Tuesday, December 23, 2014

A Journey from Goa to Bombay gone awry, a short story by Anthony Gomes

On 27 February 1950, the Government of India had asked the Portuguese government to open negotiations about the future of Portuguese colonies in India. Portugal asserted that its territory on the Indian subcontinent was not a colony but part of metropolitan Portugal and hence its transfer was non-negotiable; and that India had no rights to this territory since the Republic of India did not exist at the time when Goa came under Portuguese rule. When the Portuguese Government refused to respond to subsequent aide-mémoires in this regard, the Indian government, on 11 June 1953, withdrew its diplomatic mission from Lisbon. On 15 August 1955, 3000-5000 unarmed Indian activists (satyagrahis) attempted to enter Goa at six locations and were violently repulsed by Portuguese police officers, resulting in many deaths. The news of the firing built public opinion in India against the presence of the Portuguese in Goa, and on the 1st of September 1955, India shut its consul office in Goa, and exercised economic blockade of Portuguese Goa. The consequences of the economic blockade also included suspension of steamer and railway traffic to Bombay (now Mumbai) and travel from Goa to Bombay and vice-versa became a nightmare.
In 1956, we, high school studentsof St. Thomas High School in Aldona, had to go to Bombay to sit for the Secondary School Certificate examination (SSC), which was then, not administered in Goa. To go to Bombay involved travel by foot, bus, and canoe to Polem and Majali, and ultimately a ship ride from the Indian port of Karwar. All of this would take at least 48 hours to cover a distance of barely 300 miles. Our class consisted of about 30 students and we set out with our metal trunks of those days at about five in the morning in a chartered Caminhão to the frontier. We were accompanied by Father Pinto, the Principal of St. Thomas High School. We arrived at the Indian Immigration cum Customs office in the afternoon. It consisted of a long shed with tables on which were strewn amidst all the clothes: jackfruits, mangoes, pickles and chutneys, and a rare bottle of Portuguese Maciera or Jonny Walker, which was readily confiscated, and an occasional cluster of gold ornaments hidden amidst all the clothes, or stitched into a pocket or in the trunk itself. The anxiety and nervousness of the travelers was palpable on their faces and body posture except perhaps on those who had a couple of St. Pauli Girl beer in a bar at the Portuguese side of the frontier. After a thorough examination of each and every trunk, and our identity cards stamped, we were ready to proceed on our journey at about six in the evening. However, we had noticed one of the officers asking Father Pinto a whole lot of questions, after which he was escorted to a room, and the door shut. Father Pinto had made arrangements for a man he knew in the port town of Karwar to reserve our tickets for the steamer trip to Bombay. However, when he walked out of the room accompanied by a military officer, his face divulged a certain anxiety, an omen of things to come.
An entirely unexpected event occurred: the Indian authorities refused Fr. Pinto entry into India despite the pleadings, and the fact that he was chaperoning a whole class of students, who otherwise would have to fend for themselves. In this regard the inconsideration and harassment of the Indian immigration officials towards the Goans crossing into India was a well-known fact. Obviously, Father Pinto was persona non-gratis for unclear reasons to us. What were the Indian authorities thinking? Was this 60-something year old priest going to start a revolution in Bombay? When Fr. Pinto gave us the bad news, it was devastating. There was nothing we could do but continue on our journey without an elder, and most of us were barely 15 years old. If we turned back, we would have to wait for another year to take the exam.
Summarily, Fr. Pinto appointed me the leader; not unexpectedly however, since I spoke English fluently, unlike the rest of the village boys having lived and schooled in Bombay from the age of 9 to 13, and besides, I was the Captain of the entire student body of the School. Nonetheless, this obviously was a tall task which placed a whole lot of responsibility on my shoulders. He told me to seek a Mr. Fernandes, who would be waiting in a tea shop at the ferry crossing in Karwar. After we walked to the bus stand and took a bus, then several canoes across a river and another bus,jolliness and a sense of adventure wiped out from our faces and replaced by anxiety and uncertainty, we finally arrived at Karwar at about 8 PM. With so much of responsibility on my shoulders I kept on wondering what I would do if I couldn’t locate Mr. Fernades. I, together with a colleague, immediately went looking for him.We didn’t find him at the tea shop but after a lot of inquiries, I finally located him by the side of a pharmacy nearby. I was struck dumb when he told us that all the tickets were sold out. I thought he was joking, pulling my leg after a jolly drinkof illicit liquor? But he wasn’t! I became angry and at the same time despondent, but said nothing. It was his responsibility to reserve the tickets; the man was obviously not trustworthy!
“What do we do now?” I asked.
“Take a chance,” he said. “I will put you’re all in a boat, and when your board the ship that was docked several hundred feet from the shore line, you will have to simply beg the Captain to let your stay.”
“And what happens if he refuses to let us stay?”
“We’ll think of something,” he said. I didn’t ask any more questions. I didn’t want to consider the alternative. He escorted us to a hostel with bunk beds and mattresses on the floor where we slept that night after a meager meal of rice,dhaland ambli picklethat I couldn’t stomach. I didn’t sleep the entire night thinking of the outcome of our ticketless adventure and the incessant bites from the bed-bugs. The next morning hundreds of students with their teachers and parents got into half-a-dozen or so boats, we amongst them, and docked by the side of the colossal steamer for Bombay. We boarded the ship at about 10 AM with no problems. I was surprised that nobody asked for our tickets, and thought that we were scot free. But within 15 minutes or so, I saw the ticket collector approach. I was drenched in sweat. I explained our situation and requested that the ticket collector take me to the Captain.
When I told the Captain, a burly sort of man with a fierce twirling moustache, all that had transpired with our Principal etc. and that we had no tickets but would pay our fare, the Captain exploded.
“Who permitted you to board the ship without tickets?” he yelled.
“Nobody asked for our tickets when we boarded,” I said. “I’m sorry Sir, but we had no choice.”
“There is no place on this ship. It is overcrowded! You and your classmates will have to disembark,” he said.
“But Sir, I beg you for mercy,” I said, tears welling in my eyes. “We have come all the way from Goa. We are only students travelling all by ourselves without an elder. We will sit on the lower deck floor or just stand in one corner. Please, Sir, I beg of you, please, reconsider.” He just walked away.
“Sir, how will we go to Bombay to answer the exams?” I said.
“That is not my problem,” he snapped and went into his cabin.
 Obviously, it was no easy task to disembark, since the ship was not docked on the port but remained anchored hundreds of feet away. But there were still a couple of boats arriving with passengers, and they could send us back in one of those. I just stood there near the Captain’s cabin teary biting my nails, praying for a miracle. I thought I would plead again, and knocked on the cabin door gently. There was no response. I went down the ladder, and relayed the bad news to my colleagues. “What do we do now?” I said. Nobody had any suggestions. I was devastated; so were the other students. I leaned against the wall on the lower deck, hungry and thirsty, and about to faint. I sat on the floor, held my head in the palm of my hands, and prayed to St. Anthony.
After about 20 minutes or so, I decided to give another try. Did I have a choice? I climbed the stairs and knocked on the Captain’s cabin with determination. He opened the door and came out.
“You again?” he said. “I thought you had already left the ship.”
“Sir, please, you can’t send us back. Please show some compassion. Think of us as your children.”
He stood there in silence, staring at me as if he was struck by a lightning rod. I waited without demonstrating any emotion.
“Ok,” he said, finally without making eye contact. “You’re can stay. Not a word to anybody! Or I’ll kick you off the ship.”
“No Sir,” I give you my word.”
“Go get the money.”
I don’t know what came over him. Perhaps the word ‘compassion’ or ‘his children’ struck a chord or perhaps all this was a show he was staging? Perhaps, my patron saint, St. Anthony had come to my rescue.
“More things are wrought by prayer than this world dreams off,” said Lord Tennyson.
I immediately ran down in triumph and collected the money and handed it all to the Captain. “Thank you, Sir!” I said, and left on the double. It did not bother me in the least if he pocketed the money, which I’m sure he did. I was still anxious and nervous until I heard the sirens of the ship blast into the far off distance announcing our departure to Bombay. I fell on my knees and prayed. Suddenly, I found myself hungry with a ravishing appetite, which I satisfied with the delicious rice and fish curry with ambli pickle served on board the ship.

