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lalmohanpatnaik · 2 years

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From Temples to Puja Mandaps to Chandi Medha

Growing up in a Cuttack locality has so many fond childhood memories. One of them is the Bengali style Bhoger Khichudi that we (children of the locality) used to feast on during Durga Puja.

Less than quarter of a km from our residence was located the Binapani Club (Estd 1888) at Badhei Sahi where Bengalis gathered together as Buxi Bazar Durga Puja Samity and organised Sarbojanin or Community Durga Puja in Mrinamayee Murti (clay idol) form. The puja is said to have been organised for the first time by Janaki Nath Bose( father of Subash Chandra Bose), then a flourishing lawyer of Cuttack alongwith some of his friends.

A highlight of Ashtami and Navami was the niramish (without use of onion and garlic) khichudi or khichdi. It had the regular rice and moong dal along with a few additions like spices, peas, potatoes and tomatoes.

The delicious bhog was served at lunch time 1- 2 pm to all those who were in the club around that time for free. The unique feature of their bhog was the individual attention that they gave towards each visitor.

The concept of Sarvojanin puja also brought people of the entire locality together, irrespective of their social strata. This community spirit reached its high point, when hundreds of people, both children and grown-ups regardless of their social backgrounds sat cross-legged in rows to have their delicious serving of hot khichdi bhog.

Before Sarvojanin Durga Puja came to be celebrated in Cuttack, it was mainly confined to the temples – Cuttack Chandi Mandir and Gada Chandi Mandir. It was not before 19th century that the millennium city started celebrating the Durga Puja influenced by Bengalis at a time when the entire country had come under British rule.

Till Orissa attained statehood in 1936 it was part of the larger Bengal Presidency. Initially, a burgeoning middle class of Bengalis who had settled in the erstwhile capital city – Cuttack started to observe Durga Puja in Mrinamayee Murti (clay idol) form. Later they gave way to community Pujas that were conceptualised in permanent puja mandaps.

The earliest worshipping of Mrinamayee Murti of Goddess Durga is traced to a thatched house in Binod Bihar-Balu Bazar area during Chaitanya Mahaprabhu’s visit to Cuttack in 1512. The idol was consecrated in the presence of the Bengali saint.

The Bengali priest who had accompanied the saint stayed behind and followed it up by full-fledged Durga Puja in 1513 in the thatched house which is now the Binod Bihari temple and the Puja Mandap of Balu Bazar Puja Committee.

In 1890, the business community of Balu Bazar (then the prime business centre in the city) together with residents of the locality took up the responsibility of the Puja and converted it into Sarvojanin Durga puja. Till now the descendants of the Bengali priest (Banerjees) continue to be the main priest of the Puja Mandap. The Goddess here is known as ‘Elder Sister’.

The Goddess at the Chandni Chowk Puja Mandap is known as ‘Younger Sister’. Nobody knows why. In 1817, a Bengali family (Duttas) started puja of Durga in clay idol form in a thatched house at AstaSambhu temple. Subsequently, it received the patronage of the royal family of Darpani and was shifted to the present Puja Mandap.

By end of 19th century, it was turned into Sarbojanin puja by pooling in the support of Dasah Sahis (ten localities). In the 1940s the Darpani royal family handed over the responsibility of Durga Puja to the people of the locality. Due to the royal link the idols of most Puja Mandaps in Cuttack were brought in a procession to the Chandni Chowk Puja Mandap before being taken for immersion to Purighat.

Even to this day the custom is being followed by around 40 of the old puja mandaps. The present number of Puja Mandaps have crossed 150. Of them around 80 observe Durga Puja in Mrinamayee murti form. The rest come up with idols of Mahadev and Hara Parvat.

Durga Puja in Mrinamayee murti form was also started by Late Swaroop Chandra Das, a Bengali Zamindar at his residence in Machua Bazar in as early as 1752. The Das family which continued with the tradition opened it up for the community of the locality two centuries later. The Goddess there is popularly known as Sarpa Durga.

Another Durga Puja in Mrinamayee murti form was started at Janakinath Bhawan, the ancestral house of Netaji Subhas Chandra Bose at Oriya Bazar. When Subhas was rusticated following the ‘Oaten incident’ – alleged assault on E A Oaten, professor in history by students- he came to Cuttack in March 1916. In the same year Subhas along with friends of the locality started the Durga Puja.

Subhas returned to Calcutta within less than a year to resume his studies when Calcutta University revoked the rustication order. But his friends continued this tradition under the patronage of Subhas’s father Janaki Nath Bose. The puja was converted into a community celebration by the Oriya Bazar Sarbajanin Durga Puja Samiti when the entire Bose family decided to shift to Calcutta and settle there. Years later the Durga Puja started by Subhas Bose was shifted to the permanent Puja Mandap of Durgabari Samiti at Alamchand Bazar.

In 1832, Oriya and Bengali employees of the East India Company started Durga puja at Kazi Bazar. This is said to be the earliest Sarbojanin Durga puja in the city.

The Choudhury Bazar Panchayat Committee started Durga puja in Mrinamayee Murti form in 1872. Choudhury Bazar - one of the important business centres in Cuttack is said to have been named after one Manjinath Choudhury who constructed a Jain temple in the locality during the Maratha rule.

The mandap became a star attraction for visitors during Durga Puja when it pioneered use of traditional decorative craft associated with silver as base metal for the backdrop to the clay idol. With it came up the first Chandi Medha – silver filigree backdrop by using 250 kg of pure silver in 1955.

