Illustration/Devdutt Pattanaik

It is common amongst Western scholars and their Westernised students to differentiate between the Vedic yagna and the Puranic puja, rituals that define the two major phases of Hinduism, one that flourished over 3,000 years ago and one that emerged 2,000 years ago. Of course, at the other extreme, we have the bhakta-Indologists who insist that Hinduism has no history, or phases, or evolution — that everything was homogenous and static, until Muslims came into the land 1,000 years ago. The truth is somewhere in between, as usual.

Vedic yagna is conventionally translated as 'sacrifice' and Puranic puja is translated as 'worship'. This translation is the basic problem. Both are based on Christian templates of religion where God of Abraham demands sacrifice (giving up something dear for the pleasure of God) and worship (adoration, veneration of God). Anyone who has actually performed the two rituals, or at least studied the two rituals carefully, will notice that the sacrifice and worship constitutes only part of the ritual, the first half — the second half is about asking for something in return, the fruit of the sacrifice or ritual known as phala-stuti, which is common to both yagna and puja. This makes yagna and puja essentially exchanges with the divine. There is the giving part (sacrifice, and worship, if one wants to call it that); this is followed by the receiving part, or at least the desire for something in exchange. Anyone who performs a yagna or puja knows that the ritual always ends with asking for something, material or spiritual, from the divine. This exchange makes it different from a prayer.

Yagna was designed by Brahmins 3,000 years ago as an elaborate ceremony to invite (avahan) celestial beings (deva) who rode celestial chariots (rathas). Communication was established using fire (agni) as medium, chants (mantra) and special offerings (soma). The yagna acknowledged through symbolic enactment and ritual role-playing the role the devas play in creating and sustaining and even destroying the universe. Having acknowledged the gods, and given them offerings to their satisfaction, a petition is made to them — for children, gold, grain, cattle, horses, power, fame, health — before they are allowed to go (visarjan).

But in yagna, the gods have no form. And they have no permanent residence. They come from the realm of the stars and so the yagna is performed in open air. Yagna could not be performed during rainy seasons, the four monsoon months (chatrumaas) which became linked to inauspiciousness. But, about 2,000 years ago, increasingly gods were seen as images and icons housed in caves and in temples. These sacred icons (archa) were venerated (archana). The ritual involved the same principles as the Vedic yagna – inviting the god to inhabit the image built, then bathing and decorating and feeding and praising and feeding and entertaining that image, before the petition is made. The devotee gives in order to get.  While humans were bound by debt (rinn), and had obligations, the gods were free of debt and so had no obligations. They were untouched by karma. And so what they gave was dependent on their grace! The devotee (bhakta) hence worshipped (bhaja) the divine being (bhagavan) and sought his grace (prasad). This is an exchange, a giving for receiving, unlike a covenant or a contract, which is about giving and taking and obligations that is cornerstone of Abrahmic religions. Exchange (yagna) connects (yoga) the world by establishing relationships (bandhu). Thus, through yagna and puja, we can theoretically connect with the infinite.

The author writes and lectures on the relevance of mythology in modern times. Reach him at devdutt@devdutt.com

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The numbers don't lie; Mumbai motorists are in selfie-destruct mode. At least 50 per cent of road accidents on the 93-km Mumbai-Pune Expressway are due to cars stopping or stalling on the road.

A report in this paper stated that stopping to take a selfie or to enjoy the greenery along the E-way could cost you your life. The first two months of the year have already seen 91 accidents, in which 52 people have died. Of these, 26 accidents happened because of vehicles halting. We must warn people that however tempting the scenery, it is just not safe to halt on the E-way and take photographs of the greenery. Once you reach Pune or the outskirts, you have the time to park your vehicle, alight and take all the pictures you want, so keep moving along the expressway, which is what is was made for.

Travellers must realise that an expressway is a piece of infrastructure, pure and simple. It is designed to take people to their destination. It is certainly not a picnic spot. It is no place to lounge around and eat, get out of the car and wash your hands, use as a Kodak moment or to idle outside your car for any other reason. Drivers have to drive within the speed limit on the expressway.

Cut going over the speed limits, which is a sure killer. Authorities have to ensure cameras are in excellent condition. If there is a car breakdown, switch on your hazard lights, and get your co-passengers to wave their hands; do all you can to alert oncoming traffic. The upcoming monsoon means more challenges for E-way users. Let us bring those fatality figures down, and let the numbers do some happy talking, for once.

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A while back, we had the opportunity to meet an influential and acclaimed US-based Indian restaurateur cum chef who was visiting the city to catch up with his team in the city, where he also runs a couple of popular and innovative restaurants.

Unaffected by all the lights, accolades and glitz of New York, he was still a pucca Bandra boy at heart. He hadn't forgotten his roots, and his mother and grandmother's recipes, evidence of which had peppered the warm chat, from a recent fish preparation that his mum had whipped up, to taking poee - those pillowy cushioned bread portions - to the West. We went on to discuss the ever-changing cityscape, from the Metro to a quaint abandoned bungalow near St Andrew's Church that had been razed since the last time he was home. Expectedly, there was a lot of 'Bombay' food that was discussed - a topic close to our soul.

The restaurateur-chef's passion for the city, his Goan ancestry, and the dynamic diversity of India are pretty obvious in the menus at his restaurants, and there were plans to go all out and celebrate it even more at these spaces. It made for an engaging afternoon, no doubt, especially when our favourite city's flavours and aromas were put on the table. It was a promising sign. At least, for Bombayphiles like us, who been yearning for more of the city on its menus, and has often been a topic-stirrer in this very same column space.

Around the same time, we had got wind that a restaurant in SoBo, coincidentally also owned by a Goan chef, and which was one of the earliest eateries to give the city a wonderful mix of food from Bombay and the sunshine state, was rechristening itself into all-out restaurant that would pay tribute to the city's food - from kheema pao and bombil fry (are you salivating?). The picture was getting rosier.

We jogged our memory a bit more, to roughly two months back, to another chat with a celebrated chef-restaurateur who had stirred many gastronomic revolutions in the city, and is now running a successful fine-dine. Turns out, the veteran culinary wiz would love to start his very own Bombay restaurant. Of course, there was nothing final to it but his wide smile made us do a little virtual jig about the possibility of his opening such a space. Food from the city had always impressed him, he told us, from Bohri Mohalla favourites to Maharashtrian staples, and the city's fresh catch. Like millions who arrived in this city and made it their own, he too was inspired with its variety, and was keen to celebrate it for the world to savour.

All these three instances - albeit borrowed from different scenarios - were adding up to something that should have happened a long time ago. The city's very own brand of cuisine ought to be put out there, a unique confluence of its thriving local inspirations, its migrant flavours and countless techniques from its many communities. Most world-class, cosmopolitan cities, from Toronto to Singapore flaunt it, so what has been stopping us so far? We'd love to see more entrepreneurial minds stir this melting pot and showcase Bombay's flavours, the way only we know of it.

mid-day's Features Editor Fiona Fernandez relishes the city's sights, sounds, smells and stones...wherever the ink and the inclination takes her. She tweets @bombayana Send your feedback to mailbag@mid-day.com

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A still from Marvel Studio's Avengers: Infinity War

Maybe because they thought I was some angrez-type, dissing one after another loads of films being dished out in the early 2000s - inevitably, a film producer or the other would proudly remind me back then, about how India (in this case, Bollywood) was absolutely the only movie market in the world where Hollywood, or the appearance of a Spielberg or George Lucas film in theatres, made no difference to the lives of local filmmakers, Subhash Ghai, Yash Chopra, if you may.

This was true for India, up until a decade ago; and yes, not true for anywhere else. Still, since the names mentioned to me were of filmmakers (no doubt, well-known/mainstream), I argued, this had a lot more to do with the reliably desi, nearly mythological star-system, that movies pivoted around and audiences lined up in cinemas for. You need a face to build a following (for anything). Any branding intern will tell you that. Hollywood had its own star-system. Few filmmaking cultures, apart from India and the US, did.

So sure, the handsomely paid Tom Cruise or Julia Roberts, or for that matter Superman/Batman, were huge in India as well. But, their films merely ran at exclusive cinemas for English films in bigger cities (say Chanakya, Sterling in South Delhi/Bombay).

Did the cash-rich Hollywood not wish to partake in the desi star, plus song, mainstream movies that enchanted millions? By late 2000s, American studios began setting up offices in Mumbai, cheekily over-paying Bollywood's lead cast, getting into lopsided deals favouring local producers, to make a direct entry into Indian markets, at last.

Bollywood films, more or less, remained the same, in terms of scale. For they weren't here to change the status quo. It suited them. The budgets (for them) were pocket-change, anyway. Major Indian filmmakers continued to feel safe in the face of a captive audience. In about a decade though, one region, small-town at a time, the American studios, having deepened a desi distribution network, began to spread out the release of their own global blockbusters that none in India could potentially compete with. The economics simply wouldn't match.

Spiderman first spoke to its audience in Bhojpuri in 2007. Ronald Emmerich's 2012 (2009), with the Taj Mahal in a shambles in the promo, with no such scene in the picture, had curious villagers walk over to nearest theatres to catch the end of the world. By 2012, even Ang Lee's deeply meditative, Life Of Pie, collecting R90 crore, had thumped the Akshay Kumar masala picture, Khiladi 786 (releasing around the same time), by a R20 crore margin!

Woah. Did desis stop loving their super-stars? Nope. They still do. Here's what happened. Hollywood altogether destroyed its own, entire 'star-system' instead - making films not about actors (or even directors, for that matter), but relentlessly concentrating their massive might/resources/energy on propping up super-heroes (several for the price of one), gigantic disasters, and dazzling 3D/IMAX special effect, to effectively conquer the earth while, sometimes, saving it on the big screen.

Perhaps 2015 was a turning point, when up until mid-year, three out of India's top five hits had emerged from Hollywood (rightly subtitled in English, even in their English versions). Fast & Furious 7 (basically racing cars) was the first film to hit R100 crore mark. Avengers: Age of the Ultron, and Jurassic World, had wholly crowded out domestic competition on the opening weekend.

These movies may have lacked a singular creative voice/vision, but they were fail-safe in the boardroom's understanding of markets, and shares. As is expectedly the case with the latest, stupendous success of Marvel's Avengers: Infinity War (having grossed over a record-breaking R200 crore, already) - where nothing exceeds like excess!

The global fan-boy pressure to get off on this pic (like many others), made critic-proof by critics themselves, is such that you simply don't want to be that guy pooping on everyone's parade. It's like being the first fellow to suggest the whisky being served from a Blue Label bottle at the boss's house-party tastes suspiciously like Aristocrat Premium: "Kya baat kar raha hai?" Naah, don't wanna be that guy!

Curiosity is irresistible. There's nothing to call out. Conditioning is complete. Indians can probably see in Thanos's quest for 'infinity stones' their own uncles, who wear similar rings for inter-planetary changes! Balance of the universe sounds a lot like 'srishti ka santulan' from Abhishek Bachchan's Drona.

The film itself being a Bollywood multi-multi-starrer, where in the end, Amrish Puri wins, and if you wonder how dead superheroes might stage a comeback-hey, Ekta Kapoor's been spinning this for decades. The premise of so many avengers, guardians, and devils, all in one, is lost on no one who devours Hindu mythology, with 330 million gods anyway. Yeah, this is desi entertainment. I say this listening to actor Ranveer Singh's voice in the Hindi trailer of Marvel's forthcoming Deadpool 2 go: "Kitna traas dega, Thanos." Sach mein, bro!

Mayank Shekhar attempts to make sense of mass culture. He tweets @mayankw14 Send your feedback to mailbag@mid-day.com

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Yesterday, this paper carried a front page report about a Malad resident called Abhijit Mukharji, 25, who was arrested for stalking a 26-year-old woman for eight years. The accused was released on bail five days after the woman lodged a complaint against him. While the court granted bail on strict restrictions, senior officers from the Mumbai Crime Branch have said they will be reviewing the case.

To elaborate, the crime branch arrested Mukharji, who worked for a famous search engine company, on May 3 and remanded in police custody till May 6. This man stalked the woman, hacked into her Tinder account and wiped out all the 'likes' on her account.

While there are restrictions put on the stalker, it is surprising that bail has been granted within five days, for harassment that went on for eight years. The report states that he had even met the woman in Mumbai. Post the meeting, where his conversation rang warning bells for the woman, he started threatening her and warning her not to talk to anybody else because he loved her. She finally filed a complaint.

Let us give stalking the seriousness it deserves. Very often, it is dismissed as casual or harmless. Women who are often told by people that they are imagining there is a stalker. Their fears and concerns are trivialised and they may also be accused to exaggerating the harassment or their discomfort with the stalking.

Making excuses for stalking, like he thought she was someone else, or that he was drunk and did not know he was stalking, are also inexcusable. Online stalking is dangerous and can escalate very quickly to offline situations. Stalking is harassment. It is a crime. It can lead to a dangerous obsession. Treat it with the gravitas it deserves and shut down stalking through severe punishment.

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Illustration/Devdutt Pattanaik

In the beginning, people said homosexuality is unnatural. Then scientists showed them that hundreds of species of animals do indulge in homosexuality. So people started saying homosexuality may be natural, but it is best restricted to animals. Amongst humans, it is a social disease. This unscientific understanding is popularised by many religious leaders, who are clueless about science, though they insist that the Vedas/Quran/Agama/Tripitaka/Talmud are essentially scientific.

These religious leaders fall into two categories. The first category is the 'liberal' guru who says sex is great for spirituality, provided it is heterosexual. The second category is the 'conservative' guru who says sex is not great for spirituality, and if you must indulge in it, do it for babies.

A gay man heard how a broad-minded Indian guru presented sexuality as an integral part of spirituality, and so decided to read a bit more of the guru's writings. He was suitably impressed, there was a lot of talk of how exploring sexual desires authentically enhances spiritual growth. But then came the horror! When the guru spoke of sexuality, he was referring only to heterosexuality and was essentially promoting orgies as a tool to liberate yourself. He saw homosexuality as a social disease resulting from heterosexuality being suppressed when men are locked with men in monasteries and prisons and women are locked with women in nunneries. This was his fantasy, which he marketed as mystical knowledge of the East!

A lesbian woman came upon a guru who gave her a sympathetic ear, and who confidently asserted that ancient mystical sages (all male, of course) had revealed to him that natural sexual activity is for making babies only, and that pleasure is just nature's way of incentivising you to make more babies. It is the human perversion to bypass the baby-making and focus on pleasure. Such value placed on pleasure comes from stress, hormones, and a lack of spiritual grounding. He insisted that homosexuality is a social pathology, not a natural physiology. She could stay a single woman if she did not wish to be a man's wife, but she had to engineer her life towards spirituality rather than sexuality if she sought fulfilment and happiness. Her libido, he insisted, was in dire need of fixing!

Most of these gurus do oppose the criminalising of homosexuality, and so appear to be modern. However, they do see homosexuality as a deviance (or its Sanskrit equivalent), or a 'fluidity' that needs explanation, management and re-alignment. They mirror the homophobia directed at queer people (pandakas, napunsakas) that we find in ancient monastic orders such as Buddhism and Jainism. Their discomfort with queerness is similar to their well-disguised discomfort with gender equality: 'Women are as good as men, provided they put the man's needs first.' Essentially, these gurus preach qualified equality, where their personal comfort zone (heterosexuality, celibacy, masculinity) remains privileged.

It is important to recognise gurus as political figures. They are today clearly political vote banks, with a vast number of followers who do whatever the guru tells them to do. Hence the power of their spiritual discourses to influence social and political direction needs to be acknowledged.

We must also recognise the power of followers over gurus. Gurus are expected to be superhuman, and 'pure and pious'. We don't mind them dancing to Bollywood songs or playing golf. But if they were to talk too much in favour of sex and pleasure, we will see them as less than spiritual. In our hearts, many of us are convinced spirituality is an adversary of sexuality. We see Shiva who burnt Kama to ash. We refuse to see Shiva who was enchanted by Kamakshi and Mohini.

The author writes and lectures on the relevance of mythology in modern times. Reach him at devdutt@devdutt.com

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Illustration/Uday Mohite

Believe it or not, exciting things are happening in Konkani cinema. I am familiar with Indian films in at least 10-12 languages, but it was a real discovery watching the best Konkani films on the jury of the 9th Goa State Film Festival Awards, that was given last week. To know who the top Konkani stars are, what subjects interest them — the church often looms large. The Best Film (Konkani) went to Nilesh Karamunge’s Mahaprayan (The Last Journey), Best Director (Konkani) to Rajiv Shinde’s K Sera Sera (Ghodpachem Ghoddtelem, Whatever Will Be Will Be), and Best Film (Marathi) to Sainath Parab's Disha (Direction). Mahaprayan was a real discovery, of which more anon. K Sera Sera, which swept nine awards, told two parallel stories of an ambitious career woman and a retired man, struggling to keep his family together, starring actor-producer Rajesh Pednekar and Palomi Ghosh. It had rich technical and acting credits, some ‘imported’ from outside Goa. Sadly, Miransha Naik’s powerful Juze was not in competition, but Nilesh Malkar’s Soul Curry smartly ‘imported’ Bollywood star Jackie Shroff for wider appeal. Shroff even dubbed for himself in Konkani and won a Special Jury Award for Best Actor.