*Anthony Gomes, MD, FACC, FAHA, is a Professor of Medicine (Cardiology).
Director and Senior Consultant, Cardiac Electrophysiology Consultative Services at the Mount Sinai Medical Center and the Icahn School of Medicine at Mount Sinai, New York.
He has authored more than 150 scientific articles in Cardiovascular medicine and books including: Signal Averaged Electrocardiography: Basic Concepts, Methods and Applications,Visions from Grymes Hill (a collection of poems), Mirrored Reflections (a collection of poems), and The Sting of Peppercorns (a novel) as well essays in the Humanities.


Sunday, November 30, 2014

Ressurreição, a short story by Domingos Monteiro

At her age getting a job had been difficult, so she was proud as well as grateful to be the housekeeper of a celebrated artist. She ran his household efficiently. She planned his meals, balanced meals with the right amount of greens and proteins; she crushed his sweet tooth with enthusiasm. The house spotless, sadly she was not allowed in the Master’s atelier.
But what she really was good at was fending off those unwelcome visitors. Whenever she opened the door, she put on an icy mask of hauteur; she always peeked into the mirror before she opened the door. Yes, hair in place, white collar straight, her apron stiff with starch and in place, only then did she open the door.
Her surprise was great; there in front of her stood a man, was he a vagrant? Was he a vagabond? His hair hacked out in clumps, the scalp showing deep cuts, coagulated blood in them, his face battered and bruised, patches of bristle here and there. It was the face of someone who had been slapped around.
She sniffed carefully and delicately, was there a trace of alcohol on his breath? No, in fact for a vagrant he smelt rather clean, no smell of alcohol, no smell of piss.
Then she looked into his deep set eyes, there was something deeply unsettling there.
                ‘Yes, what is it you want? Haughtiness replaced her curiosity, ‘the entrance is on the other side, the service staircase’.
But the Man did not move he had the stubbornness of the very poor, not-moving -what are-you –going-to-do attitude.
                ‘I need to speak to the Master...He has sent for me...’
                ‘Sent for you? For you?’ There was a tone of utter dismissal in her voice, such disdain. ‘Oh the Master? He sends for people... does not entertain them... dismisses them.’ ‘You will be surprised at the number of people who come here... multitudes.’
For a moment she was silent, looking at him. Goddamit, his eyes had that strange quality, they looked down into her very being, they probed her secrets, but with such tenderness, such sweet compassion. Goddamit, for Christ’s sake this man, with his torn suit, patched under the armpits, patches on his knees, torn sandals on his calloused feet, this man shivering with cold, this man was looking at her with compassion, with pity, why?
She was shocked; it was not supposed to be this way. This was not going the way it was supposed to be. For a moment a spasm of shame shook her.
                ‘Have you come in response to the advertisement? That’s it; you have come in response to the advertisement’
                ‘Yes, an advertisement requesting me to come here...I never read it...I do not know to read or write... Somebody showed it to me...
                ‘And who should I tell you are?’
                ‘Just say it is Jesus Christ.’
The housekeeper moved away hastily, she left the door partially open, which was really strange for her; she was an extremely careful person.
The man could hear her retreating footsteps, a knock on an inner door.
                ‘Sir, there’s a man who wants to talk to you?’
                ‘Who is it?’
                ‘He says he is Jesus Christ.’
                ‘I do not know him?’
There was a moment of silence, and then a shout from somewhere inside;
‘Oh, just a minute.....wait a second....let him in’
‘This way...’
She led him up to a door at the end of the corridor.
                ‘He is here ...’
                ‘Come in ...’
The painter glanced at the man who had entered the door and burst out laughing’
                ‘That’s a good one...that’s really a good joke...So you believe that...’
The artist always dressed trendily, much like those artists of Montmartre – a velvet coat, a pipe at the corner of his mouth, a palette in one of his hands, and a brush in the other.
Light filtered in through the glass cupola of the atelier and fell directly on the model posing below. She was nude, only a delicate shawl draped her waist; her deep black hair cascaded down her front, covering the tips of her breasts. It was no doubt an artificial pose.
With a sneer, the artist introduced the two.
‘Jesus Christ....Mary Magdalene...’
‘Hey man, cut it out...For Christ’s sake shut the door, I am freezing my arse off here’
 She smiled cheekily
‘Hey can I wear some clothes now?’
‘Yes you can’
With a languid gesture, an affected one, the artist shut the door.
‘Surely you have come in response to my advertisement? The ad which said I needed a model for Jesus Christ, for my painting ‘Has Jesus Christ returned to our World?’
‘Yes, I have.’
‘And you think you would suit then? With your hair hacked out in clumps? With hardly a beard? Or do you think it is just enough to be hungry, just enough to have sunken cheeks, just enough to have dreamy eyes? The artist came closer and peered at the man curiously but angrily. I guess it is hunger that drove you to this atelier? If I would have placed an ad to walk my dog you would have come too, isn’t it?
The artist’s tone softened a little.
‘Hey come on, I know how hunger drives people to do anything. In any case... Just a minute... Zulmira come here...’
The girl peered out from the behind a screen
