One of the best adaptations of the Saratchandra Chatterjee novel, Anurag Kashyap takes devdas and sets it in modern day punjab. 

With an outstanding performance by Abhay Deol , Mahi Gill and Kalki as Devdas, Paro and Chanda respectively but the scene stealer is Dibyendu Bhattacharya as Chunni the pimp outstanding . The music by Amit Trivedi is brilliant and the soundtrack of the year. Visually as well the movie is great just love this new age of indian cinema. Anurag Kashyap has become one of my favourite directors after this one and then saw his other movies Black Friday, No Smoking and Gulaal all brilliant. Waiting to watch his first movie Paanch though hopefully someone will release it.

Verdict: buy the dvd and watch it

“Un verre et la belle.. mange le vent
Deux… pour aller sous ses vêtements
Trois… la belle te fait un enfant”

…

“.. Quatre verres.. et je remets la belle au vent.
… Ne t’inquiète pas, je sais m’y prendre maintenant
Je reviendrai bien, la tête haute je rentrerai grand
… Tu le sais, ô sois tranquille et dors sur tes deux oreilles.. Maman.”

Shahrukh Khan is one of the greatest actors in today’s Indian Film Industry as well as a film producer and television host. He was born in New Delhi on November 2^nd 1965. His father Taj Mohammed Khan was an Indian Independence Activist. Their family migrated from Peshawar, British India before the partition of India. Shahrukh Khan began his acting career through several television series aired in Doordarshan Channel in late 1980’s like Fauji, Circus and so on. His first film debut was Deewana which was one of the biggest box office hit of that year and he achieved the Filmfare Best newcomer Award. After that he never had to turn back, today he has achieved 13 Filmfare Awards for his performance. His most successful films are, Bazzigar, Darr, Dilwale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai, Chak De India, Don,Om Shanti Om, Veer-Zaara, Devdas, Kabhi Alvida Naa Kehna, Kal Ho Naa Ho, Kabhi Khushi Kabhi Gham and so on.

He is the founder or owner of film production companies like Dreamz Unlimited and Red Chillies Entertainment. Newsweek has named him one of the 50 most powerful people in the world.

Despite an adroit actress, Madhuri Dixit is remembered for her dance too. “For me it is not just about shaking my hands and feet or moving to a rhythm. It just comes from my soul. It’s a very spiritual thing for me whether it is a Western number or an Indian one”, says actress Madhuri Dixit.

Her famous dance numbers for bollywood films had been Ek Do Teen (from Tezaab), Bada Dukh Deenha (from Ram Lakhan), Dhak Dhak (from Beta), Chane Ke Khet Mein (from Anjaam), Choli Ke Peechhe (from Khalnayak), Akhiyan Milaun (from Raja), Piya Ghar Aya (from Yaarana), Key Sera (from Pukar), Maar Daala (from Devdas) etc.

For Madhuri’s dance choreographer extraordinaire Saroj Khan says, “Madhuri is a kind of dancer who looks fantastic no matter what she does and how she moves! She puts her heart and soul in her dancing. Out of the many actors who I have choreographed, she is the only one with whom I can experiment. I have given her so many weird dance steps but she still did it with ease!”

I expected highly from one of my favourite actress Madhuri Dixit as judge of DPL but her circumstances didn’t favour her and the things could not work out. This gave me a feeling of the halcyon days of her life when she was at the top.

I still remember the days when the Dhak Dhak girl was Dhadkan of all. Her superhit movie ‘Beta’ and the song dhak dhak karne laga had made her the heartthrob of all fans. Her movie ‘Hum Aapke Hain Kaun’ was simply amazing. Her dress in the song didi tera devar deewana was the new fad of market. But my favourite Madhuri movie is ‘Devdas’ in which her role as Chandramukhi is unforgettable. The grace she has carried over the years is beyond words. I look forward to more from her.

In her upcoming flick is ‘36-24-36′ with co-actress as Jaya Bachchan and direction by Meghna Gulzar. Other details however are not available.

