#Malayalam comics history

[influencermagazineuk]

Sridevi: Remembering the Iconic Bollywood Actress

Sridevi, an epitome of grace, talent, and beauty, remains one of the most celebrated and beloved actresses in the history of Indian cinema. Born on August 13, 1963, in Sivakasi, Tamil Nadu, she began her acting career at a young age and soon became a prominent figure in the Indian film industry. Her journey in the film world started as a child artist, and she made her debut in lead roles with the Tamil film "Moondru Mudichu" in 1976. Her natural acting prowess and charismatic screen presence quickly garnered attention, leading to roles in various Tamil, Telugu, and Malayalam films. However, it was her foray into Bollywood that catapulted Sridevi to superstardom. Her performance in the 1983 film "Himmatwala" opposite Jeetendra marked her Bollywood debut and initiated her journey towards becoming an iconic figure in Indian cinema. The success of the film established her as a bankable leading lady and paved the way for her subsequent blockbuster films. Sridevi's ability to seamlessly transition between various genres and portray diverse characters set her apart. From romantic dramas like "Chandni" to intense roles in films like "Sadma," she showcased her versatility and left an indelible impact on the audience. Her pairing with leading actors of the time, including Amitabh Bachchan and Anil Kapoor, resulted in several memorable on-screen moments. The '80s and '90s were dominated by Sridevi's performances that left a lasting impression. She charmed audiences with her comic timing in films like "Mr. India" and "ChaalBaaz." Her dance moves, especially in the iconic song "Hawa Hawai," became a cultural phenomenon and added to her immense popularity. Sridevi's contributions to Indian cinema were not limited to Hindi films. She continued to excel in regional cinema, garnering critical acclaim for her roles in Tamil, Telugu, and Malayalam movies. Her dedication to her craft and her ability to connect with audiences across language barriers solidified her status as a pan-Indian star. After a brief hiatus, Sridevi made a triumphant return to the silver screen with the critically acclaimed film "English Vinglish" in 2012. Her portrayal of a middle-aged woman's journey of self-discovery resonated with audiences and critics alike, reaffirming her unparalleled acting prowess. Tragically, Sridevi's life was cut short when she passed away on February 24, 2018, leaving behind a legacy that continues to shine brightly. Her sudden demise was met with shock and grief from fans, fellow actors, and the entire film fraternity. Sridevi's impact on Bollywood and the larger entertainment industry remains unmatched. Her body of work, spanning over four decades, showcases her ability to embody a wide range of characters and emotions. She received numerous awards for her contributions, including several Filmfare Awards, and was posthumously honored with the National Film Award for Best Actress for her role in "Mom." As fans and admirers remember Sridevi, her films, songs, and memorable moments continue to be cherished. Her legacy serves as an inspiration for aspiring actors and artists, reminding us of her extraordinary journey from a child artist to an eternal screen legend. Read the full article

[awesometeennews]

Remember 'CID Moosa'? This docu series captures the magic of Malayalam comics

Remember ‘CID Moosa’? This docu series captures the magic of Malayalam comics

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Tony Davis and Sreeram KV are behind the documentary series ‘Kadha Vara Kadhakal’ on YouTube.

That day, Sreeram KV and Tony Davis were attending a quiz as part of an event by Chai Pe Quiz, an informal quiz club in Kochi. A question was asked about Kannadi Viswanathan and Tony was quick to answer it. Viswanathan is the creator of one of Tony’s favourite Malayalam comics, CID Moosa. After…

[bestbiblestoriesforkids]

Adam and Eve - Malayalam Bible Stories - ആദവും ഹവ്വയും - മലയാളത്തിൽ ബൈബിൾ കഥകൾ - Christian stories

Adam and Eve – Malayalam Bible Stories – ആദവും ഹവ്വയും – മലയാളത്തിൽ ബൈബിൾ കഥകൾ – Christian stories

Adam and Eve – Malayalam Bible Stories – ആദം ആൻഡ് എവേ – മലയാളത്തിൽ ബൈബിൾ കഥകൾ – Christian stories God places the two people, Adam and Eve, in the garden of the idyllic Eden and encourages them to multiply and enjoy the created world to the full and forbid them to eat of the tree for the knowledge of good and evil. … Sent into the world, Adam and Eve give birth to two sons, Cain and Abel.…