Mahaprayan is one of those rare films, that makes a powerful social critique while accomplishing an amazing technical feat: the whole 83 minute-film is a single take, shot by Sameer Bhaskar. What’s more, it is the debut feature of an ex-army man, Nilesh Karamunge. Inspired by a real incident in Odisha, the film is about Tulsidas (Dhananjay Amonkar) who, unable to afford a hearse to take his dead wife from the hospital to his distant village for cremation, walks home all the way, carrying her corpse on his shoulders, accompanied by his young daughter Kaalika (Aarya Ghare). The pair meet many people who refuse to help — hospital staff, passengers in a bus, the police, and when a kind forest official finally helps them, the media pounces on him for ‘misusing’ a government jeep. The crew did many rehearsals, shooting in real time as they walked 3.5 km in the noonday sun. The film is a scathing attack on the government and our society. The charming and mature Aarya Ghare, just nine, won Best Actress.

Mahaprayan vaults to one of the year's most gratifying discoveries in Indian cinema, its accomplishments far exceeding its modesty and flaws. K Sera Sera is a polished work, given Konkani cinema’s constraints. And let's get some perspective here: while most regional Indian cinemas started in the 1920s or earlier, the first Konkani film, Mogacho Anvddo, was released only in 1950. The Hindi and Tamil industries make, on average, 250-350 feature films a year, but the fledgeling Konkani industry makes barely five to seven features a year. And there is no doubt that Konkani cinema got kick-started since the International Film Festival of India (IFFI) was held in Goa since 2004, and the locals were consistently exposed to world cinema. And look what it's offering now — you do a double take.

Meenakshi Shedde is South Asia Consultant to the Berlin Film Festival, award-winning critic, curator to festivals worldwide and journalist. Reach her at meenakshishedde@gmail.com.

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Illustration/RAVI JADHAV

Concern is sometimes a mask for control. This is interestingly true when it comes to films that are concerned about the situation of women. If these "concerned" films attract censorship, then they control even more subversively. They become imbued with a revolutionary halo, becoming an urgent cause to be supported, a badge of honour, not a film that tells us deep truths about our lives.

The film Nude arrived on a white horse, after a similar symbolic battle. It's very title had disturbed the Ministry of Information and Broadcasting. It traces the journey of Yamuna after she leaves her village and her brutish husband and becomes a nude model in the JJ School of Arts, with her aunt's help, going on to sit for some famous artists. She has a parallel journey, from shame to pride in work, which is shown minimally. But in the end, she alienates her son and feels defeated and hopeless.

Nude has it's good points — the interesting subject, the strong performances from Kalaynee Mulay and Chhaya Kadam in the main roles, tiny flashes of earthy humour.

But on the whole, it is a plodding work of bad faith and a strangely colonial mindset. Here is a film in which the two main characters are women, which should be evidence of concern and interest in women. Yet they are given hardly any interiority or room to be more than an example of social issues. That's because many such films are not about the characters. They are really about establishing the filmmaker as a noble and high-minded being who will uplift women.

There are only three types of people in the film. There is the poor woman who needs saving from her own men; poor men, who are portrayed as bestial or passive; and bhadralok middle-class artists who are noble and pious with the higher purpose of art. The point is taken, that, cruel or benign, to all of them the woman is an instrument. But this is unfortunately as true of the filmmakers who bring no irony to looking at this 'higher purpose'. Why are there no middle-class women in the film? There are some token women art students — but they never speak, nor is there a single shot of a woman art student drawing a nude.

This absence further prevents any complications in the story of class, caste and gender relations. Complications about what it means to draw a naked woman, exalt her as Devi or pure spirit (the body is the garment of the spirit as one character says unctuously) to serve other people's higher purpose for a paltry pay. To the artist, the model is just a body. To the filmmaker, too, the woman is mostly a victim, a sufferer in search of a saviour.

In such films, women can never truly free themselves from circumstances. They are imprisoned in dead-end film narratives forever to serve the purpose of saviour-filmmakers in films like Nude, Pink and even Lipstick Under My Burkha. Why would filmmakers conceive of different meanings of women's lives, which point to a certain liberation, when these upliftment projects accrue such rewards and privileges? It is only when we, the audience decline to be grateful for this self-serving false realism, that we can hope for stories more true to the complexities of our lives.

Paromita Vohra is an award-winning Mumbai-based filmmaker, writer and curator working with fiction and non-fiction. Reach her at www.parodevipictures.com

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Representational Image

"Pheroze… is it true what I've heard? Dr Viegas was privy to the buzz around Dhobi Talao that had reached some of his nonagenarian friends at Kyani's. They were chatting about it last morning over their brun-maska routine," Lady Flora checked with her old friend during their daily midnight stroll. The two had to re-route their trail post the Metro III work, and were now happier around Rampart Row, Lion Gate and the back lanes of Colaba. Sir PM Mehta rolled his eyes and adjusted his spectacles; he was a tad surprised at how quickly the news had spread among their ilk.

"Well, if you must know, Lady Flora," he began, "The gods who run Victoria Terminus…oops! I mean Chhatrapati Shivaji Maharaj Terminus, are planning to install air-conditioners inside the railway station. Isn't it a highly questionable and extremely debatable suggestion?" The timing couldn't have been more apt though. The city was reeling under another humid and terribly uncomfortable May. Crows and pigeons were falling off the sky, and sparrows, well; the poor little winged fellas didn't stand a chance as water fountains, spouts and pyaus vanished by the day. The city's residents carried on with their daily grind and commute as they braved the elements. Seasons may change, but Bombaywallahs don't complain, as the two icons had grown to realise.

Sir PM and Lady Flora were both witness to all kinds of challenges with each summer that hit Bombay. Yet, and somehow, the idea of an air-conditioned railway terminus, didn't sit well with the duo. "You see, Pheroze," as she wiped a few droplets of sweat off her freshly restored face, "This must be just a rumour. What do those old bumbling uncles sipping on their chai know about the real khabar. I am pretty sure this won't go through," she said, trying to calm her own doubts, and then convince her friend. "Tell me, Pheroze, does it make sense logistically, and from a heritage viewpoint?"

Sir PM was happy to take the stand. "Lady Flora, when several great architects and urban designers, most of whom hailed from the British Isles, were commissioned to plan these magnificent Gothic and Victorian landmarks in a tropical city for the public, a common feature that bound their plans was the focus on ventilation. This was a departure from the norms of buildings in their part of the world. From what I can recall of a chat with the very talented FW Stevens - who designed the terminus and the corporation building - his plans kept the city's humidity in mind," he shared.

"Not only did they 'Indianise' the style by including fine motifs and emblems that celebrated the Indian Subcontinent but they also created high arched windows and ceilings with plenty of avenues for cross ventilation that made possible for the sea breeze to pass through." By now Lady Flora was all ears. They had reached the iconic terminus and she gazed at the landmark with new-found reverence. "Pheroze, this will be tragic - if they were to go ahead and box up the fine architectural template of this place. I cannot recall even the historic St Pancreas station having to face this kind of predicament."

Sir PM's face looked wrinkled with worry. "I know that one thing is sure to happen if this is passed – the station will be less of a train terminus and more of a comfortable and very, very crowded sanctuary for all those who wish to nap or relax in 'AC' comfort. Heaven help us! Lady Flora do please consider my suggestion to retreat to Panchgani for the summers, will you?"

mid-day's Features Editor Fiona Fernandez relishes the city's sights, sounds, smells and stones...wherever the ink and the inclination takes her. She tweets @bombayana Send your feedback to mailbag@mid-day.com

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The Roman Forum in the center of Rome. Pic Courtesy/Rosalyn D'mello

I did not account for what now seems like the inevitable consequence of so much travel: the blurring of existential categories that define my raison d'etre as I continue my Italian sojourn. What am I first, writer, tourist, traveller or pilgrim? To which of these vocations do I owe my primary allegiance?

Starting out in the northern region of Bolzano, within which I somehow managed to ensconce myself, thanks to my residency at Eau&Gaz, within exactly 30 days I have found myself in the deep south - the autonomous Mediterranean island of Sicily; a lived repository of continuous histories dating two millennia. I accessed the regions of Tuscany, Veneto, Neapolitan and Lazio through my explorations of Firenze, Venezia, Napoli and Roma, before taking a flight to Palermo, from where I am transcribing this dispatch. By the time you will have read this, I will already have returned to Roma where I will spend another night before I make my way to Ortona and Assisi, thereby initiating the more pilgrim end of my travel. I am deeply aware that I now have less than two weeks left in Italy, and I am struggling (really, really struggling) to make sense of everything I have encountered through my witness. How to distil the vast everything-ness of my recent realities into bottled significance; something that is easier to swallow, digest, imbibe, share?

I was grateful to land in Palermo; grateful to have found a cheap flight that got me here from Rome in under an hour, grateful to avoid what would otherwise have been a 14-hour journey. But, mostly, I discovered I was grateful to be in a city that felt like the opposite of Rome; un-pretentious, unabashed about its past, non-ostentatious and aesthetically more austere. Here I felt I could allow my body to recover from the sensual assault of the spectacle that is that city of grand beauty, magnificence, un-mindful excess. No guide I'd perused had prepared me for my sensory dyslexia, particularly on the perceptual front, like the difficulty I would experience in simply focussing my gaze.

As a sightseeing tourist, one is mentally prepared to encounter a monument; a spectacle; a historic site. In Rome, however, you are condemned to stumble upon multiple. You walk into a street and your eyes rest first on a fountain, then naturally zoom out to witness the larger frame, except you spot, next door, an opulent church façade, and across from it another, but perhaps from another century altogether, and for a moment you feel like you're experiencing a glitch in a time-travelling machine. You walk later at night to catch your bus back to your Airbnb and come upon a vast excavation site bearing just a two-paragraph description and you empathise with the historians and archaeologists who seem themselves to be struggling with this excess; this dense populace of relic, debris, pagan vestige and Catholic worship sites.

Each night my feet, exhausted and overwhelmed from walking, cried themselves to sleep as my mind, unable to still my still-restless body, tried to make sense of what I'd seen, thought, remembered, and referenced: the Sistine Chapel, the wonders of Bernini, the cinematic odes by Fellini, Rosselini, Passolini and Sorrentino; and the more obscure works of writers like Malcolm Lowry. I had to re-read one of his protagonist's visit to the Keats and Shelley Memorial Museum next to the Spanish Steps as I sat by the side of The Pantheon, after having been to that museum, and in preparation for the next day's visit to the Non-Catholic cemetery containing both poets' tombs. Had I not had the sense of mind to seek solace in relatively more obscure churches and smaller chapels, both to escape the madding crowd of tourists and to offer my body an indulgent moment of pause, I'm sure I would have been defeated by that city.

It was the only reason why, despite being drained of all energy, I could make one final schlep towards the Coliseum and also convince Mona to meet me there. After a very leisurely stroll at what felt like perfect timing, when the final rays of the sun hit the millennia-old façade, we found a corner to park ourselves for a while. I couldn't help, but show her a clip from Sorrentino's The Great Beauty; of Sister Maria on the balcony of the protagonist's home in front of the Coliseum, gathering the flamingos in the thick of night, then blowing into the air to gesture at them to fly away. I felt as though I'd finally 'got' Sorrentino's film, despite having seen it a while ago. I had to come to Rome to solve its mystery.

I cannot shake off this lingering feeling that something beyond my own free will is designing my itinerary, is customising each imprint my feet make. Whether I am either or interchangeably a writer, tourist, traveller or pilgrim has become inconsequential. All that matters now is that I willingly surrender in order to be remade.

Deliberating on the life and times of Everywoman, Rosalyn D'Mello is a reputable art critic and the author of A Handbook For My Lover. She tweets @RosaParx Send your feedback to mailbag@mid-day.com

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Illustration/ Devdutt Pattanaik

One of the unique features of Islam in South Asia is the veneration of five holy men, or saints (auliya), known collectively as pancha-pir. They are often represented by the palm of the hand, mounted on a mound. We find shrines of pancha-pir in Punjab, Rajasthan, Uttar Pradesh and Bengal. They are sometimes identified as the five pure ones of Shia Islam: the Prophet Muhammad, his daughter, his son-in-law, and his two grandsons. Other identify them as five Sufi saints, often the teacher with his five students. Still others say they refer to the Prophet Muhammad and the first four Caliphs. This veneration of five holy men in dargahs is however frowned upon by Islamic purists, who believe that veneration should be reserved for God, and none other.

In folklore, the pancha-pir often appear to bless heroes on quest, or to establish the greatness of a local king. In many Hindu temples, especially in Rajasthan, where folk-heroes are deified, as in the case of Ramdev baba, one finds pancha-pir endorsing their greatness, thus indicating syncretism of Hindu and Muslim ideas at the grass-root level. In Bengal, they are popular amongst sailors, who seek their protection before setting out into the sea, and thank them on their return.

Stories of pancha-pir often reveal much similarity with village gods and goddesses of India, who are known to help when appeased and harm when angry. So we learn how they gave their horse to a queen so that she could use the horse's blood to cure a husband. The queen later refuses to return the horse and so the pancha-pir destroy her kingdom. Sometimes the pancha-pir are paired with their five wives who disobey them and so are reduced to five piles of ash.

How did this idea emerge? It is possible that these five pirs were earlier the five tathagathas of Buddhism, found in Tantrik Buddhism, that flourished in eastern India during the Pala kingdom. There is the central Buddha, Vairochana, with four other Buddhas in the four directions, represented in four different colours, embodying four different principles, thus indicating universality. Such images are found in Buddhist shrines and Buddhist mandalas.

The idea of the five collective is found in Hinduism too: the Pandavas, for example. In Puri, Odisha, the five Pandavas take the form of five Shivas. There are images of Pancha-mukhi linga, where five faces, each in different mood, arise from a single pillar. There is also the concept of five chaste women: the pancha-kanya, which includes Sita, Draupadi, Ahalya, Mandodari and Kunti.

The most recurring concept in Indian mythology is that of a teacher with four students who take his knowledge in the four directions. One learns of Veda Vyasa and his four disciples, the Shaiva sage Lakulesha with his four disciples; the Jain saint Vajraswami who founded four orders (gaccha); the Sikh saint Sri Chand, the eldest son of Guru Nanak, who passed on the sacred fire (dhunni) of his order (akhara) of ascetics (udasin) to four disciples; the Vaishnava, Ramanuja also passed on his mantle to four disciples. This idea of the collective of five, best represented by the palm of the hand, clearly gave meaning and power to local faiths and also kept together various divisions that emerged in religious orders. Hence its enduring appeal.

Devdutt Pattanaik writes and lectures on the relevance of mythology in modern times. Reach him at devdutt@devdutt.com

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Actress Keerthy Suresh as Savitri in Mahanati

Telugu cinema — specifically Baahubali 1 and 2 — knocked the daylights out of Bollywood. Now comes the ravishing Telugu-Tamil film Mahanati (Great Actress, in Telugu; Nadigaiyar Thilagam in Tamil), directed by Nag Ashwin, a biopic on top film star Savitri garu (a Telugu honorific). This sensuous, period, feminist film, starring Keerthy Suresh and Dulquer Salmaan, rivals Bollywood's best. Kommareddy Savitri (1937-1981) was a remarkable female superstar of Telugu and Tamil cinema, who acted alongside top Tamil and Telugu stars such as Sivaji Ganesan, MG Ramachandran (MGR), Gemini Ganesan and Nandamuri Taraka Rama Rao (NTR), often got paid more than the heroes, and even produced and directed six films in the 1960s and 1970s, some with an all-female crew, featuring these top heroes — all practically unthinkable today. Savitri acted in nearly 200 films in Telugu, Tamil and Hindi, including Pelli Chesi Choodu, Devadasu, Missiamma, Maya Bazaar and Pasamalar, peaking in the 1950s and 1960s, and the films she directed include Chinnari Papalu. Her career spiralled downwards after she secretly married co-star Gemini Ganesan (then already married to Alamelu and in another relationship with Pushpavalli with whom he had Hindi film star Rekha), and his jealousy and alcoholism drove her to drink; she cut back on her career to appease him, turned alcoholic herself and went to ruin. The film has released worldwide, including in India; it is currently also showing in Mumbai with English subtitles.

Indian biopics on women film stars — including Milan Luthria's Dirty Picture on Silk Smitha with Vidya Balan (Hindi); KG George's Lekhayude Maranam: Oru Flashback (Lekha's Death: A Flashback) on actress Shobha's alleged affair with a top director (Malayalam), and Ranjith's Thirakkatha (Screenplay) on Srividya and her alleged affair with a top Tamil star (Malayalam) — are mostly tragedies. What is remarkable about Mahanati is that while it shows Savitri's courage, feistiness, stardom and generosity, it also shows her poor decisions in love, marriage and finance. She is a homebreaker and an alcoholic who also neglects her children. Yet, the film valourises her as someone who believed that life is short, and so made the best of it. In fact, the film, presented by Vyjayanthi Movies, is produced by two women, sisters Swapna Dutt and Priyanka Dutt of Swapna Cinemas.

The film is told through Madhuravani (Samantha Akkineni), a journalist in the 80s, investigating Savitri's story with her photographer boyfriend Vijay Anthony (Vijay Deverakonda) after Savitri is found in a hospital, after being in a coma for a year. Nag Ashwin, in only his second feature after Yevade Subramanyam, shows outstanding assurance and craftsmanship. Throughout, there are scenes switching seamlessly from Savitri's real and reel life; and the period sets have been gorgeously recreated, including a 'stairway to heaven'. Keerthy Suresh carries the film with aplomb: sparkling, yet dignified, even in her despair. Top Malayalam star Dulquer Salmaan sportingly plays second fiddle and charming rake. Sai Madhav Burra's screenplay packs in a lot. LA-based Spanish cinematographer Dani Sanchez-Lopez's cinematography is marvellous: ironically, he digitally shot the period parts and used super 16mm film stock for the more recent 80s. The costumes by designers Gaurang Shah, Archana Rao and stylist Indrakshi Pattanaik are exquisite, as are Shivam Rao and Kolla Avinash's sets. Mickey J Meyer's music is versatile and soulful. At 2h 57mins, the editing by veteran Venkateswara Rao Kotagiri flags a little, yet keeps you engaged till the end.