                ‘Just a minute...’
She approached carefully; she was just a common girl from the city, a girl of no consequence. But she seemed a little ashamed.
‘Come here, he called out to her impatiently. Have you ever seen such eyes?...
He felt so impressed.
‘It is bizarre... look at those eyes... they have a life of their own...they are the eyes of the prophets... Look at that mouth, goddamit just look at his mouth... What energy, what innocence...Observe the lines of the jaw? Observe the contour...Suddenly his enthusiasm fell away, fizzled away. But look at this hacked out hair, this shaven beard. I say vehemently I will not have artificial hair, I will not have a false beard...I am a realist, you know that, got it a realist...I need to see, I need to touch... I need to feel, I only know how to paint realistic stuff, with hair, with flesh, with blood...
He was furious.
‘You imbecile, you cretin...why the hell did you decide to chop away your hair and shave off your beard?’
‘It was not me, it was they...’
‘They? Who they?
‘They the guards...’
He spoke in a clear voice, an amiable voice, a voice more suitable for speaking of biblical parables.
‘They arrested me...they said it was prohibited to just amble down the roads, prohibited to walk the streets without doing anything. They mocked me, they hacked off my hair, they shaved my beard. Then they said that I was a vagabond, a wastrel and that if they ever caught me again they would just get rid of me. It was then that you, Sir, wanted to speak to Jesus Christ. I came because you called...
‘Why would you come then especially?’
‘It is because...you know...I am He.’
‘What...You are Jesus Christ in person?
‘I am He, although you may not believe me...But I am not angry that you do not believe in me. I already knew this would happen...This has already happened once before. Nobody believed me in Judea. It was because of this that they arrested me...crucified me. But I have forgiven them. It was precisely for this reason that I requested my Father to permit me to return...’
‘As though I care...Can you believe this load of garbage Zulmira?’
The girl had approached without uttering a word. There was a strange intensity in her eyes; she had folded her hands in a respectful attitude of prayer.
The painter had contemptuous smile.
‘Oh Magdalene, don’t tell you are tempted to wash his feet with oils and unguents, then rub his feet with your luxuriant hair, hmm. I really do not recommend it.’
She glared at him with an angry glance, did not reply. Then in a voice of supplication she urged:
‘Go on...Do not listen to him. He is a soul that is lost...And then?’
‘My Father did not want me to return.
‘No, no My Son’ he said, it is of no use, it will be much as it was before...And this time, believe Me it is going to be worse. Instead of crucifying you, they will make you drag a Cross all your life. There will be misery. There will be ridicule. You will suffer unimaginable hunger. You will know the torture of being jailed. There will be beatings. You will be admitted in a Mental Asylum, they will insist you are mad.
But worst of all My Son, they will never believe you. No, no said my Father, I will not allow it.’
But I pleaded, ‘Father, Father, but the fault is not theirs, it is ours, particularly Yours...’
‘Mine?’
There is nothing I fear more than my Father’s anger, but I was determined to put my point across.
‘Yes, my Father...’
Surprisingly He spoke to me most calmly with a degree of resignation, ‘My fault, why is it my fault my Son’
‘Yes your fault Father because You saw to it that I would be born without sin... because you did not allow me to feel what it is to be a man, besides you gave me the power to do miracles. These are not the qualities that any human being has, were it not for these qualities I would be like any other man.’
‘If that is the case, if that is how you feel, he spoke to me sternly, Go’. ‘But after this, do not invoke My Name.’
‘No my Father, come what may. I will not invoke your name...’
And the girl asked anxiously
‘And Your Mother...the Blessed Mother? Did she not try to stop you?
‘My Mother wept without a stop, she could not calm, nor contain herself, as all mothers are when they see their sons go on a dangerous adventure. But she did not stop me, she did not discourage me.
‘Go my Son, it is your duty. It is a job that you should complete, complete it till its end. You had just begun it...I will always be with you.’
 Now I feel as though she speaks to me in your voice...’

The painter could not take his eyes off them, the two in deep conversation. The brush trembled in his hand, a savage emotion coursed through his body. Ah, he well understood this emotion...it was the restlessness of inspiration. Slowly and silently he moved away from the two and began painting.
The canvas below his brush slowly underwent a change; it was getting filled with people, as though emanating from deep within him. They were so human, so very human that he was afraid to touch them, afraid that he would hurt them.
His was a strange Christ, a very different Christ indeed, bending and curved under a heavy load, His hands without stigmata but covered in thick hard calluses. His eyes radiated a mysterious brightness. Sweat poured down His body in torrents, His rigid and tense muscles strained, His sweat more brilliant and vibrant than any blood could ever be.
In front of His Christ, a woman stroked His brow, wiped His sweat, all the while breathing her tenderness on Him, a promise of kisses to come, more pure than rain.
The painter lifted his eyes, saw only the girl.
‘He, where is He?’
‘He went away, He left, left us without disturbing you, His mission accomplished. He said, Your faith had been restored and more than that you had believed in Him...