[bhargavi-rudraraju]

Imagined a Valentine Day ritual for the Golconda era. I participated in a walk and write/sketch workshop, conducted at @hydlitfest, by @writeclubhyd. We had to take cues from walking through all the exhibits, still and moving; and write or sketch about it. This illustration was inspired while we were at the exhibit of diamonds. I saw a girl and boy sitting on a bench , chatting away and Laila, the school pet who joined our walk here. With all these, this illustration was the scene happening in my head. I am sure I was smiling during the process and people thought I was crazy :P The exhibit showed how diamonds were sold in heaps at one point in Golconda’s history. The attendees of the fest would know why I used the Malayalam word for love. :) #illustration #illustrator #comics #golconda #diamonds #hyderabad #pijicomics #valentines https://www.instagram.com/p/B73xfdaJpJj/?igshid=vyn1o7mb4znz

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Survey of Movie "Baahubali - The Conclusion"

I got a call from my more youthful sister that the tickets had been reserved and the family would watch the motion picture "Baahubali-The Conclusion" in Telugu language on April 29th, 2017 at Eros Theater in New Delhi. Not surprisingly, I was energized and guaranteed her that I will arrive at the performance center legitimately after my working hours or I would take the consent to go along with them at the theater. Notwithstanding, it was concluded that I should arrive at home and go with them. Every single one of us was energized. In any case, my sister, who was at the driver's seat, was pleased to report that she has seen the motion picture in the Hindi language on April 28th, 2017. She was hyper about it as if it was an extraordinary accomplishment for her. In addition, she needed to look at the film in the two dialects. She guaranteed me that she won't impart the story to me. 

The venue was jam pressed and everybody needed to watch the motion picture without losing a solitary scene. Every single one of the individual landed in time and took the ownership of their sets. I wish we were so dependable in our classes as well! Youngsters requested their folks for the enormous pack of popcorn and soda pops. How might I miss them? I needed to complete two things together-watch and chomp! Much obliged the film started on schedule. 

As indicated by the Central Board of Film Certification, the name of the motion picture was "Baahubali-The Conclusion". It was in Telugu language. It was hued one and was cinemascope. The date of discharge was April 24th, 2017 and under the Universal class (that is intended for the two grown-ups and kids). Nonetheless, it was plainly referenced that the motion picture must be viewed under parental direction. The name of the candidate to sign was Shri Y.N. Sobhandari for M/s Arka Media Works Entertainment LLP, Hyderabad and other underwriter was Shri Pahlaj Nihalani, Chairperson, CBFC, Mumbai. The term of the film was for 167 minutes and 30 seconds. My review here https://123movieshub.eu

Stunning! I enjoyed the titles of the film for following reasons: 

a. PC designs and fakers were utilized for different sorts of creatures appeared in the motion picture like pony, elephant, parrot, pig, bulls, flying creatures, ducks, buffalo, hog, hawk, swan, and so forth. 

b. The group expressed gratitude toward organizations, advanced film, travel accomplices, money trade office in Hyderabad, human services accomplice, online life channels, settlement partner,chocolate and confectionary accomplice, sustenance, versatile, correspondence, Reliance Fresh to get different products, multiplex and Jewelry accomplice, area and experience accomplice, stationary, informing accomplice "howdy", office partner,beauty accomplice to "Lux", wellness accomplice, Make a Wish Campaign, merchandizing and authorizing through ICICI Bank, Simba, and so forth , protection suppliers, their brokers were IDBI and Kotak Bank, Hyderabad, their financers, media and radio accomplices, and so on. They remembered the commitment and support of single individual moreover. That is something to be acknowledged for the accomplishment of the film. 

c. Extremely elaborative and particular foundation was appeared in the titles. This is must for catching the consideration and focal point of the group of spectators. Credit for their reasoning forces. 

d. The film was a mix of both genuine shots and interactive media graphical structures. Along these lines, consideration of the kids was at its most extreme level. 

e. Titles were giving, partner and connecting the network between Baahubali Part 1 and Baahubali-The Conclusion. The short story of the section One of the motion picture was exhibited in the Titles of the film (one more likely than not saw the group of spectators in the theater-I saw that every one of them were dumbstruck and not by any means a solitary individual was squinting their eyes-I thought motion pictures for sure assume a significant job in learning and instructing ourselves, and there is no compelling reason to buckle down with the people. This will do ponders in the classes of Law, Literature, History, Sociology and Journalism and Mass Media. ). 