The ornamental style had then no parallel in the country as far as silver filigree was concerned. The Choudhury Bazar puja mandap continued to have the lone Chandi Medha in the city till the unique style was picked up by the Puja Mandap at Sheikh Bazar with a 350 kg Chandi Medha for their Goddess in 1991. Another 26 Puja Mandaps have since followed with Chandi Medhas made of 250 kg to 500 kg pure silver.

#dusshera #durga pujo

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indiejones · 1 year

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INDIES TOP 136 ACTORS & ACTRESSES OF I-N-D-I-A-N CINEMA !

NOTE: Encompasses all traditional Indian film industries.

NOTE: Again, due to a difference of 20 spots btwn last name herein & next one eligible (& ever exponentially increasing with every subsequent candidate btw), ethics dictated the possibility of no more than the 136 cut-off number arrived at, for this most hallowed of Indian film honor lists.

Position

Name

Eg. of Work

Rajesh Khanna

Anand

Ashok Kumar

Mahal

Dilip Kumar

Gunga Jumna

Dev Anand

Kala Bazar

Meena Kumari

Kaajal

Suchitra Sen

Aandhi

Shashi Kapoor

Deewaar

Shammi Kapoor

Vidhaata

Uttam Kumar

Chiriyakhana

Prem Nazir

Pancha Thanthram

Madhavi Mukherjee

Diba Ratrir Kabya

N.T. Rama Rao

Daana Veera Soora Karna

Rajendra Kumar Tuli

Jurrat

Madhubala

Mughal-E-Azam

Vanisri

Kathanayika Molla

Sowcar Janaki

Iru Kodugal

C.R. Vijayakumari

Kadhal Sadugudu

Rajasulochana

Piya Milan

Varalakshmi S.