Biography of Domingos Monteiro Pereira
Was born on 6 November 1903. Died on 17 August 1980
Was a poet and a writer as well as a lawyer.


http://www.imdb.com/name/nm0599198/bio

Thursday, October 30, 2014

Os Cus De Judas by António Lobo Antunes

Children stretch out their matchstick thin arms, a rusty tin can in the palms of their hands, through the barbed wire surrounding the Camp, just for a morsel, a morsel of just about anything to eat.
People sit on their haunches around the camp, starving, waiting just waiting for a scrap of food.  
Women turn prostitutes for a morsel to feed their children.
Their eyes reflect patience, endless patience.
There is nothing, absolutely nothing. No medicines. No food for anyone.
This is what Antonio Lobo Antunes sees every day in Angola, he fights a war he just does not want to fight, he has left his pregnant wife back home in Portugal for a war which has absolutely no meaning for him or for that matter for anyone else.
Antonio Lobo Antunes is brutal. And why not? The colonial war for Independence turned civil war was ferocious. Seen through the tired eyes of the doctor António Lobo Antunes this bloody Colonial War is savage. What is there about this vicious War?
Every sordid detail is placed before you. Take the terrible, terrible loneliness sapping you of your will to live, add to it the lack of camaraderie between the soldiers, compounded by the utter hopelessness of the War. They just want to go home. What are they fighting for? What is all this bloody War about?
They all wonder, there seems to be absolutely no escape, shall we commit suicide, or shall we wait for a nice coffin. There are no answers.
Who are the Victorious? Doesn’t seem to be any, in fact all of them are losers. Everyone a victim. The people of Angola are in a vacuum, what the hell is going on? There the Colonisers, the Portuguese, and then some other Outside Forces urging them to get rid of the regime, purify your country evict the Colonisers. Where are they heading?
Such a colossal waste this war is, such terrible consequences, one moment the people of Angola are fighting a war of Independence, throwing the Colonisers out of their country and the next thing they know the war for Independence has turned into a Civil war.
How could it have happened?
That is the way Colonisers operate. They are the Masters. They take what they want, they use, they abuse, and when they can use no more they leave. It really is very simple.
Good news for Portugal overnight it had turned into a Democracy. They were free without shedding a drop of blood.
Why take care of countries which now are a burden?
What can they get from a war torn Nation? Abandon the Africans to their own fate. The Colonisers owe these illiterates nothing. Take care of yourselves; you are now Independent, you are now Free, Isn’t that what you wanted anyway?
Black brother fought Black brother, aided by powerful 'Democratic countries'. Black brothers killed Black brothers. Oh yes, terrible, terrible consequences.
But who for God’s sake cares for a bunch of illiterate, black people?
The white, democratic people know these Blacks do not amount to much anyway.

                Eventually when Lobo Antunes does return to Portugal, life is never the same for him, nobody in Portugal respects these soldiers who were embroiled in a meaningless war.
Slowly and steadily he loses everything.
His marriage just meanders and falls apart.
His beloved daughters, he sees them once a week.
He begins drinking; you see he hopes that 'it will never be morning again'.
He has encounters with strange women in bars.
He is just a sad beaten man. Once upon a time, a very long time ago he had been a Doctor but now he is a sad, beaten and humiliated man. A husk of a man, he is a person who has no substance, no personality, not even character, his dreams and hopes long gone, an empty shell of a human that once was.
Oh yes, war does that to you.

Brutal though the book is, there are those moments of utter sadness permeated by a luminosity, which lifts the book out of being just a book of utter brutality and makes it a beautiful story.


António Lobo Antunes was born in Lisbon, the eldest of six sons of João Alfredo de Figueiredo Lobo Antunes.
At the age of seven he decided to be a writer, but when he was 16, his father sent him to the medical school at the University of Lisbon. He graduated as a medical doctor specializing in psychiatry. All through this time he never stopped writing.
By the end of his education, Lobo Antunes had to serve in the Portuguese Army and participate in the Portuguese Colonial War, which lasted from 1961 to 1974.
Lobo Antunes returned from Africa in 1973. The Angolan war for independence was the subject of many of his novels.
In 1979, Lobo Antunes published his first novel, Memória de Elefante – The Memory of an Elephant, which narrated the story of his separation. The success of his first novel, prompted Lobo Antunes to devote his evenings to writing.
He practices psychiatry as well, at the outpatients' unit at the Hospital Miguel Bombarda of Lisbon.
His style is considered to be very dense, heavily influenced by William Faulkner and Louis-Ferdinand Céline.
His Awards are numerous


Source: http://pt.wikipedia.org/wiki/Ant%C3%B3nio_Lobo_Antunes

Friday, October 24, 2014

BOOM directed by Kumar Mystic

BOOM directed by Kumar Mystic
Director: Kumar Mystic                  Cast:  Sanjay and Gayathri
Written: Param                                                 Screenplay: Param

This chilling movie is the recipient of numerous Awards
The Special Jury Award, Best Film, Indian Cine Film Festival, Mumbai 2014
Winner Best Background Score, Indian Cine Film Festival, Mumbai 2014
Winner Best Film, Goa Short Film Festival, Panaji 2014
Winner Best Cinematography, Bangalore 2014

He is a strong man. He is in excellent health. He is ready for the expedition. He is a suicide bomber. His Trainer takes him on his motorbike to an unoccupied apartment. He needs to be prepared for the task at hand. He has been shown the locale where he will deploy the bomb. It is where a statue of a politician is to be unveiled. He is not supposed to move out of the apartment. His Trainer will bring him all that is necessary. He used to be a painter. His Trainer has given him paints and brushes to paint if he wants to. He is supposed to prepare himself for the day. Be calm. Be prepared for the task.
He is really calm; he sorts out his paint brushes and lays all his paints on a newspaper on a table. He sets up his easel. He opens the balcony door; some fresh air would do him good. As he turns around to get a better view of his surroundings, he stops short. On the balcony next to him a beautiful woman is watering her small balcony garden. She seems totally unaware of his presence. Very daintily she snips off a red rose. She puts it into a basket which is pulled up. He cannot see who the recipient of the red rose is.
He starts painting frenetically. He has to complete the painting within the next five days. He begins following her to the elevator. He is there when she gets in. He is there when she gets out. He is obsessed by her. He paints like a man possessed, he has to finish the painting before…
The day arrives. The painting is done. The painting is that of the Woman. The Trainer comes to take him to the venue. He gets ready, straps the Bomb onto his stomach. He cleans all vestiges of his stay in the apartment. The Trainer packs up everything and takes the package with him. When the Trainer is not looking he slips the painting down his back. He will give it to her if she is there for the unveiling. The trainer takes him to the venue. There are no goodbyes. He walks slowly to the venue. His mind is on the Woman. Will she be there? He hopes with all his heart that she will be there. His mind is on the Woman. He sees the Woman. He needs to give her the painting. He jumps over the barricade, rushing towards her…

The Woman presses the detonator. There is a huge explosion. Parts of bodies everywhere.  Amidst the body parts lies a painting.

