How Dangal showed that patriotism can be felt, not preached

January 25, 2017 by Keyur Seta Leave a Comment

Nitesh Tiwari’s Aamir Khan-starrer, Dangal has shattered box-office records by becoming the biggest Bollywood blockbuster ever. The film has earned over Rs 370 crore so far. Collections in this range speak about a film’s wide acceptance. More so because the earnings have been constant. Its peak business wasn’t limited to the first few days or first week.

But the film, based on the life of Mahavir Singh Phogat, has also achieved something else subtly.

In today’s times, patriotism and nationalism are transformed to hyper-patriotism and ultra-nationalism. It is a ploy used by self-proclaimed patriots who are always ready to attack anyone not agreeing with their pro-government views in the name of Desh Bhakti.

This is also seen the most if you disagree with their views of opposing everything that is Pakistani. Be it actors, cricketers, artists and who not. These are the same people who completely turn a blind eye to the non-stop trade between India and Pakistan, even after the Uri attacks. Some of them might even be staying in houses made from cement that comes from across the border. However, this is a different story.

Coming back to the main topic, in the midst of such hyper-national atmosphere, Dangal has shown the actual meaning of patriotism, which should be felt and not preached. This is in the climax when the National Anthem is played. It was an excellent technique to make Phogat realize that Geeta has won the Gold medal.

Tiwari got the audience rooting for Geeta Phogat in her quest to win Gold for India in such a way that most of us were forced to stand during the National Anthem. Some of us who have been opposing the playing of our anthem before films also stood up. Why? Because we badly wanted her and India to win the Gold and make Mahavir’s dream come true. So, the climax brought a sense of pride towards our nation.

But all this was achieved without a single dialogue highlighting the importance of patriotism. Without any sloganeering. In fact, there were no instructions on the screen either asking people to stand. Hence, it’s proven that patriotism is a feeling, not a slogan.

In all this, Aamir has also truly destroyed the morale of hate mongers, who were spreading messages to boycott Dangal. But he did that without saying a word against them and by just making his work do the talking.

They urged everyone to boycott his films. People made it the biggest hit ever.

They labeled him ‘anti-national.’ His film showed the true meaning of nationalism.

Hope for peace lives on…

– By Keyur Seta

Om Puri: I like working with someone better than me (old interview)

January 6, 2017 by Keyur Seta 1 Comment

Today, Om Puri reminded us the law of nature. The great artist passed away at his residence in Mumbai following a massive cardiac arrest. He was one artist for whom the word ‘irreplaceable’ can be used. Below is an old interview of his that I took for the annual 2014 issue of Trade Guide magazine. It is been posted with due permission of the publication.

A name like Om Puri doesn’t need any formal introduction. By going strong in the field of acting for 40 years, he is easily one of the finest acting talents the country has seen. For the special annual issue of Trade Guide, the veteran artist gets candid exclusively with Keyur Seta over his career and the recently concluded year.

You have done art-house cinema as well as hardcore commercial cinema. Which of the two genres makes you more proud?
To be honest, I am proud of both types of cinemas. Art-house cinema gave me recognition, credibility and honor as a good actor. Because of these films, I was able to travel all over the world by participating in film festivals. It also gave me two National Awards and other awards. But unfortunately, art cinema didn’t have much money. So, commercial cinema provided me with livelihood. I am having a decent living because of commercial cinema. Hence, I am grateful to both types of cinemas. But without art films, commercial cinema wouldn’t have recognized me at all. I didn’t have the type of personality commercial cinema needs. They would have considered me as one of the junior artists.

How would you describe your more than three decade long journey in Hindi cinema?
I am quite happy with my career to be honest. I have not only made a mark in art-house cinema but have also been a part of commercial cinema. Plus, I am also a known name in the west. So surely I am quite happy. But unfortunately, our cinema doesn’t have much material for elderly actors unlike the west. They have a lot of subjects where elderly actors are the main leads.

You started off by getting a job at a theatre group when you were very young. At that time, did you ever imagine that one day you will be counted as one of the finest actors?
No, I never thought that. I just kept working hard with sincerity and honestly and didn’t think about anything. I was focused.

