When an angry teenager is muddled in the clash of two communities, rules are broken, and boundaries are crossed. College plays a perfect background in this age-old fight between old rivals that had grown up fighting on the old turf. Was it the end of one and the beginning of the other? Will he come out on top or gets crushed in his desperate attempt to reach the top? In this riveting College romance drama comparable to the likes of classic, coming-of-age college drama novels, the writer takes you on a journey of a lifetime- The best moments of your life, encapsulated in those 4 years of college when the mornings were sweeter, and college rivalry the appetite to fill the young minds.
Since its release on September 1, 2006, Lage Raho Munna Bhai has been watched by millions, broken box-office records, won unprecedented praise from the masses and critics alike, and most importantly, forced a nation of one billion people and the world’s largest democracy to revisit their much misunderstood icon, Mahatma Gandhi.Following the release of the film, there has been a four hundred percent increase in the sale of literature about Gandhi. Schools and universities have introduced courses on Gandhigiri - a phrase from the film that has become a part of India’s collective consciousness. Websites, fan clubs, discussion forums, and citizen groups have sprung across the nation to discuss the film’s unique ideas. The Washington Post called the film, “A phenomenon that made Gandhi a pop icon.” Amazingly, the movie that has inspired such an astonishing response is an unassuming comedy. A gangster has hallucinations that he can see Gandhi! With this simple premise, the movie explores the relevance of Gandhian ideals in the contemporary world beleaguered by violence and hate, while never forgetting to be, as The Guardian points out, “A magnificent entertainment.”
Hindi cinema was trapped in formulaic cliches for decades: lost-and-found themes, sacrificing mothers, brothers on opposite sides of the law, villains lording over their dens, colourful molls, six songs, the use of rape as a plot pivot, and cops who always arrived too late. It hit an all-time low in the 1980s. Then, in 1991, came liberalization, and a wave of openness and aspiration swept across urban India. Dilwale Dulhania Le Jayenge was released in 1995 - and Hindi cinema became Bollywood. A new crop of film-makers began to challenge and break away from established rules. Over the next twenty years, a number of Hindi films consistently pushed the envelope in terms of content and technique to create a new kind of cinema. Among other innovations, film-makers came up with ways of crowd funding a film (Ankhon Dekhi), did away with songs if the narrative did not need them (Gangaajal), addressed different sexual preferences (My Brother ... Nikhil) and people with special needs (Black) like no one had ever done before. As film critic with the Indian Express, Shubhra Gupta has stayed the course these twenty years and more and experienced the transition first-hand. In 50 Films That Changed Bollywood, 1995-2015, she looks at the modern classics that have redefined Hindi cinema - from DDLJ and Rangeela to Satya and Dev D to Queen and Bajrangi Bhaijaan. Gupta offers a fascinating glimpse into how these films spoke to their viewers and how the viewers reacted to them - and, ultimately, how they changed us and how we changed them.
DARVESH is a story where a SHAITAAN living in a temple is discovered . KOI - a junior -who is the devotee of his boss finds his wife eloping with the boss -as a reward. JAGATE RAHO - is a political story where the plans to cheat the public are made in broad day light. In MALAL , a soldier finds his love-lady begging on the streets of Bombay. CHAKRAVAAT is a beautiful plot by a beautiful woman to abduct a nuclear scientist.
“Trying to be the voice of unheard” is what the 16 years young, Mahika Bansal has set her path on. She brings out all the manifestations of life in words that talk–not loud but clear. Though each journey will be different, there are truths and lies in each one–she helps us dive into the depths of imaginations to discover the reality. This book is a glance at her journey of showcasing every tear & smile which lies in this world.
Kabir (1398-1518), The Illiterate Jolaha (Weaver) Poet Who Flourished In The 15Th Century In Our Ancient Land Sang Hundreds Of Songs And Couplets Effortlessly. The First Authentic Record Of Some Of These Songs Of Great Spiritual And Poetic Excellence Is To Be Found In The Holy Guru Granth Saheb Of The Sikhs. These And More Of Them Which Have Been Handed Down To Us Through Other Sources Run Into Thousands. Of Them A Large Number Portray The Prem-Lila (Love-Game) Between The Soul Of Man (Jivathma) And Paramathma (Supreme Soul) For Their Ultimate Union Signifying The Salvation Of The Soul In Man And Also Of The Man Concerned. Kabir Was Firmly Of The Conviction That God, Or In Other Words Salvation, Can Be Attained By The Way Of Love.Some Of The Love Songs Of Kabir Together With Other Songs Had Been Translated Into English Free Verse By Tagore In 1915, And By Lynda Hess And Another In 1947 And By Pritish Nandy In 1980. Kabir Is Now Widely Read By The English Knowing Readers In The Country And Abroad.But, For The First Time One Hundred And One Of The Love Songs Of Kabir Are Presented In Simple Lucid English Free Verse For The Benefit Of The Wider Audience In This Book Which Will Remove A Long Felt Want.
Since his childhood; Arun has secretly been in love with Susanna; his dangerously alluring neighbour; who becomes his friend despite the wide difference in their ages. But Susanna has a weakness for falling in love with the wrong men. Over the years; Arun watches as Susanna becomes notorious as the merry widow who flits from one marriage to another; leaving behind a trail of dead husbands. It is only a matter of time before he too begins to wonder if there is any truth to the slanderous gossip surrounding the woman he is in love with. In this gripping new novella of love and death; Bond revisits his previously published short story of the same name; included here in an appendix. This edition also features the screenplay Saat Khoon Maaf; based on this novella and written by award-winning film-maker Vishal Bhardwaj and Matthew Robbins.