Meenakshi Shedde is South Asia Consultant to Berlin Film Festival, award-winning critic, curator to festivals worldwide and journalist. Reach her at meenakshishedde@gmail.com

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We were sufficiently chuffed after having spent some quality time with the affable, gentle Periyappa, the resident wise old doggie in the Kings Circle neighbourhood, and had retreated towards our other favourite pastime along its pavements — secondhand book-shopping.

The area holds a special space for yours truly — a Ruiaite. As a collegian, it offered an inviting mix of south Indian fare, from enterprising roadside kiosks to cafés that ran on autopilot; mind you, each of them ensured that no matter what budget you were staring at; you never went hungry when the urge cropped up just before that boring afternoon lecture. And then, there were those saviours from the pre-mega bookstore era — the secondhand pavement bookwallahs. From a mindboggling range of titles to the delightful haggling [we learnt our first lessons in bargaining here]; these booksellers were responsible for some pretty good deals that landed up in our bookshelf at home.

Interestingly, when we sat down yesterday to plan out this column, the Google doodle also helped a bit; it jogged our memory to an important nugget from back then. The doodle was to celebrate the birth of the world's first atlas created by Flemish cartographer Abraham Ortelius. Some of our first intriguing journeys into the world of maps was courtesy these secondhand booksellers whose drop dead pricing made it tough to resist the map-crazy collegian in a time where finding an atlas of hand drawn maps from the late 1800s was worth its weight in gold.

Fast forward to the present. We met with architect, photographer, archivist and collector Robert D Stephens a week before his ongoing exhibition at a swish SoBo gallery. Robert, an American who swears by his local train commute, is as 'Bombay' as it gets. And his love affair extends to his endless search for books about the city from every decade and century. Many of his finds are now part of the exhibition, themed on guidebooks that were written for tourists and city folk. As we ogled at the 'loot' that he displayed for sneak peek, the glee in his eyes [and understandably so] was akin to a pirate who had brought his treasures to the safety of dry land.

"My go-to guys are the booksellers along Fort's pavements," he shared with us, adding how over the years, this faithful bunch has ensured that buying books remains a sub-culture and part of the landscape in and around this buzzing commercial district. While their numbers have dwindled and business continues to get affected [thanks to the ongoing project to 'upgrade' the city], loyalists still throng these parts. Just like the vendors of Kings Circle, they too know that time, and many other factors might not be on their side, and with the sweeping hold of the internet, they could be staring at the dark end of the tunnel.

Yet, the optimist in us finds it reassuring when we learn how almost an entire exhibition could have been sourced not from a brick-and-mortar institution or buys off e-stores but from the neighbourhood bookseller.So, in case you haven't till now, make a trip to check out one of these silent superheroes, find our favourite read, engage in some friendly bargaining, Bombay-style, and take home that rare find. It will be well worth it, take our word.

mid-day's Features Editor Fiona Fernandez relishes the city's sights, sounds, smells and stones...wherever the ink and the inclination takes her. She tweets @bombayana Send your feedback to mailbag@mid-day.com

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If you're sharp-eyed about rivets, you'll know that dust gathers on the top half, but not on the bottom. Pic Courtesy/CY Gopinath

In the house where i lived in Andheri Lokhandwala, I'd wipe a finger along the window sill in the morning, and a layer of dust would come away. The domestic help would wipe it clean every morning; 24 hours later, it would be grimy again.

But it was 1982, we were children then and had simple theories about things. Mine was that with so much crazy construction going on in Lokhandwala Complex, well, what would you expect if not clouds of dust? And thus, dust became another little thing we stopped questioning in Bombay. And then Bombay became Mumbai. But the dust remained dust.

I wouldn't be writing this today if I hadn't moved to Bangkok, on work first, but finally just to live. And the questions began coming. Bangkok and Mumbai are very similar, both urban, crowded and sleepless world cities with local life and culture richly woven into cosmopolitan sensibilities. Question 1 was why Bangkok didn't have swarms of flies despite being the world's street food capital. I wrote about that in this column on April 17.

The second question was why my window sills never got dusty in Bangkok — or more accurately, why nothing ever got dusty in Bangkok. After a hard day's toil, you could wash your hands clean without creating rivulets of grime.

I began paying special attention to public places where you'd normally expect dust. For example, on the outside of pedestrian overpasses across busy streets, large hexagonal rivets hold down steel barriers left and right of the walkway. If you're sharp-eyed about rivets, you'll know that dust gathers on the top half, but not on the bottom.

So I began checking Bangkok's outside rivets: they sparkled like freshly painted. And not because it had rained either. Next, I checked those ugly black nests of telephone and electricity cables that hang between lamp posts — another place where dust, cobwebs and pigeon s**t build up. In Bangkok, they were spotless. A week later, I saw several old women in municipal uniform with mops and swabs whose job apparently was to specifically clean dust and grime from all hard-to-reach places. Such as rivets on the outside.

I checked out one of Bangkok's many construction sites, which process the same materials as any Indian site — gravel, cement, bricks, concrete mixers. But miracle of miracles, no dust, thanks to the simplest of strategies. One worker on the site has just a single, simple task all day: he stands with a hose pipe watering the grounds every 15 minutes. Damp dust doesn't fly.

ON MY NEXT VISIT to Mumbai, I became a student of dust. Building construction sites are not the only dust devils. Major culprits are the mounds of debris that lie where utility companies have dug up the earth to lay cables. Since their job is not road cleaning, they leave the debris where it is when they're done.

By the time the department for debris-removal has slowly moved its creaky bones, passing winds have stirred the dirt and dust and blown it everywhere. The debris-removers finally come, but they do not fix the road, since that it is the roadworks department's job.

Meanwhile, more winds blow more dust around. In most cases, the roadworks people never show up. Mumbai has looked like a war zone as long as I've lived there, a bit like Aleppo after some barrel bombs.

And then I noticed another little dust-maker: the cute zig-zag paving tiles that give many Mumbai crossroads a faux European look. With just some basic geometry, you'd have seen the glaring mismatch between the kerb and the pavestones. The kerb is a straight edge, while the paisley tiles are curved.

When a curved object meets a straight one, gaps are guaranteed. A good road maker would know what to do about those gaps. He'd pack them tight with concrete cement, and they'd be gap-free when it dried. But Mumbai's heritage is of roads with beautiful tiles that are abandoned inches before they touch the pavement. Those are the tiles that go loose first, exposing dusty road. One by one, the rest follow.

Soon, the happy roadmaker has to be re-hired to repair his own work. Meanwhile, more and more dust flies around as more and more tiles come loose. I ASKED A ROADMAKER why his work was so shoddy. He shrugged and said, "It's how the system works. To win the contract, I have to pay someone in the municipality first, almost one-third of the amount. But after that, I don't have enough money left to deliver the job as I promised once I deduct the bribe and my profit. So I have to cut something somewhere. We just leaves the edges incomplete." And voila! Another cloud of dust.

Here, viewed from there. C Y Gopinath, in Bangkok, throws unique light and shadows on Mumbai, the city that raised him. You can reach him at cygopi@gmail.com Send your feedback to mailbag@mid-day.com

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The most erudite can be swayed by numbers alone. Representation pic

The only reason a semi-circle of well-connected writers, and well-paid editors seemed to loathe Chetan Bhagat so vehemently is because he is so widely read, perhaps even loved, and they aren't, I (rightly) thought — standing in the periphery of that semi-circle at a literary fest after-party, over half a decade ago. With that bitchy conversation over-valuing Bhagat's national impact going nowhere, I stepped out to grab a drink.

Bhagat was at the corner of the bar at Indigo, where a big-shot industrialist, now I forget if it was Anand Mahindra or Ness Wadia (and that's not even the point), somberly walked up to him to check on what's going on in Indian politics. His vishesh tippani followed. Now, where to go?

The most erudite can be swayed by numbers alone, in this case the number of Bhagat's English young-lit readers. Do these numbers always signify democracy? It could produce the opposite effect. Let's look at politics in a bit, but we do know a little about mass news, entertainment, although it's hard to tell one from the other.

They're crafted around second-guessing audience's supposed tastes, often where one thing works, automatically everybody else follows, and therefore an entire industry, over time, step by step, splicing out everything that doesn't fit into the larger, determined hole, produces a mainstream media that looks the same —across. Pick up the most popular radio, television stations, websites, newspapers, or even movies (creating stars, or special effects), and you'll know. One size must fit all. Your circus, my monkeys. It's a numbers' game. And numbers can be gamed.

Is politics that aims for more complicated arithmetic, and much larger audiences, another field that defies free-market, with greater competition only inhibiting choice, and progressively screwing up quality? Survey the national scene. Examine its broad product categories that, weeding out the highest common multiple over time, every political party has conveniently fit into, in order to appeal to the lowest common denominator: Nehru/Gandhi, Sangh, Ambedkar, Lohia, Left (and those opposing them, of course). Grand promises of abolishing poverty (1971), 'acche din' (2014) etc, although well-meaning, are merely side-shows, and tag-lines.

Every politician, ideally, must check one or the other box, holding uniformly same and sometimes inter-changeable opinions on a variety of complex issues. That's what you need/scream to lord over vast public resources/institutions. Target in place. Hit-job ordered. Distraction complete. Groups vote en masse. Design is set.

Educational qualifications, past experience, passing tough exams/interviews that test competence, are for minions entrusted with growing/protecting a small company's pocket change. If you're part of none of the above cult groups, the newbie Aam Aadmi Party, for instance, you do appear like an "anarchist". It's easy to be portrayed as one. This is basically show-business, albeit of relatively not such good-looking people.

How did we get here? Because Ambedkar, the father of Indian Constitution, said we would. If, for one, he ironically stated, we fell prey to 'personality cults', or quoting John Stuart Mill, "lay liberties at the feet of even a great man, trusting him with powers, which enable him to subvert institutions." Two, if political democracy did not follow actual social democracy on the ground (unqualified liberty, equality, fraternity, for all). It didn't. So where do the regular folk stand? Between a rock, and a hard place. But you must pick a side. It makes life simpler.

And you must vote. Have to vote. It's your right. Your privilege. You must vote. This is democracy. They go to vote — for one, or perhaps, against the other. As they did in Karnataka. In a tri-partite fight, the party with the lowest number of seats, steps in to form a government, with the help of the party they fought against. The one with the highest number of seats looks at how they could "poach" from the other two, whose MLAs were locked up! It didn't matter what they fought for, or against.
The popular television anchor with the second highest English news ratings asks the gentleman from the scavenging team how they would manage the numbers. Arrey! He names his captain; and winks, pretty much. They both laugh out loud, in public, on TV, simultaneously. This is supposed to be "horse-trading" to form a "stable" government.

The highest read Indian English writer, Bhagat, weighs in with a pragmatic tweet, that must be seen as our form of public intellectualism — calling horse-trading an "art form". Yes, the election is over. Another will follow. The voter looks puzzled. Or maybe doesn't. Now let's just frickin' move on, right. No, you wanna question this? Oh.

Mayank Shekhar attempts to make sense of mass culture. He tweets @mayankw14 Send your feedback to mailbag@mid-day.com

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Richa Kaul Padte

When I set out to write this book, I expected to find that Indian women were watching, making and enjoying porn. And indeed, I found that! What I didn't expect, though, was how comfortable and open they would be while talking about it," says Richa Kaul Padte of her debut non-fiction, Cyber Sexy (Penguin Random House). Through an intimate tour of online sex cultures — from camgirls to fanfiction writers, homemade videos to consent violations — the book investigates what it means to seek out pleasure online. Padte grew up in Kodaikanal and has lived most of her life in Brighton, England. Apart from being the co-founder of the award-winning publication Deep Dives, her writings have appeared in several publications. The well-researched book is full of interesting anecdotes, which had us questioning what we think we knew of porn. We spoke to her about women who romantacise porn, what inspires her, and if women would rather read erotica than watch the act on screen.

Excerpts from an interview:

In retrospect, what would you say the true vision of the book is?
Looking back on the project, what has come to the surface is that Cyber Sexy allows readers to feel less alone. Many people I interviewed said that the experience of sharing their stories removed a sense of isolation, and I know for sure that I as the listener felt a lot of relief, just hearing them. It's a comfort to know how varied desire is; that no matter how strange what's inside us can feel, we're never truly alone.

You have had intense, deep conversations with varied women for this book. Share some anecdotes that really stayed with you.
Not just with women, but with men too. For example, I spoke to one man who said he had always been embarrassed and bullied about the size and shape of his penis, but through participating in nude photoshoots, he came to terms with and started loving his body. This stayed with me, because men are often under pressure to be a certain type of masculine — and they rarely express these vulnerabilities. So, whenever men were able to talk about these gentler, less confident parts of their sexualities, it stood out for me.

What revelations did you have about the Indian woman and her sexuality?
As girls and women we're not encouraged to talk about sex, so I thought there would be some degree of reservation in interviews. I was so heartened to find this was not the case – women were happy to openly share their experiences, and I was more than happy to hear about them.

In your experience, how do men and women consume porn? For example, one may watch porn to please themselves, but quite often, we also think of people we desire. Do you think woman romanticise porn?
I think this might be more of an individual preference than a gendered thing. Desire is constantly shifting, just like fantasies, just like porn preferences. And I don't think romaticising porn is a gender-specific experience. Having said that, I think where women and men's porn preferences do differ is on the question of consent. Almost every woman said that as soon as porn seemed non-consensual, they were instantly turned off. I think as women we are constantly worried about having our consent violated, so our porn consumption reflects this fear.

Do you think women prefer reading porn rather than watching it?
I don't think I've surveyed enough women to make this claim definitively, but what I can say for sure is that erotica, fanfiction, and other sexy writings on the Internet are predominantly women-led spaces. Personally speaking, sex scenes in novels was how I first started exploring my own desires as a teenager, and I think for many women the written word is a safe, intimate space in which to express sexuality — both as readers and as writers.

Women usually find it easier to go without sex for long periods of time. Could this affect their desires?
My point is, everyone can survive without sex, but sex is also a deep human need. I think what does affect women's desires is fear — fear of unwanted pregnancies, abuse, violence, etc. We think twice — or 50 times —before we go home with unknown men. Not because we want sex any less than them, but because gender violence is a reality we have to perpetually contend with. So we often forgo desire because we want to, you know, stay alive.

Also Read: Married? This Dating Site Is Meant For You

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Pic Courtesy/Sameer Malhotra

Why am I biking so much? Maybe, because I work only as much as I need to," says actor Satyadeep Misra, who you will remember as Rosie's suitor Johnny from Bombay Velvet and TV series P.O.W. — Bandi Yuddh Ke, where he played a soldier. We are sitting at his Versova home talking about bikes over a glass of gin.

Kemmu and Misra's social media is full of riding clicks, including those taken outside Café Monza in Kharghar, where they ride down on Sundays. Pics/Instagram

The cupboard next to us in the living room, is topped with helmets, which he says will grow in number. If you follow Misra on Instagram, you know that over the last year, he has biked to Uttaranchal, Himachal, Goa, Nepal and Hampi. His biking friends include actor Kunal Kemmu, who will next be seen in Karan Johar's Kalank, and whose social media feed is also full of riding clicks. Some of these see him posing with his bike, and some are taken with Misra outside Café Monza in Kharghar, where they ride down early on most Sunday mornings for breakfast.

Satyadeep Misra

Misra has a Ducati Scrambler, and Kemmu used to have a MV Agusta Brutale 1090 RR, and now has a Ducati Scrambler too. Their retail indulgences include biking jackets, one helmet after another, gloves and of course, biking boots. "After the Uttaranchal trip, riding became a big part of my life. I wake up only thinking of riding. The question on my mind always is 'when is my next biking trip going to be?' I think I work, just so I can ride," says Misra.

Kunal Kemmu

Unlike Misra, who caught the bug last year, Kemmu harboured the dream of biking since school, because he thought it was "cool". "My uncle bought me a bike, but the day it got delivered, I was in college, and my father sent it back," he tells us. "I have always been a rider. But, it's only in the last six months that I have started to enjoy what it's all about. I have made friends with those who ride with me. And I have been getting all this gear that improves the riding experience," says the new father, who is quick to tell us that the one thing wife Soha Ali Khan tells him, is to be careful.

In Robert M Pirsig's Zen and The Art of Motorcycle Maintenance, the author writes, "In a car, you're always in a compartment, and because you're used to it, you don't realise that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming."

When Misra speaks of riding on a bike, he compares the feeling to flying. "If you see my bike, which is an off-roader, it's high up there, and as you are sitting on it, you too are sort of squatting in air. So, when you are cruising along, it does feel like you are flying," he says. When we ask, what he thinks about when he rides, he says, "It's hard to think because you are focussed on the road. All your instincts are tuned to the road, and keeping the bike in control. But as you start doing it more, it gets easier to disconnect and ride. As I said, it's the closest I have come to flying."