Neeta Lulla today’s top most bollywood fashion designer started her career as an assistant to the former Indian leading fashion choreographer, Jeanne Naoroji, in the late 1980’s.

Neeta Lulla started off with her first project in Bollywood with the film Tamasha, with Kimi Katkar. However, the fame that brought her overnight stardom in the fashion world of Bollywood came with the movie Lamhe. Bollywood actress Sridevi who was donned with simple yet elegant look in the film won Neeta Lulla not only great accolades, but also a National Award for designing great outfits. Since then the lady didn’t looked back.

Neeta Lulla has done a number of shows in U.S., Canada, Monte Carlo and Rome. Neeta Lulla has a bunch of Bollywood biggies in her kitty as her clientele from Sridevi, Juhi Chawla, Tabu, Mahima Chowdhary to Aishwarya Rai Bachchan and Abhishek Bachchan the designer has roped them all.

This famous and all time celebs favourite fashion designer has moved a step further and launched a flagship store in Mumbai. This two-storey showroom has two lines of collection. While the basement caters to the bridal lounge, the ground floor holds diffusion line.

Neeta Lulla has made a niche for herself, creating the attires of the era long lost. The challenge to create designs for the high profile and larger than life movies like Jodha Akhbar and Devdas have been very well accomplished by the designer. From the majestic appearance of Paro and the recent Jodha, the talented designer has each time created a new high.

Anurag Kashyap has not adapted Sharatchandra’s Devdas. He has set it free from a gas chamber of confined meanings where it fought long and hard to survive.

The film has a bit of a journey left before it makes it to its final destination so this is not a review, in the technical sense of the word. But it would be too much to ask of a critic to see a film like Dev D. and not brim with thoughts that might just take their toll if not channelized into expression. There is of course a parallel urge to refrain from writing about something that moves you that much until time has brought in a little clarity to the heady impressionism. But a road must be taken, and so I write.

There are a lot of levels on which Dev D succeeds. As a work of cinema it is cutting edge- the sound design, a soundtrack that gets the beat of a generation right, the reworking of the Indian musical genre to give it a contemporary and universal appeal and significance, savoury dialogues, visuals balanced deftly between the real and surreal, honest, evocative and satiating at once, a very involved camera and a slickness that is utterly charming only because it does not compete for attention from the heart of it all.  I suspect in the months to follow there will be a lot of commentary on the actors, filmmaker and writer’s craft but since this piece begins with a disclaimer about its reviewing aspirations, I am going to be content in making a couple of observations about the politics of the film.

If this film were literally political, it would be liberal, left wing, inclusive and humanistic, which is an impossible ideal in the macro sense but duly implanted in the personal politics of this film. Anurag’s Dev is not a larger than life, arrogant, beautiful suffering hero. He is a sharp regular guy from a generation in India that is at the cusp of extraordinary contrasts. He is cursed with that not so irregular phenomenon of a heightened consciousness and perhaps even a little genius is imaginable in the context. He is not a man undone by his great love but an unassuming boy-man trying to find his way through a maze of telling emotional and intellectual quests. Dev’s story is a coming of age story in that sense with a hope of redemption that is not even mildly saccharined. Never before have you known Devdas nuanced so well and yet on some level he is but a representative of those who seek their own way but are never given a well deserved second chance to get back into their life if they lose the track briefly. He is not simplistically and pointedly self destructive, nor does he thrive on pity from himself and his audience. He is a seeker trying to make sense of the world, holding on to what he can, trying to inch his way back into a world he can accept, but rejected by the circumstance of existence and society at every crossroad. For the phenomenon of ‘atyachaar’ is largely emotional and cannot be neatly divided into groups of man-woman, rich-poor, dalit-brahmin. We hurt each other irrespective and outside of our categories- sometimes, irreparably, and even when not, a lot goes into repair work.

