RaoulCauvin-62268

Guthlee Ladoo" is more than just a movie; it's a heartfelt journey that will touch your soul. Directed by Ishrat R Khan, this cinematic gem takes you on an emotional rollercoaster, leaving a lasting impact on your heart.

*If you are a woman/Depressed classes stop believing and following religions. All the discriminations, prejudices etc have their origins in your religions. For example: Racism, Misogyny, Patriarchy and Casteism etc. Woman/Depressed classes are not allowed to be heads of any religion ever. Boycott it for spirituality, which is always inside you*

Believe in your heart and soul that you are capable of big things in your life.

The only thing that is standing in your way is yourself.

Free yourself from society's advice and irrational beliefs, most of them have no idea of what they're doing.

Influence most people who drift through life. They have no purpose, no direction, and zero intent. Learn their needs. Lead them.

. You'll be 10x happier if you forgive your parents and stop blaming them and start loving them.

No one will ever come to save you. Your life is 100% your responsibility and you have choice at every moment of your life. So take responsibility for your actions and stay with it and never put the blame on others for your actions.

You don't need 100 self-help books. All you need is actions and self-discipline and be responsible for your actions. As your actions not only affect you but also the people around you.

1. Salient features of your Ph. D. research work (Max. 100 words)

2. Kindly indicate in 100 words as to what makes you suitable for being considered under this POST.

3. How would you create an innovative learning environment? (max 100 words)

4. Outline your most significant contribution towards research (in 100 words)

5. Outline your proposed roadmap for teaching and research for the next five years (in 100 words)

6. Present your vision for the department for the next five years.

1. Salient features of your Ph. D. research work (Max. 100 words)

2. Kindly indicate in 100 words as to what makes you suitable for being considered under this POST.

3. How would you create an innovative learning environment? (max 100 words)

4. Outline your most significant contribution towards research (in 100 words)

5. Outline your proposed roadmap for teaching and research for the next five years (in 100 words)

6. Present your vision for the department for the next five years.

Director Indra Kumar, officially reworking a 2009 Danish film (Anders Matthesen's What Goes Around), mauls a promising premise with mothballed methods borrowed from an era of Mumbai movies long gone. The moral binary - good and bad, or sinful and virtuous, is constructed without insight or imagination.

The director of the Dhamaal and Masti movies, concoctions that rely on the broadest of strokes for comic effect, employs pretty much the same means here but mixes occasional dashes of hilarity with attempts at uninhibited mush. The result is so godawfully insipid that even a steamy Nora Fatehi item number, the umpteenth remix of Yohani's Manike crooned by the Sri Lankan crooner herself - as dull as anything else that is on show - is a blur that leaves no trace.

A refreshing take on the why should boys have all the fun.

It's not the best ofcourse but a one time watch in the theatres.

What I liked was the way the plot builds in a few cheeky surprises. And while the popping up of random characters is not as smoothly knit in as it could have, we are left wondering where it all is heading towards. A quick, illicit getaway for the four pals (haww, what if their grouchy spouses and in-laws find out) turns into a light-hearted caper which includes murder, a bunch of kooky cops, and some intrigue.

It is a coming-of-age story of four friends - Shivangi, Sakina, Neha, and Mansi - who are struggling in their married lives, but are not ready to face the truth. On a fortuitous break in Goa, the girls get to open up about their self-seeking spouses who are eroding their identity and self-respect bit by bit, but before they could enjoy their 'freedom' from their restrictive lives, they get entangled in a murder investigation.