For Kemmu, it started off by being about the sound, speed and how the bike looks. But, in recent times, he has felt it become a stress buster. "There are days when you will be stuck in traffic, and feeling baked in all that gear, but then, there will be days where it will be a breeze. The risk factor also adds to the romance. At the end of the day, it's about the relationship between man and machine, and that's priceless."

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A still from Bioscopewala, featuring Danny Denzongpa in the lead

When we dial up Danny Denzongpa's number on a Friday evening, we are greeted with a faint "hello". The network is choppy, his voice drifts in and out. "I am in a cool place," he says, referring to Sikkim, where the actor is at the moment. His film, Bioscopewala, based on Rabindranath Tagore's renowned story Kabuliwala, is prepping for release, but Denzongpa chooses to stay far from the hustle and bustle of promotion. "I like it here," says the man of few words.

The 70-year-old actor was a little boy when he saw the Balraj Sahni-starrer Kabuliwala (1961). He had also seen the Bengali film earlier, starring Chhabi Biswas. The Sahni film, however, had an impact on him altogether. "I remember our teacher had taken us to see the film and I was howling in the theatre," Denzongpa says. When he first read Tagore's story in school, he made a drawing inspired by it. "There was a man with a pagdi, standing in a hilly backdrop. There was a stream flowing by, and across it, was a little girl." Bioscopewala, he tells us, was originally supposed to star Amitabh Bachchan. "But somehow, that did not materialise. I have always been a huge fan of the film, so, when Sunil (Doshi, producer and co-writer) approached me, I jumped at the chance," he says.

Doing the film was like going back to his college days. "Most of the crew was from my film institute (FTII) — the director, writer, sound designer Resul (Pookutty). I was the senior most among them. I remember when we were shooting in Ladakh, and I would go jogging at early morning, they'd be surprised and tell me 'you're supposed to rest for two days'. But, I am from the hills!" laughs Denzongpa. He also knew his co-actor Geetanjali Thapa, who plays Minnie, well. His other co-actor Tisca Chopra also doubled up as his Afghani tutor. "I had a tutor on sets to correct my diction, but I would always turn to Tisca. She has stayed in Afghanistan for over 10 years and is fluent in the language."

Unlike the original film that was set in the 1940s, Bioscopewala comes forward in time, in the '80s, during the Taliban regime in Afghanistan. Having also wrapped up shooting for the Kangana Ranaut starrer Manikarni: Queen of Jhansi, where he plays an army general who was like a father to the queen, the actor is now enjoying the quiet. He is not Mumbai-bound anytime soon, not even for the premiere of Bioscopewala. "This is the person I am. I'm very shy, I don't party, I stay away from events, I have not had a PR in 45 years. You don't see me talking to the press either, nor I am on television. It's not on purpose. I just don't like attracting attention towards myself." And of course, he's not on social media either. "The only thing I am on is my phone, and that also I forget about at times," he laughs.

Also Read: 7 Memorable Roles Of Danny Denzongpa

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When the first State of Decay came out, it was unique in the way that it focused on the survival aspect of a zombie apocalypse rather than the all-out destruction and gore of killing countless zombies. With the new game, the developers have focused their attention on the community aspect of survival.

Right from the start, you get to choose two characters instead of one and each group and character has their own strengths, skills and background. Like the previous game, you can make your posse and build a base of operations complete with a farm and fortification. There are three open world maps — each the size of the map in the original game.

This huge world is littered with empty cabins, new places to build outposts and gather resources. Risky as it may be, the game forces you to explore resources simply because weapons break and you can run out of fuel, food and medical supplies. Venturing out also helps you meet new people to add to the community. State of Decay 2 really hits you home with all the death — losing a built-up human resource can be painful. You can die by getting killed in combat or by way of infection.

Dying in combat is also rare as the AI-controlled characters do a good job of handling themselves, while you take care of business. The only real time you are in danger is when you encounter morbidly obese super zombies that can tear you apart. These guys are tough, but they are the most fun combat you will face in the game, second only to running over zombies with a car, which could have been better if the cars handled better.

Plus, it pays to remember that fuel is a limited resource that you might want to save. Scavenging for resources is fairly simple — if you need fuel, you can raid a gas station; if you need food, find a convenience store or abandoned encampment. Gathered resources can be used to build up, upgrade and fortify your own camp. While there is a ton of stuff to do in the camp and in the surrounding areas, State of Decay 2 does have a main story.

The story mode is a great way to learn about the game and experience various situations as you search for plague hearts to destroy. Plague hearts are throbbing masses of flesh, and it is what produces the infectious plague zombies, identifiable with their glowing eyes. To reduce their numbers, you need to find and destroy the hearts. While the story mode is fulfilling, the camp building and exploring is where the game's strength lies.

We played an advanced copy of the game and the final game will be released on Tuesday. State of Decay 2 still has a lot of bugs, which hopefully will be ironed out soon. Some bugs we encountered on the PC version of the game were floating zombies, breaks in rendering and freezing. This is not a big issue and the developers are sure to patch this over time. And, while the game is very competitively priced, we would recommend waiting for a future bug-free version before jumping in.

State of Decay 2
Rating: 3.5/5
Developer: Undead Labs
Publisher: Microsoft
Platform: PC, XBOX
Price: Rs 1,924

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Photographer and graphic designer Anusha Yadav started the Indian Memory Project, an online, visual, narrative-based archive in 2010, to trace the history of the subcontinent via photographs and letters. Pic/Ashish Raje

EarLier this week, artist and oral historian Aanchal Malhotra, 28, travelled nearly 240 km to Chandigarh from Delhi, to meet a nonagenarian, who had lived through the Partition of 1947. As she speaks about it now, there's a lump in her throat. "I couldn't sleep that entire night," Malhotra confesses. "Even 70 years on, the woman is so afraid to talk about it. It had everything, from gun fire, to fleeing from her home in Pakistan, to her brother and mother being taken as prisoners, and to giving birth in a forest on her way to India. When she first delivered the baby, her immediate response was to throw it away. You can imagine what trauma she was experiencing." What surprised Malhotra most was when the 90-year-old asked her what she would do with her story. "I said that I wanted to publish it. The woman's immediate response was, 'who will read this?'. They really think that nobody cares. But, this is the story that has shaped the future of contemporary India."

The jewellery Aanchal Malhotra is wearing, was made in the North-West Frontier Province and was given to her great-grandmother, Lajvanti Gulyani, by her in-laws on her wedding to Hari Chand Gulyani in the year 1919. But it could have been in the Gulyani family before that as well. Since she became a widow quite young and was a single mother at the time of Partition, it was carried by her to India in 1947 because she thought she would be able to sell it and earn money to put her children through school. She then gave it to Malhotra’s grandmother, who has now given it to her. Pic/Nishad Alam

Malhotra is the author of Remnants of Separation (HarperCollins India), a book that revisited the Partition through objects carried across the border, and the co-founder — along with Navdha Malhotra — of The Museum of Material Memory, a digital repository of material culture of the Indian subcontinent, tracing family histories and ethnography through heirlooms and objects of antiquity. Since the launch of the archive last year, the founders have put together over 35 heartwarming object stories. Closer home, photographer and graphic designer Anusha Yadav's Indian Memory Project — an online, visual, narrative-based archive, founded in 2010, which traces the history of the subcontinent via photographs and letters — has helped us see history in another light. There is also Paris-based perfumer Jahnvi Lakhota Nandan, whose recently-published book, Pukka Indian: 100 objects that Define India (Roli Books), documents the most coveted symbols and designs representing our culture, by tracing its origin and significance in our lives. All three projects while different in essence and form, have one common intent — to record untold stories from our history and preserve them for posterity. But, as Malhotra's subject asked her, why should anyone be curious?

The chakla and belan originated in 7,500 – 6,000 BCE in Punjab. At the time, this region was cultivating wheat and barley extensively. Rather than using the flatness of the chakla and the pressure of the belan to what we might expect to be used around the country to make flatbread, whatever the ingredient might be, it is only in this region of north India that the chakla and belan were used simply because wheat and barley lend themselves to kneading. What must have been perceived as a high-technology kitchen tool then, the chakla and belan soon spread to other parts of the country. Text courtesy/Pukka India by Jahnvi Lakhota Nanda, Roli books; Pic/Shivani Gupta

Celebrating the mundane
Nandan, an alumnus of the School of Art and Design at Tsukuba University, Japan, admits that her project stemmed out of her curiosity to find out about the designs that define us an Indian. "Design is a mirror of our attitudes and habits. Through the course of writing this book on Indian design, I found that uniquely Indian gestures like churning, combing and calculating were reflected in it," she writes in the book. From the dabba, agarbatti, and kulhad, to Babuline gripe water, most of the objects Nandan chose for the book, have "either been made or originated in India, or have an element that is very Indian, or are being used in a very Indian context".

This picture is of Purvi Sanghvi’s grandfather Dwarkadas Jivanlal Sanghvi (extreme right in a black coat) and his brother Vallabhdas Jivanlal Sanghvi with their business partners at a Pen Exhibition in Bombay around 1951. The family ran Wilson Pens that quickly rose to huge fame and became a preferred choice of pens across the country. All government offices, law court, used the Wilson pens. The Wilson Pen Family made the orange, thick-nibbed pen that wrote the most fundamental document that defines the state of India: The Constitution of India written by Dr Babasaheb Ambedkar. Pic, Text Courtesy/Indian Memory Project/Contributed by Purvi Sanghvi, Mumbai

It's while working on the book that Nandan realised how "our own homes are a repository of history". Here, she relays an incident when Shivani Gupta, the photographer for Pukka Indian, had been anxious about finding a mandira — a butter churner — that Nandan had mentioned in the book. "She went home, and realised that she had five of them in her kitchen. She didn't even know she was sitting on so much wealth." Nandan adds, "We don't tend to celebrate the mundane. What we celebrate are things that have obvious value, like jewellery, the beautification of the body or the exotic."

Paris-based perfumer Jahnvi Lakhota Nandan's recent book, Pukka Indian, documents the most coveted symbols and designs representing Indian culture, by tracing its origin and significance in the lives of its users. Pic/Suresh Karkera

Object as a catalyst
Malhotra's interest in people's histories began while working on Remnants of Separation, which was an extension of her Master of Fine Arts thesis project for Concordia University, Canada. Malhotra's research began after she came across a gaz (a measuring device) and ghara (a pot), which belonged to her nana's family, and had crossed the border. "Sometimes the Partition is too traumatic to speak about. When I started my research, I didn't know where to begin or what I could ask, without sounding frivolous. The object became a catalyst to enter into that conversation. So, rather than me saying 'Oh! You lived through the Partition, that must be awful,' I was now asking relevant questions, like 'why did you choose to take this gold bangle with you?'. The object then, didn't become something that recessed into the background, but something around which the entire background was arranged."

That's when she and Navdha decided to start The Museum of Material Memory. The duo encourages everyone to contribute, provided the object is from or before the 1970s. The archive comprises everything from a 5-inch-long, mottled sewing needle to a chaddar with traditional baagh and phulkari embroidery and a former Class II Income-Tax officer's diary filled up with the repeated words 'Sri Rama Jayam', meaning Jai Sri Ram. Each post is accompanied with the story behind the object. "Material ethnography is so vastly explored in the West, especially when it comes to events of trauma and crisis. What we are recording here, will never be found in any textbook. We need active memoralisation, not just of traumatic events, but of our tradition and culture, which is primarily oral."

Not just for nostalgia's sake
The indianmemoryproject.com, says Yadav, started off as a book idea, where she wanted to collect old, wedding photographs. "I wanted to document the idea of weddings in different cultures, and explore the entire phenomena behind the crew that makes it possible," she says. "While the book didn't happen, the pictures stayed with me." That's how, her archive, a first-of-its-kind in India, took off. "If you are fascinated with history, you will know that India really is a melting pot. Every civilisation has passed through it. And so we have all kinds of DNA in us. And considering photography was discovered two centuries ago, we did have a lot of content to discuss," says Yadav.

She admits that it wasn't as easy to get people to share their photographs or talk about their stories. "But, there needs to be integrity, transparency and you need to earn the trust of your subject. When you have these value systems in place, people are more open. I always thought of the archive as an institution." Funding for the project has been tough, says the archivist. "When I began, I was very clear that I didn't want to become a trust. Unfortunately, that's the channel through which most of the money comes from. But, there's a server and maintenance cost and the site constantly needs to be upgraded. Now, I have started putting in requests for honorariums. The only way I will get money is through a private funder, who is fascinated with the idea, and wants to back it as well. Sometimes, when a good sum comes from my own work as a photographer, part of the profits go to it. At the end of the day, it is an unofficial record of history, and I'm doing my best to sustain it."

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Vikhroli resident Dr Suvajeet Duttagupta loves cooking his meals. But, the 31-year-old cinematographer admits that some days are long and tiring and the only option is to order in. Yet, this comes with its share of heartaches. "The worst bit about ordering out is the amount of plastic that they use to package the food. While I make it a point to ask the restaurants not to send any plastic cutlery, there's only so much one can do." But, Duttagupta isn't the only Mumbaikar who wishes ordering in was more environment-friendly. With the plastic ban coming into full effect on June 23, Mumbai establishments have little more than a month to find alternatives. While some places now pack their containers in cloth bags, the containers themselves remain plastic, thus almost negating the good work done. But, there are a few who have switched to eco-friendly alternatives:

The New York Burrito Company

This brand new Mexican quick service restaurant has a takeout menu that includes Mexican bowl, burrito, tacos, nachos, quesadillas, chips with guacamole and more. They use recyclable bagasse trays and kraft bags (made from recycled paper). They also add wooden spoons and forks to their takeout bags. Senil Shah, partner, says,
"As our packaging is eco-friendly and fresh, we don't fear food getting bad. Costs have risen, but we see it as an investment for our future generation's betterment."

Senil Shah, partner, The New York Burrito Company

Where: Chowpatty
Timings: 11 am – 11 pm
Meal for two: Rs 600
Call: 8999347000

29 – Twenty Nine

This pan-Indian restaurant which opened in 2016, is much loved by the patrons for the range of regional dishes (29 states) available under one roof. "We have been experimenting with various packaging material at our Kemps Corner outlet, long before the plastic ban. The packaging material we have found best for our use is made of paper and cornstarch with an eco-friendly dissolvable lamination. This was then applied to all other 29 outlets," says owner Nishek Jain. The initial sourcing of the products came from an exhibition called PackPlus hosted in New Delhi. Certain items, like rabadi with jalebi all come in a kulhad. They pack the curries in an eco-friendly thick-bond-with-lamination pack.

Nishek Jain, owner, 29 - Twenty Nine. Pic/Bipin Kokate

Where: Kemps Corner
Timings: 11 am – 3.30 pm and 7 pm – 11.30 pm
Meal for two: R1,000
Call: 7208022929

O Pedro

This Goan eatery became an instant talk-of-the-town thanks to its mix of flavours soaked in the coastal calm. From healthy options such as corn falafel lettuce wrap to good ol' chorizo chili fry poie, their menu has something for everyone. Before starting their takeaway services, O Pedro's tried and tested their delivery menu so that they knew that the food ordered for delivery would travel well. All these dishes are packed in products made of sugarcane, sorghum and wheat that are sourced locally from Pappco Greenware. "Working without plastic has its own challenges as one is not able to secure or seal in liquids completely, but we seal our boxes with paper tape to reduce chances of spillage," says Yash Bhanage, Partner at O Pedro. He adds, "The quality and the experience of eating the meal is most important for us. Therefore, we are only looking at delivering within a limited radius where we know the food would reach our guests quickly and in the way it was intended to."

30-60
No. of days in which sugarcane bagasse decomposes

Where: Bandra Kurla Complex
Timings: Noon to 1 am
Meal for two: R1,200
Call: 26534700

Mandala

This delivery kitchen offers a wide range of salads, sandwiches and soups. Sticking to their organic living philosophy, they also ensure that their food reaches their patrons in bio-degradable containers made of sugarcane bagasse — the fibrous residue. They source these products from a company that buys the packaging raw material from the UK and then processes it to create biodegradable bowls. The company also provides data on how many carbon credits they save by using their boxes. "We don't add any items on our menu that don't withstand our rigorous testing. This means that we let our food sit out at room temperature for up to an hour to see if it retains its flavour and freshness," says Sarvangi Shah, director of marketing.

Where: Kemps Corner and Prabhadevi
Timings: 11 am-midnight
Meal for two: Rs 700
Call: 8291817376

The Pantry

Tucked in the bylanes of the city's art district, this artsy café is a perfect hideout. The Pantry was established six years ago with principles of using fresh, local produce. This even translates in their packaging where they use food containers made of cornstarch while their straws, sleeves, boxes are all made of paper. Soup containers are made of bagasse. "Liquid foods like soups are the trickiest to pack but as we use bagasse container for the same and they are with an airtight lid which holds liquids safely, it makes it easy to travel," says Sumit Gambhir, the partner at The Pantry. In order to avoid spoilage due to temperature, they ensure that they maintain the delivery timings.

Address: Kala Ghoda, Fort
Timings: 8.30 am – 11.30 pm
Meal for two: Rs 1,400
Call: 22678901

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Without access to modern technology like refrigeration, people in developing countries often have to throw away a significant proportion of the fish they catch. EU-funded researchers have delivered innovative, low-cost solutions to help such communities around the world make their fish stocks go further.