The motion picture was exhibited by K. Raghavendra Rao, generation of an Arka Mediaworks and inventive film by S. S. Rajamouli. The verses and exchanges were composed by Manoj Muntashir. The music was by M. M. Keeravani. The cinematography by K. K. Senthil Kumar. Distinctive shaded representations were presented toward the start of the film with the tune at the foundation. The makers of the motion picture were Shobu Yarlagadda and Prasad Devineni. The screenplay and Direction was by S. S. Raja Mouli. The principle star cast was Prabhas, Rana Daggubati, Anushka Shetty, Sathyaraj, Ramya Krishna, Nassar and Tamannaah. It was conveyed by Arka Media Works for Telugu rendition, K. Creations for Tamil variant, Global United Media for Malayalam form and Dharma Productions for Hindi adaptation. It was discharged in 4K superior quality organization. 

When the titles are finished, the story starts for us. Our saint Amarendra Baahubali-accomplishes his triumph in the war zone. The Queen Mother is glad for this accomplishment and pronounces that he will be delegated as the future ruler of Maahishmati. Her words ended up being the celebration minutes for the individuals in the realm. In any case, her very own and genuine child Bhallaladeva and spouse are against her desires. Her significant other beginnings impelling Bhallaladeva against her. This is the defining moment in the film. 

The Queen Mother educates Amarendra and Katappa to take the voyage through their realm so as to acquire information regarding their matters and prosperity. Amarendra meets Devasena and is pulled in by her appeal and abilities. They become hopelessly enamored with one another. Before long this data spans to Bhallaladeva and he makes an arrangement to make the contrasts among Shivagami and Amarendra. He tells his mom that he has experienced passionate feelings for Devasena and communicates his craving to wed her. The proposition is sent to Devasena from the side of Shivagami and is dismissed by Devasena. The Queen is irritated at this disposition of Devasena and teaches Amarendra to catch, tie her as detainee and present her at the court of Maahishmati. 

Amarendra helps and shields the realm of Kuntala from their foes called Pindaris. With his astounding abilities, Amarendra overwhelms Pindaris and recoveries the realm. Devasena was interested to think about reality and requests to uncover his character. She comes to realize that Amarendra is the future lord of Maahishmati and won't be the detainee. He vows to secure her humility and weds her. Them two leave for Maahishmati. Shivagami comes to think about reality and is disturbed about it. As of now, she feels regretful for not staying faithful to her obligation to Bhallaladeva. This is the principal point where the defining moment of the story can be seen in the motion picture. 

The contrasts among Shivagami and Amarendra kick off starting here. Before long Shivagami asks Amarendra to leave the realm with his pregnant spouse. With the assistance of abhorrence thoughts, Bijjaladeva is fruitful in making more contrasts between them. In one situation, he announces that Amarendra is attempting to kill Bhallaladeva so as to be the King. She arranges Katappa to slaughter Amarendra furtively with the goal that the realm is spared from disharmony between the illustrious family and the subjects. Thus, Amarendra is cut to death by Katappa, the sovereign is educated about the misleading thoughts of Bijjaladeva and Bhallaladeva and her misstep in making a decision about her very own kin. Meanwhile, Devasena brings forth a child kid and lands to the royal residence in the wake of knowing the demise of her significant other. Shivagami reports that the new borne child is Mahendra Baahubali and future ruler of Maahishmati. 

Bhallaladeva is astonished and arranges his warriors to catch the Queen, slaughter the child and detain Devasena. The Queen escapes from the royal residence and kicks the bucket soon. The child is saved by the average folks and called as Shivudu. Before long he comes to think about his detained mother Devasena from Katappa and begins to look all starry eyed at Avantika. He battles against the bad form and is successful at last. 

Positive purposes of the motion picture: 

a) No creature was harmed or abused in any scene. They get full stamps from every creature darling, naturalists and eco-minding rationalists and women's activists. 

b) This implies innovativeness was at its most elevated level in the media research centers for the colleagues. 