This is where the substance abuse comes in. Unlike Devdas, Dev is not a puritan converted to the evil of alcohol by a fallen woman. He always enjoyed his beer and perhaps a doobie or two like regular people; thereby taking away the tricky morality out of the condemnation of excess and escape which he later falls into. Even in the original alcohol was a metaphor of destruction, poignant at a time when there was little else available as a tool for the same. Dev slips in other ways as well as he watches one betrayal after another ill equipped to walk through on his own steam. Kashyap has stretched the metaphor to include other incidents, some touted by the media, others shoved into the unseen underbelly despite their epidemic proportions, both altered in translation by a fourth estate that serves only its own needs now.

The trick here is to look at the film without the defense mechanism of pseudo morality because it concerns all of us. Substance is Dev’s desperate attempt to escape a reality that is not relenting in its harshness, his need to believe in something else. On a literal level this transcends the lifestyle barrier that usually hinders our understanding of abuse so much so that we treat Cocaine abuse in nightclubs as a phenomenon distinct from the railway station addictions of homeless juveniles. On another level, we celebrate Ginsberg and Huxley for their unabashed quest of the hidden corners of the mind treating it hypocritically as an intellectual and therefore higher purpose. The truth about substance is that it is rampantly available through and through due to a system of corruption that we cannot even begin to shut out as easily as we can the acknowledgment of its existence through self censorship mostly. And that dysfunction that we as a society create and refuse to be responsible for, will thrust dregs and disturbed from every strata of society to look for a runaway train, more so when we shun them for it.  Then there is also a need to step further back and ask, are we all not subscribing to some form of addiction or the other, sufficiently opiated at any given time by prejudices, pride and lies in order to continue in the comfort of our burrows?

And Kashyap has not just got the story and its protagonist out of fossils, he has also reconstructed its two heroines, who despite their popularity in pop culture, have largely remained foils and incidents in the life of Devdas through the history of its interpretation. So much so that commentators saw them often as simply one single bifurcated character representing good and bad. Kashyap’s Paro and Chanda are not one stereotype or the other, both women from two different Indias perhaps, united in their struggles and self-expression of rebellion. They meet, like in SLB’s but not to create a spectacle of grandeur only to suggest subtly a crossing of destinies and journeys. To begin with they are fully formed characters that rise above their ‘beauty’ and ‘social placement’ and yet embody both completely. They are fiery and independent, in love with their lives, believing in the changing status of the other sex as projected by the times. They have a sexuality (yes they do!), they have desires and opinions, they have anger. But the layer of equal opportunity painted over by education and such is punched through when they become hapless victims of prejudice and exploitation, judged and betrayed by a psychological morality and perverse cocktail of possession, exploitation and weakness that men throw around when they are not using real acid- crucified for a naïve and natural sexuality that cannot belong to them because it has been usurped by self appointed moral police for double use as pleasure and power.

This is not to say that Kashyap’s film is more ‘sexual’ than the original novel. Saratchandra’s novels were bubbling under with sexuality expressed in the fashion of those times with key symbols. It is only in later adaptations that the sexuality was deliberately under-read or lost due to a failure to revise those symbols. Kashyap brings the sexuality out, only as out as it is in real life but out-er than it is allowed to be in cinema and other mass media. He treats it organically, not giving it more importance than it should get because it is a rare sighting in our constructed collective consciousness. But he is not willing to let it pass as a disconnected, dirty, secret thing that has nothing to do with anything in the outside world. Sexuality is key in man woman relationships, love, desire, jealousy, gender games and bias. It is an oft use tool for deceit and power with an uncanny ability to guide our actions outside of the bedroom too. But then again, when Freud says this he is a genius who must be celebrated in classrooms and debates without asking what repression is doing to our own psyches.

Kashyap’s heroines are not devotees of Dev. They make their choices in the face of adversity, they have an extraordinary capability to love, and their self-respect is not threatened by the loss of their hymen. They are stronger than Dev in every way and treated with a lot of sensibility and sensitivity in the story.