Monday
Soak in some art
Attend an exhibition where artist Kanu Patel will showcase his paintings. His works are influenced by the religion, history, literature and arts of India.
Time 11 am to 7 pm
At Jehangir Art Gallery, Kala Ghoda.
Call 9825041289
Free

Get a kick
Taekwondo is a semi-contact martial arts form that originated in Korea. Enrol for a summer camp where you can
learn the different techniques that it involves.
Time 9 am
At Natraj Hall, Link Road, Andheri West.
Log on to eventshigh.com
Entry Rs 1,800

Do something to dye for
Batik is a wax-resist dyeing technique that is popular in many Southeast Asian countries. Learn how it’s done in Malaysia, where there are no restrictions on the colours you use On the fabric of your choice.
Time 12 noon
At Iteeha Studio, Mathuradas Mill Compound, Lower Parel.
Log on to insider.in
Cost Rs 2,300

Tuesday
Deal with it
 An affordable watering hole is celebrating its first anniversary. And it’s offering an unbelievable deal to mark the occasion — get 36 unlimited drinks for just '365. If that doesn’t sound like a deal, we don’t know what will.
Time 9 pm onwards
At BKC Dive, Pinnacle Corporate Park, Bandra Kurla Complex.
Call 8655077330

Mark their words
Poetry is one form of the arts that can truly encapsulate the complexity of the human condition. Attend an open-mic event where new and established talent will read out their verses.
Time 8.30 pm
At Hive at Gostana, Parbhat Kunj, Linking Road, Bandra West.
Call 64533359
Cost Rs 250 (including Rs 100 as cover)

Get a high
Aeromodelling is an excellent way of learning basic science and engineering principles. Sign your child up for a course that teaches them how to build and fly model planes.
Time 11 am
At Quistic Learning Centre, Oshiwara, Andheri West.
Log on to eventshigh.com
Cost Rs 2,500

Wednesday
Eat like a local
Sample some authentic Maharashtrian fare at an eatery on the occasion of Akshaya Tritiya. Tuck into delicacies like aamras puri, katachi amti, dalimbi wal and vangiyacha bhari.
Time 12 pm and 7 pm
At The Bombay Havelli, Maharshi Karve Road, Opera House, Girgaum.
Call 33126813
Cost Rs 1,200

Learn about wine
If you are a wine enthusiast, attend the informative Taste and Learn Series being held at the restaurant of a BKC hotel. A sommelier will teach how to distinguish between different makes of the drink, which will be paired with a curated menu of small bites.
Time 7 pm
At Artisan, Sofitel Hotel, BKC.
Call 8268152599
Cost Rs 3,097

Move your body
Attend a physical movements course that focuses on khel kalari, a body-mind training system comprising kalaripayattu, yoga, mobility and locomotion, breathwork, and voice and chanting exercises.
Time 9.30 am to 11 am, and 4.30 pm to 6 pm
At Hybrid Fitness, Bungalow 34, Janaki Devi School Road, Andheri West.
Call 9967535562
Cost Rs 3,000 for each phase

Thursday
Manage money
Attend a workshop on managing your finances if you’re the sort who regularly find yourself asking, “Where did my all money disappear to?” Learn how to choose the right investment options and define your financial goals.
Time 10 am
At Verbena Brewpub, Lower Parel.
Call 39971886
Cost Rs 2,500

Tell tales
Have a story to tell? Attend a session where audience members are invited to take the stage and narrate interesting anecdotes from their life, be it a hair-raising tale or an incident that makes people laugh out loud.
On 8 pm
At The School Of Thought, Laxmi Industrial Estate, New Link Road, Andheri West.
Call 9819546349
Cost Rs 249

Go back in time
Catch Blackstratblues play a gig that rolls back time to the analogue era. The band is fronted by Warren Mendonsa (second from right in pic), a virtuoso guitarist, considered to be one of India’s best.
Time 9 pm
At Todi Mill Social, Mathuradas Mill Compound, Lower Parel.
Call 7506394240
Entry Rs 600

Hear new jokes
The stand-up circuit in Mumbai is choc-a-bloc with a host of established comics and upcoming artistes. Many of them draw their inspiration from life in the Maximum City, meaning their routines are replete with jokes based on, say, Dadar station or vada pav. But if you are looking for something different, attend a gig that features only outstation artistes, who have their own flavour of comedy.
Time 8.30 pm
At The Cuckoo Club, 5AA Pali Hill Road, next to Candies, Bandra West.
Call 9619962969
Entry Rs 250

Catch a play
How does a husband’s quest to get his beloved wife’s sight restored create a stir in the life of an internationally renowned eye surgeon, who has given up his practice? And how does this interesting intersection of three lives play out? Find out at the staging of Molly Sweeney, a play directed by Rehaan Engineer.
Till April 22, 8 pm
At G5A Foundation for Contemporary Culture, Mahalaxmi.
Log on to bookmyshow.com
Entry Rs 750

Also Read: Sign Up For The Ideal Weekend Plan

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The romanticising of vinyls is not without reason - the gritty, warm sound, the bout of nostalgia and the act of listening may all be cliches, but they also hold true. And today being World Record Store Day, there is perhaps no better way of spending it than actually being in one. So here are a few that can satiate everyone from the grandpa obsessed with Madhubala to the hipster who wears socks from different pairs. Take your pick.

The Revolver Club
Jude D'Souza (seated in pic), CeO at The Revolver Club, says, "I once got a call about someone wanting to purchase weapons and another one asking how they could join this club." He explains that the name is a play on the revolving aspect of vinyls and also an ode to a Beatles album. D'Souza set up the store with co-founder Shalom Benjamin about three years ago, and it has now become a go-to hub for record junkies.
At: LJ Road, Mahim West.
Call: 9833182255
Cost: Rs 100 to Rs 25,000

Royal Music Collection
Known simply as Abdul Razaak's store to those in the trade, this shop tucked away in Fort has been around since 1982. Featuring an array of languages and genres, the stock is a treasure trove of collectors' records. "Most of my customers are regulars and now that record players are back, I get some new ones too. Much what I have comes from old collections, so it's cheap and exquisite," says Razaak, the owner.
At: Kitab Mahal, Dr DN Road.
Call: 98209 33365
Cost: Rs 250 to Rs 2,000.

Music Circle
Pilak Bhatt, owner of Music Centre, which has been around for five years, says he has been collecting records for the last 40 years. At his store you can find both pre-owned records and new ones. "Because of my passion and love for music, I want this format to stay alive. Analogue sound is natural and warm and records have lovely artwork. Plus, there's ample information about the artistes. The sound of Mp3s isn't great, and people are realising that, which is why this revival has come about," Bhatt says.
At: V Mall, Kandivali east
Call: 9833062221
Cost: Rs 300 to Rs 2,000

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A hot and humid climate is not your make-up's best friend. To prevent it from melting and make it last longer, stay away from liquid or cream bronzers and invest in good powder eyeshadows, suggest experts.

Annanya Sabarwal, Country Head at Kiko Milano India and Davinder Kaur, make-up expert at MyGlamm, have listed tips for a tension free time at a summer wedding:

Cleanse the skin with a gentle cleanser and rub ice wrapped in a clean cotton cloth, all over your face. It refreshes and hydrates the skin. Follow with a moisturiser as per your skin type.

Opt for an oil-free primer before applying make-up as it helps it last longer and holds your make-up up through any condition. If you use foundation, apply an oil-free formula with a foundation brush. After you've applied your liquid foundation, powder your face with a small brush.

Take caution with bronzers. Stay away from liquid or cream bronzers, as they will not hold up in the heat; try a matte powder instead.

If your eyelids are extra oily, apply a mattifying product first, as it gives a perfect finish to any texture of eye shadows and makes it stay longer without creasing the eyeshadow. Stick to powder eyeshadows over creamy formulas.

As for liners, waterproof liquid liner is the best idea.

A waterproof mascara is a must for every bride, especially for a summer one.

Opt for soft, powdery formula over cream blush that will look fresh and absorb oil. For more staying power, apply cheek stain, then dust a matching powder blush on top of it.

Complete your look with a matte lipstick in coral, peach and pink colours. Before you do that, start off by using a good lip scrub and then moisturise your lips with balm so your pencil will glide along easily. Take your lip pencil on your entire lips as this will prevent your lipstick from bleeding and supply more holding power. Cover your lips with the lipstick once the base is set.

Make sure to use a fixing spray. If you don't have one, rose water is a good substitute too.

Do not to forget to carry a kit for quick touch ups, it should include a compact, a lipstick, powder-free blotting papers to remove shine, and a small tube of concealer with a tiny synthetic brush for quick touch-ups.

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There are many single parents in India. Not too long ago, a single parent was equal to a woman raising her kid/s. But this is changing. We already have three friends who are single dads - not just divorced - and they wholly look after their kids.

And the best way to know that single dadhood is no longer an aberration is the fact that we now have souldads.com in India. The brainchild of Chetan Shah, it intends to be an online support channel for single parents, especially fathers. Shah shares his experiences and challenges, and invites readers to participate in the conversation. The blog posts dwell on education and parenting, and the emotional challenges of relationships and parenting. While the blog claims to post solutions to overcome them, we didn't see any. A revisit to a site would only happen if it provides solutions. And Souldad.com does not.

Single dads, like moms, need to work full-time to support the family, and it would be great if (like babychakra.com) an online community answers practical and logistic concerns, such as:

• As a father, where can I find nanny/daycare, governess/companion for my children?
• Does anyone offer babysitting services for a day/week/short period?
• Do you have lists or agencies that provide cooks or dabba facilities; as a package, or otherwise?
• What do I do on festivals? I want my kid to be in touch with their roots, and I have no clue.
• I need to travel out of the country for work; what do I do?
• Where do I find tutor lists?
• Kids have a tough time after their parents separate. What do I do if I think my kid/s may need hand-holding or a counsellor?
• What are the safe and clean places I can send my kid/s to play under a nanny's supervision?
• In cities where nuclear families are a norm, daily firefighting is part of any working parent's life. For single parents, even more. Perhaps, it is because they have just started off, but souldads.com needs to address any or more of the above issues if they intend to be a must-see, must-visit online space for single dads.

Log on to: www.singledad.com

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Caroline (Laura Mishra) pours out her fears about her rocky marriage to the governess Ms Chacko (Pooja Nair)

All the world's a stage, but that doesn't make all of us actors, as we discovered after three long hours of watching an adaptation of Agatha Christie's Go Back For Murder by the theatre group, Making Noise. The play follows the protagonist Chloe Miranda (played by director Laura Mishra), on her journey to prove her mother innocent of her father's murder.

The catch is, the murder happened 15 years ago, and her mother is no longer around to defend herself, having passed away in prison. So, Chloe joins hands with her lawyer Filip Calisto (male lead essayed by Navin Talreja) to piece together who really killed her father. They track down friends and family members who were present on the day of the murder. Everyone returns to the scene of a crime in Goa to recreate the events leading up to the murder.

True to form, the tight plot devised by the queen of crime writing keeps the audience guessing until the very end when the killer is finally revealed in the denouement.

Unfortunately, there is another murder that needs to be addressed — that of the play itself. The warning signs appeared from the very beginning: Actors stumbling over their words, even forgetting their lines at times; lacklustre delivery was a problem throughout the play. Direction was, dare we say, missing. Actors killed a ridiculous amount of time milling about on stage, unable to hold still even during conversations with other characters. As a result, even though the advertised run time was two hours and 15 minutes (including the interval), the audience was trapped for an extra 45 minutes. The delay did not go unnoticed by the director, who apologised for having taken up so much time.

It would not be an exaggeration to call the performance a snoozefest; many in the audience had nodded off within the first half hour, while others gave up and left the auditorium midway.

Actor-director Laura delivered one of the few believable performances but failed to draw out the same from her cast. There were other peculiar directorial calls, such as one of the characters holding the same cigarette to his mouth for over two hours. In all the scenes with multiple characters, several actors had visibly zoned out on stage while the lead actors droned on. A theatre aficionado who accompanied us said it was like a "school play", hardly the kind of fare one would expect to see at St Andrew's Auditorium.
When: May 27, 7.30 pm
Where: St Andrews Auditorium
Entry: Rs 200-Rs 1,000
Contact: 26410926

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Kylie Jenner on vacation with her daughter Stormi. pic courtesy/ instagram.com/kylie jenner

Last month, social media star Kylie Jenner was severely mom-shamed by keyboard warriors for heading to a music festival without her infant daughter, Stormi. While Internet trolls are no experts, what exactly does it take to form a bond with your baby?

“Fundamental human nature includes adapting to changes. For a woman to transition into motherhood is common, nevertheless, it’s not a cakewalk. Many women experience post-partum blues for about two weeks after delivery. Should it extend beyond this period, it could be a sign of a post-partum disorder. Therefore, we need to build a society that accepts and understands the plethora of emotions that a new mother experiences,” says Maithili Thanawala Kanabar, counselling psychologist.

Dr. Bindu KS

Here’s our primer on how to face up to it, and move on.

1. Return to working out
“The body needs six weeks to heal — whether it’s a natural birth, caesarean or an episiotomy [which involves a vaginal cut]. The body’s physiology gets back to normal in six weeks, the uterus comes back to shape and body fluids return to normalcy. Whether a housewife or a working woman, it is advisable that she resumes her fitness regime in six weeks,” says Dr Ranjana Dhanu, consultant, gynaecology and obstetrics, Hinduja Healthcare Surgical. But if you have been regular with your fitness routine before and during your pregnancy, you can even go back to working out within a week if you have had a normal delivery. “Start with light exercises such as stretches and walks,” says Dr Bindhu KS, consultant, gynaecology, Apollo Hospitals, Navi Mumbai. The body, especially the spine, kidneys, heart and lungs and not just the reproductive organs, undergo changes, says Dr Bindhu.

2. Get back to the office
Kanabar explains that there is no “mother manual” that defines the best time for a new mother to dive into a competitive workspace. “Try being around the baby for the first few months. Talk to your baby about beginning work and scaffold it for him/her. If your baby is used to co-sleeping, breastfeeding, and you are finding it difficult to wean him/her off, they may take some time to get used to your absence,” says Kanabar. Unfortunately, not many companies in India have a full-time crèche facility. “Indian companies must make it mandatory to have a full-time crèche at the workplace. This will increase the overall efficiency of working women, especially when it comes to the corporate workplace,”
believes Dr Dhanu.

Dr Ranjana Dhanu

“Almost all companies have a six-month maternity leave policy. The key is to strike a balance between motherhood and work,” says Dr Bindhu. If it gets overwhelming, Kanabar suggests reaching out to your support system. However, she warns that it is imperative for mothers to remember to not board the overcompensating train, which might drive one to overdo things and become more lenient.

3. Take a break
“Any wound takes six weeks to heal and it heals well in this period for any kind of birth. Hardcore physical or adventure activities are absolutely safe after six weeks. All the medical textbooks say that the body needs to resume some kind of exercise or physical activity post six weeks of delivery. If you can afford it, take a nanny along,” suggests Dr Dhanu.

4. Slip into a chic mode
Be it exercising or getting your glam on, pursuing something that makes you look and feel good is a good way to boost your morale. “Me-time is viewed as a selfish concept while in reality, it is a safe space that every human needs to visit to rejuvenate,” says Kanabar. It is the quality of time spent with the baby that matters.
Dr Bindhu adds that people also spend only two to three hours with their child but that does not mean there is no bonding.

Maithili Thanawala Kanabar

Mother, baby and attachment

Some studies suggest that the first three months are the most crucial. Infants develop representations of attachments based on the bond with the primary caregiver. Pioneering British psychiatrist John Bowlby suggested that this attachment acts as a prototype for their future relationships and psychological health.

An infant communicates in rudimental ways and attending to those needs reinforces the infant’s sense of security. It is essential that the mother is attentive and spends quality time with the infant, but there is no need to spend every breathing moment with them. Comforting, breastfeeding on time (or feeding the baby yourself), and communicating with the baby leads to a secure attachment.

Usually, securely attached babies cry when the mother leaves and allow the mother to comfort them when she returns. Every baby responds differently. Remain receptive to the baby’s needs and spend quality time without distractions.

Watch for signs like how the baby responds when you return after a brief absence. Most would allow you to comfort them and look at you when they are inching towards exploring something new. And lastly, mum knows best. So look out for every sign.

Mandira Bedi with her son Veer, who is six today. pic courtesy/jitu savlani

I was fit when I was pregnant. After birth, I had to wait for 40 days before I could exercise again. On the 41st day, I stepped out for my first walk. It was pouring at the time but I had decided that come rain or storm, I will go for it. Later, I started jogging, moved to gymming and lifting weights. I had gained 22kg and was able to return to my pre-pregnancy weight in six months. I had serious post-partum depression that lasted for those 40 days. My depression disappeared after I started exercising. I had a baby pretty late in my life [at 39]. I didn’t fall in love with him at first sight. I wondered, ‘This is the end of my freedom. Will I get work after this?’. It was overwhelming. It’s important to be aware that what’s going on with you is normal and okay. But in that period of 40 days I eventually fell in love with him. Giving birth to him is the best thing I have done. But motherhood is not the only thing that defines me. I am hands-on, but I think you can be a better mother if you are not thinking about it 24/7. That little time for you is crucial. The rule in our house is either parent has to be there at home, always. Working out has less to do for me physically than what it does for me mentally.