A Motorbike stops. It is the Trainer. The Woman hops onto his bike. They both move on slowly and with no hurry.



Tuesday, October 21, 2014

Kanche aur Postcard directed by Ridham Janve

Miraj Entertainment Limited presents Kanche aur Postcard, a film by Ridham Janve
Produced by Madan Paliwal
Cinematography by Prahlad Gopakumar
Music by Samarth Janve
Art Direction by Saurabh Vyas
Production by Megh Joshi,  Mridul Joshi, Basim Abu

Language: Hindi
Starring: Pradhuman Singh Choudhary,
Co-starring: Mohd. Sahil, Yash Bhatnagar, Yug Bhatnagar
Sateesh Ashi, Usha Bhatnagar, Krishna Kate.

Kanche aur Postcard’ wins the best short film, the Rajasthan Award at the Jaipur International Film Festival.
Official Selection at 44th International Film Festival of India (IFFI)
Award winner at First Goa Short Film Festival, Panaji
Official Selection at 18th International Children’s Film Festival of India, Hyderabad.
The film was also selected for the Mumbai International Film Festival (MIFF) in the best short film award category.
Official Selection at Madurai Film Festival 2013.
The songs of Kanche Aur Postcard Movie have been composed by Samarth Janve with Music Label.

Kanche Aur Postcard

Every holiday Bipin comes to his Mamaji’s home. Mamaji lives with the elderly grandmother in a modest locality, a small three storey apartment. The first floor of the apartment is occupied by people of very modest means, but the top floors have people who are better educated, Mamaji himself is a lawyer.
The entrance to this apartment is through an open courtyard where every day a hectic game of marbles is played by a bunch of schoolboys, who Mamaji calls ruffians. The game is extremely entertaining as there is a running commentary which not only concentrates on the players themselves but also on every person who crosses the courtyard, even the cow tied at a corner is not spared. All hell breaks loose one day, the commentator goes wild when Mamaji crossing the courtyard steps directly into a cow dung pat.
Although Bipin longs with every fibre of his little heart to join in the hearty game of kanche, Mamaji just will not have it. No matter how much Bipin begs and pleads, asks his grandmother to intercede, Mamaji will not yield. Mamaji has decided that the ruffians are not ‘good’ enough company for Bipin. Mamaji feels Bipin should have ‘better’boys around him. What Bipin feels or wants is not Mamaji’s concern. So one Sunday he takes Bipin for a tennis lesson. Bipin hates it; he wants a game of Kanche.
As the holidays near their end, Bipin gets desperate, he just needs a bag of kanche, so when his grandmother sends him to buy postcards Bipin just cannot resist it, with the change he buys a handful of kanche and for a precious half hour Bipin owns a bit of heaven. Those colourful kanche, glass globules of every boy’s childhood, glass globules of happiness, of colour. Every little boy has fought for them, earned them, yearned for them, dreamt of them and slept clutching those little globules.

But stolen goods do not last for long……… even if it is a handful of glorious marbles.

Quoting the Director Ridham Janve ‘Through its innocence and simplicity, Kanche aur Postcard explores deeper themes of class, caste, control and acceptance. The film also reminds us of the often overlooked yet very essential differences of perception and understanding between children and adults’

https://www.youtube.com/watch?v=h24UqX0tW0U





Saturday, October 18, 2014

G for Gandhi directed by Renjith Murali

G for Gandhi
Directed by Renjith Murali                                           Screenplay: Renjith Murali
Camera : Charan C Raj and Sibi Saif                           Editing : Sandeep Ganesh
BGM : Aji Sarass                                                        Studio : Kalidasa Digital

      ‘Who is the Father of the Nation?’ screams the teacher
‘Rahul Gandhi?’ Asks the cheeky youngster, who imagines himself the smarty pants of the class. The kids look pleased; their bright colleague has scored once more.
       No, of course not, Teacher snorts at the thought of the pansy, Rahul Gandhi being the Father of the Nation, looks very irritated.
‘Sonia Gandhi?’ The same cheeky youngster who is growing bolder by the minute. So what? nothing lost.      Are you out of your mind? Teacher extremely irritated, wondering if she should clout cheeky youngster, remembers corporal punishment is a punishable offence.
And then a mousy girl with tight little plaits says mildly ‘Mohandas Karamchand Gandhi? The Father of the Nation?’
Teacher beams, all is not lost, ‘Yes, Yes, Sulekha, you are a clever girl.’
Sulekha sits down primly, all around her, students whispering, ‘teacher’s pet’
This could be a modern day scenario at any school, who knows who Mahatma Gandhi really was, what did he advocate, what were his principles.
Of course we all ‘see’ Gandhi , we all recognize the smiling, balding visage of the Father of the Nation’.  In fact we ‘see’ him every day when we buy anything, we exchange red currency notes, blue currency notes, green currency notes and on each and every note there is the smiling, bald visage of the Father of the Nation.
That is what Renjith Murali, the Director of G for Gandhi wants us to see, this extremely simple film shows how we ‘see’ Gandhi every single day. This beautiful short film, shows ‘hands’ exchanging currency notes, hands buying groceries, hands buying vegetables, hands at a chemist buying contraceptives, bride’s parents exchanging dowry, groom’s parents refusing the dowry, not enough,  bride’s parents adding a couple of lakhs, the groom and his family happy with the transaction. 
  And on every single note the smiling visage of Mohandas Karamchand Gandhi, The Father of the Nation.
What do we or our young people around us know of him, his values? We turn away from his values, his simplicity and see him much like Renjith Murali says ‘reduced to a face as seen on our currency notes’. Further quoting Renjith,  ‘The popular perception that Gandhi is confined only to currency notes in India is examined. While contemporary society unconsciously turns itself away from the Gandhiyan idealist it is hoped that the young India will turn towards Gandhi.’