It's really worth watching it. Shamshera is a bold, unapologetic, period drama that revolves around the Khameran tribe.. Fantastic set, as an artist and an architect, I truly appreciate the visuals that they've created, it's a creative mix of a fictional characteristic that go more on the lines of celestial bodies, and at the same time the double role by Ranbir Kapoor, and many more aspects overall make it a marvellous visual! Even the set design, very thoughtfully curated! Different sets for different situations at the same time bound by the era, ornamentation, etc. Speaking of the acting, brilliant job by Ranbir Kapoor! Can't emphasize enough on the same, the conviction with which he has played both the characters, his eyes emote too well, exceptional dialogue delivery, I can go on and on actually! Very well done Vaani, extremely graceful and phenomenal expressions! Also Sanjay Dutt sir, nailed the badass role! Brilliant work by all the actors! Excellent direction! Superbly executed plot of the film, the director has made each and every scene very meaningful and iconic! Straight up gives me Bahubali and RRR vibes! Strong story line, revolves mainly around freedom, karma, life comes a full circle types, revenge, action, drama, father-son bond, also the subtle mother child bond, repetition of events but in different scenarios! It keeps you on your toes till the end, good creation of suspense! Each and every scene of the film is connected, leading to the other, good channel of events occurring! Overall, a good balance has been achieved ! And everything happens for a reason in the film so though I felt the film is getting a little dragged in the second half, it all made sense to me when the event occured in the end! So the so called dragged bit was essential, as in it wasn't dragged in the first place, it was necessary for the film to pause and reflect on the present scenario to explain the depth.. It all makes sense don't worry! The climax was my most favourite, ICONIC! Overall, one of the best films I've ever watched and I would any day vouch for you guys to go and watch it! To be precise, watch it in the theatre! Great great great watch! And believe me you're doing a favour on yourself by watching the film and not on the cast and crew, you'll devoid yourself of this magnificent cinematic experience of you don't watch it!

A refreshing way of making a movie.

The movie is good but the music is out of the world, both the audio and video of the songs are awesome.

A must watch for all the fans of Anurag Kashyap, and all the actors did an outstanding job. We can trust him to give us something new everytime he comes up with an idea.

Bravo à tout le monde.

Je n'ai jamais vu un film comme cela. Bravo encore une fois.

Anurag Kashyap is not entirely new to the genre of romance. He has made stellars like Dev D and Mukkabaaz. But this is a full blown Romantic comedy drama with out the dark gritty over the face violence that most of his films depict. Manmarziyan is perfectly described by the lyrics of one of its songs 'Grey Wala Shade' which goes like this - Kala na safed hai Ishqe da rang yara Grey walaa shade... Zamana hai badla Mohabbat bhi badli Ghise pitey version nu Maaro update... Set in a quaint and colourful city of Amritsar this is basically a love triangle between Rumi (Tapsee), Vicky (Vicky Kaushal and Robbie (Abhishek). It's a modern retelling of love vs companionship, excitement vs stability, love marriage vs arranged marriages. Rumi and Vicky share a passionate Fyaar and also pyaar which is a 'known secret' to her family and the mohalla. Once they are caught and hell breaks loose. But Rumi being the headstrong character she is wants what her heart desires and she talks her family into talking to Vicky and his father for marriage. Now here comes the catch, in the form of Commitment phobic Vicky. There is no doubt of how much he loves Rumi, his eyes speak for him. But time and again he disappoints Rumi. Enters NRI Robbie who had come to India to find a companion an instanly falls for Rumi. What happens next forms the story.

The first half is electric. The chemistry between Rumi and Vicky is fantastic to watch and they set the screen on fire. Their relationship is reminiscent to modern relationships which is more about carnal needs.

Not upto the expectations and hype created around it. Disappointed with the screenplay and music.

Another thing the legends of Hindu mythology is very different and opposite in North compared to South of India. For example, Lord Karthikeya, the son of Shiva and Parvati is revered in the South but disliked in the North, you will never find a picture of Lord Karthikeya with his parents and brother Lord Ganesha ever in the Northern temples or in iconography anywhere in the North of India.

In North Lord Ganesha is married to his two wives Ridhhi and Siddhi and Karthikeya is always single, whereas in the south side mythology it's opposite and Karthikeya is married and Ganesha single. It would be better if the South and North mythology is merged together to make one Hindu religion, then only we can have a better and more inclusive true Hindu mythology. Jai Hind.

Even if one leaves aside the blatant Casteism,ie projection of all the important characters from the same caste, misogyny, stereotyping other characters from different castes and class, hyper Nationalism in the form of unnecessary ending, which adds nothing to the story etc. This is no way near the first season. Disappointing especially from the 5th episode onwards.

Very few funny moments and more of anger in the latter episodes.

It was an headache and had to skip the major portions from it.

Better to avoid this one. This is no way near the first season. Disappointing especially from the 5th episode onwards.

A much required movie for the ages.

It's a movie in its simplest form.