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Innovation Driven Approach and Creative Content Soars Radio City’s Share% to 12.4% (Source: RAM, Delhi, 12+ All)
Mumbai : May 08, 2018: Radio City 91.1FM, India’s leading radio network, backed by its innovative and enriching content has yet again dominated the capital city of India, emerging as a strong no.2 radio station as per the RAM (Radio Audience Measurement) ratings in Delhi for the week 12-15, 2018. Pioneering unique 360-degree intellectual properties spread across entertainment genres and superiority in programming content helped, Radio City secure a remarkable Share% of 12.4% over the past four weeks.
Radio City is #2 based on Share % in Delhi. (Source: RAM, Markets: Delhi, Demographic: 12+ All, Statistic: % Share, Daypart: Mon-Sun 12 am - 12 am, Place of Listening: All, Week 12-15 2018).

Commenting on the performance, Mr. Abraham Thomas, CEO, Radio City said, "We are very excited to see growth in reach for Radio City in Delhi over the past few weeks. These ratings reinforce the loyalty conferred by our listeners in the city and encourages us to continue our effort in providing them with enriching content. Our innovation first approach has truly paid off as we can see that our station has emerged No.2 in Delhi amongst listeners and advertiser. Truly Dilli ki Rag Rag Mein Daude Radio City”

Radio City has also emerged as the No.1 player as per the latest RAM ratings In Bangalore with Share % of 25.4% Source: RAM, Market: Bangalore, Demographic: 12+ All, Statistic: % Share, Daypart: Mon-Sun 12 am - 12 am, Place of Listening: All, Week 12-15 2018). Radio City ranks No 1 in Mumbai with Share % of 16.5% Source: RAM, Market: Mumbai, Demographic: 25-44 Sec AB, Statistic: % Share, Daypart: Mon-Sun 12 am - 12 am, Place of Listening: All, Week 12-15 2018).

Radio City’s consistent top rating once again proves its popularity in one of the most competitive and prominent markets by providing its listeners with innovative and clutter breaking content

About Radio City 91.1FM:

Radio City, a part of Music Broadcast Limited (MBL) is a subsidiary of Jagran Prakashan Ltd. Radio City was the first FM radio broadcaster in India and brings with it over 16 years of expertise in the radio industry. as on March 31, 2017, Radio City reached out to over 52.5 million listeners in 23 cities covered by AZ Research (Source: AZ Research Report).

Music Broadcast Limited currently has 39 stations, including 11 newly acquired stations in Phase III auctions. Radio City in its third phase expands to Kanpur Ajmer, Kota, Bikaner, Udaipur, Patiala, Patna, Jamshedpur, Nasik, Kolhapur and Madurai.

Radio City has spearheaded the evolution of FM radio programming by offering content that is unique and path-breaking. The network introduced humor and the concept of agony aunt on radio with Baber Sher and Love Guru respectively. It also initiated the Radio City Freedom Awards and provided a launch pad to budding singers with Radio City Super Singer, the first-of-its-kind radio talent show in India. Through its ‘Rag Mein Daude City’ philosophy, the network has adopted a local approach that resonates with the listeners while inculcating a sense of city pride and infusing local culture and flavour on-air. The network provides terrestrial programming along with 51 other web-stations, through its digital interface, www.radiocity.in.

Radio City has been featured consistently in ‘India’s Best Companies to Work For’ study conducted by Great Place to Work Institute. The network has repeatedly been called out as amongst the best in the media industry. In 2017, the company was included in the list for the 6th time.

For further details, log on to www.radiocity.in

Dress up in light and bright outfits for a summer wedding. At the same time, do not forget to play with appropriate fabrics. To look bright and beautiful, experts suggest minimalistic embellishments and soft Maheshwari and Chanderi fabric for your attires. Designer Sweety Arora, and Renu Rana, Founder at Sihali Jageer, have listed what to wear under the sun, literally.

1. During summer, go with cool fabrics suited to a sizzling day. Think feather-light hand woven silks, fluid modal and cottons. A flowy dress from the traditional Maheshwari cottons and matching Coimbatore cotton silks with Chinese collar will add the extra glam to your look. You can also try Tangail fabrics beautiful cape tops with ikkat pants that look extremely trendy.

2. Colours like pink, blue, and yellow exude charm and tenderness. So, go for delicate pastels, soft maheshwari and Chanderi with a hint of metal, with gold and silver jamdani hand embroidery and booties. It is a perfect synthesis of traditional fabrics for contemporary needs and style.

3. To create an ethnic look, pair chanderi kurta and silver pajama with heavy Dhakai jamdani dupatta. You can also add an angrakha jamdani wraparound kurta over it for a dramatic twist.

4. For a beautiful fusion of traditional and contemporary look, the clothes must blend different styles from various parts of the country, from Rajput to Afghani traditions to our own Indian heritage, thus creating looks which are classy, glamorous and reflect one's signature style and love of colour. This mixture of different influences only helps in creating unique designs, clean cuts and modern style.

5. Rely on breezy prints with minimalistic embellishment.

6. Go for silhouettes that don't bog you down. Go for sheer skirts and wrap tops, cowl dresses, draped saris, light lehengas and anarkalis.

7. Keep your footwear as quirky and off-beat as the rest of your ensemble. Go for customised jutis, or blingy canvas shoes.

8. Invest in nice statement neckpieces and layered neckpieces as they look elegant, comfortable and unique. Try double rings with pearly strings, palm rings and pearl kadah.

9. Try to explore new designs and shapes in bags like bucket bag-inspired potlis, give an indo twist to messenger bags. You can also opt for customised miniature bag packs as those will make you stand out from the crowd.

(Edited by mid-day online desk, with inputs from IANS)

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Representational picture

New Delhi: With the summer heat scorching and the mercury level soaring, comfort is a serious concern for many. In this scenario, selecting the right fabric is a necessity so opt for the right clothing that makes you feel fresh. Designers Prarena Grover and Dhruv Sehgal list some must haves fabrics and few avoidable ones.

Must have fabrics
Cotton: Beyond any doubt pick up that cotton dress or the cotton shirt from your wardrobe. It not only makes you look smart and elegant but also scores high on the comfort level.
Reason: During summer it is a general tendency to sweat a lot and in such a situation cotton is just the apt fabric that absorbs this sweat. This helps in giving the much required relief and helps in cooling down your body temperature. In addition, cotton fabric gives you a relief if you are prone to any allergic reaction. Thus, cotton is just too apt for your sensitive skin.

Linen: The pastel coloured linen wear is just so perfect for your summer days. Fret no more and choose the right linen wear for yourself.
Reason: Tired of threat of unnecessary sweat? Considering that linen is highly absorbent and a good conductor of heat it helps in keeping your body free of moisture. So, the linen dress or blouse not just feels good to touch but also quickly removes your perspiration during the summer days.

Khadi: Khadi saris to the dress to shirts, it is the perfect wear for your summer evening.
Reason: Khadi is that handloom fabric which uses no chemicals in manufacturing. This skin friendly hand oven, organic fabric is just too perfect for your summer days.

Sheer: This is the ideal fabric for humid days. It is the fall and the interesting cut of the fabric makes it a must-have in your summer days.
Reason: As a fabric usually meant for wedding gowns or floral costumes or stockings or lingerie sheer does very little in the way of warmth for the wearer. This is the reason why it is one of the favourite fabrics for summer wear.

Avoidable fabrics

• Denim: Denim is a strict no for your summer days. It hugs your body too much and creates unnecessary suffocation in summer.
• Synthetic wear: Never indulge in a mix fabric in summer. It creates discomfort and may sometimes cause skin infections in this regard.

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This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever

Katrina Kaif is keen to work with Deepika Padukone and Kareena Kapoor Khan. The two have a connect with her ex-flame, Ranbir Kapoor. While Dippy is also his ex, Bebo is his cousin.

While on the chat show, Feet Up With The Stars, Kat was asked, who she would like to do a song with and Kat said, "Deepika Padukone." She would like Bebo to be her co-star as she is 'supportive'.

On the work front, Katrina Kaif will next be seen in the much-awaited film Bharat co-starring Salman Khan. Disha Patani will also be seen in the film portraying the role of a trapeze artist.

Sporting saris and long curly tresses, Katrina Kaif's on-screen avatar of Kumud Raina in Bharat is possibly one of the most distinct looks in her filmography. While there had been much curiosity around Salman Khan's five different avatars in the Ali Abbas Zafar-directed period drama, the leading lady too will be seen ageing from her late 20s to her early 60s in the course of the narrative.

Meanwhile, Kareena Kapoor Khan is currently gearing up for her next release, titled Good News, alongside Akshay Kumar, Kiara Advani and Diljit Dosanjh. Deepika Padukone, too, is busy with the Meghna Gulzar directorial, Chhapaak, based on the life of the acid attack survivor Laxmi Agarwal.

Also read: Katrina Kaif: Ali and I are good friends. Signing Bharat had nothing to do with our friendship

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With the city going to the polls today, a total of 422 polling stations has been declared 'critical', which includes 65 from Mumbai suburban and 357 from the Island City. As part of the special arrangements made at polling stations, live web-casting and video-recording will be done. The procedures will be monitored closely and immediate action would be taken in case of any suspicious activities.

As per the instructions given by the Election Commission (EC), the booths that polled more than 75 per cent votes in the last elections or where the same candidate got 75 per cent votes have been marked as 'critical'. Even the law and order situation of the last election has been taken into consideration before deciding on this.

According to sources, live web-casting will be done at more than 10 per cent (763) of the total 7,472 polling stations in suburban Mumbai. The procedure will be carried out based on the terms of the 65 'critical' polling stations out of the 763. Whereas, in proper Mumbai, of the 357 polling stations declared critical, web-casting will be conducted at 260. As part of the security arrangements, additional force, including teams of the Central Industrial Security Force, will be deployed within a 100-metre radius of polling centres.

Live Blog: Elections 2019 Phase 4 Live Updates: Anil Ambani, Rekha cast their vote

Speaking to mid-day, a senior official said, "No polling station has been found to be sensitive even after a detailed study, but even the critical ones will be monitored closely by us. The live web-casting will be continuously monitored by the EC-appointed observers."

Also read: Elections 2019 in Mumbai: Everything you need to know before you vote

763
No. of polling stations in suburban Mumbai where web-casting will be done

260
No. of polling stations in Mumbai where web-casting will be done

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An auto driver has been arrested by the Mumbai police for looting a senior citizen in Chembur last month. According to the police, the arrested accused has been identified as Subedar Bind, 34. An officer said that on March 23, 72-year-old Kalawati Pednekar was looted by Bind and a friend. Pednekar told the police that on that day she had visited Chembur Gymkhana to attend a wedding.

However, owing to her advanced age, she had become tired and left the reception around 9pm. Outside, she found Bind's auto and got in. On the way to Pednekar's residence in Kalina, the driver stopped his auto near Kurla, where his friend, whose name is not known, got into the auto. Bind told Pednekar that the friend wanted to be dropped off at Kalina.

On the way, he stopped the auto and told Pednekar that because he had some work, the friend would drop her home. Bind's friend drove the auto for a few kilometers when he stopped the auto and told her that the fuel was over and hence he could not drive any further. Pednekar paid him and took another auto home. Once she reached home, she found all her valuables missing from her bag.

She approached the Chembur police and lodged an FIR against the auto driver. An officer said, "We scanned CCTV footage and spotted the accused. On April 26, we arrested him from Uttar Pradesh. We are looking for the other accused." During investigation, the police came to know that Bind had arrived in Mumbai one month ago and had been driving the auto of one of his friends.

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A missing platform stands between Mumbaikars and the restored tram the Brihanmumbai Municipal Corporation (BMC) had promised to set up for display at Bhatia Baug, by the first week of April. While the tram coach is nearly ready, the tender for construction of the platform, which will serve as its base, didn't receive an adequate response, and a second tender cannot be floated until after the Lok Sabha elections in the city.

The BMC floated a tender last month to appoint a contractor who will construct a 3 feet tall platform. The tram, as well as part of tracks, will be installed on top of it. The overall of cost of restoration of the tram and construction of the platform is estimated to be R28 lakh. "We received a response from a single bidder so we have to float another tender. However, since the model code of conduct is in place, we will have to wait for the elections to get over," said Kiran Dighavkar, assistant municipal commissioner of A ward. He added that they will float the tender next week and it will remain open for a period of eight days.

Also read: Elections 2019: 422 polling stations in Mumbai declared 'critical'

Based on the plan, the BMC is considering letting people enter the tram under certain conditions. Before the final setup, however, the BMC will need the approval of the heritage committee. Unlike most projects that are approved based on documents, for this project, the committee members will have to inspect the tram. On April 24, A ward officials wrote to the heritage committee asking them to inspect the tram and give their approval for the project. Dighavkar added that the tram will be brought to a godown in Cuffe Parade from Rabale sometime this week.

Over the past couple of months, the tram was restored in a workshop in Rabale using the parts of another tram that was functional in Kolkata between 1874 and 1907. Once the tram has been assembled at Bhatia Baug, the BMC is planning to set up lighting in the area to attract visitors. Civic officials are also planning to install LED screens inside the tram which will display information about the history of trams in Mumbai from the horse drawn ones till the electrical ones which were taken off the road around 50 years ago.

Also read: Elections 2019: Netas appeal to citizens to vote

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As Mumbaikars set out to vote in the Phase 4 of Lok Sabha elections 2019 a glitch in the EVM machine led to delay in voting at a polling booth in Malad west.

Voting was yet to begin at booth number 162 of Malad West, Daulat school in Mumbai when this report was being filed. A technical glitch was detected in the EVM machine that led to the delay.

#LokSabhaElections2019 : Voting is yet to begin at booth number 162 of Malad West in Mumbai after a glitch in EVM was detected. #Maharashtra

— ANI (@ANI) April 29, 2019

The machine was being replaced by the poll authorities.

Also read: Elections 2019 in Mumbai: Everything you need to know before you vote

A total of 422 polling stations have been declared critical which include 65 from the suburbs of Mumbai and 357 from the Island city. 

The instructions given by the Election Commission said that the booths that polled more than 75 per cent votes in the last elections or where the same candidate got 75 per cent votes have been marked as critical. Law and order situation has also been kept in mind. 

Meanwhile, veteran actress Shubha Khote, BJP MP Paresh Rawal and his wife Swaroop Sampat have already cast their vote.

In yet another constituency, voting got delayed at booth no 19 in Sion Koliwada in Pratikshanagar as the EVM machine was not working. The voting process got delayed by an hour by the time the glitch was fixed. 

However, a senior official who spoke to mid-day said, "No polling station has been found to be sensitive even after a detailed study, but even the critical ones will be monitored closely by us. The live webcasting will be continuously monitored by the EC-appointed observers."

(with inputs from Samiullah Khan)

Also read: Elections 2019 Phase 4 Live Updates: Anil Ambani, Rekha cast their vote

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Voter's names missing from lists is not unusual any more. But, in Bhendi Bazaar, an entire building full of voters has vanished from the list, leaving around 100 residents without their right to vote in this election.

Salam Khan, a 32-year-old businessman, has been casting his vote for years. On Monday, however, he got the shock of his life when he was informed that his name was missing from the voters' list. When he returned home, miffed, he discovered that all the residents of his building, Zainabiya, were not on the list for some reason.

"When I reached the polling booth, I was told that my name was not on it. I was very upset. Then when I reached home, my neighbours, too, start complaining about the same thing. Later, we got to know that the name of the building had gone missing from the list. This is such a big mistake, they have lost so many voters," said Khan.

Also Read: Election 2019: Mumbai scrapes through in voting report card

The residents alleged that they heard that because the building was old, the election officer was told that the structure had been demolished for redevelopment. "We cast our last vote during the BMC election in 2017. There was no problem then. But now, the whole building has gone missing. How is it possible?" asked Rasheed Sheikh.

Election 2019: Prominent personalities, other Mumbaikars come out to caste vote!

Crèches at polling booths

The Election Commission roped in Aanganwadi Sevikas on voting day to take care of children coming with their parents to voting centres. While several such Sevikas were seen standing near the polling stations to take care of children so that they don't enter polling booths, other arrangements were made in rooms inside various schools where parents could leave their kids for a short while to vote.

Also Read: Elections 2019: Regular voters find their name missing at polling booths

In Prabhadevi, 147 Aanganwadi workers were roped in for this. A municipal school at Prabhadevi saw about 40 children taken care by these workers throughout the day. Even at Malad, the crèche was a big hit. Vandana Kothekar, who was on election duty and taking care of these kids from Prabhadevi, said, "We saw a good turnout and parents were willing to keep their children as it was just a matter of a few minutes."

Salman Khan, SRK, Ranveer Singh, Kangana, Bachchans step out for voting

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I began my Monday by first casting my vote and returned with both my index fingers inked at Municipal School No 1, Pratiksha Nagar.

I reached the polling station at 7.15 am and joined the queue there, but due to some technical snag, it took half an hour for the proceedings to start. Four voters who cast their votes before me were inked on their right-hand index finger and the official there wanted to do the same with me too.

Election 2019: Prominent personalities, other Mumbaikars come out to caste vote!

I informed him that the correct way was to mark the left index finger. He insisted on marking my right hand though and when I requested meeting his senior official to confirm, his colleagues told him that it was indeed the left-hand index finger that must be marked. When he realised his mistake, he wanted to ink my left index finger to rectify his error.

I tried to reason with him saying it was okay now that he had marked my right hand, but he wouldn't budge. While he was ultimately satisfied at having done his job, I had to roam around with two fingers inked.

Salman Khan, SRK, Ranveer Singh, Kangana, Bachchans step out for voting

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Despite the Election Commission (EC) announcing several initiatives to help the physically challenged and senior citizens during the voting process, no such arrangements were visible at many of the polling centres on Monday. Contrary to claims made by EC, no volunteers were present to guide the physically challenged or senior citizens to their polling booths, leaving them to either find a way on their own or rely on their family members.