Picture: Networthier.com

Naseer sahab (Naseeruddin Shah) has been your companion all through your acting journey.
He has a huge contribution in making me a better actor, knowingly or unknowingly. He was the one who inspired me enroll at the Film and Television Institute of India (FTII) in Pune. As I had no money to study at FTII, he told me, beg, borrow or steal but come here. He said there is no future in Delhi. So I will always be grateful to him. We have been friends since almost 44 years now.

How was the year 2014 for Hindi cinema according to you?
To be honest, I don’t think the year was too exciting. I also feel that we have too many urban films made these days whereas a large chunk of our population stays in villages. Films about village and its issues are very rarely made. In fact, they are not made anymore.

A lot of unconventional films are tried in mainstream Hindi cinema nowadays.
Yes, there are filmmakers who are making good meaningful cinema. I am not denying that. There are a number of such filmmakers like Dibakar Banerjee and Anurag Kashyap who make films with good content.

What are your expectations from our films in 2015?
Firstly, I don’t agree that films are just meant purely for entertainment. It is such a powerful medium that it can participate in educating the society. It has the ability to inspire people and create values. Today a lot of youngsters are into drugs and all such notorious activities. So cinema can play a role in it. I am not saying there shouldn’t be entertainment. But entertainment should have some weight. JAANE BHI DO YAARO was entertaining but it also carried a message. So along with entertaining films, there should be some serious films, which aren’t biased and prejudiced. One such film was OH MY GOD.

These days, 100 crore club is becoming smaller as 200 or 300 crore is considered the ultimate achievement.
There is no end to it. It is purely commerce and business. It is sad that cinema is only being treated as business. I can understand that there is a big investment. Of course, whoever spends money on a film should get the returns. But a person recovering 10, 20 or 50 times the money spent is a bit ridiculous. Why don’t you make more films? For example, instead of raising the price of one toy, why can’t I make 15-20 toys and keep making money?

But this was started in 50s itself. Initially, artists from various fields of theatre migrated to cinema. Once cinema established itself as a fruitful business, it attracted businessmen, who had no creative affiliation or background. They were purely businessmen, who started dictating terms for making films successful. Otherwise, that era was known for producing meaningful films by people like Bimal Roy, Gurudutt, V Shantaram, etc.

Do you think the current audience is more willing to watch off beat films as compared to 10 or 20 years ago?
There is nothing like that. It is just that off beat cinema should not be boring; it should be interesting. You can either write an essay or a short story. People aren’t interested in essays unless you are a literary person. But people like reading stories because it interests them. Very few people read editorials in newspapers; they like reading headlines and news. So you should not treat cinema as an editorial. ARDHA SATYA and AAKROSH didn’t have songs but they were successful films. The same was the case with films like KANOON and ITTEFAQ. When I was a student, I saw OONCHE LOG and I liked it although it didn’t have songs.

Any actor you haven’t work with yet but are eager to work?
I am ready to work with anyone. I would like to work with someone who is better than me because that will enable me to give my best.

Dangal Dialogues

December 24, 2016 by Keyur Seta 1 Comment

Dangal‘s dialogues play a large role in making the Nitesh Tiwari written and directed film so impactful. Of course, one can’t deny the enormous contribution of the screenplay, direction and performances, especially Aamir Khan. But the smart and witty dialogues surely lift the film further.

Here are 10 best dialogues (lyrics) from Dangal:

– Tu ek saal seene pe patthar rakh de. Agar kamyab na hua, toh main poori jindagi seene pe patthar rakh doonga.

(Translation: You bear it for a year. If I don’t succeed, I will bear for the rest of my life.)

– Pahalwan ke khoon mein kushti hove hain.

(Translation: Wrestling is inside the blood of a wrestler.)

– Medal jeete toh koi na poochhe hain. Magar haare toh sab gaali deve hain.

(Translation: People won’t be bothered if you win a medal. But they will surely criticize you if you lose.)

– Mhari chhoriyan chhoron se kum hain ke?

(Translation: Are my daughters less then sons?)

– Gold toh gold hota hain. Chhora laave ya chhori.

(Translation: A gold medal is a gold medal, irrespective of whether it is won by a boy or a girl.)

– Jyada dil chhota na kar. Tu national level ke pahalwan se hara hai.

(Translation: Don’t worry. You have lost to a national level champion.)

– Geeta ko kyun chhore dekhne aavenge? Woh khud chhore dekhne javegi.