Chakravarthi Thirumagal

T.R. Rajakumari

Thangamalai Rahasyam

Pandari Bai

Namma Makkalu

Sujatha

Guppedu Manasu

Jayamala

Purana Purush

Sharada

Samaj Ko Badal Dalo

Jayabharathi

Marupakkam

Arathi

Dharmasere

Urvashi

Soorarai Pottru

K.R. Savithri

Yaathra

Dharmendra

Sholay

K.P.A.C. Lalitha

Godfather

Sreeleela

PellisandaD

Aachi Manorama

Puthiya Pathai

Usharani

Hitler

Shanvi Srivastava

Tarak

Shreeram Lagoo

Gharaonda

Kavita Srinivasan

P.S. Zindagi

Nargis

Mother India

Kamini Kaushal

Kabir Singh

Nutan

Seema

Mala Sinha

Jahan Ara

Waheeda Rehman

Guide

Mumtaz Askari

Khilona

Rekha

Koi... Mil Gaya

Rakhee Gulzar

Daag: A Poem of Love

Ruby Mayer

Talash

Rose

Hamari Betiyan

Anita Guha

Kan Kan Men Bhagwan

Bibbo

Manmohan

Nimmi

Arpan

Nalini Jaywant

Kala Pani

Bina Rai

Taj Mahal

Sushila Devi

Kalidas

Chandraprabha

Jawani Ki Hawa

Sushila

Hatimtai

Gulab

Janjir Ne Jankare

Paro

Ustad 420

Madhuri

Thokar

Sakina

Sukanya Savitri

Vanamala

Parbat Pe Apna Dera

Mandakini Phalke

Kaliya Mardan

Sabita Devi

Grama Kanya

Ranjana

Didi

Meera

Aurat

Sardar Akhtar

Hulchul

Umasashi

Anath Ashram

Mohini

Anun Naam Te Bairi

Maya Banerjee

Seva Samaj

Nanda Karnataki

Mohabbat Isko Kahete Hain

Indrani Mukherjee

Bharat Milap

Ansuya

Delhi Ka Thug

Miss Feroze

Bharat Ka Lal

Swaroop Rani

Kamroo Desh Ki Kamini

Chand Usmani

Pehchan

Miss Devangana

Bharat Ka Lal

Sumitra Devi

Raja Harishchandra

Kanan Devi

Haar Jeet

Sophia

Neel Kamal

Sushilabala

Bilet Ferat

Patience Cooper

Nala Damayanti

Rattan Bai

Bhikharan

Gohar K. Mamajiwala

Akeli Mat Jaiyo

Rani Bala

Hasrat

Sharifa

Shirin Farhad

Bimla Kumari

Baghban

Pramila

Bhikharan

Snehprabha

Khilona

Asha Parekh

Sajan

Sulakshana Pandit

Sankalp

Moti

Kulin Kanta

Laxmi

Radha Krishna

Chanda

Suhaag

Leela Chitnis

Kangan

Zubeida

Heer Ranjha

Jehanara Kajjan

Shirin Farhad

Hansa Wadkar

Nav Jeevan

Moushumi Chatterjee

Bollywood/Hollywood

Baby Mayuri

Lal-e-Yaman

Lola

The Arcadians

Sultana

Bhola Shikar

100

Balraj Sahni

Baazi

101

Tripti Mitra

Jukti, Takko Aar Gappo

102

Gemini Ganesan

Naan Avanillai

103

Shivaji Ganesan

Deiva Magan

104

M.G. Ramachandran

Kudiyiruntha Koyil

105

Rati Agnihotri

Ek Duuje Ke Liye

106

Chandini

Celluloid

107

Jaishankar

Nilagiri Express

108

Charan Raj

Athadu

109

Bhagyaraj

Oru Kai Osai

110

Pallavi

Urimai Geetham 1988

111

Lakshmi

Chattakkari

112

Anil Chatterjee

Sagina Mahato

113

Subhendu Chatterjee

Aranyer Din Ratri

114

Anjana Bhowmik

Diba Ratrir Kabya

115

Pradeep Kumar

Do Dilon Ki Dastaan

116

Kamal Mitra

Parineeta

117

Biswajeet Chatterjee

Do Dil

118

Bobita

Poka Makorer Ghar Bosoti

119

Sandhya

Navrang

120

Savitri Chatterjee

Kal Tumi Aleya

121

Shantaram Rajaram Vankudre

Do Ankhen Barah Haath

122

Khatun

Pagal

123

Ravichandran

Majunu

124

R. Muthuraman

Karnan

125

Suryakant

Irsha

126

Shanta Apte

Duniya Na Mane

127

Kishore Kumar

Sholay

128

Santosh Dutta

Teen Kanya

129

Sathyaraj

BÃ£hubali: The Beginning

130

Lily Chakravarty

Sanjhbati

131

Dilip Roy

Amrita Kumbher Sandhaney

132

Varada Jishin

Vasthavam

133

Sundari Nirada

Barer Bazar

134

Master Vinayak

Brahmachari

135

Khurshid Begum

Tansen

136

Rituparna Sengupta

Ahaa Re

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naukriname · 2 years

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Winners List of Miss India 1964 to 2017 || फेमिना मिस इंडिया विनर्स लिस्ट [caption id="attachment_8595" align="aligncenter" width="1280"] Miss India Winners[/caption] Femina List of Miss India 1964 to 2017 || फेमिना मिस इंडिया विनर्स लिस्ट - मिस इंडिया भारत का एक प्रमुख राष्ट्रीय सौंदर्य प्रतियोगिता है, जिसके द्वारा प्रत्येक वर्ष मिस वर्ल्ड (Miss World) में भाग लेने वाले प्रतिभागियों का चयन किया जाता है। मिस इंडिया का आयोजन द टाइम्स ग्रुप (The Times ग्रुप) द्वारा प्रकाशित एक महिला पत्रिका फेमिना द्वारा किया जाता है। सन 1947 में पहली मिस इंडिया कलकत्ता की प्रमिला चुनी गई थी। उस समय स्थानीय प्रेस ने इसका आयोजन गया किया था। सन 1952 में इंद्राणी रहमान को मिस इंडिया का ताज पहनाया गया था। वह 1952 में संयुक्त राज्य अमेरिका में आयोजित मिस यूनिवर्स में भाग लेने वाली पहली भारतीय महिला थीं। Femina List of Miss India 1964 to 2017 Year Miss India State 2022 – – 2021 Manasa Varanasi Telangana 2019 Suman Rao Rajasthan 2018 Anukreethy Vas Chennai 2017 Shraddha Shashidhar Tamil Nadu 2016 Roshmitha Harimurthy Karnataka 2015 Urvashi Rautela Uttarakhand 2014 Noyonita Lodh Karnataka 2013 Manasi Moghe Maharashtra 2012 Shilpa Singh Bihar Urvashi Rautela Uttarakhand 2011 Vasuki Sunkavalli Andhra Pradesh 2010 Ushoshi Sengupta West Bengal 2009 Ekta Chowdhary Haryana 2008 Simran Kaur Mundi Maharashtra 2007 Puja Gupta New Delhi 2006 Neha Kapur New Delhi 2005 Amrita Thapar Punjab 2004 Tanushree Dutta Jharkhand 2003 Nikita Anand New Delhi 2002 Neha Dhupia New Delhi 2001 Celina Jaitley West Bengal 2000 Lara Dutta Karnataka 1999 Gul Panag Punjab 1998 Lymaraina D’Souza Maharashtra 1997 Nafisa Joseph Karnataka 1996 Sandhya Chib Karnataka 1995 Manpreet Brar New Delhi 1994 Sushmita Sen New Delhi 1993 Namrata Shirodkar Maharashtra 1992 Madhu Sapre Maharashtra 1991 Christabelle Howie Tamil Nadu 1990 Suzanne Sablok Maharashtra 1989 Dolly Minhas Punjab 1987 Priyadarshini Pradhan Maharashtra 1986 Mehr Jessia Maharashtra 1985 Sonu Walia New Delhi 1984 Juhi Chawla Punjab 1983 Rekha Hande Karnataka 1982 Pamela Chaudry Singh New Delhi 1981 Rachita Kumar Maharashtra 1980 Sangeeta Bijlani Maharashtra 1979 Swaroop Sampat Maharashtra 1978 Alamjeet Kaur Chauhan Punjab 1977 Bineeta Bose Maharashtra 1976 Naina Sudhir Balsavar Uttar Pradesh 1975 Meenakshi Kurpad Maharashtra 1974 Shailini Bhavnath Dholakia Maharashtra 1973 Farzana Habib Maharashtra 1972 Roopa Satyan New Delhi 1971 Raj Gill Maharashtra 1970 Veena Sajnani Maharashtra 1969 Kavita Bhambhani Maharashtra 1968 Anjum Mumtaz Barg Maharashtra 1967 Nayyara Mirza New Delhi 1966 Yasmin Daji Maharashtra 1965 Persis Khambatta Maharashtra 1964 Meher Castelino Mistri Maharashtra 1952 Indrani Rehman Tamil Nadu आशा करते है आपको यह आर्टिकल “Femina List of Miss India 1964 to 2017 || फेमिना मिस इंडिया विनर्स लिस्ट ” पसंद आया होगा | इसे अपने मित्रो के साथ शेयर करे |