Actually no character in the film is given an excuse for their being where they are.  Their circumstances guide their choices but never impose them, painting thereby an open landscape of the minds of the characters. Relationships don’t fail because parents object or social status intervenes. They fail in the film as they do in real life because we fail them. That truth and pain of relationships that are so fragile they cannot be cemented but by external bonds, so elusive they cannot be explained fully at any stage, reflects itself in moments that sadly cannot be elaborated here before the film is up and running.

Kashyap does not judge either of his characters. He refuses to separate them morally and delineate them in black and white. But what he does do is redefine ‘slut’ as a meaningless descriptive word. All his characters are ‘sluts’, they all at some point or the other sell themselves cheap for security, power, revenge or want. But then who doesn’t? Then again, prostitution is not all Kashyap reexamines.

He has woven into the story two events that received tremendous media attention in the last decade, observing that these ‘accidents’ are not incidental but integral and representative of the state of things. There is a need to see them unaided by media hype, blitz and sensation, in a human way. There is a need to reconsider how we understand them and why they slip off the mind because they are off air. There is more to be done than light a candle for Jessica (no, that is not the event referenced in his film). We are also responsible for the Manu Sharmas in our society and their genesis is as much our problem as Jessica’s justice. The suitable end to a rape saga is not in the jailing of the perpetrator, just as rape is not just its legal definition of ‘non-consensual penetration of the physical body’.

Every critic is innately capable of criticism in the lay sense of the word. This film like its energy, conviction, petition and protagonists, is not incapable of being better than itself. But one is leaving that debate to others simply for an opportunity to stand up for something that feels right, in an impulsive sort of way (which is really the only way anything can ever feel completely right.)

Finally, believe it or not, Dev D is a lot of fun (some scenes might play out after the film and make you laugh for days even!), only without offending the intelligence. Not an ounce of aforementioned urban or intellectual angst weighs on its breezy watchability.  It is unusually accessible from everywhere. With a warm sense of humour that changes various shades of irreverence and black, Kashyap puts forward a case for his generation. He asks for chance for them. It will be ironic if his film doesn’t get a fair one. It deserves to because beyond the ever-open debate of good and bad, it is honest. Atleast it was when I saw the director’s cut. And in an ideal world he should be the only one calling cut.

(First appeared on www.passionforcinema.com)

I was debating with a friend about Ghajini and Wanted, and the conversation veered towards Prabhudeva, director and choreographer of Wanted. The guy actually makes Salman Khan looks like a good dancer, and that is something. I always thought Prabhudeva never really showed his best in Tamil or Hindi cinema. He was far more intelligent than what he showed, a glimpse of that was seen in the lone song of Lakshya that he choreographed. It is sad that he’ll probably be best remembered for Benny Lava.

I then went back to check out Kay Sera Sera from Pukar, another song he choreographed. What was most striking in the song, was that Madhuri Dixit dances a million times more gracefully then Prabhudeva !! Check the duet dance bit, and you’ll see what I mean.

IMHO, one of the biggest tragedies of Hindi cinema is that Madhuri Dixit was born 15 years too early. Stuck in the lame and stupid movies of the 90’s, she still managed to rise as one of the best actresses of Hindi cinema. But I would’ve really liked to see what she’d do of all the superb roles being written nowadays. Technically, she could still get roles that suit her, but it’s never going to be the same. For one, we wouldn’t have to call Aishwarya Rai, Rani Mukherjee and Kareena Kapoor as the top actresses. She’d give everyone a mighty hard time in both the dancing and acting departments, not to forget looks. Hope you remember Devdas, where she totally pwned Mrs. Rai and Mr.Khan.

Anyway, I should end my rant here. This is a bone I need to pick with her parents.

Yesterday I posted a wonderful song from Devdas (1955) which I had heard many a times, though without realising that it was a song from this movie. Here is another song from this movie that I never heard in my life till today !

This song is a kids’ song in the sense that two young kids ( perhaps the young Devdas and Paro) sing this song. As was the practice those days, two female singers have given playback for this song. Asha Bhonsle and Usha Mangeshkar have sung this song. Sahir Ludhianvi has come up with another superb song. S D Burman’s music is wondeful.