(Translation: Why will boys come to see Geeta for marriage? She will go to see them.)

– Thara bapu thare baare mein soche toh hai.

(Translation: At least your father is thinking about you.)

– Agar silver jeeti, toh aaj nahin toh kal log tanne bhool jaavenge. Gold jeeti toh misaal banjavegi. Aur misaale dee jaati hai beta, bhooli nahin jaati.

(Translation: If you win a silver, people will eventually forget you. If you win a gold, you will become an example. And examples are set, not forgotten.)

– Thari ladaai har us insaan se hain jo maane hain ki chhoriyon ka kaam sirf chokha dhaani karna hain.

(Translation: Your match is against all those who feel girls are only meant to do household chores.)

Dangal Review: A true Gold Medalist

December 24, 2016 by Keyur Seta 1 Comment

Sports films have become an overdose in mainstream Hindi cinema. But Nitesh Tiwari’s Dangal won’t let you think about this statistic for two reasons. It is not just the best sports underdog film but also one of the best films to have come out from our part of the world.

Dangal is a real life account of India’s wrestler Mahavir Singh Phogat’s efforts to make his daughters, Geeta Phogat and Babita Phogat champions in the sport. As a young man, Mahavir (Aamir Khan) couldn’t fulfill his dream of winning Gold Medal for India due to his family condition. So, he goes on a mission to make sure his upcoming son will bring India glory.

However, he is blessed (or in this case, cursed) with not one but four daughters. This shatters him as he believes only a son can win Gold in wrestling. But one day he realizes that two of his daughters, Geeta and Babita (Zaira Wasim and Suhani Bhatnagar who grow up as Fatima Sana Shaikh and Sanya Malhotra) also have wrestling in their blood. Mahavir’s hopes re-emerge.

Although Dangal is a biopic, the makers honestly confess at the start that a lot of aspects have been fictionalized, including some characters. This might disappoint some but it won’t matter to you once the film begins. Dangal is an ideal example of an intelligent screenplay, mature dialogues and masterful presentation. The combination produces one memorable sequence after another. And like every intelligent film, at a lot of places it says a lot without saying much. Also, in a lot of places, serious situations are presented humorously.

The film does have few logical errors here and there but the huge number of positive points makes sure you don’t get affected. Even Tiwari has done well in covering them up intelligently. But there comes one moment at the end which is too fictionalized. However, the incredible effect it produces in the end transforms it into a masterstroke.

In fact, in my opinion, it is the one of the most overwhelming climaxes. A lot of people, if not all, who are against the playing of National Anthems during movies would happily rise up when it is played in this film.

It is difficult to jot down the best moments, apart from the climax. The one that stands out is when Mahavir explains to Geeta that her fight is not against the opponent but with all those who believe girls should only be restricted to household chores. The entire gist of the film explained so simply.

The film’s technical department matches up to the content and even enhances it. Cinematographer Sethu Sriram has a long body of work including Tere Naam (2003), Wanted (2009) and OMG – Oh My God (2012). But with his fine work here, he has arrived.

The background score is minimal which is a smart move. There are no loud sounds during wrestling scenes to make them forcefully appealing, which a lot of films are guilty of. In fact, there is no background score on most occasions and rightfully so.

Pritam’s music and Amitabh Bhattacharya’s lyrics add plenty of effect. The songs take the story forward and are not treated merely as songs.

Lastly, the film reaches this level because of Aamir Khan. He once again proves he is one of the few greatest artists from India. And with this performance, he shows he is the powerhouse of dedication. But it is not merely an Aamir Khan film. Fatima Sana Shaikh and Sanya Malhotra make enormous use of the opportunity and manage to match-up to Aamir, which is no small achievement.

Zaira Wasim and Suhani Bhatnagar, who play their younger versions, stay etched in your memory their limited screen time. Sakshi Tanwar should do more films. She provides a fine act as Mahavir’s wife. Girish Kulkarni is a phenomenal performer and he shows it with his act as the coach. Aparshakti Khurrana, as Geeta and Babita’s cousin, isn’t bad. At times, he is overused to provide humour.

Overall: Dangal is one of the finest films you will see and one of the very few ones with a lot of repeat value.