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hinducosmos · 4 years

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Trishundha Mayureshwar Ganpati templ, Pune Devashish Shah wrote : Trishundha Mayureshwar Ganpati temple is located in Somwar Peth area in Pune. It is said to be built from 1754 to 1770. The temple structure is a combination of Rajasthan, Malwa and South Indian architecture. This is a unique Ganesh temple where the idol has three trunks(Tri-shund), six hands, sitting on a peacock (Mayureshwar) and hence the name. Ganesha is said to be in Dutta form (swaroop). The history behind this temple is that Somwar Peth used to be cremation ground during Peshwa era and this was initially a Shiva temple. Then an ascetic installed a Ganesh idol here. The outer walls of the temple has several stone carvings including Peacock, Parrots, Elephants in combat, Gajalaxmi, Yakshas, Gandharvas, Swapnasundaris, Devas, chained rhinos with soldiers and some othrr mythological figures from ancient era. The chained rhinocerous carving depicts the Battle of Plassey in 1757, where the British forces won over Bengal and Assam. The rhino resembles Assam fighters. The temple also has a basement, having a Samadhi (memorial) of Gosavi. The basement is open only on Guru Purnima day, when it is cleaned and dried and people can pay homage to the memorial of Gosavi. It is believed that the basement was used as a school for ascetics who practised the tantric form of Hinduism. (via Instagram: Devashish Shah)

#Ganesh #Ganesha #Ganapati #temple #temple murti #hindu #hinduism #Pune

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harrlysstuff-blog · 5 years

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Bepanah Pyaar Cast And Characters

Bepanah Pyaar Cast: Pearl V. Puri & Aparna Dixit New Avatar As Raghbir & Bani

Aashish Kaul as Devraj Malhotra, Raghbir's father Manoj Chandila as Raghbir's brother Mahira Sharma Adhik Mehta as Nakul Malhotra, Raghbir's brother Ekta Sharma as Raghbir's mother Mehek Gill as Raghbir's sister Chitrapama Banerjee as Raghbir's aunt Sachin Parikh as Raghbir's uncle Kulbir Badesron as Raghbir's grandmother Devika Singh as Sukanya Neha Chandra Ravi Gossain as Pragati's father Tanvi Thakkar

We Are know About Bepanah Pyaar Promo Revealed

The colorful show Bepanah Pyaar, which starred Jennifer Winget and Hershad Chopda, who played the main role, is one of the most favorite shows. Fans like Jennifer and Hershad (Zoya and Aditya) cheated chemistry. Unfortunately, the channels and manufacturers have decided to stop the show due to the lower TRPs, fuming these left fans. Now, Kasam Tere Pyaar Ki, The maker of season 2, is titled 'Bepanah Pyaar', which plays a role in Pearl V Puri, Aparna Dikshit and Ishita Dutta. Ekta Kapoor has campaigned for the show, which shows Aparna and Pearl. Promote, Pearl and Aparna are seen in a beautiful place with 'What is the promise of what they are playing' on the background. Aparna died and died with an accident (she falls from the height), this leaf has shocked.Although Pearl's fans loved the promo, Bepanah Pyaar fans lashed out at Ekta as it had similar title and felt makers are cashing in on the popularity of JenShad show! Check out comments! Fans Comments Bapanah nominaly jeneshadera. This name can not copy or add some words just for the popularity of the popularity of the revolution. This is why Kashmiri season 2 will change the name of Bepanah Pyaar only for jenshad. Arc creations Aktarvi Kapoor's another show titled theft! Well no one can expect less than that to copy his show. Just copy one copy of the cork and give me a tip. Bepanah Pyaar Lull keeps the title of the original. Pooja Gupta Swaroop bepanah belongs to our jenshad , jenniferwinget1,harshad chopda . how could u steel our shows name.bepanah pyaar hai tumse...humare show ko ruin kardegi yaar.bepanah .oh God plz bepanah ko baacha lo ektaravikapoor .how could u steel our shows name .this is so pathetic man. My conscious Discussing Women how could you bepanah Name Show is already on air on tv you just use bepanah fandom power to promote you show why you heart bepanah fans feeling how.

Bepanah Pyaar Full Episode

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somethingdamnedgy-blog · 5 years

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Indian cinema: hundred gods, a million more possibilities

Here is an image: I’m lying down on my bed, I have a buzzing headache. The expression on my face is not one of pain, but interestingly, of bewilderment. I get up, scratch my head, and trod over to my bench that is roughly 5 feet away from my bed. I open my laptop, and begin watching something I’ve never seen before. I could say that was my first taste of ‘experimental’ film. I’d just seen Stom Sogo’s Ya Private Sky (2001) and my head was buzzing from the assault on my senses. I had the weirdest headache ever, because it didn’t hurt, but sort of buzzed with a curious puzzlement. Shortly after that, I began watching Kamal Swaroop’s masterpiece, Om Dar-B-Dar (1988). And you could say this was my first taste of Indian ‘experimental film.’ The imageries, setting, references to mythology, all distinctly Indian, but the narrative and idea, freakishly alien to someone who was just beginning to get into alternative film. I would go on to watch Om Dar-B-Dar four more times during the next few months, ecstatically sharing my experience with people, urging them to see for themselves that brilliant work of art. The few who did, scratched their heads and probably repeatedly muttered “what the fuck?”