It is a nice song, which I heard for the first time today and I liked it very much.

Song-O albele panchchi teraa door thikaana hai (Devdas) (1955) Singer-Asha Bhonsle, Usha Mangeshkar, Lyrics-Sahir Ludhianvi, MD-S D Burman

Lyrics

o albele panchi tera door thikaana hai
chhodi jo daali ik baar wahaan kab laut ke aana hai
panchhi
o albele panchhi tera door thikaana hai
chhodi jo daali ik baar wahaan kab laut ke aana hai

neel gagan hai jhoola tera
arre arre jhoola nahin aangan
o
neel gagan hai aangan tera
dhanak hai tera jhoola
o ho dhanak hai tera jhoola
ujle pankhon ki doli mein phire tu phoola phoola
doli mein phire tu phoola phoola
chanchal chaal nazar matwaali roop suhaana hai
panchhi
o albele panchhi tera door thikaana hai
chhodi jo daali ik baar wahaan kab laut ke aana hai

ik daali ke neeche aakar baat hamaari sunle
panchhi aa
paas hi apna ghar hai chalkar daana dunka chug le
panchhi aa
aaj tujhe mehmaan banaakar gaana hansna hai
nahin nahin hansna gaana hai
panchhi
o albele panchhi tera door thikaana hai
chhodi jo daal ik baar wahaan kab laut ke aana hai

jaana hai to aa ham tujhko phool aur pankh sajaade
panchhi aa
maathe tilak lagaa de pairon me jhaanjhar pahna de
panchhi aa
phir tu khushi se jaana tujhko jahaan bhi jaana hai
panchhi
o albele panchhi tera door thikaana hai
chhodi jo daal ik baar wahaan kab laut ke aana hai
panchhi
o albele panchhi tera door thikaana hai
o albele panchhi tera door thikaana hai
o albele panchhi tera door thikaana hai

Now I have listened to this many a times, but I did that without paying much attention and without knowing any details about it.

This time I had the details and I listened to this song paying due attention. And what did I find ? I found that this song was amazing and mind boggling. The voice of Geeta Dutt which dominates this song, just bowls the listener over. Manna Dey acts as a competent foil. For much of the time I thought that Hemant Kumar was the male singer.

This song is picturised on Dulari. (I thank Raja for this information).

The words by Sahir Ludhianvi are simply wonderful. To imagine that a shayar who has given us some great shaayaris and qawwalis could write such a beautiful song using colloquial words is such a pleasant surprise.

And the music of S D Burman as always is perfect for the occasion.

What a gem of a song this is.

And before I forget to mention it, this wonderful song is from “Devdas” (1955).

Song-aan milo aan milo Shyaam saanware (Devdas) (1955) Geeta Dutt, Manna Dey, Lyrics-Sahir Ludhuanvi, MD-S D Burman

Lyrics

aan milo aan milo Shyaam saanware
aan milo
aan milo aan milo Shyaam saanware,
Brij mein akeli Raadhe khoyi-khoyi phire
o Raadhe khoyi-khoyi phire
o Kaanhaa aan milo
o
aan milo aan milo Shyaam saanware
aan milo

Brindaavan ki galiyan mein tum bin jiyaraa naa laage
o
jiyaraa naa laage
nis din tumhi baat nihaare vyaakul nainaa abhaage
o vyaakul naina abhaage
ab hi aisi dashaa hai man ki kyaa huyi hai phir aage re
Brij mein akeli Raadhe khoyi-khoyi phire
o Raadhe khoyi-khoyi phire
o Kaanhaa aan milo
o
aan milo aan milo Shyaam saanware
aan milo

ajhun jo na bheje Mohan taine koyi khabariyaa
o o
o ajhun jo na bheje Mohan taine koyi khabariyaa
o
taine koyi khabariyaa
ho jaihen ye Brij ki baalaa ro-ro kar baawariyaa
o
ro-ro kar baawariyaa
dheer bandha jaa
dheer bandha jaa
mukh dikhlaa jaa natnaagar saanwariyaa re
Brij mein akeli Raadhe khoyi-khoyi phire
o Raadhe khoyi-khoyi phire
o Kaanhaa aan milo aan milo Shaaym saanware
aan milo

My phone kept ringing and text messages kept coming in until my phone couldn’t hold them anymore.