Else they may have missed on the moment subtleties of the specific scene. There is a need to acclaim the whole group. 

c) The Police Commissioner and his group were uniquely expressed gratitude toward for enabling the film unit to deal with territories of Rachakonda in Andhra Pradesh for the shooting of a portion of the scenes in the motion picture. 

d) The crowd were applauding and getting a charge out of the comic scenes present in the motion picture. 

e) Elaborate endeavors were taken to make wonderful visual and sound impacts in the film. 

f) Game was likewise created on the arrival of the motion picture. 

g) Care had been taken to depict the substances of the chronicled era9as this was a verifiable motion picture however not taped on a specific ruler or sovereign or realm). 

h) The Prince had been prepared and instructed in all the individual abilities required for the future ruler in the motion picture. For instance, the Amarendra Baahubali realized how to go out on a limb, handle the circumstances both deliberate and unconstrained one, nearness of the administration characteristics, minute perception aptitudes (for instance when Prince visits the realm of Kuntala, he sees that the townspeople were utilizing their solid assembled cows for different purposes and same ability was useful and utilized when there was the need of great importance to battle against the amazing armed force of Pindaris), being caution and helping the military of the other realm without designating the work to other people, and so on. 

I) Sensitivity of the Prince towards his own affection, keeping guarantees, battling against the disasters, supporting his very own subjects, keeping up different sorts of connections, relinquishing his very own life for the realm and mother, securing powerless subjects and ladies are important and learning exercises for all. 

j) No underestimation of the people was seen in the film. This is the need of great importance in the contemporary society wherein ladies a

[101percentindia]

To Be ‘Amar’ Is To Be Immortal; Will Amar Chitra Katha Stand The Test Of Our Critical Times?

Remembering ACK, Tinkle comics and Chandamama.

Once upon a time, there was magic hidden between the pages of a comic book. They came under the common branding of Amar Chitra Katha and opened a window to a world most of us didn’t know existed – stories drawn from Indian history, mythology, folk lore and legend. Stories we had perhaps heard about but forgotten under the burden of academic pursuits and the struggles of our day-to-day existence. As illustrated books with thought and speech bubbles for the dialogues exchanged between them, all captured within 31 pages. There were tiny footnotes to explain typically Indian words, rituals, Gods, customs and so on. Each comic made a dent in our hard-saved pocket money – a dent of Rs.2.50 to begin, which was later raised by 0.50 paisa.

One man was responsible for this comic book revolution - Anant Pai. Story has it that he was on an official trip from Mumbai to Delhi in 1967, intrigued by the television set that had entered the capital through Doordarshan. Wanting to have a dekko of what lay behind that box, he watched a television programme through the display window of a shop. He was shocked to discover that in the quiz show, children could give correct answers to questions around Socrates and Winston Churchill, but did not know the name of Rama’s mother!

This chemical engineer orphaned as a young boy, realised that children loved comic book heroes like The Phantom. Leisure reading of children studying in English medium schools was also confined to Hardy Boys, Nancy Drew, Enid Blyton’s and a few comics like Richie Rich and Tintin.

Phantom made ‘politically correct’ for the Indian reader. Image source: thephantomhead.com

He wanted to bring Indian kids back to their roots and joined India Book House, one of the leading publishers in Bombay that was largely into printing, publishing, distribution and selling of books. Pai had already introduced the Phantom series as the first cartoon strip in The Times of India and wanted to use this form of visual reading to entertain and educate through Indian stories. And so the first Indian comic book was born under the brand name of Amar Chitra Katha. It went on to become one of the most popular and high selling series of Indian comics.

Slowly, sales picked up. ACK classics initially used primary colours - blue, green and yellow but graduated to full colours as it’s popularity began to rise. Pai and his team extended the parameters to bring in regional languages - beginning with translations in Hindi, Kannada, Marathi, and Telugu and further into Bengali, Assamese, Malayalam, Punjabi, Tamil, Urdu and even Sanskrit. It reached beyond its initial target of a middle-class readership to transcend class barriers and reach the upper class children. As ACK reached its 20th birthday in 1986, sales reached a peak of 5 crore copies, and then only two years later, a whopping 7 crores.