It is possible that the first formal experiment in Indian cinema was Mani Kaul’s debut film, Uski Roti (1969). And it is also worth noting that because of it’s unconventional elements, it wasn’t exactly well received, it was attacked by popular media to the extent where it didn’t get a commercial release. It did however, go on to win the favour of the aesthetically aware critics who defended it and it even went on to win a Filmfare Critic’s award in 1970. This new movement of Parallel Cinema, or the “Indian New Wave,” interestingly, was possibly birthed by a bureaucratic decision, rather than a resistance against a tide of popular and commercial cinema. It is possible that this interest in fostering the growth of the film industry was a result of Satyajit Ray’s international success in the 1950’s. The state attempted to promote and advance a new Indian cinema as an alternative to commercial productions. During Nehru’s reign as PM, the Film Finance Corporation (FFC) was initiated, and would later go on to become the National Film Development Corporation (NFDC), a merger of two agencies (the FFC and the Film Export Corporation), which sought to diversify funding sources for filmmakers, promoting independent, “quality”, or art films. The effect of this public institutional aid was questionable, the financial aid was meagre and sometimes could not aid in the realisation of many a filmmakers vision. While many said it was a waste of funds that could otherwise be used for the development of far more serious things, state funded filmmakers scrupulously experimented with the camera and its possibilities. Parallel Cinema, as it was called, referenced the growth of a line of smaller, low budget, yet artistic films alongside larger, big budget commercial films for entertainment.

Fast forward to India today, and one can see some of the most peculiar cultural imageries and art that absolutely smashes any preset rules, and interestingly, a stark contrast on the cinema end, which shies away from any experimentation. Unfortunately, this lack of forward thinking work traces back to political and moral censorship because of pressure from different groups. Some might even argue that the so called B grade films are more interesting in their form, because it is possible a majority of the Westernised youth in India find commercial films lacking in any artistic thought, or perhaps even because of the hilariously tacky tropes and plots. It is no secret that this kind of resistance to forward thinking cinema or simply, cinema that is confrontational and personal, is stunting the growth of Indian cinema, which in all possibility has an incredible amount of artistic potential due to the evergreen cultures, languages, mythologies and ideas that surround it, both in the present and the past. The state funding for art like the 60’s and 70’s isn’t exactly ubiquitous, as it is apparent that the film industry is now developing towards a more capitalist structure. However, with this change of seasons, the development of individualised technology like digital video, where anyone can put forth their vision. Whether an audience for their vision exists or not, is another problem by itself. Amrit Gangar, Indian film scholar and writer (among other things) coined the term Cinema of Prayoga, which aims at recontextualising the English word ‘experimental’ which is inherently Euro-centric in its context. In a conversation with Shai Heredia, curator and filmmaker, Gangar said, “I thought the English word ‘experimental’ that is generally used in the film vocabulary especially in the West and accepted by the rest of the world is either not adequate or doesn’t represent the essence of a particular filmmaking praxis. So I thought our own Sanskrit word ‘prayoga’ could be a better alternative. The compound word prayog is made up of pra + yoga (pronounced yog), where ‘pra’ as a prefix to verbs would mean ‘forward’, ‘onward’ or ‘before’ and with adjectives it would mean ‘very’ ‘excessively’ and with nouns, whether derived from verbs or not, it is used in several senses. Among other means, ‘yog’ means a ‘deep and abstract meditation’. In a dramatic sense, ‘prayog’ also means ‘representation’.”

The term ‘experimental’ does often become problematic in this modern age, because so called experimental films are all done with clear intent, and not born out of mere experiments, as Gangar said, “there is an element of chance; there is a joy of an unexpected discovery of a relationship between images. But in a capital-intensive medium such as cinema, the risk-taking element plays a crucial role” The term Prayoga is a word that is more profound and dare I say, appropriate with respect to Indian cinema. But is there any hope for Indian Cinema at all? In a system that limits artistic parameters, where everything is market driven, can forward thinking alternative, inventive cinema still bloom? There is evidence that all is not lost. Filmmakers like Amit Dutta, Ashish Avikunthak, Kamal Swaroop, Vipin Vijay and many others continue to push the boundaries and create rich pieces of art that are equal parts impactful, surreal and personal. Amit Dutta’s Nainsukh (2010) is a visually spectacular, dreamy tribute to the Pahari painter of the same name, channels the same poetic spirit of Mani Kaul. It is also reminiscent of another master of poetic cinema, Sergei Parajanov, whose film Color of Pomegranates, is a work so ingrained into the psyche of its subject that it requires every cell in your body to be tuned to its wavelength, rewarding a viewer with some of the most breathtakingly beautiful images in the history of cinema. The same could be said for Nainsukh, which reminds me of being instantly transported to the inside of a painting. Ashish Avikunthak’s Katho Upanishad (2011) which is a metaphysical dialogue between Nachiketa, a young Brahmin boy and Yama, the God of Death. It is an adaptation of a two and half thousand years old Sanskrit treatise of the same name, where Yama instructs Nachiketa about the path towards enlightenment; or even his film Vakratunda Swaha (2010) a short film which could be described as a pilgrimage through the concurrent forwards and backwards of time, which Avikunthak himself calls a “requiem to a dead friend”

I often think about the possibilities in Indian cinema. What it could be. In a country that is rife with religion, mythology, culture and experience, the possibilities for inventive cinema are endless. There is so much scope to create intensely artistic, personal, deep and subjective work that uses all the spaces that the beautiful medium of film gives us. The deeply market driven film industry also limits the exposure of artists who actually committed to creating intensely personal, formally radical cinema. It is unfortunate, because it feels like artists do not aspire to create great work, to truly experiment and make art with their whole being rather than pander to the needs of an entertainment hungry audience.