No one came to help

Bagubai Shirwale, 70, who has a hunched back, had to inch forward using her walking stick as she tried to find her polling booth. She only had the help of her brother, Trimbak Shirwale, 72, who, like her relies on a walking stick. "We come to vote every time without fail. But I have diabetes, due to which I am not able to walk properly. My sister has chronic backache and can't walk much either. No one came to help us; we had to find the way around ourselves," he said.

They had to walk nearly 1 km to reach the polling station. Even after they successfully reached their venue, SK Pantwalkar Madhyamik Vidyalaya in Kurla west, finding the booth took some time. After asking around, they were pointed in the right direction.

In the absence of a wheelchair at the St Judes High School in Malad West, local Antony Roasario, who is physically challenged, is forced to crawl over a gutter under the burning sun. Pics/Suresh Karkera

Despite the sweltering heat, Sayaji Mokashi, 50, a visually challenged man, walked to his polling station, the Mahatma Gandhi Vidya Mandir in Bandra east, along with his wife Prajakta who also has problems with her eyesight, and their seven-year-old son. Mokashis, residents of the government colony in Bandra east, recall walking to their booth back in 2014 as well.

"It is our responsibility to vote and we take it seriously. We don't mind the walk but it would help if EC could arrange for some transportation," said Sayaji. Sudha Shantaram Nadkar, 75, who requires a walking aid, is thankful that her polling station is just across the road from her building in Kurla. However, she too has to rely on her neighbours to help her reach her booth.

"I have been voting since I turned eligible and I don't miss any election. But I fell three years ago, which made it difficult for me to walk. There is no one to help us find the booth and no one came forward to help me walk in either," she said.

Where are the ramps?

EC had also promised to provide ramps at all polling stations, as well as dolis (chairs with poles). Many of the polling stations across the city neither had any ramps for wheelchairs nor dolis. The police personnel stationed at the Central Railway Social Welfare Centre in Kurla east said no volunteers had showed up at the venue and no dolis were sent either.

"We are allowing senior citizens to go in directly; they don't have to wait in line. But their family members are helping them," said a policeman. Similarly, at L S Raheja College, an elderly man with an amputated leg walked to his booth with the help of crutches and his relative. Another aged man at the same venue had been brought inside by his family on a wheelchair, but had to walk the rest of the way with the help of his walking stick, while leaning on his son for support.

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It is hard to imagine how a single sweet — that otherwise holds hereditary, nostalgic and gastronomical relevance for many — keeps reappearing as a bone of contention between members of the civil society. It was only in March that the tussle between West Bengal and Odisha saw a new facet, with the latter challenging the Geographical Indications’s grant to ‘Banglar Rosogolla’ in November 2017, which stated that the juicy and soul-stirring treat was, in fact, from Bengal.

Now, this guilty pleasure is back in the news, and it reappears as West Bengal CM Mamata Banerjee’s ammo. While campaigning in Raniganj and responding to Prime Minister Narendra Modi, Didi claimed Bengal would be gifting him rosogollas made of clay and filled with gravel instead of votes. And while the two leaders made national headlines engaging in a rather infantile, albeit funny, donnybrook, we kept dreaming about the dessert. If you’re looking for a sweet escape from this political circus, here are few places to hide.

Sweeter than roses

Something that is meant to make people happy is now being used as a weapon in a war of words. It is a rather sad state of affairs," laments chef Jerson Fernandes. At this Juhu eatery, the gulabi rosogolla (R399) gets its name from the rose-scented syrup it’s dipped in. "The trick to making perfect rosogollas is kneading the dough well. We soak the chena dumplings in a rose-water sugar syrup, instead of the regular kind. It also happens to be very popular among patrons," Fernandes shares.

At Jeon, Hotel Sea Princess, Juhu Tara Road. Time 7 am to 12 am Call 26469500

Taste of Bengal

At Sweet Bengal, you can choose from plain rosogolla (R20), special rosogolla (R23) and kesari rajbhog (R25), as well as seasonal versions like mango and jaggery. Manager Chanchal Chakraborty tells us, "We source milk from Bengal to esnure authenticity, and the aim is to arrive at perfectly spongy rosogollas." He adds that they sell 2,500 pieces of the treat in total across the city.

At Sweet Bengal (all outlets). Time 10 am to 10 pm Call 9137155884 (Bandra West)

Café rosogulla

Staying true to their core principles, this restaurant is serving the traditional Bengali sweet with a zany twist. Speaking about the coffee rosogulla (R425), chef Thomas Zacharias says, "Why restrict rosogulla to its sickly sweet sugar syrup and not infuse it with another flavour? We soak the rosogolla in dark espresso and serve it with salted caramel ice cream and a homemade peanut brittle for crunch."

At The Bombay Canteen, Kamala Mills Compound, Lower Parel. Time 12 pm to 1 am Call 49666666

Treat from the past

Opened in 1971, Sandesh Bengali Sweets would originally serve samosa, jalebi and lassi. Then, sometime in the ’80s, the demand for Bengali sweets rose among Mumbaikars and the establishment introduced a range of sandesh and mishti over the years, but the offering began with rosogollas. "Uss time pe Bengali sweet ka ek hi matlab tha — rosogolla [R16]," shares second-generation owner Chandan Singh, adding, "Now, it has become so popular we sell close to 800 pieces a day."

At Sandesh Bengali Sweet, Dharmeshwar Building, TH Kataria Marg, Matunga West. Time 7 am to 10 pm Call 9004104908

Only serve it sweet
Around since the 1940s, Brijwasi Sweets’ Goregaon East outlet specialises in Bengali treats. Owner Anurag Agrawal tells us, when his forefathers introduced Mumbaikars to rosogollas in the ’50s, very few knew about the dessert. Today, it is one of their top-selling items. They serve rosogolla (R13 to R26) as well as rajbhog (R35), which is bigger and has an oozy centre. Asked to comment on the debacle between Didi and NaMo, Agrawal said, "I wouldn’t like to get into politics; all I know is that rosogollas should only be served sweet."

At Brijwasi Bengali Sweets, Sonawala Road, Goregaon East. Time 10 am to 9 pm Call 26863392

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Mumbai: Bollywood actor Kangana Ranaut has said Indians were, in the past, enslaved by an 'Italian government', in a veiled jibe at the Congress party. The 32-year-old, while speaking to reporters after casting her vote at a polling station in Khar area in Mumbai on Monday, said, "This (polling day) is a very important day for us, it comes only once in five years. I feel India is gaining independence today in real sense. Earlier, Indians were slaves of British, Mughal and Italian governments. Please exercise your Swaraj (independence) and vote."

The 'Italian government' remark is an apparent reference to UPA chairperson Sonia Gandhi, who was born and raised in Italy. Gandhi was the president of the Congress party for nearly two decades before handing over responsibilities to her son Rahul Gandhi in December 2017. Kangana went on to say that the situation that prevailed in the country was the worst during Congress' government at the Centre.

"The political leaders used to chill in London and the country used to suffer from an array of issues like poverty, pollution, rapes etc. The situation in our country was worst when Congress was in power. Now that our time has come, we should vote in large numbers," she added.

Polling was held on Monday for 72 seats across nine states including five seats in Bihar, one in Jammu and Kashmir, three in Jharkhand, six each in Madhya Pradesh and Odisha, 13 each in Rajasthan and Uttar Pradesh, eight in West Bengal and 17 in Maharashtra. An overall voter turnout of 64.05 per cent was registered in the fourth phase of polling. Seven-phase elections will end on May 19, and results will be declared on May 23.

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COMEDY

Laugh at a ladies' special night
Today Ladies, if you think you are funny and have an opinion about booze, boys, Bobbi Brown or anything else under the sun, register for the stand-up comedy open mic evening, hosted by Kaneez Surka. Not only do you catch her at her best, you also get to attempt to be the next comic star.
TIME: 8 pm onwards
AT: The Cuckoo Club, Mc Ronell's Compound, Pali Hill, Bandra (W).
CALL: 9619962969
COST: Rs 200

Pick the best performer
Tues, Feb 28 Ten stand-up comedians will be trying out new jokes and you get to choose the best performer. All the jokes may not work, but the fun lies in listening to fresh material. The show will be hosted by Hijas Moosa.
TIME: 9 pm
AT: Backstage Cafe and Bar, Andheri (W).
CALL: 98927 20001
COST: Rs 200

MUSIC

Sing along
Thurs, mar 2 Catch Yatharth Ratnum, the winner of the first season of singing reality show, The Stage, at a gig. He will be joined by four other finalists from across the last two editions of the show.
TIME: 8.30 pm onwards
AT: Hard Rock Cafe, Wadia International Center (Bombay Dyeing), Pandurang Budhkar Marg, Worli.
CALL: 24382888
COST: Rs 750

Catch a tribute concert
Wed, Mar 1 Ustad Zakir Hussain and the SOI Chamber Orchestra will pay tribute to legendary composer Vanraj Bhatia, who is known for his iconic scores in films like Manthan, Junoon, Mandi and more.
TIME: 7 pm onwards
AT: NCPA, Tata Theatre, Nariman Point.
CALL: 24382888
COST: Rs 500 onwards

Tune in to the santoor
Thurs, Mar 2 Immerse yourself in soulful tunes by santoor maestro Pandit Shivkumar Sharma
AT: A concert, being held to raise funds for an NGO. The funds will be used towards promoting the welfare of children.
TIME: 7 pm onwards AT Nehru Centre, Dr Annie Besant Road, Worli.
CALL: 24964676
COST: Rs 300 onwards

FOOD & DRINKS

Dig into a Thai feast
Till Mar 5 Take a culinary tour of Thailand with a new menu of Hued Grob (fried mushrooms in Thai black pepper sauce), Gai Yang (chicken leg marinated in curry paste), Koong Phad Kaprao (prawns tossed with garlic), and some interesting rice and noodle preparations.
TIME: 7 pm to 11.30 pm
At: Saptami, Holiday Inn, Saki Naka Junction, Andheri (E).
CALL: 40851800
COST: Rs 1,399 plus taxes

Bake teatime treats
Tues, Feb 28 Learn to make melt-in-the-mouth cookies like Earl Grey shortbread, jam drops, cardamom tea cookies, oat biscuits and the classic Shrewsbury biscuits. These make for the perfect accompaniment to your hot cup of chai, or a delightful gift for a loved one. Registration closes 24 hours prior to the class date and time.
TIME: 10 am to 1 pm
AT: Cakesmiths, second floor, Jatia Chambers, Dr VB Gandhi Marg, Kala Ghoda.
CALL: 30213333
COST: Rs 4,255

Get rid of a hangover
Ongoing Recover from a night of excessive drinking with this special Hangover Breakfast menu. Dig into oven-baked egg white omelette topped with vegetables and cheddar, chicken sausages served with French fries and salad, and even comforting pancakes, served alongside espresso and freshly squeezed orange juice.
TIME: 8 am to 11.30 am
AT: Silver Beach Cafe, Jaldarshan Building, Gandhi Gram Road, Juhu.
CALL: 9819966495

SHOP

Dress in your festive best
Ongoing Pick an outfit from Shyamal and Bhumika's Spring Summer 2017 Collection, titled Fragrant Winds. The collection combines Indian silhouettes with patterns of blooms, grasslands and birds.
LOG ON TO: shyamalbhumika.com
CALL: 9833525200

ART

Marvel at the muse
Till mon, Mar 6 Head to a solo exhibition of paintings titled Muse 2, by artist Vijay Belgave. Through his works, he attempts to showcase the beauty of a young, sensitive woman and her thoughts, besides depicting the attachment between young lovers.
TIME: 11 am to 7 pm
At: Jehangir Art Gallery, MG Road, Kala Ghoda.
CALL: 9820960057

PLAY

Head to the smoking zone
Thurs, mar 2 Catch the play, Dhumrapaan, set in the smoking zone of a corporate building where employees discuss appraisals, politics and all that comes with working in an office. The stress and fears will help you draw a parallel with your own life.
TIME: 8.30 pm onwards
AT: Prithvi Theatre, Juhu.
CALL: 26149546
COST: Rs 300

Holi shakes!
till Mar 15 This Holi, say hello to The Holy Freak! Sip on this tall sinful glass of rabdi churned with vanilla ice cream, cake and milk, layered with special home-made jalebis and topped with colourful sprinkles.

TIME: 9 am to 1 am
AT: D:OH!, ground floor, Unit 2B, Senapati Bapat Marg, Lower Parel.
CALL: 62372829
COST: Rs 299

Shop
Fashion for men
ongoing Gentlemen, give your appearance a touch of glam with the Black collection featuring bracelets crafted in Onyx stone and pure leather, cufflinks, pocket squares, lapel pins and tie bars in quirky designs.

log on to thebrocode.in

Shining stars
ongoing Add some bling to your life with the jewellery from Radhika Jain, which features pendants, necklaces, bracelets and earrings made using handcrafted fibres finished with metallic elements.

AT: FUEL Store, 14th Road, off Linking Road, Khar (W).
TIME: 11 am to 8 pm
CALL: 9831030700

Shoulder talk
till mar 13 Ladies, avail a stylish deal where, for every handbag you purchase, you get a discount of 30 per cent on any mobile pouch and sling bag.
AT All Baggit outlets.

log on to baggit.com

Art
A visual feast
till tues, mar 7 Attend a solo exhibition of abstract paintings by Chandrakant Prajapati. His artworks are colourful, and he uses rollers, bold brushstrokes and knife work to create hidden patterns and shapes.

TIME: 11 am to 7 pm
AT: Jehangir Art Gallery, 161B, MG Road, Kala Ghoda.
CALL: 9825656177

Common lives
starts tues, mar 7 Catch a series of paintings, Living Lines at 360⁰, which is an extension of Ashok Hinge's earlier Living Lines series. This one looks at the
common man and society, including family bonding, friendships and crowded market places.

TIME: 11 am to 7 pm
AT: Nehru Centre Art Gallery, Discovery of India Building, Dr Annie Besant Road, Worli.
CALL: 9930103369

Event
Painting party
wed, mar 8 Take your girlfriends, sisters, daughters or mothers and join a painting party with Bombay Drawing Room. Art supplies, a glass of Sangria and an appetiser will be provided.

TIME: 11 am onwards
AT: Raasta, Rohan Plaza, SV Road, Khar (W).
CALL: 9619273009
log on to: instamojo.com
COST: Rs 1,650

Laugh riot
tues, mar 7 Get your weekly dose of laughter from Amit Tandon, the comedian known as 'the married guy' of stand-up comedy. His humour centres on everyday life and issues that affect all of you.

TIME: 11 am onwards
AT: Hard Rock Cafe, Sharyans Audeu, Fun Cinema Lane, near Balaji Telefilms, Andheri.
log on to: insider.in
COST: Rs 500 (Entry) + RS 500 (Cover)

Thali deal
Every Monday Men, this deal is for you. Drop in at Khandani Rajdhani and get a 50 per cent discount on your thalis. Enjoy dishes like Masaledar Puri Bhaji, Zaikedar Paneer Aur Masala Dal Ke Saath Roti Chawal, Karare Farsan, Amdavad Ni Dhokla ke Sath Khatta Meetha Chutney, Crispy Jalebi and Swadisht Rabdi, Rasila Gulab Jamoon, and Halwa.

TIME: 12 to 3.30 pm, 7 pm to 11 pm
AT: All Khandani Rajdhani outlets.
CALL: 65226074 (Ghatkopar)

Garhwali delights
till mar 12 Savour the lost cuisine of Uttarakhand at a Flavors of Garhwal food festival. The food includes Urad Dal Pakodia, Jakhiya Machchi, Mutton Tari, Koda Khichdi, Jhangora Khichdi, Kafuli and authentic Garhwali desserts like Jhangore ki Kheer, Till a Laddoo and Swala Bhangjiri.

AT: JW Cafe, JW Marriott Mumbai Sahar.
CALL 28538656
COST: Rs 2,199 plus taxes

Travel
Grape escape
from wed, mar 8 Head out of the city for a grape-stomping break, featuring walks through vineyards, good food, wine tastings and a chance to see how wine is made.

TIME: 11 am onwards
AT: Soma Vine Village, Village Ganghavare, Gangapur-Ganghavare Road, Nashik.
COST: Rs 1,500 per barrel

Perform
Woman, unleashed
wed, mar 8 Attend Devi Unleashed, a unique theatre experience combining monologues, story reading, classical dance and singing, performed by women artistes.

TIME: 7 pm to 8.30 pm
AT: Title Waves, St Pauls Media Complex, 24th Road, Bandra (W).
CALL: 24920482

Genius speak
tues, mar 7 to Thurs, mar 9 Learn about the life of Albert Einstein in this Motley play. Enacted by Naseeruddin Shah, it looks at the spirit of the scientist, who was plagued with doubts and disappointments.

TIME: 6 pm, 9 pm
AT: Prithvi Theatre, 20, Janki Kutir, Juhu.
CALL: 26149546
COST: Rs 500

The Mule
Director: Clint Eastwood
Cast: Clint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, Andy Garcia, Alison Eastwood, Taissa Farmiga, Ignacio Serricchio, Loren Dean, Eugene Cordero, Robert LaSardo
Rating:

Eighty-eight-year-old Clint Eastwood’s 37th feature has him directing and acting in a drama about an elderly man whose late-life drug running — egged on by desperate circumstances — becomes a tool for heavy rumination regarding conscience, morality, and reclamation. Nick Schenk (of Gran Torino fame) fashions this screenplay inspired by the New York Times Magazine article The Sinaloa Cartel’s 90-Year-Old Drug Mule, about a true event, written by Sam Dolnick.