Though while comparing it with the more prolific Indian movie industry one can find some points to criticize the rawness and brutal reality and how it's depicted over here.

There's a huge difference Between making a propaganda film by distorting the historical facts and evidences, which has become a norm nowadays but This movie feels like a breath of fresh air and provides a new perspective on the life and history of the real people of India. Jai Hind, Jai Bhim.

It's awesome.

Finally a great movie from India about the marginalized sections of the society. It should not be missed by anyone. Of course there might be some flaws in it, like any other work but it is the time for the new age Indian cinema and the Bollywood must follow them if they want to survive in the race to be the best movie 🎥🍿 industry in the world.

Kaala embodies the confusion and contradictions of the contemporary subaltern politics. It is conscious of the need for solidarity between the Dalit-Bahujan and the left, yet it cannot imagine what form it will take.

Kaala is arguably the most political film in recent times, dwelling upon land grab and dispossession. The film begins with the meta-narrative of how land is central to human civilisation, economy and social status, and how capitalism and Hindutva are attempting to displace and dispossess the poor. The film thereby brings the missing land question to Dalit politics.

The standard academic explanation for the absence of land question in Dalit politics is that the Dalits had been displaced from and dispossessed of land a long time ago through the ideology of caste, not by the primitive accumulation of capital, and because of that, they had become a class of service workers. They were no longer tillers or owners of land; land was not a means of production for them and they were landless agricultural labourers at best. This agrarian condition and the Dalit thinker-politicians' advocacy for the destruction of rural life and escape from villages to modern cities, have made land a seeming non-issue in Dalit politics.

Consequently, there has been hardly any Dalit activism against the ongoing land grab in various parts of India even when most of the so-called project-affected people are from the Dalit and Adivasi communities. The people's movements in India have mostly received support from or have been organised by the Left and the Gandhians. In this context, Kaala's politics becomes interesting.

At the onset, the film makes it clear that the rule of law does not exist, it is not a fair game, and the inebriated state has lost its logic and sense of judgment: When Kaala is cleanly bowled out by a youngster, he appeals for a "no ball," but the umpire declares it a "wide ball." In the black and white world of Kaala, there is no middle ground and no mediation of politicians is sought, contrary to the political scientist Partha Chatterjee's theory of political society and the poorer people's place in Indian democracy. The film has little faith in electoral democracy and representational politics. The Dharavi residents get together to defeat the Hindutva candidate, but the elected candidate has no further role to play; he becomes a turncoat and is thoroughly thrashed by Kaala. Later, when the anti-land grab agitation intensifies, the slogan is radical: "No land, no house, no vote." The film deliberates on democracy beyond elections-a post-political society-and how Dalit politics would respond to capitalism and Hindutva.

The film is sure-footed about how to fight Hindutva and pulls no punches. A clear political frontier is created between the Dalit-Bahujan and the Savarna-Brahmin, with a Dalit protagonist (Kaala) and a Brahmin antagonist (Hari Dada), It disrupts and displaces the normalised Hindu-Punjabi semiotics that has come to dominate Hindi cinema (I watched the Hindi version of the film) and assembles a Dalit semiotics in its place: the name of the place, busts of Buddha and Ambedkar, blue plastic chairs, books lying on the table, the framed prints hanging on the walls and the number plate of Kaala's car.

It overturns the Ramayana, desacralises the Ravana Vadh narration, and sees the avatars of Swachh Bharat Abhiyan, "Clean Mumbai" and "Pure Mumbai," as a continuation of Brahminical puritanism and practice of untouchability. The fictional Navbharat Rashtrabadi Party becomes the real Shiv Sena: just after an hour into the film and a few moments before Kaala says, "Kya re? Setting kiya hain?", we see Shiv Sena's hoarding on the left of the screen.

Land and Labour However, Kaala is ambivalent about how to fight capitalism and development. The film imbibes the people's movements' dilemma over development and modernity. There are two types of development: The dominant one is a desire for social mobility promised by capitalism and finding a place in the emerging structure of power, prestige and wealth, which also entails a voluntary displacement and migration, and the other, a demand for an improvement in the basic standard of life and strengthening of the community. Kaala reprimands his daughters-in-law, and by extension the Dalit middle class, for the first. Education has to be about enlightenment, not only for becoming a professional class. Dharavi's community shares the second form of development: They want water, sanitation, electricity and a new division of the public (playground) and private spaces (for enjoying privacy.