Rouzbeh Rashidi, founder of the Dublin based Experimental Film Society explains this resistance against the growth of cinema in an interesting way, he says, “Perhaps this reaction of violent rejection is a natural defence mechanism that kicks in when someone is confronted with the shock of an idea that is so alien as to seem fundamentally inappropriate. Of course, the history of alternative cinema is also a history of such confrontations. When a filmmaker gets this type of response, unless he or she is interested in provoking the audience for the sheer sake of provocation, it is because the viewer’s received understanding of how to ‘communicate’ with a film has been thrown into crisis. As an experimental filmmaker, one hopes that if the film works, this confrontation will result in the viewer’s perception rising to the challenge and that ideally he or she will leave with an ‘opened’ mind or even an expanded consciousness. And not just with a broadened understanding of cinema but with a somehow enriched (or, indeed, disturbed) sense of perception itself.” One can only hope that people will begin to become aware of this side of cinema, that unknown artists who create art from within will soon become known and that this country with endless possibilities eventually develops a filmic pantheon of its own. Until then, I suppose we’ll continue to drop our panties every time a new Dhoom movie comes out. by Nisanth S

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bhuvneshkumawat · 4 years

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dhrupad · 7 years

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Hey, did you get my ask about indian surrealist films? If you have, you don't have to answer it now itself; just wanted to know to see if i should send it in again.

hey! sorry about that, i feel like i answered an ask about that but then again im not sure lol. but hmm this is always a complex question b/c i feel like i dont know what the definition of surrealism is as a movement or genre in indian cinema. i think the closest that idea has come to being documented or even canonized has been with amrit gangar’s “cinema of prayoga” theory where he sought to differentiate and reconceptualize the idea of avant-garde and experimental filmmaking in india from its european connotations or definitions. if you have the time, do check out this particular interview with him on experimenta.in.

that said, i’m gonna try to do this anyway lol.

usually the first films that come to mind with avant-garde/surrealist connotations are om dar-b-dar (kamal swaroop,1988) and hun hunshi hunshilal (sanjiv shah, 1992). good thing is that NFDC finally restored the former and it’s pretty accessible now compared to a couple of years ago. if i could go by filmmakers, you have to definitely check out the work of vipin vijay and how he experiments with a mode of film like the documentary (poomaram, hawa mahal, the egotic world) as well as his feature film chitrasutram (2010). ashish avikunthak, especially his early short films. and then there’s amitabh chakraborty’s kaal abhirati (1989) which i havent been able to see but there’s also his 2014 film cosmic sex....

with that thought, i think a lot of indian filmmakers have experimented in some great ways with literature they’ve adapted. there’s shalini usha nair’s akam (2011) based on Yakshi by malayatoor ramakrishnan. or ashish avikunthak’s adaptation of the malayalam novel pandavapuram in his film nirakar chhaya (2007) or amit dutta’s adaptation of the short stories of writers like vinod kumar shukla (whose work is itself surrealist in many ways)and sadat hassan manto in his film aadmi ki aurat aur anya kahaniyan (2009). with amit dutta, his short film kramasha (2007) is another suggestion. i love fareeda mehta’s kali salwar (2002) and the way she adapted manto’s stories and characters in a way that overlapped them or had them running parallel to each other within the bombay she created in this film. perhaps the best part was that manto himself was a character in the film!

ok and here im throwing in filmmakers like g. aravindan, mani kaul, and kumar shahani for the way they experimented with time or with adaptation literature and filming narratives. again, it depends on what you mean by surreal? i think amrit gangar talks about at least shahani and kaul in the interview linked earlier. ALSO v. shantaram because there’s something so fantastical and awesome about the way he made his films, especially if you look at his transformation of the song-dance sequence (i.e. navrang, jhanak jhanak payal baje, etc.)

oh and special mentions: anurag kashyap’s no smoking (2007), jeeva’s 12B (2001), ketan mehta’s oh darling! yeh hai india (1995), & sunil dutt’s yaadein (1964).

#hope that helped ! lol im missing some things but cant recall them atm #and then of course im limited by what ive actually seen

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swedna · 5 years

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Lok Sabha Elections Phase 4: India is in the midst of the seven-phase Lok Sabha elections 2019. Voting for phase four of the General elections is underway in 72 constituencies across nine states. Voting will end at 6 pm.

Voting is underway in parts of Bihar, Jammu and Kashmir, Jharkhand, Madhya Pradesh, Maharashtra, Odisha, Rajasthan, Uttar Pradesh and West Bengal.

Voter turnout till 9am: 10.27% across 9 states

Bihar: 10.76% J&K: 0.61% Madhya Pradesh: 11.11% Maharashtra: 5.87% Odisha: 8.34% Some of the key constituencies going to polls are in Lok Sabha Elections phase 4:

The electorate will decide the political fortunes of 961 candidates in this phase.

ALSO READ: Lok Sabha elections 2019: How to vote, check voter list and elections dates

Some of the key constituencies going to polls on Monday are:

Begusarai (Bihar), Darbhanga (Bihar), Chhindwara (Madhya Pradesh), Maval (Maharashtra), Mumbai North Central (Maharashtra), Mumbai North (Maharashtra), Kendrapara (Odisha), Jodhpur (Rajasthan), Barmer (Rajasthan), Jhalawar-Baran (Rajasthan), Unnao (Uttar Pradesh), Kanpur city (Uttar Pradesh), Bahrampur (West Bengal), Asansol (West Bengal)