Box-office prediction: The film has gained a tremendous opening on the first day earning Rs 29-30 crore (as per BoxOfficeIndia.com). With the incredible word-of-mouth, it is sure to rise higher and has a fair chance of being the highest earner of 2016 defeating Sultan. If not that, it is sure to reach the Rs 300 crore mark.

Rating: 4.5/5

Review by: Keyur Seta

Director: Nitesh Tiwari

Producers: UTV Motion Pictures and Aamir Khan Productions

Writers: Nitesh Tiwari, Piyush Gupta, Shreyas Jain and Nikhil Meharotra

Cast: Aamir Khan, Fatima Sana Shaikh, Sanya Malhotra, Sakshi Tanwar, Zaira Wasim, Suhani Bhatnagar

Music: Pritam

Genre: Biopic/Drama

Runtime: 161 minutes

Spoof: What the Common Man of A Wednesday thinks about Demonetisation

November 26, 2016 by Keyur Seta Leave a Comment

The Demonetisation of Rs 500 and Rs 1000 notes and the introduction of Rs 2000 notes are garnering mixed reactions among the people of India. So, I and a couple of my friends – Padmanabh Subramanian and Ankit Tripathi – came up with this spoof on how the Common Man of Neeraj Pandey’s A Wednesday would think of Demonetisation if he is facing problems due to it.

This is it:-

Here are the words of it:

Main woh hoon jo aaj do hazaar ki note se darta hai. Main woh hoon jo ATM jata hai toh uski biwi ko lagta hai jung pe ja raha hai. Pata nahin bachega ya nahin. Har 2 ghante ke baad phone karti hai ki paise mile ki nahin, number aaya ki nahin. Darasal woh yeh jaan na chahti hai ki main zinda hoon ya nahin. Main woh hoon jo chunavi vaadon mein phasta hai. Kabhi jumlo mein.

Kala dhan kisi ka bhi ho, bewajah marta main hi hoon. Bheed toh dekhi hogi na aapne? Bheed mein se koi ek shakal chun lijiye, main woh hoon. I am just a stupid tax payer, wanting to jump ATM queues.

– By: Keyur Seta

Ae Dil Hai Mushkil Review

October 29, 2016 by Keyur Seta Leave a Comment

By: Keyur Seta

Karan Johar’s Ae Dil Hai Mushkil is finally in theaters after facing a lot of mushkils. Without wasting any time, let’s explore the most important question – Does the film live up to the expectations? Well, from the point of view of entertainment, the answer manages to fall in the affirmative. But as far as romance is concerned, it doesn’t. Unfortunately, it is the latter that matters more in such films.

The story takes place in London in today’s era. Ayan (Ranbir Kapoor), an aspiring MBA and a singer at heart, meets the carefree and bold Alize (Anushka Sharma) in a club. An instant bond is developed between them despite there being a huge emotional gap between them. Ayan is in a relationship that is going nowhere while Alize has broken-up with her boyfriend. Sudden twists ensure in their lives, which brings Saba (Aishwarya Rai Bachchan) in the picture.

Ae Dil Hai Mushkil is an engaging fare with a good amount of entertainment factors. The conversations, both serious and light-hearted, keep your interest alive and provide continuous giggles, especially the references of iconic Hindi films. Of course, the typical larger-than-life K Jo elements make the film visually pleasing. So, except few moments in the second half, the duration of 157 minutes isn’t felt much.

The music, by composer Pritam, also works in its favour. The title song, ‘Bulleya,’ and ‘Channa Mereya’ are enjoyable tracks. He has also smartly used the tunes of the songs in the background score. As expected from a pro veteran like Anil Mehta, the camerawork boasts of impressive visuals.

But entertainment is not the most important factor in such genre of films. It is extremely important for the romance part to work well and this is where ADHM lags behind.

See the following points to know more:

– To put it frankly, the film appears more like a lust story than a love story. The process of falling in love, which is crucial for every romantic film, is clearly missing here. Such superficial romance defeats the very purpose of the film, which is the move the audience.

– You don’t feel sympathy for the character of Ranbir, despite his constant sobs. The same goes for Anushka due to her constant confusion and Aishwarya for her questionable antics.

– A week ago at MAMI’s Movie Mela, Johar categorically stated that the film has no kissing and making out scenes and is fit to watch with the family. But this has turned out to be a blatant lie. There is a lusty kissing scene and a couple of making out scenes as well.

