidents show that he also had the nerve as a bowler in situations where even the best of bowlers would feel the pressure.

Also read:

Sachin Tendulkar’s 8 best bowling performances

Political ideologies & caste have divided audiences of Hindi & Marathi cinema

April 13, 2022 by Keyur Seta 1 Comment

Cinema, like other art forms, is celebrated in India. In fact, this has been the most popular medium of art since time immemorial in various languages. It is considered to be a medium that is enjoyed by people in groups of large numbers. In other words, it has united people of India over the decades; be it of different languages or regions.

But in the recent past, there has been an increasing division among the film audiences in terms of political ideologies and caste.

This has been seen the most with Vivek Ranjan Agnihotri’s The Kashmir Files. No, this article isn’t about whether the film is good or bad. What’s noteworthy here is that people are divided in two sides of the fence when it comes to this film.

Agreeing to disagree is something that doesn’t happen much on social media. Those who haven’t liked the film or are critical of it, be it film reviewers or general public, are hated and abhorred by those who have loved it. I agree there have been reviews and views that appear biased against the movie.

However, even if someone genuinely doesn’t like that film, he or she is considered to be insensitive towards the plight of Kashmiri Pandits. They just don’t take into account that a person can dislike a film for its craft and other filmmaking aspects like screenplay, dialogues and direction. Not liking The Kashmir Files doesn’t mean one doesn’t care or sympathize with the Kashmiri Pandits.

Similarly, if a person genuinely likes that film, he is considered to be from the Right Wing.

Hence, now Hindi films are looked upon as ‘ours’ and ‘theirs.’ Films that are critical of the rivals of the ruling party or the ones that have references to Ramayana or Mahabharata are considered Right Wing movies. On the other hand, those critical of the ruling party and the ones that feature the Khans or the ‘nepo gang’ (as they are called) are considered belonging to the ‘other’ side.

Unfortunately, the curse of division has entered among the Marathi cinema audience too. Here it’s not based upon political ideology but caste. Yes, we are seeing caste-based divisions even in 2022. In fact, it is seen the most this year.

For people like us, films like Jhund (it is a Hindi film but it’s aimed mostly at Maharashtra) and Me Vasantrao are great films. However, because of the caste identity of the protagonists in both the films and its makers, they are labeled as films for the ‘lower castes’ and ‘higher castes’ respectively.

Hence, if a person from the ‘higher caste’ doesn’t like Jhund, he is considered to be anti-‘lower caste.’ On the other hand, if a person from the ‘lower caste’ doesn’t like Me Vasantrao, he is accused of being anti-‘higher caste.’ In both scenarios, if that person happens to be a film critic, he or she is trolled and bashed online. We have now reached a stage where the caste of the critic is taken into consideration before taking his or her views seriously.

Over the last 1-2 months, I have come across plenty of comments and long opinions on social media on the division between Marathi films on the basis of ‘ours’ and ‘theirs’. This segregation had started mildly few years ago but it has reached dangerous levels this year.

This division among Hindi and Marathi audience couldn’t have come at a worse time. This is the era of pan-India films. South is leading the way with movies like Baahubali (1 and 2), KGF Chapter 1, Pushpa, RRR and KGF Chapter 2. These films are dubbed in Hindi and they do tremendously well all over India.

Being an admirer of both Hindi and Marathi cinema, I would want films in these two languages to do well pan-India too by getting them dubbed in various south languages or through any other way.

But looking at such a staunch division among the primary audiences of films of both the industries itself, this appears like a dream right now.

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