Lok Sabha Election results will be announced on May 23. CATCH ALL THE LIVE UPDATES Auto Refresh 11:17 AM Aamir Khan, Priyanka Chopra Jonas among first Bollywood celebrities to cast vote Bollywood stars Aamir Khan, Priyanka Chopra Jonas, Rekha, Madhuri Dixit Nene and R Madhavan stepped out early morning to exercise their right to vote for Lok Sabha Election 2019. Among the early voters were Priyanka, Priya Dutt, Lara Dutta, Aamir, who came along with wife Kiran Rao. Posting on Twitter a selfie showing her inked finger, Priyanka wrote, "This is the moment that matters.... Every vote is a voice that counts. #LokSabhaElections2019." While Madhuri tweeted, "Voting is our right, let's use it wisely! The future of our country is in our hands. Let's do our duty and #VoteForIndia." Like Priyanka, she also accompanied her tweet with a selfie, showing her inked finger. Actor Urmila Matondkar, who recently joined Congress and is contesting from the North constituency of the city, was also among the first ones to cast her vote. Madhavan posted on Twitter a picture of himself and his wife after casting their votes. Actor Amrita Rao, who came to cast her vote at a booth in Mahim, told PTI that "voting is important for everyone irrespective of their status." "It is a duty of every citizen who wants betterment of the country and its people. However being a celebrity you do carry the power to influence and if my voting can influence even one more person to get out if the house and vote I shall be more than satisfied," she added. Other Bollywood celebrities, who have voted so far, include, Rahul Bose, Kunal Kohli and Ravi Kishan. 11:15 AM View image on TwitterView image on TwitterView image on Twitter

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10:38 AM Congress MP, Sushmita Dev, has filed a petition before the Supreme Court, seeking urgent and necessary directions to the Election Commission to take a decision on the complaints filed against PM Modi & BJP President Amit Shah over alleged violations of electoral laws.

10:32 AM Bollywood actor Aamir Khan with wife Kiran Rao pose for photo after voting in Bandra, Mumbai.

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Business Standard ✔ @bsindia Key constituencies and contestants:

Mumbai South: Arvind Ganpat Sawant (Shiv Sena) and Deora Milind Murli (Congress)

Mumbai North Central: Poonam Mahajan and Priya Dutt

Mumbai North: Gopal Shetty and Urmila Matondkar #LokSabhaElections2019 live: https://mybs.in/2X5OWEX

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PRIYANKA ✔ @priyankachopra This is the moment that matters.... Every vote is a voice that counts. #LokSabhaElections2019

12.3K 8:24 AM - Apr 29, 2019 1,087 people are talking about this Twitter Ads info and privacy 09:44 AM Actor Madhuri Dixit casts her vote at a polling booth in Juhu.

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ANI ✔ @ANI #Mumbai: NCP Chief Sharad Pawar after casting his vote at polling booth 31 in Tardeo. #LokSabhaElections2019

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ANI ✔ @ANI #WATCH Clash between TMC workers and QRF and security personnel outside polling booth number 125-129 in Asansol, after disagreement erupted between BJP & CPI(M) workers after TMC workers insisted on polling despite absence of central forces. #WestBengal

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ANI ✔ @ANI #WATCH Clash between TMC workers and security personnel at polling booth number 199 in Asansol. A TMC polling agent said, 'no BJP polling agent was present at the booth.' BJP MP candidate from Asansol, Babul Supriyo's car was also vandalised outside the polling station.

1,462 9:26 AM - Apr 29, 2019 1,194 people are talking about this Twitter Ads info and privacy 09:26 AM West Bengal: BJP MP candidate from Asansol, Babul Supriyo's car vandalised in Asansol West Bengal: BJP MP candidate from Asansol, Babul Supriyo's car vandalised in Asansol. A TMC polling agent says, there is no BJP polling agent here.

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ANI ✔ @ANI #Bihar: CPI candidate from Begusarai, Kanhaiya Kumar after casting his vote at a polling centre in Begusarai. #LokSabhaElections2019

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ANI UP ✔ @ANINewsUP #LokSabhaElections2019 : Voting is yet to begin at booth number 35&435 of Chhibramau area in Kannauj. People waiting in queue at the polling station say, "Voting has not started because of a glitch in EVM."

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ANI ✔ @ANI #Mumbai: Veteran actress Shubha Khote after casting her vote at a polling booth in Juhu, in the #Phase4 of #LokSabhaElections2019 .

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ANI UP ✔ @ANINewsUP Uttar Pradesh: BJP MP candidate from Jhansi, Anurag Sharma casts his vote at a polling booth in Jhansi. #LokSabhaElections2019

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ANI ✔ @ANI Jammu & Kashmir: Visuals from polling station number 111- Bumthan in Qazigund, Kulgam. #LokSabhaElections2019

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ANI ✔ @ANI West Bengal: Villagers boycott polls at Jemua's polling booth number 222&226 in Asansol due to absence of central forces at the polling station. Polling has been suspended at the polling station as voters are protesting. #LokSabhaElections2019

1,424 8:28 AM - Apr 29, 2019 801 people are talking about this Twitter Ads info and privacy 08:20 AM Voting in 72 Lok Sabha seats in 9 states begins in fourth phase Voting began Monday for the fourth phase of Lok Sabha polls in 72 parliamentary constituencies spread across nine states. About 12.79 crore people are eligible for voting in the fourth of the seven-phase elections. According to PTI, The Election Commission has set up 1.40 lakh polling booths/stations and has made elaborate security arrangements. 08:15 AM View image on TwitterView image on TwitterView image on Twitter

ANI ✔ @ANI #Mumbai : BJP sitting MP Paresh Rawal & his wife Swaroop Sampat cast their vote at polling booth number 250-256 at Jamna Bai School in Vile Parle.