The original mule was Leo Sharp, a World War II veteran and great-grandfather. But, for this film, Eastwood and Schenk take some creative liberties to present a sensibility that is more Eastwood than the real-life event would oblige. The experience delineates the nearly destitute senior Earl Stone’s (Eastwood) tryst with criminality conspired by an alienated family construct, and a flagging business. Earl was never there when he was needed by his family, ex-wife Mary (Dianne Wiest) and, especially, daughter Iris (Alison Eastwood). Their rejection of him when he runs out of money may be painful to watch, but it is fairly justified in the schema of broken relationships damaged by ego trips.

Eastwood, of course, lives the part. He fits the role, but as far as the fan-image goes, he seems frailer and less imposing than he did in his last cinema outing. But that physical deterioration doesn’t take anything away from the manner in which he has constructed this slow-burning, contemplative, engaging, humorous tale, which appears to be somewhat autobiographical in the manner in which it deals with relationships that are central to the story here.

We can see that Federal agents, led by a DEA Special Agent in charge (Laurence Fishburne), and newbie Colin Bates (Bradley Cooper), trying to nail some cartel drug runners out West, are eventually going to come across this unsuspicious drug-runner. But the film is not about that cat-and-mouse chase as much as it is about a conscience finally coming awake, and Earl making robust efforts to atone for his past mistakes.

Eastwood’s mule seems to bask in the freedom that easy money brings him, and appears to be unaware of the hellish depths that the murderous cartels would reach — and that’s precisely how the film plays out. With every film, like in this one too, Eastwood’s politics also comes out, loud-and-clear. He may be intriguing as a person, but not always politically correct as an actor-director voicing his personal world-view.

Earl’s eventual redemption also comes a little too easy, given the havoc he may have engineered by his flirting with the cartel. The tone shifts are jerky, the narrative veers to the ponderous and the experience doesn’t come across as entirely fulfilling — even though the cinematography and minimalistic appurtenances lend shadowy depth to the experience.

The supporting characters don’t get much screen-time, even though they are integral to the plotting. Eastwood hogs the show here. His apparent disconnect with the consequences relating to his actions is a hurdle that’s difficult to overcome. And that’s also because Eastwood’s image still manages to over-power his latter-life performances. As an audience, we are more likely to be distraught over his real-life physical deterioration than we are about the reel life character’s disempowerment.

Watch The Mule Trailer

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The Accidental Prime Minister
U: Biography, drama
Dir: Vijay Gutte
Cast: Anupam Kher, Akshaye Khanna
Rating:

Given the imagery in the trailer, it is impossible to walk into The Accidental Prime Minister anticipating anything. The intent of its makers is evident: its strategic release, months prior to the election, solidifies its positioning as a propaganda film. Films are meant to have fodder for debate and discussion. And the topic of discussion here, I propose, is how Mayank Tewari, the writer of Newton (one of India’s most balanced political films) and Hansal Mehta (Shahid) came up with something as abhorrent as this.

Probably hoping to pitch this as India’s answer to House Of Cards (HOC), the film’s narrative is too incoherent to make a political statement, let alone start a dialogue. HOC, of course, made with tremendous gumption, never has a political bias. It merely mirrors the goings-on behind the closed doors of the White House. Based on the book by Sanjaya Baru, this movie attempts to make sense of power games in the corridors of the coveted bungalow No. 7, Race Course Road (the official residence of PMO). But there’s no escaping the fact that it can only pass as a run-down, Made In China version of HOC.

If at all the idea was to shame and embarrass the Congress party, the writing here lacks the desired punch. The onus of shaping the material lies in the hands of the director, and Vijay Gutte is visibly inept. Of course, the lofty and on-point casting of Akshaye Khanna as Baru and Anupam Kher as PM Dr Manmohan Singh, salvages the situation considerably, but there’s no saving the film from shoddy direction.

Baru’s book walks the tightrope carefully, making ground-breaking political revelations, but never reducing Dr Singh to a laughable figure. Even his worst critics would agree, Singh was a man of poise. On Gutte’s insistence (or so I would like to believe) Kher turns Singh into a mute cartoon, who deserves to be pitied. It almost feels like the makers want to mock Singh — mimic his voice, slouch his gait. Baru had carefully carved Singh as a fiercely loyal man, standing strong on his ideals; one who is manipulated by the Gandhis (Sonia and Rahul). Gutte never focuses on the vulnerable equations between Singh and the Gandhi family.

He, in fact, allows Khanna to get disturbingly Frank Underwood-ish, turning up the dark humour in every third sentence. Khanna is great at what he does, but he makes Baru seem more like a saffron loyalist, not a Congress insider. Gutte takes us through the hallmarks of the Congress government, from the nuclear deal to the 2G scam, in a news bulletin, decade roundup-sort of a fashion, creating the build up for the film’s Singham (PM Modi). Do we know how Singh felt through it all? That’s for another film. There’s enough to laugh about in this offering, but the joke here is that while Hollywood continues to make great content, we are still nitpicking and name-calling.

Watch The Accidental Prime Minister Trailer

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Glass

U/A: Drama, Mystery, Sci-Fi
Director: M. Night Shyamalan
Cast: Sarah Paulson, Bruce Willis, James McAvoy
Rating: 

Shyamalan’s earliest films (The Sixth Sense, Unbreakable, Signs) were brilliant, they intrigued, shocked and entertained all at the same time. The same cannot be said about the films that came later. The big budget ones especially were all jumbled up and schlocky. It felt as though the director never really achieved his vision. ‘Glass’ is a far better effort in terms of visual context but it fails on cohesion and lucidity – especially in the third act dominated by Shyamalan’s signature twists.

Glass, a sort of sequel to both Unbreakable and Split, spends its two hours plus without a strong story to tell. It is every bit as inconceivable and snaky a film as his worst but it still has a psychological depth that could have amounted to much more - if only the director had been a little more focussed. There’s so much he is wanting to say that it all gets lost in the confusion and incoherence brought on by a lack of emphasis.

Glass opens with Dunn(Willis) tracking down Split's villain, Kevin Wendell Crumb aka 'The Horde' (James McAvoy), a serial killer suffering from multiple personality disorder who has been preying on girls in the Philadelphia area. After some visceral action Dunn and Crumb are captured and taken to a secret wing of a psychiatric hospital also housing Mister Glass(Jackson) – to be studied by Dr. Ellie Staple (Sarah Paulson), a psychiatrist obsessed with decoding the phenomenon of men who believe themselves to possess the powers of comic book characters.

Check out the trailer here:

This is an indie film (in partnership with Blumhouse)with no big studio backing it so there are budget constraints which Shyamalan could have overcome by running a tighter ship. Shyamalan manages to get close to poignant and memorable but the third act(rather threadbare) pulls you off that track all the way through. The twists don’t make much sense and in fact renders the entire work rather directionless.

The build-up is pretty good even though the action is all visual, internalised and verbose but the third and final act fails to make something out of that. The director and DP Michael Gioulakis manage to compose some fascinating and striking visual mayhem but it doesn’t amount to anything powerful. If you followed ‘Unbreakable’ and ‘Split’ then there is a chance that you might cotton on to Shyamalan’s wavelength but for a large part of the audience this is going to be a film without a strong sense of purpose.

James McAvoy is simply the best thing about this movie. His enthusiasm and effort in playing out multiple personalities is extraordinary. Jackson wakes up from his stupor a little late and loses out on creating an impact while Willis looks on strategically- the thing he does best I guess. This is at best a baffling and inconsistent exercise in cinema!

Also Read: James McAvoy on Glass co-star Bruce Willis: He is most chilled dude

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Thackeray
U/A: Biopic
Dir: Abhijit Panse
Cast: Nawazuddin Siddiqui, Amrita Rao
Rating:

Rather than a biopic, Nawazuddin Siddiqui's Thackeray tends to become a hagiography that doesn't offer an insight into the larger-than-life personality that was Balasaheb Thackeray. If you've wondered what lay beneath this powerful leader, or how he rose when the odds were against him, be warned this film doesn't answer those questions. Which is not to say it doesn't work.

Director Abhijit Panse's offering is an interesting drama for those who don't know much about Thackeray. The protagonist's journey from being a cartoonist at a newspaper to becoming a ruthless leader, insistent on the progress of the Marathi manoos, is captured well. But is this movie an image makeover exercise for the party, which is at loggerheads with its long-time ally, the Bharatiya Janata Party, ahead of the Lok Sabha elections this year? It definitely feels so. Interestingly, while the film starts with a disclaimer which reads that the makers don't support violence in any manner, they haven't shied away from showing Thackeray as someone who was in favour of using violence as a means to instill peace.

The film opens with the leader's trial in a Lucknow court as he is being questioned about his role in the demolition of Babri Masjid. When he is asked about his supporters tearing down the mosque, he replies, "Nahi, nahi. Toda nahi, saaf kiya." The film then travels between Thackeray's past — stylishly shot in black and white — and the courtroom where he has to justify his deeds and decisions.

From the rise of the angry Marathi consciousness against the dominant South Indians in Mumbai to the killing of Krishna Desai, a member of the Communist Party, to Thackeray supporting the Emergency because he believes that the country would finally be disciplined — various chapters present the protagonist as a tyrant.

The problem, however, lies in the most important chapter — the '93 Bombay riots. The film skims over the matter, and shows it as a conspiracy to kill Thackeray rather than people avenging the post-Babri riots, as is popular knowledge. The storyline then leaps to the bomb blasts that shook the city, and unsurprisingly, Thackeray and the Shiv Sena, rather than being depicted as the instigators of the communal riots, are shown as the city's saviours.

Siddiqui is riveting as Thackeray. It is his terrific performance that makes you invested in the film even when it trudges down a predictable path. But he falters with his voice; he can't match the deep baritone of his subject. Amrita Rao is convincing as Meena Thackeray. The movie ends with the victory of the Sena-Bharatiya Janata Party alliance in the 1995 state elections; the makers also use the opportunity here to announce the sequel. Produced by Shiv Sena Member of Parliament Sanjay Raut, the film barely goes beyond being the audio-visual version of Sena's official newspaper.

Watch Thackeray Trailer

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Ek Ladki Ko Dekha Toh Aisa Laga
U/A: Drama, Comedy, Romance
Director: Shelly Chopra Dhar
Cast: Sonam Kapoor, Anil Kapoor, Juhi Chawla, Rajkummar Rao
Rating: 

Towards the film’s climax, Rajkummar Rao, who plays playwright Saahil Mirza in the film, tells those watching his play to do so ‘from the heart’. It’s imperative that we follow this instruction, because, like with every Bollywood film, it’s easy to dismiss this one on many technical frailties. But, what you can’t fault, is its intention to depict a love story for what it truly is — a love story. Why does it matter if it is about a woman falling in love with another woman?

Written beautifully by the prolific Gazal Dhaliwal, Ek Ladki Ko Dekha Toh Aisa Laga breaks perceptions to introduce to us what normal truly implies — being compassionate about one another’s uniqueness. The point, in this case, isn’t to merely celebrate homosexuality and treat it as the regular. It attempts to reiterate that even personal choices, like those of marriage, career, or love, must be respected. Being rendered claustrophobic shouldn’t be the outcome of accepting an emotion that goes against the tide of societal norms. The narrative’s tapestry is woven with care and compassion; it evidently comes from a personal space, for Dhaliwal.

Watch the trailer here...

The film kicks off with a play about love in the age of Tinder. Leading lady Sonam K Ahuja’s Sweety brutally criticises this as “upar-upar ki love story”. Sweety is forced to live a life of shame. A closeted lesbian, she struggles to come to terms with her own orientation. Her family’s unwillingness to acknowledge it, a brother who pressurises her to ‘fix’ herself, and persistent loneliness, makes her journey cumbersome.

Sonam plays Sweety with charm and earnestness, and is yet uninhibited when she must be fierce. It takes courage to back a script of this nature, and she gets full marks for doing so. Rao’s Saahil shows compassion in his scenes with Sweety. Another cast-member, Anil Kapoor is affable. Given that he is as closeted as his daughter in the film — Anil’s character is a chef at heart who is stuck in a business of garment — the final scene of acceptance seems to come from a place of empathy.

What doesn’t work, however, is director Shelly Chopra Dhar’s constant ploy to whip up mystery around Sweety’s orientation. Her big revelation comes with orchestrated music, a futile attempt given that the title and trailer are revealing of the plot. There is also a latent desire to underplay the theme. Sweety’s partner, Kuhu (played beautifully by Regina Cassandra) gets a mere 15 minutes of screen time. Yet, it doesn’t particularly take away from the final product.

Commendably, Dhar manages to keep the film from becoming preachy. But, what she achieves with this feat, she instantly loses when Sweety says Saahil must be a saviour for others like her. It is offensive, given that it treats heterosexuals as the all-powerful, while the unique as those who need rescuing. Despite the faltering and the flaws, this one is a hit for every romantic. It’s never too late to celebrate love without labels, right?

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2019 Oscar Nominated Short Films
U/A: Action, documentary
Director: Reyka Zehtabchi, Rodrigo Sorogoyen, Marianne Farley, Jeremy Comte, Vincente Lambe, Guy Nattivi
Ratings: 

This anthology film features five Oscar-nominated short films each in the Live Action category and one short documentary set in India. The live action line-up includes Madre, Fauve, Marguerite, Detainment, and Skin.

The documentary film Period. End of Sentence by Reyka Zehtabchi from the USA, tells the story of women, in a rural village just outside of Delhi, fighting the deeply rooted stigma of menstruation in India. It's factual, hard-hitting and exposes India's hinterland underbelly that puts premium on dogmatic tradition and self-defeating old school beliefs.

Stills from Detainment

Madre (Mother), a stirring short from Spain directed by Rodrigo Sorogoyen, has a single mother enveloped in a living nightmare - having to deal with her seven-year-old son, who tells her he can't find his father who he was vacationing within the French Basque Country. The film is a taut, frightening thriller that grips you till the end.

Marguerite, the short from Canada, by Marianne Farley, opens up locked-up memories through an evolving friendship between an ageing woman and her nurse, thus allowing her a sort of redemption from all the hurt and guilt accumulated over long lonely years. It's a human story that allows emotions to creep in steadily and eventually makes the precarious journey through memory lane a fulfilling one.

Fauve, another Canadian short, by Jeremy Comte, deals with an innocent, seemingly harmless power game between two boys that eventually turns scary. It's a stirring indictment on the brash, confrontational, competitive arrogance that has enveloped every aspect of young life today.

The most shocking of the lot are, of course, Detainment and Skin. Vincent Lambe's Detainment, a short from Ireland, based on the James Bulger case - for which two 10-year-old boys are detained by police under suspicion of abducting and murdering a toddler. It's a gruesome and harrowing tale told through interview transcripts of the case and the tension-ridden treatment is bound to leave you disturbed and despondent.

Skin, a short from the USA by Guy Nattiv, spins a horrific drama that has its origins in racial incrimination. A black man smiles at a 10-year-old boy in a small supermarket in a blue-collar town, and all hell breaks loose. This one's a blinder about how conditioning rules the way we think and behave even in such harmless, innocuous moments.

This entire package is a delightful showcase of talent and diversity and therefore, rightfully enshrined in the nominations for the best and worthiest shorts of 2018. They are definitely winners!

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Notebook
U/A: Romance
Dir: Nitin Kakkar
Cast: Zaheer Iqbal, Pranutan Bahl
Ratings: 

I, for one, am not of the belief that remakes are a bad thing. If made well, they can stand their ground and even shine, in some cases, better than the original. Given that Notebook is directed by Nitin Kakkar (the man behind the luminous gem Filmistaan), I had a fair share of expectations, despite the underwhelming trailer. Kakkar's powerful storytelling in the unassuming Filmistaan played in my mind as I walked in to watch Notebook, an adaptation of the Thai film, The Teacher's Diary that released in 2014.

It's not a good sign when, in a love story, children steal your heart over the lead pair. Individually, both debutants Zaheer Iqbal and Pranutan Bahl sparkle, but they meet only at the fag end of the film. Kakkar draws out adequate performances from both, playing to their strengths, using the naivety of the novices to build on some screen charm. But with so much solo heavy lifting and a wobbly screenplay in tow, Kakkar delivers far short of what he is capable of.

Watch the trailer here:

As a plus, the film uses the picturesque settings of Kashmir, blending it with good music. The story, much like the original, traces the unlikely love life of Firdaus (Bahl) and Kabir (Iqbal). She leaves behind a notebook full of sketches and doodles; he is her replacement in a school where they teach. The notebook becomes a source of hope for Kabir, who connects deeply with her over the pages. She is an unusual teacher in an abusive relationship. As Kabir struggles to bond with the children, the notebook comes handy. The rest of the film paves the way to their final interaction.

Kakkar remains faithful to the original design, transporting his viewers into a world of innocence. It is concerning that the director never delves deep into the problems of the state, bringing forth its elements for a pure cosmetic use. A child with a fundamentalist father is a needless addition to the plot. Kabir's former job as a soldier, and his Kashmiri pandit background, also do little to add to the larger plot. It's a balanced view, but not a bold one; too simplistically handled, which is unlike Kakkar's risque style.

Watch it for the adorable kids, and if you are excited about star children in general, Pranutan is a good deal as a first timer.

Also Read: Notebook celeb review: Bollywood unanimously touts the film as a sweet and genuine

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