Related: Walking BookFairs: A Unique Initiative For Bibliophiles

Frequency also went from one classic every month to to one every fortnight around 1980. This was when IBH also launched its comic magazine Tinkle, that caught the reading fancy of all children at the time. The language used was simple, straightforward, and easy to understand by children not studying in English medium schools.

An entire generation isn’t even aware of this. Image source: amarchitrakatha.com

Amar Chitra Katha opened doors to an alternative visual culture that strived to adhere to its Indian roots. Yet, like all mothers everywhere, I would not allow my daughter to devour the comic books she was slowly getting addicted to. “It will take you away from your studies,” was my boring refrain. Scared of being stopped from reading what she had grown to love, she handed me an issue of Tinkle and asked me to read it. Tinkle was a weekly comic magazine brought out by the same publication – India Book House and the same man. I was bowled over. It was informative, funny, entertaining and carried a message and amusing adventures of the characters. It took me to one story from the ACK series, Ganga and I became a child all over again. I bought my daughter an annual subscription for Tinkle and, separated by a generation, we enjoyed the stories that could be read over and over again.

A position adopted by politicians today? Image source: wishberry.com

Chandamama, another magazine along the same lines, began to create and publish stories adapted from the Indian mythologies such as Ramayana and Mahabharata in 1947, just before Independence. In publication to this day, the magazine and its illustrations are known for its unique storytelling, reminiscent of grandparents' bedtime stories conveyed in print format. This was backed very innovatively with promotional strategies organized by IBH of fancy dress contests, displays in petrol pumps and book stores across every Indian city, launching new titles with press conferences graced by eminent personalities. By 1992, ACK classics were published and sold in 38 Indian and non-Indian languages by which time, Anant Pai had evolved into the children’s icon “Uncle Pai.”

Related: An Afternoon With An Author: Stephen Alter

Not surprisingly, these books started facing a lot of flak from sociologists, cultural historians, comic specialists and so on. This critique is an on-going process of sometimes making mincemeat of the series or questioning its authenticity or pointing out its pro-Hindu, anti-minority and extremely patriarchal bias as far as the representation of women characters go. There has been a lot of research both by Indian and foreign scholars on ACK’s representation of women.

Moot points were, women are conspicuous by their complete absence from the story and the illustrations such as Chandragupta Maurya or many of the Birbal stories. However, there were women protagonists in classics featuring Ganga, Draupadi, Shakuntala, Savitri, Vasavdatta, Mirabai, Padmini, Tarabai, Rani of Jhansi, Uloopi, Chand Bibi, Urvashi, Sukanya and many others. Another noticeable absence was in the Makers of Modern India series of 13 personalities that does not feature a single woman, though India has had many women leaders who should have found place among these makers. Leaders like Indira Gandhi and Sarojini Naidu are not part of this series and Kalpana Chawla was an afterthought. The same absence is noticed in the visibility of Muslim and Sikh leaders.

Rohan Islam, a Bengali literature scholar, in a detailed analysis raises questions about the ACK series that mark out sharp differences between “they” and “we”, “bad” and “good”, “us” and “them”. Islam also draws our attention to the Brahmin-Hindu-Male that takes precedence over Muslims, Christians, Sikhs and of course, women. He states quite assertively that the equations drawn between the Hindu identity and the National identity are quite sharply underlined.

Making History lessons fun. Image source: Amazon.com

Related: A Hospital For The Ageing Typewriter

This leaves us with questions. Why must we always place an entertaining comic series for children with informative stories on our culture, leadership, freedom struggle by contextualising it against the changing history and politics of changing times? Can one deny the historical significance of a classic series that has stood the test of time and space for four long decades? Can we deny ourselves the joy we got going through those stories and wonderful illustrations that took children away from their exams and more serious books? Take away the political, patriarchal and communal biases, which do not appear pronounced while we are reading purely for entertainment and information, and what we have is a harmonious ride into our cultural past.

Uncle Pai is no more. Long live uncle Pai. And with the magic between the yellowed pages of an antique Amar Chitra Katha, we can all live happily ever after. Or, can we?

Disclaimer: The views expressed in this article are independent views solely of the author(s) expressed in their private capacity and do not in any way represent or reflect the views of 101India.com

By Shoma A. Chatterji Cover photo credit: Amazon.com

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Crimebustersthe Creative Archive

Meera Borwankar JCP, Mumbai and head of crime branch

Crime Busters Wiki

Earn 125 points on every ticket you buy. Rack up 500 points and you'll score a $5 reward for more movies.