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ANI ✔ @ANI Visuals from a polling station in Asansol, West Bengal: 8 parliamentary constituencies in the state are voting in the fourth phase of #LokSabhaElections2019

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lifeisacinemahall · 5 years

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'Uri: The Surgical Strike' review: Tailored Swift, Family Patriot

‘Uri: The Surgical Strike’ review: Tailored Swift, Family Patriot

LICH rating: [usr 3.5] (This rating is only a snapshot. The details are in the words.)

Making a movie that’s coated with patriotic hues is a fraught cinematic exercise in these times. Cinema was the medium that bound a nation midwifed by a searing duo of separation and bloodshed. As democracy slowly turned and churned in its painful larva, India’s neighbors began to assert their wily…

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#Aditya Dhar #Haqeeqat #Ivan Rodrigues #J.P. Dutta #Kirti Kulhari #Manasi Parekh Gohil #Mitesh Marchandani #Mohit Raina #Paresh Rawal #Rakesh Bedi #Riva Arora #Shashwat Sachdev #Shivkumar Panicker #Stefan Richter #Swaroop Sampath #Uri #Uri: The Surgical Strike #Vicky Kaushal #Yami Gautam

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gethealthy18-blog · 5 years

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Famous Bollywood Actresses Who Have Won Major Beauty Pageants, And Their Husbands

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Famous Bollywood Actresses Who Have Won Major Beauty Pageants, And Their Husbands

Saumya Gaur April 5, 2019

So here I am with your daily dose of Bollywood, but unlike our usual scoop, this time around I decided to take a detour down the route of Bollywood babes and beauty pageants. Beauty pageants and Bollywood have an indiscernible connection such that many of its prized recruits have been former beauty queens.

While it’s almost a job requirement to be beautiful in order to be considered to be a part of an A-list in Bollywood, you also have to prove your mettle in the field of acting. So though it’s true that winning a pageant might have helped in catapulting these ladies to limelight overnight, and making them appear visible on the radar of the Bollywood bigwigs, it was their own acting talent and hard work that ensured their ultimate success. As they say, success doesn’t come cheap.

But undoubtedly these ladies were blessed with a good piece of luck because they were not only blessed with the grace, charm, and poise that led them to win the beauty pageants and consequently the hearts of their audience, it also led them to their soulmates. Have I piqued your interest already? Without further ado, here they are:

1. Aishwarya Rai Bachchan

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The green-eyed beauty completely enamored the world with her beauty when she won the title of Miss World in 1994. She made her foray into the world of entertainment and glamour with the Tamil movie Iruvar, in 1997, and also starred in her first Hindi movie the same year, Aur Pyar Ho Gaya. While she witnessed a great career graph, her personal life had been in shambles, with bad breakups and numerous link-ups. Finally, she found the love of her life when she tied the knot with cinema scion, Abhishek Bachchan in 2007. Today, the couple makes for a happy trio with their daughter, Aradhya Bachchan.

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2. Priyanka Chopra Jonas

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The desi girl made her way into our hearts with her winning smile when she became the Miss World in 2000. Soon she gravitated towards the world of glam and showbiz and debuted in the Tamil movie Thamizhan, in 2002. Followed by that she appeared in movies like Andaaz (2003), where she impressed everyone with her acting chops by playing the role of the villain. Over the course of the next decade, she established herself as an actor of merit before taking off to Hollywood where she went on to star in movies like Baywatch, Isn’t It Romantic?, etc. In 2018, Chopra wed the love of her life, Western pop star, Nick Jonas in a lavish ceremony.

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3. Lara Dutta

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The gorgeous beauty won the Miss Universe title in the year 2000, along with Priyanka. While Priyanka’s career graph depicted her making daring choices, Lara stuck to playing comfortable roles, starring in movies like Bhagam Bhag, Kaal, etc.

Lara was said to be in a serious relationship with model Kelly Dorjee, but that did not work out for her.

Finally, the cupid decided to grace her with good luck in 2011, when she tied the knot to her long-time friend and ace tennis star Mahesh Bhupathi. The couple also became proud parents to their daughter, Saira Bhupathi in 2012. While Lara has chosen to stay away from the big screen for a while now, one can often see her endorsing various brands on TV.

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4. Dia Mirza

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The year 2000 was memorable for India because it was in this year that India registered a triple victory at an international beauty pageant. With Priyanka Chopra and Lara Dutta scooping up the Miss World and Miss Universe titles (in that order), the triple feat was registered when Dia Mirza went on to win the title of Miss Asia Pacific.

She entered Bollywood with a lead role in the movie, Rehna Hai Tere Dil Mein, in 2001. Unlike her peers, Dia wasn’t a prolific actor, she chose to do roles that appealed to her and that resulted in a scattered filmography. The doe-eyed beauty got married to her business partner Sahil Sangha (with whom she owns her production house), in 2014. Last seen in the movie, Sanju, she has been pretty vocal about activism by associating with the cause of PETA, among many others.

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5. Juhi Chawla

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It might come as a surprise to our millennial readers but this vivacious actress is a beauty queen as well. Juhi won the Miss India title in 1984, and two years after that she starred in her debut movie, Sultanat. She went on to become one of the biggest actresses of Bollywood with hits such as Darr and Ishq and starred in more than 50 films. The chirpy actress is married to industrialist Jay Mehta, and co-owns Kolkata Knight Riders with him.

iamjuhichawla / Instagram

These beauty queens along with several others such as Neha Dhupia, Celina Jaitley, Swaroop Sampat, Zeenat Amaan, etc. proved that it takes a beauty with brains to make it big in the Tinsel Town. They are all a source of inspiration for many women out there. Do you have any other names to add to the list above? Let us know in the comment section below.

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