“Shah Rukh Khan’s been held at Newark Airport” wrote one person. “Did the  “Tom Cruise” of India get racially profiled?” asked one reader.  ”I think everyone in America will now see ”My Name Is Khan” Great pr for the film!” wrote one person referring to Khan’s new film releasing shortly. The text/phone  messages pretty much contained the same premise:  Bollywood superstar Shah Rukh Khan had been detained last Friday at Newark International Liberty Airport in New Jersey by the United States Custom & Board Protection and according to the star was  racially profiled because of  his last name being of Muslim origin. This of course prompted outrage from the  Bollywood Fraternity as well as emails from my journalist/media friends from India asking me what my thoughts were and how people in NY were reacting  to  this ” incident”.  

Bollywood megastar Shah Rukh Khan says his recent detainment at Newark airport had to do with racial profiling.

Well for starters and of course no disrespect to the mega talented star Shah Rukh Khan,  I think New Yorkers have much more to think about right now (healthcare policy, recession, job security, etc) then to focus on why a multi-millionaire Indian movie star was detained at Newark airport. Also, the word ” incident” would probably not be my first choice  in describing what happened to the superstar  nor does it lessen in value in what did happen to him, but I wouldn’t use that particular word to describe the news story.

From what  news reports are saying, Newark airport officials were  following protocol when Khan’s name flashed up on their screen and asked the  movie star to step aside for questioning which many if  not all of us have gone through at one point or another when travelling abroad.  According to one report by AP, the iconic Indian film star was en route to Chicago for an India Day Parade when he was stopped for questioning. After being held for some time (Khan has gone on record as saying it was a  few hours while Custom officials have targeted the time to being closer to an hour) and after making some phone calls to some important people in India and the Indian Consulate in NY,  Khan  was released .

Khan may not be a household name in America  but over the past several years, the multi-talented gifted actor has certainly created a global following and made national headlines for his films outside of India. Attending film premiers in NY, shooting movies in America, debuting his film “Devdas” at the Cannes Film Festival and constant appearances on CNN and BBC  has certainly given Khan global notoriety and is one of the few Bollywood filmstars to have achieved it.  His sold out Elvis Presley style stage  shows and his  blockbuster films rake in millions around the world. His recent  appearance as a presenter at the Golden Globes Awards along side “Slumdog Millionaire” superstar Freida Pinto watched by a global audience of  millions validates the fact that the iconic 44 year old Indian actor has  indeed a  mass appeal outside of India.

But he is still unknown to Americans.

What happened to Khan at Newark airport was  seen  as shocking  to some and standard procedure to others. Within minutes the news spread like wildfire.

“Bollywood Star Held At Newark Airport” wrote the New York Daily News and “Questioning a Bollywood VIP” headlined the New York Times.   So like any good blogger, The Ravi Report  took to the streets of the Big Apple  and  asked what people thought of the news story.

“Who is Khan?” said one very pretty Asian girl sitting in Starbucks in midtown. “I don’t know who he is. If the custom officials had no idea either, why should he get special treatment? He’s not a foreign diplomat or a Security Official. He’s a visitor in America”.

“He is a huge superstar & worshipped in his own country and that’s great…but in America, he’s just a traveller like the rest of us” said one very cute & sexy blond who actually had seen some of Khan’s films at a recent film festival .

A few I spoke to however were a bit skeptical.

“I think it’s all a specially designed marketing plan for his new film “My Name is Khan”. When  his movie opens everyone will go see it because of what happened to him” said an Indian cab driver.

“I think it’s all great pr for his new film. I mean come on, you couldn’t pay someone to get that kind of pr. People all over the world know about his new film now.” commented one very attractive Indian lady wearing  a peacock blue silk sari coming from the India Independence Day parade where the news had spread like wildfire she said.