The film (unconsciously) advocates the Gandhian practice of controlling one's desire and remaining rooted, while capitalism keeps returning as an epidemic of desire and aesthetic experience. The last scene of the film has a banner, "Singaara Chennai, no longer a dream," with the double meaning of the impossibility of a beautiful Chennai and a realisable dream. Nevertheless, director Pa Ranjith himself could not resist the technocratic gaze by continuously using drone shots of Dharavi, which converts the area into an abstract topography of the planners.

The land in question has two claimants: The immigrants and the nativist Maharashtrians. The film brilliantly uses animation to tell the history of Dharavi through the tragic love story of Kaala and Zarina. The underlying argument of this animated narrative is that the immigrants have worked on the land to make it inhabitable and therefore they have a legitimate right over the land. They have endured and survived numerous attacks and riots to hold on to the land.

This (John) Lockean normative argument that land is owned by those who have worked on it is pitted against the claim of cultural heritage and political inheritance of the Maharashtrians. The nativist Maharashtrians want to grab the land to dominate the immigrants and non-Hindus and to convert it into a commodity to be sold in the market, whereas for the Dharavi residents, it is a means of livelihood and identity. The land gets fused with the questions of labour, community and modernity. The film explores the connection between these and the foundation of Dalit identity: is it founded on land and labour?

If one who works on improving the land has claim over it, then that labour, along with the elements of nature, also shapes the body, its musculature and complexion-which Kaala reminds Hari. Can labour be the foundation for constructing a political, cosmopolitan community, or will it continue to be an ethnic or a casteist one? The film is unsure how to answer this question and keeps circulating around it.

The film has a repressed desire for a revolution, which it cannot name or formulate, but expresses symbolically through Ambedkar, Buddha, Lenin and Marx. It does not trust the Indian left and mocks their political immaturity in the figure of Kaala's son, Lenin. Yet neither Kaala can abuse Lenin, nor does Lenin desert him for good. In this suspended dialogue and collaboration, the film thinks that the body of a worker is a weapon and a means of capital accumulation and a mass strike by the workers is an effective political tool.

The film briefly explores the possibility of practising a modern form of politics. The workers organise a strike and the social media activism helps them to overcome the distrust of the country to create solidarity across the classes. The government gives in and decides to halt the eviction drive-the striking workers momentarily become victorious. But this modern form of politics soon collapses with Hari taking things into his own hands.

Organising People In this oscillation between the modern and the non-modern, how does one organise people? The film settles for an ethno-feudal model of politics. The community that rallies behind Kaala is simultaneously subaltern and Tamil, comprising of Buddhists, Muslims, Christians and Hindus. When Zarina returns to Dharavi, she introduces herself as a Tamil Muslim. The film has an internal tension over the claims of multiple subaltern identities, and finally subsumes everything within the Tamil sub-nationalist identity, which persists till the closing credits when we see the "We Tamilians against NEET" poster.

The Buddhist and Muslim unity is continuously stressed upon, yet the Muslims have no agency and seek protection from Kaala, and by extension, from the Buddhists (perhaps an oversight given the Muslim-Buddhist conflict in the neighbouring Myanmar, Thailand and Sri Lanka). The model of leadership is unabashedly and clichédly clannish-feudal. Kaala is the grand patriarch, who "allows" the women of his family and his son's girlfriend to be assertive, while most of the other men and women are his foot soldiers. Hari Dada is also similarly modelled, but the women in his family are behind the pardah; only his granddaughter can speak up and that too in a foreign language.

Kaala embodies the confusion and contradictions of the contemporary subaltern politics. It is conscious of the need for solidarity between the Dalit-Bahujan and the left, yet it cannot imagine what form it will take. The film thinks that with the paralysis of electoral democracy and the collapse of the state, the future subaltern politics will be territorial and only a united subaltern will be able to resist dispossession of property, identity and history. Development and land acquisition cannot be allowed through the legalist consent of people but would require their permission-otherwise the planners, non-governmental organisations and builders will have to get out ("nikal" as Kaala tells Hari).