G for Gandhi has won quite a number of Awards;
Winner of Gandhi Short Film Festival.
Special Cash Award from the Governor of Kerala.
Best Film Award for First Goa Short Film Festival.
Best Creative Concept Award for First Goa Short Film Festival.
Special jury award for Nizhalattam Short Film festival.
Participation in Chennai Women's International Festival
Participation in  Chavara short film festival.

See the short film for yourself: //www.youtube.com/user/wolverinerenju

Thursday, October 16, 2014

‘Alli Malarum Adhikaalai’ or ‘The Water Lily that blossoms early in the morning.’ Director Monish

The First Goa Short Film Festival was organised by Marathi Chitrapat Parivar from Pune and what an amazing array of movies there was, such a variety of topics touching virtually every subject of interest and relevance today, child rape, the ills and benefits of internet, loneliness, terrorism, education for girls, and many more. We were truly spoilt for choice.

‘Alli Malarum Adhikaalai’ or ‘The Water Lily that blossoms early in the morning.’
Director: Monish                                              Screenplay: Monish
Producer: Monish                                            Language: Tamil

This simple film turned out to be another prize winning entry.
Arun a young handsome newspaper delivery person goes about his rounds, carefree and happy with no thought beyond getting his newspapers delivered in perfect condition and on time. Things are just fine until one bright day just as he turns the corner he sees a beautiful college girl, wow he thinks and nudges his fellow worker, they both agree she is an Apsara sent from heaven to brighten his mornings. Arun follows her to the bus-stop. At this very same bus stop, an office goer, also struck by her beauty, vows to win her and marry her.
Suddenly there seems to be a stiff competition, although both the suitors are unaware of each other and sadly for the suitors the girl is absolutely unaware of both men.
Arun on his rounds accidentally bumps into the girl’s brother; this happy turn of events happens one morning when Arun delivering newspapers in the neighborhood sees his Apsara return home to pick up something she has forgotten, oh my God, this is the best piece of luck that could have happened to Arun. From then on Arun is there bright and early following the girl from a safe distance until he gets to her bus stop, a huge smile plastered on his face, and a devil-may-care attitude on his cycle. Life is really good. Meanwhile the suitor at the bus stop has his own plans. He will give the girl a gift and propose marriage. But fate can thwart the best laid plans...
The girl’s brother informs Arun, that he would no longer be requiring a newspaper as they are moving to Adyar a distant place.  Arun nearly falls off his bike; his heart turns cold no Apsara to brighten his mornings? But Arun is extremely resourceful, talks to his Boss, cajoles and pleads with him and after some time gets his paper route changed to Adyar, love and a pretty girl can move mountains. The suitor at the bus stop meanwhile, who has no insider knowledge that Arun has, armed with a bouquet as well as a gift waits for the ‘girl of his dreams’ to arrive at the bus stop, all set to propose but the girl has already moved on...Not being as resourceful as Arun, he is left at the bus stop....
Arun on the other hand, now at Adyar, follows his Apsara as usual, not making any move to talk to her at all, not infringing on her space or privacy. For as he says ‘I am but a newspaper delivery person’ and she a college girl, I am just happy to see her, everyday, my day goes better, I am a filled with a glow of happiness.
Such a lovely feeling you will agree....


Thursday, October 2, 2014

Shalya ..... Director Bipin Khedekar

The First Goa Short Film Festival was organised by Marathi Chitrapat Parivar from Pune and what an amazing array of movies there was, such a variety of topics touching virtually every subject of interest and relevance today, child rape, the ills and benefits of internet, loneliness, terrorism, education for girls, and many more. We were truly spoilt for choice.
Sadly I managed just one entry from Goa, ‘Shalya’ directed by Bipin Khedekar and missed the much acclaimed ‘Chedum’ directed by Sharon Mazarello.

Shalya
Director: Bipin Khedekar                                               Screenplay: Sarvesh Naik
Producer: Damodar Naik                                              Language: Malwani Konkani
Cast: Anil Raiker,
Rati Bhatikar,
Ramprasad Kelkar,
Saieesh Naik

What a strange and a haunting film Shalya is. In a beautiful verdant setting, a man stands atop a log, his head in a noose; the men around him wear pristine white dhotis. Without any warning the log is pulled away from under him and you give a shout of horror. The man falls to the ground dangling at the end of the rope, he has died and Shankar, the hangman has finished his work. One more day in the life of a hangman, he bathes in the river and makes his way home to his wife and son.
Although it is a just work for Shankar, and work is very difficult to come by in this hamlet, Shankar is beset with sorrow, with doubt, with fear for his soul. He pesters his wife with his dark thoughts. Do you know he tells her, I feel such sorrow, such pain when I do my job, do you think ‘they’ curse me? His wife full of sadness for her husband says, maybe, but you are doing your duty. I dream such terrible, terrible dreams. Shankar spends his days in agony, in despair, with no way out, times are hard. So ashamed is he of his work that he never tells his son about his duties but promises his wife, as soon as our son begins to earn, I will give up this terrible, terrible work. 
Four school boys return home from school and like all boys start flinging stones at some stone markers, aiming with more and more precision all the while chattering about their father’s jobs. Everyone has a father who works crushing stones, the hangman’s son says, my father works at crushing stones. At this all the boys look at him in utter surprise, your father a stone crusher? A pause and a boy says in a rush, your father hangs people for a living. The hangman’s son is livid with anger, he cannot believe it, his father a hangman, his kind father, his father who loves him dearly, who always brings him his favourite ladus, his father who urges him to do his homework, who laughs with him, his father a hangman. His confusion is complete, he is devastated. There is a fight. The boy returns home and angrily confronts his parents. Leaves home without even a second glance.
What a terribly sad life for Shankar and his wife. Shankar a broken man just drags his body through his day and his terrible job. Is it a punishment for all those lives he has robbed? No point in looking back, no point in agonising. It is over; he has paid the price for all those lives.