The Kickstarter campaign for the first issue of The Crimebusters is complete, and was a rousing success. Thanks so much to everyone who supported it! Im really looking forward to sending out the comic and hearing what you all think. And Im hard at work already on issue #2, so Ill certainly be sha.

She made history on July 21, 2004, when she took charge of Mumbai?s famed crime branch to become the first woman ever to head the department, which has to contend with, among other things, one of the world?s most organised mafias. The 46-year-old mother of two teenage sons pipped Arup Patnaik, special IG of the Special Reserve Force, and K.L. Prasad, an IG at the state police headquarters, to the post. Borwankar is known as one of the toughest officers Maharashtra has had ? her bosses, subordinates and the criminals she has tackled will heartily vouch for that. During her stint with the state Crime Investigation Department from 1993-95, one of the important cases she investigated was the infamous Jalgaon sex scandal in which local politicians were accused of duping young girls with false promises of jobs and loans. For her work, Borwankar has received the President?s Medal for meritorious service in 1997, apart from the Police Medal and the Director General?s Insignia. Educational high point? She has studied policy analysis in law enforcement at the University of Minnesota in the US.

G. Aswati ASP, Gadchiroli

When asked about how a woman police officer can make a difference in the lives of ordinary women, Aswati replies, ?A woman is seated in front of me right now. She is telling me about things in her life that she can never tell a male police officer?. Aswati (seen here with her husband C. Dorje) emphasises that women will certainly make a difference as far as crimes against women go. She may be the daughter of acclaimed Malayalam filmmaker Adoor Gopalakrishnan, but her aspirations have little to do with art. Known as an officer of integrity, she belongs to the 2000-batch of Assam cadre and was posted in Assam before being transferred to Maharashtra as assistant superintendent of police of the Naxal-infested Gadchiroli region.

Made in Maharashtra: Maharashtra has in fact a high number of women police officers compared to other states. Apart from Borwankar and Aswati, the state police has Sridevi Goyal, special IG, railways; Rashmi Shukla, deputy IG, prisons; Archana Tyagi, superintendent of police, Ratnagiri district; Maria Fernandes who is posted as deputy commissioner of police, headquarter-II, Mumbai police; Supriya Patil-Yadav, DCP, state intelligence department in the state police headquarter in Mumbai, deputy inspector general of police (prisons), superintendent of Arthur Road jail, Swati Sathe; and deputy commissioner (traffic) Pradnya Saravade. Saravade works as the deputy commissioner of the social service branch which falls under the direct supervision of Borwankar. As DCP in-charge of the port zone, she had unearthed a racket of exotic foreign-made cars being imported into India through corrupt port officials.

Blog Archive 2020 (152) July (25) June (30) May (31) April (30). Picturescape biology. This work is licensed under a Creative Commons Attribution-No Derivative Works 3.0 License.

Damayanti Sen DCP, DD, Calcutta

On the phone Damayanti Sen, deputy commissioner of police (special), detective department, Calcutta, sounds as no-nonsense a person as she later transpires to be. She doesn?t mind interviews, she says, provided the talk revolves around her ? no personal questions, please! When you see Damayanti Sen (left), sitting in her large Lal Bazaar detective department room, she looks incredibly young, a tiny figure in her large straight-backed leather chair. But she exudes self-confidence. Because she doesn?t think that one?s gender makes any difference to the job at hand. Not in her profession and not in any other. ?No, I don?t think that women are better or worse off in a job. The only reason people ask a lot of questions related to my gender, is because there are fewer women in my profession now than men. But as that changes, people will stop being so interested.? Sen did her bachelors and masters in economics from Jadavpur University, both with a first class first. She took her IPS exams in 1996 and says she just happened to drift into the profession. She is married and her husband is in teaching.

Kanchan Chowdhury DGP, Uttaranchal

The country got its first woman director-general of police with Kanchan Chowdhury taking over as the head of the force in Uttaranchal since last year. Chowdhury wants to do ?something concrete for the women of Uttaranchal? and is planning to set up counselling centres in every district, not only in Uttaranchal but in the entire country. ?These centres could provide shelter, counselling, rehabilitation and other needs of oppressed and depressed women,? she elaborates. When asked how she felt that about being the new DGP of Uttaranchal and commanding a force of so many men, she says, ?Nothing special. But being the head of the police force, I shall see that my command is obeyed in letter and spirit.?