Ranbir Kapoor is the biggest plus point here. The actor is back to his winning ways and how! He adds life to the character of Ayan while portraying every emotion with utmost sincerity. His characterisation should also be lauded. His weakness and vulnerability makes him more real and breaks the usual male stereotyping in commercial Hindi films.

Anushka Sharma isn’t behind though. She provides a remarkable act as the bindaas Alize and wins you over time and again. Surprisingly, Aishwarya Rai Bachchan only plays a cameo. She is alright. In another cameo, Fawad Khan impresses with his acting abilities. Shah Rukh Khan too brings in a smile with his special appearance.

Overall: Ae Dil Hai Mushkil is an average fare that could have been much more. The film will earn well in the first long weekend. But it won’t earn the tag of a box-office blockbuster as it doesn’t have mass appeal. The content caters to the urban audience mostly.

Rating: * * 1/2

Director: Karan Johar
Producers: Dharma Productions and Fox Star Studios
Writers: Karan Johar and Niranjan Iyengar
Cast: Ranbir Kapoor, Anushka Sharma, Aishwarya Rai Bachchan, Fawad Khan
Music: Pritam
Genre: Romance
Runtime: 157 minutes

5 reasons why banning Ae Dil Hai Mushkil is senseless

October 16, 2016 by Keyur Seta 5 Comments

By: Keyur Seta

The Uri attacks in Jammu and Kashmir by Pakistan-based terrorists, which saw 19 Indian soldiers achieving martyrdom, saddened the nation. It also united the people of India above religion, region, caste and what not. However, the incident has also given rise to some intense hatred that is only making things worse.

The biggest example of this is the ban on Karan Johar’s Ae Dil Hai Mushkil by Cinema Owners and Exhibitors Association of India (COWAI) just because it stars Pakistani actor Fawad Khan. This means that the film won’t release in single screens and few multiplexes in India.

Here are 5 reasons why hatred towards the film is senseless:-

1. Ae Dil Hai Mushkil was shot much before the Uri attacks. In fact, the film had even completed its post-production by then. Fawad worked in the film through legal means and was given proper work visa by us. Films with Pakistani actors that released before the Uri attacks didn’t face any issue. Happy Bhag Jayegi, which released on August 26, saw Pakistani actress Momal Sheikh playing one of the important characters. There was no uproar and the film was appreciated. So, will you punish ADHM for its release date? Is it Rocket Science to understand that it takes months for a film to release after the completion of shoot?

When I spoke with Nitin Datar, president of COWAI, and asked as to why ADHM should suffer because of its release date, he had no clear answer to it. Read the news HERE.

2. Last year, Narendra Modi, the Prime Minister of India, gave a birthday surprise to Pakistan Prime Minister, Nawaz Sharif, in order to develop friendly ties between both countries. This was also the time when Johar was shooting ADHM with Fawad. If you feel what the filmmaker did was wrong, what do they have to say about our PM’s gesture? You can be friendly with their PM but can’t work with their artists? I personally have nothing against Modi’s act. I found it worth appreciating. But this is clear double standard by those portraying Johar as a villain for signing Fawad in his film.

3. Ajay Devgn had signed Pakistani actor Ali Kazmi for Shivaay, which is releasing alongside ADHM on October 28 (read the news HERE). But things didn’t work out due to date issues. Nobody is having any problems with Devgn. After all, he too signed one. It is only Kazmi’s refusal that has turned Devgn into a hero.

4. A section of people and few political parties are justifying the ban since Fawad didn’t condemn the Uri attacks. Even if we assume it was wrong on his part, why make Johar suffer huge loses because of it? Fawad has already received his fee by the way.

5. For those who believe paying Pakistani actors amounts to funding terrorists, the same logic should apply to the money we pay to Pakistan through trade. Why nobody is speaking against banning trade between India and Pakistan? Why art and sports are made scapegoats always?

The issue is not just limited to a film. If Ae Dil Hai Mushkil is indeed banned, it will become an example of senselessness being given more importance than logic and the law of the land.

M S Dhoni Review

October 1, 2016 by Keyur Seta 1 Comment

By: Keyur Seta

M S Dhoni – The Untold Story is a biopic on India’s legendary cricketer and the most successful captain, Mahendra Singh Dhoni. The film portrays his journey from his birth till the time he wins the 2011 World Cup for India.