As I continued to ask people who were exiting the India Day parade, I was surprised to hear that many in fact  believed  that  the news story was to drum up publicity for Khan’s  upcoming movie which ironically happens to be based on the  exact same theme of what happened to the superstar. Khan’s new film recently  finished shooting in America and is scheduled to be released later this year. The film’s premise is about racial profiling Indian Muslims living in America after the 9/11 attacks.

People I spoke to also said  that since Sept. 11, Khan has travelled outside of India many times for film premieres & sold out stage shows often travelling months at a time in the US from airport to airport and never did he or his team complain of any mistreatment or racial profiling by US officials to the news.

The Bollywood megastar has yet to be interviewed on television about the incident (as of this writing Khan was on his way to back to India) so we will have to wait to hear what he has to say about his treatment at Newark airport.  To date,  custom officials at Newark International Liberty Airport have not commented  further except for a statement that has been released to the press stating that Mr. Khan was questioned for about an hour  and was detained a bit longer due to his luggage getting lost.

The journey continues…
Ravi

The US Police forces seriously can’t get a break lately when it comes to arresting and investigating people based on what they look like. First, Cambridge officials arrest acclaimed African-American Harvard scholar Henry Louis Gates for being a major threat to public safety by… living in his house. We all know how that ended.

In an unrelated news story, police stopped Bob Dylan in Long Branch, NJ today for walking on the street. They didn’t know who he was.

Ram Lakhan
This 1989 Subhash Ghai entertainer saw Madhuri opposite his favorite co-star Anil Kapoor, re-inforcing one of the most enduring screen pairs to date. She was the demure grocer’s daughter; he, the corrupt cop with an agenda all his own. A full-blooded masala superhit that’s still great fun to watch.

Mrityudand
One of Madhuri’s most critically-acclaimed performances came with this powerful 1997 Prakash Jha product.In a dark and socially relevant film about women’s rights, she infuses her character Phoolva with overwhelming vitality.

Khalnayak
The controversial Choli ke peechche song remains this 1993 Subhash Ghai film’s highlight, but there was much more to it than that.Starring opposite Sanjay Dutt, Madhuri played Ganga, a policewoman masquerading as a dancing girl in her attempt at entrapment. A gripping ride.

Devdas
It’s safe to say that Dixit was the finest thing in Sanjay Leela Bhansali’s excessive 2002 adaptation of Sarat Chandra Chatterjee’s classic novel.Miscast in a film starring Shah Rukh Khan and Aishwarya Rai in the lead roles, she played Chandramukhi the courtesan with delicate fragility.

Check out the enlisted and go watch them.

Shah Rukh Khan & Aiswarya Rai…with whom i fell in love when i was first introduced to Bollywood through the movie “Devdas”! I was amazed at their acting, dancing, mimicking…I became a total fan. However, soon afterwards i came to know that these two have also some anti-fans, some haters, some protesters…then i met Amir Khan, who was the king of anti-SRK community…and they were blaming SRK as acting in floopy or lame movies giving nothing but fun and laughter or solely romance (note that all of which we need the most recently) while glorifying Amir making official declarations that he was the master of reality scenes, he was the messenger of what was not said yet. Meanwhile, Aishwarya was being compared by other Bollywood queens like Preity Zinta, Sushmita Sen, Kajol, Rani Mukerji and many others…She was being willified by Anti-Aish community saying she is nothing but a plastic doll. She was blamed to be unnatural and superficial…

Let me say i am not against any of the people whom i mentioned above. I don’t have any special hatred or dislike for any of them, and i like quite a lot watching all of them as each one has his/her way of marvellous acting. However, i just can’t understand what is wrong with SRK or Aish, and i am really curious how one can underestimate the soul, the constructive energy hidden in them!

Below is the video song, Ishq Kamina, of both…an excerpt from the movie Shakti, the Power…Just watch the dance and get the spirit…and if you are an especially anti-SRK, let me understand what he did wrong