Download The Movie Delhi-6
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But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.
Rakeysh's handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems. Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!
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Chhapaak is a biographical film based on the real-life event that happened in the life of acid attack survivor Laxmi Agarwal and her fight in the Delhi legal system to change the law and regulations on acid sale. A lot of the movie was shot in Delhi capturing the busy Delhi streets and legal infrastructure including Delhi High Court and other district courts!
Fukrey, having been based in Delhi, was extensively shot here, especially capturing the South Campus of Delhi University since the film was based on Delhi school backbenchers who were in a perpetual state of dreaming and got themselves in some pretty hilarious situations. We get to see the beautiful Miranda House campus in the movie where most of the college scenes were shot, making us truly nostalgic!
Sometimes in a sea of trashy, flashy films, a movie comes along and breaks your heart. It doesn't shout, scream, swivel its hips or even wear neon costumes. It just is, like life, messy, complicated, sometimes fun, at other times bloody awful. Delhi-6 is a film like that. What's it about? Well, it's about a young man, son of a Muslim mother and Hindu father, who brings his dying grandmother to her 1808 haveli in Chandni Chowk, because she wants to die here. So there she is, doing her "maut ki shopping" as Abhishek's character, Roshan, puts it drolly.
It's difficult, almost impossible to make a movie about a metaphor. Imagine hearing this pitch: it's about the kaala bandar, the monkeyman, the monster, that is inside all of us. Yes, yes, roll your eyes and imagine it being made into an engrossing story which weaves a real life monkeyman scare in New Delhi into a story about how it almost divides the two communities that comprise Chandni Chowk, Hindus and Muslims, when a fake swami insists that the monkeyman is striking the area because an old temple was destroyed to build a mosque. Yes, you got the parable, a tricky political comment to make in our spineless times.
Which brings me to Roshan. Is there another actor who is as brave as Abhishek Bachchan in Bollywood? Yes, there is Abhay Deol, but he hasn't had to bear the brunt of such big budget movies on his shoulders. In Delhi-6, Abhishek has excelled himself, getting the accent of a New York bred and born as pitch perfect as the bafflement of an outsider at the growing distress in the community. Roshan is that rare hero in Bollywood who has all the time in the world, whether it is to record pigeons on his phone or shake hands with a goat.
Hey, am I making this movie sound serious? It's not only that. There's a lot of subtle humour here, whether it is the exchanges between the feisty Bittu and Roshan, or Roshan's American awe-isms. "Oh, look, Dadi," he says at one point, watching the Ramlila, "that's the bit with the golden deer." Among the many lovely lines written by Prasoon Joshi, there's one I really liked: "Hindustan ke nalon main paani ho na ho, hamari ankhon main zaroor hota hai (India may not have water in its taps, but it has enough in its eyes)," says the Nawab. Quite. You'll be shedding a lot of that water in the course of this movie. Go watch it. Now. But at leisure. As they would say in old Delhi, "fursat se".