In his three films so far, Neeraj Pandey has proved himself to be a terrific storyteller. He shows his class here in the first half. Even if you are unaware about Dhoni, you can easily predict such sports biopics.But this won’t affect you in this portion whatsoever due to some high quality narration filled with winning moments that are real and entertaining.

The story of a small town boy and his struggle to make it big against all odds moves you. You feel the pain of the protagonist and start rooting for him. Chances are that you feel cheering for him when he starts off playing at local and domestic levels.

Unfortunately, M S Dhoni goes downhill in the second half. The following are 5 points that stop the film from being a must watch.

— A film so unconventional in the first half suddenly starts treading on the filmi path post-interval. If both romantic tracks aren’t tedious enough, the use of songs make it worse and gives a typical Bollywood feel.

— Conflict plays an important role in any story but that’s completely lacking here. This point affects more here since, as mentioned before, the film is predictable.

— But what hurts the film the most is the decision of not including some very important incidents and achievements from Dhoni’s career. So, you feel good in the climax only because it brings back memories of the 2011 World Cup. The film hardly has any emotional impact though.

— Strangely, Dhoni’s relation and rapport with fellow cricketers is also absent. His rivalry with Yuvraj Singh (Harry Tangri) is built interestingly in the first half. But there is just no mention of Yuvi later on. This is indeed strange as both players played a key role in India’s World Cup triumph.

— To see Sushant’s face placed on Dhoni’s body through VFX is silly and unintentionally hilarious. It is understandable in the first half when Dhoni is a school kid. But later on, it becomes too much. The director just makes the audience revisit moments from team India’s past matches, which cricket fans must have seen umpteen number of times.

M S Dhoni is high on technicalities (cinematography, background score and editing). The songs are a disappointment though. Plus, they seem unwanted in a film of this nature.

Some performances become turning points in an actor’s career. For Sushant Singh Rajput, it is his act as Mahendra Singh Dhoni over here. He not only gets Dhoni’s traits and mannerisms right but also delivers a mature performance by portraying various emotions effortlessly. However, Sushant’s voice and style of speaking is nowhere similar to Dhoni’s.

The rest of the actors get to play supporting parts. Out of these, Anupam Kher, Rajesh Sharma and Kumud Mishra are laudable while Disha Patani, Kiara Advani and Bhumika Chawla fall in the decent category. The actor who plays Dhoni’s boss during his railway job and the ones who play his friends deserve special mention. Herry Tangri (who plays Yuvraj Singh) doesn’t say a word but leaves behind a terrific impact. He is a lookalike of the cricketer.

Overall, M S Dhoni – The Untold Story has an excellent first half but the film drops post-interval. With the hype and Dhoni’s popularity, it stands a chance to earn well at the box-office in the first weekend. Whether or not it will sustain in the long run and earn above Rs 100 crore will depend on how it performs in the weekdays. Going by the content, there isn’t much chance of that happening.

Rating: * * *

Director: Neeraj Pandey

Writers: Neeraj Pandey and Dilip Jha

Producers: Fox Star Studios and Friday Filmworks

Cast: Sushant Singh Rajput, Anupam Kher, Bhumika Chawla, Disha Patani, Kiara Advani, Rajesh Sharma

Music: Amal Mallik and Rochak Kohli

Genre: Biopic/ Drama

Runtime: 190 minutes

Uri Attack Reactions: 7 questions for Social Media Warriors

September 25, 2016 by Keyur Seta Leave a Comment

By: Keyur Seta

More than a week ago, we experienced a mix of tragedy and anger when 17 Indian soldiers were martyred at Uri in Jammu and Kashmir during a cross border attack by terrorists belonging to Pakistan. Needless to say, it is infuriating to see such news and the people behind this should be punished. It is high time Pakistan’s government, especially Prime Minister Nawaz Sharif come out openly against these cowardly acts and stop giving shelter to 26/11 attack mastermind, Hafeez Saeed.

However, this has given rise to demands from the aam junta that range from weird to extremely outrageous. Here are 6 questions to these Deshbhakts who seem to know everything as to how to handle this situation.

Picture: Stylewhack.com

How can you ‘demand’ war?