Chowdhury is, interestingly, the inspiration behind the Eighties? TV serial on a woman cop, Udaan.

Kanwaljeet Deol JCP, Delhi

As joint commissioner of police, Delhi headquarters, she has reduced several hardened criminals to their quaking knees, and as an official who brooks no oversight from her teams, is regarded with considerable awe by her colleagues too. Currently holding two posts, she is also the acting special commissioner of police, administration. She swears by T.S. Eliot and Marquez, but when it comes to her own literary skills, prefers to write something like 101 Tips To Survive The City (Penguin, 2002). Deol belongs to the Union Territory cadre, and joined the IPS after an MSc in physics from Punjab University in 1977, chiefly to be with her husband, Shamsher Deol, who had qualified for the IPS the year before. She says she owes her knowledge of the nitty-gritties of the police system to her first posting in 1978, in Panjim, where she had three police stations under her. She thinks policing is like mothering. ?Policing has been regarded a man?s profession for a long time. It?s a fallacy. I think policewomen give a more palatable image to the public. Team. They provide a soft side to a hard profession,? says Deol, who is on a mission to create a more effective police force in the 10 years of service that she has left.

Vimla Mehra JCP, Crime Against Women Cell, Delhi

Crime Busters Wiki

As joint commissioner of police, crime against women (CAW) cell, Delhi, she is taking joint commissioner Kanwaljeet Deol?s work forward (it was Deol who was at the forefront of the cell in 1986). Mehra, who has been heading the cell since 2002, and has brought in some very effective changes in its functioning, started with a posting in the Andaman and Nicobar Islands after her induction into the IPS in 1978, but has held an array of posts which required a fair amount of courage on her part. She was posted as additional DCP, south, after the infamous 1984 riots in Delhi, and has worked in the Central Reserve Police Force for four-and-a-half years, which included two years in the Rapid Action Force (RAF). The CAW cell deals mainly with matrimonial crimes, including domestic abuse, dowry deaths and other related crimes. Mehra may also be credited with starting the 1091 Helpline, a 24-hour distress call centre for women, a mobile helpline which immediately starts for the destination called from and a post box service, where women can write to P. Box 5353 for help. Now a strong 170-member force, the women?s crime police also imparts training in self-defence. ?I am all for improving our gender sensitivity in 2005,? says Mehra.

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Vivek Anand Oberoi in a still from PM Narendra Modi

This week’s new Bollywood release, director Omung Kumar B’s PM Narendra Modi, is not a biography. It is an unwittingly farcical, comical hagiography of Narendra Modi and the Bhartiya Janata Party (BJP), and even that is a euphemistic description. To put it simply, this is a highly fictionalised account of the present Indian prime minister’s life.