The prose of Primeval and Other Times has a strangely sedating effect in reading. Quietly powerful, it is a talenot soon tobe forgotten. Virginia Parobek Lancaster, Ohio Usha K.R. Monkey-man. New Delhi. Penguin. 2010. 261 pages. Rs 299. isbn 978-0-143-06856-3 Emerging India is a clear motif in Usha ICR's new work, Monkey-man. The novel is set in January 2000 in contemporary Bangalore, the city thathas morphed from"pensioner's paradise" to the IT hub of India. Most of thenarrative is given over to the close inspection and detail of four principal characters: Shrinivas Moorthy, reader in history at the National Trust FirstGrade College; Miss Neela Mary Gopalrao, a thirty something executive assistant at the Centre for Socio Economic Studies (cses);Miss Pushpa Rani, a call cen ter employee; and Mr. Balaji Brah mendra, or "Bali Brums" to his fans, a hugely popular radio jockey of the city's brand-new FM Channel "Voic es from Heaven," to whom Neela listens (and sends e-mails) daily. They are all brought together in the closing scene (apart from Pushpa Rani, due to her father's ill health) as Bali Brums interviews them on air as the firstpeople to have seen the "monkey-man" in and around Ammanagudi Street. Curiously, the sightings of the monkey-man and the discussions of the sightings are a tiny compo nent of thisnovel overall. Usha K.R., throughhermarkedly various char acters, explores an India of thenand now. Shrinivas laments thepassing of the flour mill where his wife used to send the rice to be ground and mourns the arrival of thenew supermarket, andyet, Pushpa Rani fl^^|H^^^^3B|^^^^^^^^^H^H| upwardly inthe H^^l^^l^al^^^^^^^^^^^^^H Bangalore, successfully her j^^^^^^HHEfl^^^^^^^^^^^^^l to abetter f?l^^^^^^K^^^^B^^^^^^^^^^U Usha K.R/s reminiscent ^b^^^^^^^^^^^^^^^^^^^^l^^^l Delhi's kala bandar (black monkey)Hl^^^^^^^^^^^^^^^^^^^l^^B 2001?reports H^H^^^^^^^^^^^^^^^H^fl^^H attacks around the city?and l^^^^^^^^^^^^^^^^^^l^^^^l also the Bollywood hit movie ^^^^^^^^^^^^^^^^^^^^^^^^^H Delhi (2009), in which the H^^^^^^^^^^^^^^^^^^^^^^^^^l monkey-man woven bI^^^^^^^^^^^^^^^^^^^^^^^^H together witha boy-loves-girl plot. E?^HHH^^HI^I^^^^^HI^^H Thefilm suggests the monkey-^^^^^H|[|^^^^^^^^HH^^^^^^Hfl man the people oftheHj|^^^^^^^^lj|[^^^^^^|^|^^H Delhi 6 community andthat B ^^H|^^^^HH[^H^H||^B^^H something be within,H^^^^H^^^^^^^^^^^H^^^^^^M and between, themselves. This etheBBH ^^H^^IH^^^^^^^^^I^^^I factoralsopicked upnear BgHH|^SHHH|j^^^B^^^^^H^^H| the end Usha novel. The hI^^^I^^^HI^^^H^^^^^^^^^^I cassia tree roots pushing upAmmaH ^^I^^^^H^^^^H^^^^^^^^H nagudi areresponsible for h|^^HH^^^H|^^^HH^^^^^^^H| up Neela then Pushpa Hji^^^^^^^^^^^l^^H^^I^^^^I Rani, followed shortly afterward by j^^^^^^^^^^^^H^^^^^^^^^^I Shrinivas's near crash on hisscooter;^^^^^^^^^^^^^Hfl^l^^^^^^lH each with the cassia tree ?^^^^^^^^^^^^^^H^^^^^^^I isclosely followed byanencounter ^^^^^^^^^^^^^BeE^^^H^^^I with the monkey-man. PushpaRani HH|j^^HHHH9j^^Hj^H trips inthe darkened street, andon HH^B^h|GI!B!^^^^^^H^^^Hh looking up,shelooks straight into h^H^^^^^^^^H^^^^^^^^^H^^h the eyes acreature; she knows i^^^^^HI^^^H^^^^^^^^^^^^H the monkey-man. Sherushes home H^^^H^^^HH^^^^^^^^^^^^^H to find, asshe her fl^^l^^^^^H^^^^^^^^^^li^^H father near after a H^^^^^^^^K^^^^^^^^^I^^^^I Monkey-man a further examwm ^^Ej^^^E^^^^^^^^^^^^??^M pie how from India^^^^^^^^^^^^^^^^^^^^^^^^^H new Hh^^^I^^II^^^II^^h^^^^^^I through literary exploration ofthis 1H^^^|^^^^H|^|^1^^|^||^^^| country. Sl^^lj^^^^^l^^^^^^^^^l^^^l Emma Dazvson h^^^^^^^H^^^^^^^I^^^^^I Keele hBH^h^^^^II^^^H^^^^^^^^^I ...
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