The film desires such a new modern, cosmopolitan solidarity, but relapses into a populist sub-nationalist politics. Yet it keeps the hope of a subaltern revolution alive. It proposes that the egalitarian and cosmopolitan Dalit-Left revolution to come.

'Sarpatta Parambarai' was a delightful film and is probably Pa Ranjith's best. It was unbelievable how the films works well on so many levels - boxing drama, socio-cultural documentation, commentary on Tamilnadu politics during emergency and in-between all this, Ranjith also manages to infuse his own metaphorical take on the Dravidian politics.

'Sarpatta Parambarai' could easily be the most cohesive Tamil film where so many characters with contradicting motives remain remarkable irrespective of their screen time. It is extraordinary how the few dozen memorable characters and the lovely North Madras Tamil they speak stays with us.

While the film claims to follow the ups and downs of Kabilan, I somehow felt that Ranjith was more obsessed with Rangan Vaathiyar (played by the Pasupathy), to an extent I think he might be the film's protagonist. Which is why the film is terrific and almost flawless until Rangan Vaathiyaar is arrested. Because till then, we follow his emotional curve and Kabilan is still only in Rangan's shadows.

After Rangan's arrest, the film follows the fall and rise of Kabilan and I felt this was probably the weakest part of the film. Because Rangan has now disappeared and the film is also told to us through a series of factual news details. At best, we only see this phase through Mariamma's emotional turmoil.

But once Rangan returns, the film gets back to form. And it now balances the emotional graphs of both Rangan and Kabilan. And takes us to the climatic high.

It was also interesting to see how Ranjith's filmmaking style in 'Sarpatta Parambarai' is a lot different from his earlier works. For the first time, he allows the cinematography of Murali to be a little flamboyant unlike the restrain shown in the previous ones. While the art design and costumes impeccably capture the North Madras of the 70s, they are also dramatically colourful here. But the big surprise was how Santosh Narayanan has been asked to take the back seat. The music is only sparingly used.

And I have no doubts about the fact that Ranjith might have struggled working with Arya. Because while the actor's body might be perfect for the onstage action performances, his acting skills offstage weren't helping much. His poor acting is closely followed by Anupama Kumar playing his mother's character. These two choices were slightly surprising because Ranjith's casting is generally flawless. Which we witness here as well in the other two dozen characters.

But the film works well in spite of these issues because of the brilliant writing and the dramatic staging. And Tamil Prabha's writing adds ample strength to Ranjith's cinematic world.

I hope it would be appropriate to repeat Beedi thatha's lines here - (Victory is not about winning once. But about continuously fighting!) Because Ranjith marubadiyum gelichitaaru!

Best work I have ever seen. In India too the condition of the marginalized communities was like this earlier. Hope we can get a series like this in India.

FamilyMan2_against_Tamils Remove it from screening.

FamilyMan2_against_Tamils Remove it from screening.

FamilyMan2_against_Tamils Remove it from screening.

A worthless, mean and obnoxious act.

He should be boycotted and this piece should be removed from internet.

Mocking people with disabilities and those receiving affirmative action is against the basic tenets of comedy, a true comedian never mocks those who are in any way lower position.

It's really an awesome movie, and a must watch for anyone looking to understand how the oppression takes place and raising one's voice is the only way to eradicate it.

Another stellar performance by the main characters.

It's really an awesome movie, and a must watch for anyone looking to understand how the oppression takes place and raising one's voice is the only way to eradicate it.

Such movies 🎥 are the need of the hour.

Stellar performance by the main characters.

Excellent themes, motifs, allegories.

I would highly recommend it as a good film to watch. This is a much better Film of Akshay Kumar compared to the ones he did recently. The message of treating everyone as equal irrespective of their religion, caste, gender etc. is gr8. Of course it has few flaws like most movies but overall it's nice. This movie does ask uncomfortable questions and many below average guys will unnecessarily criticize this for one thing or other but the reality is that it's the First Hindi movie where the mainstream Hero plays the role of a transgender person. For this alone we must congratulate the film team. Jai Hind.

A must watch. Shows the stark reality of India. That's why it's not available in India.

It is an emotional movie with the usual bollywood masala of humour, love, songs, dance etc. He was a gem of a person. My wife was his professor in DTU. He has helped many students and their families financially giving them away crores of his own money without expecting anything in return. you will always be remembered for your vision and work.