Eleven years later, a constable enters their humble hut and hugs his parents…..

This very unusual film is truly remarkable because it is a first attempt for the Antarang Club, winning an Award at the First Goa Short Film Festival came as no surprise to anyone. The young and extremely talented Director Bipin Khedekar’s immense energy drew the best from every actor even the veteran Anil Raiker. As for the young boys they were a bunch of chattering birds just raring to go. That Antarang Club will have many more movies is something that everyone knows and expects.

https://www.facebook.com/pages/Shalya/154793391296955

https://www.youtube.com/watch?v=88B5He88D-4



Sunday, September 28, 2014

Finding Fanny, a movie directed by Homi Adajania

Everyone is talking about Fanny, come now, not that Fanny, although as we know everyone is interested in that Fanny, but I mean the Fanny in ‘Finding Fanny’. Reviews, counter reviews, are Goans being portrayed in the right spirit, are we being shown as losers, drunkards, loose women, I am filled with trepidation. Aw, come on now, let me see the movie and decide.
I am cynical, I look at the pectoral cross that Angie is wearing almost as large as the Pope’s, and look at that, Savio actually has a cross tattooed down the nape of his neck. And then in a flash, I am reminded of a young girl who has an entire rosary tattooed down her forearm, to my question ‘what if you do not like it, the tattoo, in the years to come’ she replied rather angrily, ‘it is the Rosary’ and here I had been thinking Anjelina Jolie. Which self respecting Catholic does not sport a rosary brought from Vailankanni around their necks. I sit back and enjoy the movie.
 Goans are portrayed just as they are, kind, funny, sad, quirky and most importantly full of joy, just another bunch of people.
Ferdie, the village postman opens his door to find his own letter posted to Stefanie Fernandes some thirty six years ago, lying on his mat undelivered. He lets out a shriek, his beloved Fanny, never got his letter, she never knew of his love for her. This opens a pool of emotions for Ferdie, what should he do? Should he do anything at all, should he just keep mum like he has done all these years? Lingering deep inside Ferdie, is a teensy bit of hope. What if?
As his despondency increases Angie comes to visit him, she has been a constant visitor these many years, in fact since the day her husband, Gabo, choked on the plastic figurine atop their wedding cake and died. Everyone thought it had been a heart attack, but no, the guy was so drunk when he shoved a generous chunk of wedding cake in his mouth, never realising that a plastic figurine was deeply embedded inside the cake. For a widow, a young widow, who never even had a wedding night; Angie always has a smile plastered onto her no expression wooden face. Angie, young and pretty just goes on through life, with that smile, no desire to move on.
She lives with her formidable mother-in-law, Rosie Eucaristica. Now Rosie Eucaristica is a widow too, her husband died at sea, or has he? She is the undisputed First Lady of the village, a buxom beauty, so full of curves and oh so full of charm, she too never re-married, although plenty of suitors came knocking on her door with bouquets of roses, one of them the renowned artist Dom Pedro Cleto Colaço. If there is one thing that Dom Pedro Cleto Colaço wants, is to capture Rosie Eucaristica on his canvas and maybe seduce her but his efforts so far, have been foiled by the village wimp of a priest, Father Francis.
After much deliberation and a couple of sleepless nights, Angie decides that Ferdie should go on a Finding-Fanny journey. That’s easy, where do they get a driver? And a car?
On one of her many, aimless walks around the village, Angie sees Savio, stretched under a decrepit pile of rust, a much faded sky blue car. Voilà, answer to all those myriad problems occupying her mind, here is another of her ex- suitors, Savio, who is rumoured to have a state-of-the-art  garage business in Mumbai. Why not make a pass at him; after all she has to know what really happens on a wedding night. As a successful garage owner he could put that pile of rust in working condition as well as be the driver when they are on their ‘Finding Fanny’ quest. Sadly for Angie, Savio is not very keen on this trip, in fact he is surly, bad tempered, much cajoling, after all who can resist a fresh, young face for long? Savio agrees to be the driver for the trip.
But the car belongs to the artist, Dom Pedro Cleto Colaço, once Dom Pedro Cleto Colaço realises that there is a possibility of having Rosie Eucaristica as his travelling companion he jumps at the idea of being a part of the trip to find Fanny. He is sure that he will be able to seduce her and paint her; you see he too has an agenda.
As expected the journey is long, so many experiences, such a lot of soul searching, forgiveness, fun and laughter and as the narrator says at the end, what was important was the Journey, you make the best of what comes your way, you realise that in the act of pining for something you miss  so much in life. Essentially, 'Finding Fanny' is about new beginnings, finding the best in everything as you make your way through life.   
And oh yes, ‘Finding Fanny’ has hardly anything to do with Goa and Goans, it could be set anywhere in the World. Goa just happens to have beautiful scenery and most importantly beautiful people.

However I do have a grouse, why did the Director, Homi Adajania, have to treat the cat so very badly, it really was not funny.
Directed by
Homi Adajania
Written by
Homi Adajania
Kersi Khambatta
Starring
Naseeruddin Shah
Arjun Kapoor
Deepika Padukone
Pankaj Kapur
Dimple Kapadia
Narrated by
Deepika Padukone
Music by
Mathias Duplessy
Sachin-Jigar
Cinematography
Anil Mehta

Monday, September 8, 2014

Lord Ganesha

When you think of the attributes of Lord Ganesha, also known as Vinayaka, you are filled with awe. He is the elephant-headed Hindu god of wisdom, literature, worldly success and peace. The Lord is invoked before any sort of venture, be it marriages, jobs, business deals, yes nothing is undertaken without the blessings of Lord Ganesha. It is he who decides between success and failure, and it is left to him to remove obstacles or create them if and when deemed necessary.
Ganapati is not only the God of Beginnings; he is the true God of Learning and Wisdom, as befits his elephant head. The better attributes of the elephant are that it lives long, forgets nothing and is brave, loyal, kind, strong and gentle. Ganesha represents the unity of the Small Being the rat, with the Great Being, the elephant. It is the blending of the microcosm with the macrocosm, of a drop of water with the vast ocean and of the individual soul with divinity. The vehicle of Ganesha is a rat or mouse. As rats generally succeed in gnawing their way through every obstruction, the rat symbolizes this god's nature of destroying every obstacle.
But what makes Ganesha lovable and everyone’s favourite are the beautiful legends woven around him.