Omung Kumar’s recall value so far has come from the vastly superior Priyanka Chopra-starrer Mary Kom (2014) and the embarrassingly bad Aishwarya Rai Bachchan-starrer Sarbjit (2016). PM Narendra Modi falls into the so-bad-it-could-be-fun category, except that it is not fun at all – it is, instead, an insult to viewer intelligence and viewer knowledge. "Modi ek insaan nahin, ek soch hai (Modi is not a person, Modi is a way of thinking/a concept),” says the protagonist himself at one point. Aur Modi ke baare mein soch badalne ke liye, to change the thinking about Modi, the screenplay – co-written by Anirudh Chawla and the leading man, Vivek Anand Oberoi – runs facts through a carefully chosen sieve and presents a new, rewritten history so far removed from recorded reality, that it bears little resemblance to the actual Modi. In that sense, PM Narendra Modi reminded me of a scene in last year’s Malayalam feature Kammara Sambhavam, in which the hero watches a PR film about his life and does not recognise himself on screen. Things that did not happen in Modi’s life are in this film shown to have happened: he is shown being arrested during the Emergency, the then Prime Minister Atal Bihari Vajpayee is shown praising him to the press during the 2002 riots, in the run-up to the 2014 election Modi is shown volunteering to do a live interview with a hostile TV journalist before an audience and acing it. In the face of such liberties with facts involving major historical events, all PM Narendra Modi’s other follies and flaws – the word “grateful” being spelt as “greatful” in the opening acknowledgements, the lazy caricature of former Prime Minister Manmohan Singh and Modi’s corrupt government colleague in Gujarat, the false suggestion that Modi never married, other monumental exaggerations and misrepresentations in the screenplay, Hitesh Modak’s overbearing background score and the overall tackiness of the narrative – pale into insignificance. It is worth mentioning here that the aforementioned hostile journalist is a stooge of a corrupt industrialist called Aditya Reddy, played by Prashant Narayanan. Three enemies are very clearly marked out by PM Narendra Modi: Pakistan, the news media and, through the medium of the Reddy character, the dark-skinned self-serving south Indian. On Vivek Oberoi’s shoulders falls the task of playing this larger-than-life version of Modi, determined to vanquish all three. Most of Oberoi’s co-stars are comparatively irrelevant because their roles are dwarfed by his, but despite being dealt the same hand, their performances are a mixed bag. Manoj Joshi looks oddly wimpish as Amit Shah (the BJP chief’s full name is muted out in the film for some reason), but Boman Irani brings some dignity to the role of Ratan Tata as does Zarina Wahab playing Modi’s mother. In an ocean of mediocrity, Anjan Shrivastav does a reasonably good take on Vajpayee without resorting to gimmicky mimicry. As for Oberoi, well, in the actor who hams his way through this role, there is no trace of the young debutant who showed such spark under Ram Gopal Varma’s guidance in 2002’s Company. It is sad to watch an artist lose his touch. For those of us who saw something in him in Company, the only consolation is that his turn as Modi is less cringe-worthy than his performance as a horny young chap in Masti (2004), Grand Masti (2013) and Great Grand Masti (2016). If you think about it, despite the apparent contrast between them, the Masti trilogy and PM Narendra Modi both offer conventionally accepted definitions of masculinity. The Mastis used slapstick comedy as a vehicle to present us with men driven by their nether regions and their hormones as men naturally would be, or so we are given to understand. In PM Narendra Modi, the hero espouses an earnest, asexual, aggressive machoism, initially speaking of wanting to renounce the world and follow the path taken by Lord Buddha, and in the climatic moments ascribing his decisiveness – as the real life Narendra Modi has done – to a 56-inch chest. You see, his political journey is not a consequence of personal ambition, it is the answer to the public’s prayerful longing for “ek sachcha mard (a real man)” to lead them, to quote the words of a character early in the film.

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Works & Comic books.

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Role Models Review 💘 Role Models is a comedy that will take you back in time with conservative, if joyless, entertainment. It is old wine, new bottle once again as one more comedy joins the sorry remains of the genre's glory days in Malayalam cinema. This time, it is Fahadh Faasil-starrer, Role Models, whose juvenile jokes and tacky plot tickle no funny bone whatsoever. Rafi from the well-known Rafi-Mecartin duo helms Role Models by overtly sticking to his strengths. Never do we sense a reinvention from his side. Instead, Rafi's traditional screenplay reels from rehashed comedy so much so that he rips off his own jokes and characters of the past. Fahadh is typecast as the reserved white-collar guy with a history. He looks so out of place under the overdone humour. Fahadh is no stranger to the art of comedy, as seen before in North 24 Kaatham and Maheshinte Prathikaram. But, those performances were deftly handled through great collaborations with his directors. Here, his half-hearted effort is an awkward symbol of the film's fundamental failings. Fahadh's sidekicks in Vinayakan, Vinay Forrt and Sharafudheen are nothing more than the typical comic reliefs that have infested Malayalam comedies over the years. Namitha Pramod's heroine wants us to believe she is cool before double-crossing everyone with corny flashbacks. The supporting turns from Renji Panicker, Srinda Arhaan and Siddique, among others, and the Goan milieu are of no help either as they exist for the sake of existing. If characters are written so poorly, even the best actors would struggle to make them work. So, it is Rafi's screenplay rather than the performers which has to take blame for Role Models' absentee entertainment. Audiences welcome over-the-top comedies as long as the laughs are aplenty. Films like Role Models expect viewers to switch off their brains. But, there is only so much room for zero-trick ponies in today's cinema.