We have seen people demanding food, clothing, shelter, justice, elimination of corruption, etc. But these days there has been a rising demand for war. In fact, a lot of people have been threatening the government on the issue. I have also read posts where people are giving deadlines to Indian government to wage a war. Seriously? People should understand that waging a war against a nation is not as simple as Bichhoo gang attacking Eagles gang like they did in Josh (1998).

I remember how some leaders from the Bharatiya Janta Party (BJP), including Prime Minister Narendra Modi and Home Minister Rajnath Singh, went too far in making some sweeping statements of teaching Pakistan a lesson when they were in the opposition. But that doesn’t mean you force them to attack Pakistan just because you are against BJP.

I don’t have any knowledge on how to deal with the situation. But I personally feel that the way other countries, including Afghanistan and Russia, are openly backing India against Pakistan sponsored terrorists is a positive sign.

Will you join the army?

It is easy to sit in your air-conditioned homes and post messages on social media with hashtags like #AttackPakistan. I have only one question to these people – Will you or any of your family members be joining the army to stop bullets from the other side? Some of you would give daily soap reactions even if asked to take the local train to central suburbs during peak hours. The question also goes out to ‘journalists’ like Arnab Goswami.

Waging a war would also mean that thousands of our soldiers would lose their lives. A war victory is a result of such extreme sacrifices. If you love our army, why haven’t you thought of this point?

Ever considered monetary factor?

Do you even know the amount of money we have spent in war? In 1971, it was Rs 200 crore. In the years to follow, the price of war artillery shot up to such an extent that the 1999 Kargil war cost us a staggering Rs 5000 crore PER WEEK. So, it is anybody’s guess as to how much it would cost us in 2016. Are we in a position to spend such unthinkable amount on war? You can imagine the increase in taxes if this happens. See more info HERE.

Fawad Khan (Picture: Dnaindia.com)

Will war solve the problem?

We won the 1999 Kargil War. But did it stop cross-border terrorism? It resumed after the war and we are still suffering. So, how can you guarantee that waging a war against Pakistan will solve the problem? More importantly, if the war takes place, our army would be fighting against Pakistan Army. The terrorists won’t take part, so finishing them off in the war is out of question. They would resume their activities once the war is over. What difference would it make to them if Pakistan loses the war? They are carrying out guerilla war, for God’s sake.

How is Award Wapsi issue related to this?

A message has gone viral on social media and What’s App asking where is the Award Wapsi Brigade. Why no awards are returned as a reaction to the Uri attack? Well, the question itself is laughable. People returned their awards to protest against the government for the intolerance by Right Wing and BJP members. Nobody is returning their awards right now because they don’t believe our government has any hand in carrying out the attacks. Do you really feel they are behind Uri attacks? Funnily enough, the question is raised by BJP supporters.

How is Fawad Khan responsible?

Imagine this – We boycott Pakistani artists from performing in India to ‘send across a message’ to Pakistani government. Do you think they would even care? Would they rethink their strategy by this move? The artists are earning here through legal means and it is not against the law to employ Pakistani actors. If you have the guts, try changing the law if you are so sure that it would affect the anti-India forces.

There is a demand for the banning of Ae Dil Hai Mushkil and Raees since the film involves Pakistani actors. This is to remind all those people that Happy Bhag Jayegi is still playing in theatres. Nobody has demanded a ban on this film although it has a Pakistani playing one of the leads. This easily proves how they target only films with big stars to earn their 15 minutes of fame.

How different is your mind than that of the terrorists?

I am quite shocked to see well-educated people demanding to kill each and every Pakistani. What are you smoking these days? Terrorists kill innocents. And in reply, you wish to do the same. So, basically there is no difference in the content of your mind and that of the terrorists. I am not at all sorry to say that you aren’t fit to be called human if you feel good to see innocents die. And if you believe each and every person in Pakistan is a terrorist, you seriously need a reality check.

A family mourns the death of a kid killed in the terrorist attack in Pakistan in December 2014. (Picture: America.aljezeera.com)

From Khiladi to Rustom: Akshay Kumar’s road to versatility

September 9, 2016 by Keyur Seta Leave a Comment

By: Keyur Seta

When we think of biggest Bollywood superstars, we think of Aamir Khan, Shah Rukh Khan and Salman Khan. But now, it is slowly becoming evident that this elite list would be incomplete without the mention of Akshay Kumar. The Khiladi, as he is known, has slowly gained support even of the sensible audience through his choice of films and performances. While doing this, Akshay has also transformed into a versatile actor.