Ganesha and Kubera

Kubera, the god of wealth, was very proud of his boundless fortune. He was terribly proud of his wondrous palace, of his garden filled with the sweet smell of a profusion of roses and jasmine, the jewels his wife wore were the envy of every goddess, and his cooks were renowned for the food that made everyone drool. Oh yes, Kubera felt he knew how to live, and to live well, he even went to the extent of looking down on Lord Shiva who lived a simple austere life in the open mountains.
Now Kubera was not happy just to be wealthy, he wanted the other Gods and Goddesses to see and admire his wealth. He organised lavish parties, he organized gorgeous dinners, and although the Gods and Goddesses were full of praise, Kubera was not happy, oh no! The more parties he gave the emptier he felt, until his beautiful wife trying out her latest necklace of emeralds and pearls said, 
‘Kuby dear, there is one way to jolt everyone, make you the talk of Kailash, let us throw a huge party, a lavish one, with flowers, fireworks, decorations, she breathed deeply, arching her deep black brows. And…. let us invite among other famous guests, the divine couple, Shiva and Pârvatî.’
Kubera was thunderstruck, ‘oh, oh oh’ he did a little jig, most wondrous idea’; he gave her a hug and dashed off to get ready to visit the divine couple, Shiva and Pârvatî. He entered Shiva and Pârvatî’s abode with deep reverence and such humility although his mind was churning feverishly, ‘What is wrong here, what is this place, is this the palace of the divine couple, Shiva and Pârvatî?  Such wasteland, brrrr the cold wind slicing through my body. Can Shiva not even provide a better home for his family....
Shiva and Pârvatî were having a nice chat sipping a warm cup of ginger tea when they were interrupted by Kubera.
‘Oh Kubera, good to see you but what brings you here?’
Kubera was lost for words. He had come in a rush. He could not possibly tell Shiva and Pârvatî that he wanted them to admire his house, his jewels, his garden or his food. In a burst he said 
'I wanted to invite you for a party’
‘Party?’ they both said, what’s the occasion?
Kubera was lost for words. He said ‘Nothing just that I am so blessed…’
In a flash, both Shiva and Pârvatî realised that there was no occasion, Kubera just wanted to show off.
Very politely, Pârvatî declined the invitation, ‘Kubera, thank you but we will not be able to come’
Then Pârvatî saw the despair in Kubera’s eyes, his desire to show off and she said ‘’But Ganesha our son would love to go, wouldn’t you like it Ganesh’
‘Oooh yes said little Ganesha, will there be sweets? He asked
‘You bet the best of sweets here in Kailash’ muttered Kubera
After a while a clean little Ganesha walked into Kubera’s sumptuous palace. Although Ganesha was well dressed, his red silk dhoti freshly pressed, his broad flat feet carried a trail of wet sticky mud which left prints all over the pristine marble floor. Kubera’s wife looked at her floor in utter disgust. Had Ganesha not been the son of Shiva and Pârvatî she would have pulled his broad ears and flung him out. He sniffed food and smiled broadly, ‘food he said, Ganesha loved food and sweets his mouth watered, his little trunk quivered in anticipation.
Very politely Kubera and his wife served him. Hardly had they turned their backs, Ganesha had finished a heaped thali of puris, vegetables, ghee rice, lentil curry, papads, pickles and a bowl of kheer. One happy little burp and little Ganesha said very politely ‘Oh that was lovely’ Kubera and his wife beamed broadly…. ‘But I am still hungry…’ Another huge thali, this time with additional helpings of modaks, kheer. Burp…  ‘ I am still hungry…’ large tears brimmed in little Ganesha’s deep brown eyes threatening to roll down his cheeks. More food. Little Ganesha still hungry, still unhappy. This went on for a long time, little Ganesha was still hungry, and very unhappy. Kubera and his wife screaming at the servants cook more, cook more. Servants running to the market, buying whatever was available, no way could they please little Ganesha. He was still hungry, and very unhappy.
Hasty consultation, Kubera and his wife, ‘What are we going to do?’ ‘He is unhappy’
‘And whose wonderful idea was it?’ asked Kubera sarcastically
‘And who was so happy, and rushed off to Shiva and Pârvatîs abode immediately’ retorted Kubera’s wife equally sarcastically.
But when they looked into their vast hall, there was Little Ganesha reclining on a mound of cushions, not resting happily as they thought he would after a huge meal, replete and satiated, but weeping silently, huge tears rolling down his plump cheeks, his trunk curled into a tight loop. Oh yes, Little Ganesha was truly an unhappy little God and he was their guest, they had invited him. Kubera rushed to Shiva and Pârvatî’s abode and entered meekly. There were Shiva and Pârvatî happily chatting and playing cards.
Kubera rushed to Shiva and Pârvatî and threw himself at their feet; Shiva bent down and picked him up. Shiva looked deep into Kubera’s eyes, no words were spoken, there was no need.  Kubera understood that it was his pride, his vanity, his desire to show off his beautiful house, his jewellery and his possessions that was at the root of Little Ganesha’s unhappiness. Kubera felt so small, so miserable, so unworthy. Pârvatî went inside and got a handful of roasted rice. Kubera realised that when he had served Little Ganesha a huge, sumptuous meal, he wanted to show off, there was no love, there was no desire to please a guest, there was only a desire to show-off his enormous wealth.
Humbly he took the handful of puffed rice and knelt down besides Little Ganesha and said full of sorrow and deep love and consideration, ‘Eat Little Ganesha, eat my honoured guest’
Ganesha opened his tear filled eyes, rubbed them, looked deep into Kubera’s eyes and popped the puffed rice in his mouth, savoured the rice, chewed it slowly, then he smiled at Kubera a huge radiant smile of love and tenderness patted his head his head with his curly trunk, ‘What a wonderful meal Kubera, truly a beautiful repast, thank you ever so much’
Little Ganesha got up slowly bowed to Kubera and his wife and happily bouncing his plump body and swinging his little trunk went home. 

http://hindumythologyforgennext.blogspot.in/2012/02/ganesha-and-kubera.html