On his 49th Birthday, let’s have a look at his road to versatility starting from the start of his career.

Arrival of Khiladi:

Akshay Kumar entered the Hindi film arena with Mahesh Bhatt’s Aaj (1987), where he made an appearance as a Karate instructor. His full-fledged debut happened with Saugandh (1991). But he hasted success for the first time with Abbas-Mustan’s Khiladi (1992). He wouldn’t have expected then that the title would stay with him for the rest of his career. From here onwards, he came to be known as Bollywood’s action hero. While Sunny Deol too shares this title, Akshay is much more than physical fight sequences. He is also known for performing dangerous stunts all by himself.

Funnily enough, after Khiladi, there has been only two occasions where a film with ‘Khiladi’ in the title has worked for him – Sameer Malkan’s Main Khiladi Tu Anari (1994) and David Dhawan’s Mr & Mrs Khiladi (1997). Even Khiladi 786, which released when he was an established superstar in 2012, didn’t work at the box-office. But somehow, the Khiladi tag is always attached to him with respect.

The romantic phase:

During Akshay’s Khiladi phase, very few would have related him with romantic characters. But he ventured in this territory with a considerable amount of success. It all started with Yash Chopra’s production, Yeh Dillagi (1994). But nobody would have expected him to appear in Yash Chopra’s romantic blockbuster, Dil Toh Pagal Hai (1997). In fact, he also got the honour of singing the title song of the film.

But it was in 2000 that his biggest success as a romantic hero came with Dharmesh Darshan’s Dhadkan. His love affair (literally) continued with films like Ek Rishtaa – The Bond Of Love (2001), Haan Maine Bhi Pyaar Kiya (2002), Bewafa (2005), Waqt – The Race Against Time (2005), Jaan-E-Mann (2006), Namastey London (2007), etc.

Interest in conflict:

Akshay also kept getting opportunities to act in the drama genre. These are films about conflict basically, sometimes based on some social issue. He quietly made a mark in this genre in the late 1990s and early 2000s with, Angaaray (1998), Sangharsh (1999), Jaanwar (1999), Ek Rishtaa (2001), etc. But what can be considered a landmark film in this genre, not only for Akshay but for commercial Hindi cinema, was Abbas-Mustan’s Aitraaz (2004). Films with such bold themes were unheard of in that era. Perhaps it would have done even better had it not released with Yash Chopra’s directorial, Veer-Zaara.

Picture: Pinterest.com

King of comedy:

Although Akshay had displayed his comic timing in a large number of films, his first full-fledged comedy was Priyadarshan’s Hera Pheri (2000). But his proper comedy phase began in 2007 when he did Heyy Baby and Welcome. This was followed with Singh Kinng (2008), Kambakkht Ishq (2009), De Dana Dan (2009) and Housefull (2010) in the coming years. Hence, he became the torch bearer of this whacky comedy genre that had emerged then.

Silent patriotism:

In the modern era, Sunny Deol became the king of patriotic films with his hardcore and loud actions films like Gadar – Ek Prem Katha (2001), Indian (2001) and Maa Tujhe Salaam (2002). In the last few years, he has been replaced by Akshay. But there is a huge difference between the patriotism of both actors. While Sunny replied on loud monologues and rhetoric, Akshay is a cool-minded patriot. He creates the effect through his mature acting skills and the content of his films.

This phase arrived simply out-of-the-blue. His hero-centric masala entertainers weren’t scoring high at the box-office [(Joker, 2012), (Khiladi 786, 2012), (Once Upon A Time In Mumbai Dobaara, 2013) and (Boss, 2013)], although his thriller Special 26 (2013) succeeded. But A R Murugadoss’ Holiday – A Soldier Is Never Off Duty (2014) brought a positive change for him. He acquired an image of patriotic star with, Baby (2015), Gabbar Is Back (2015), Airlift (2016) and last month’s Rustom (2016).

These films also succeeded in overtaking some average box-office performers like, It’s Entertainment (2014), The Shaukeens (2014), Brothers (2015) and Singh Is Bliing (2015).