Saturday, October 31, 2009

Need a holiday?

Here's an interesting article from Trent Hamm of the 'The Simple Dollar' on the importance of not making your work the most important thing in your life. There's a fair bit more to life than 9 to 5, and I whole-heartedly agree. So all you workaholics, go on, give this a go...

“One of the symptoms of approaching nervous breakdowns is the belief that one’s work is terribly important. If I were a medical man, I should prescribe a holiday to any patient who considered his work important.”
- Bertrand Russell,
The Autobiography of Bertrand Russell

When I worked at my previous job, I always felt like the things I was doing were vitally important to the success of the project. In one way, this was good – it kept me focused on making sure that things wouldn’t fail. Yet it created several additional problems.

For one, I was often really stressed out. I felt hugely responsible for everything that went on, even for things that I couldn’t actually control. Eventually, I became quite proficient at solving the technical crises that others were responsible for, often because they were completely oblivious to the disasters.

At the same time, I became afraid to push myself to try new things. Since I felt so strongly responsible for everything, I became deeply afraid of change. I already felt the stress of managing all of the things that were already in place – the idea of changing things or adding new things stressed me even more. As a result, I would often subtly resist such changes.

On top of that, the birth of my children caused my priorities to change, adding further stress. A big part of my job involved traveling to meetings and conferences and other such things. After my children were born, the travel responsibilities gradually went from an enjoyable part of the job to a burden. Instead of going out on the town with colleagues, I’d spend the evening calling home to see what my kids were up to and would often feel as though I was missing them grow up.

The real message underlining all of this? I was so caught up in how important my job was that it was stressing me out, affecting my personal life, and keeping me from innovating and taking chances at work. That’s a terrible mix for success.

Looking back, a much more appropriate perspective would have been to realize what my role was – to develop data interfaces – and do that to the best of my ability, ignoring the other things that were going on. If the database went down… well, I shouldn’t have seen it as my responsibility. Instead, my responsibility should have been to simply push the envelope and find new and clever ways to get people the data they needed. It wasn’t “important” work – it was creative work, work that should have been purely fun.

What did I learn from this experience? The moment you begin to think of your job as “important,” you become more stressed and less innovative in your career. Your health and energy fail you due to the stress. Your job becomes less enjoyable because you’re focused on maintaining the status quo instead of doing the best job you can. In the end, you simply become less vital than you were before you began to see your job – and yourself – as “important.”

This is an issue I see popping up even now with my writing career. When I begin to view what I do as “important,” I begin to be less effective. I write less interesting pieces that essentially just reiterate core points. It becomes dull – and I can feel that just as much as you, the reader, can.

Instead, I try to remind myself that what I do really isn’t all that important at all. When I feel that way, I tend to write more from the heart, no matter the consequences. I often get attacked when I do things this way because I’ll express things that are different than what’s “expected” of me, but it’s more enjoyable.

Here’s the truth: your job is likely nowhere near as important as you think it is.Sometimes, employers will try to convince you that you’re more important than you actually are because it’ll scare you into being a good worker – but it will, at the same time, prevent you from being a great one. In the end, most managers – who also think of themselves as more important than they actually are – prefer a workplace full of good workers who are afraid to step outside the box than an office full of a mix of great workers and bad ones who are constantly trying to innovate. After all, that same sense of inflated importance guides them, too.

Here are three things I often do to keep my sense of importance at appropriately low levels.

First, I imagine worst case scenarios in terms of the greater world. For me, that would probably be a lack of ability to continue updating The Simple Dollar. What would happen to the greater world? For the most part, very little. The Simple Dollar often adds a little “positive” to people’s lives on a regular basis, but if it went away, their lives would continue. They might find another web site that provides a similar boost – or they might not. Either way, it’s not a major crisis for the world if the worst case scenario happens.

Most jobs, if you peel them back to their true impact on the world, have very little real impact. Yes, there are a few captains of industry and top political leaders who really can affect a lot of lives. Outside of them, though, the worst case scenario of most jobs has little impact.

Second, I imagine the positive impact of just not worrying about it. That type of scenario frees me to try new things. If I realize that the worst case scenario really isn’t that bad, it becomes a lot easier to imagine best case scenarios for taking pretty significant risks. What if I write articles that are seriously outside the box on The Simple Dollar? I might chase away a reader or two, sure. But I also have the potential to grab the imagination and attention of a lot of people by doing that.

Again, the same holds true for most jobs. When you consider the absolute worst case result of a certain choice, then compare that to the potential positive results of making that same choice, you’ll often find you’re better off just letting go of the status quo and trying new things. Completely re-do your filing system. Do a presentation that completely bucks the rules of what typically goes on in your workplace. Write some interesting utility code that helps everyone by making some common tasks faster.

Finally, I try things that are way outside the norm. Sometimes I’ll end up using these things that I create. Other times I won’t. In either case, I usually find something worthwhile.

What really makes this stand out, though, is that it’s fun. Trying something completely new and different adds an element of fun to my work that simply isn’t there if I’m overly careful and just follow the status quo. That sense of fun keeps my work in the area of things in my life that make me happy instead of things in my life that drain me.

In the end, my advice is simple: let go of the sense of importance you have about your work. It’ll be the best career move you’ll ever make.

One final note: if you have your financial ducks in a row, it’s even easier. Paying off your debts helps your career because it reduces the importance of your job. Your need for a salary is much less if you have your ducks in a row, which in turn opens the door to greater success because you’re no longer tied to such a sense of importance.


Cheers!

Abhishek.

Sunday, October 25, 2009

All The Best


Puerile at its worst and mildly chuckle-inducing at its best, Rohit Shetty's 'All the best', starts where his earlier films, 'Golmal' and 'Golmal Returns' left off. A mad cap tale of mistaken identities, this juvenile piece of cinema deserves a watch only by the particularly optimistic, for whom the realization of three irrecoverable hours will not seem criminal.

The story involves Veer (Fardeen Khan), a struggling musician, who needs extra pocket money from his stepbrother, Dharam (Sanjay Dutt), who lives abroad. Prem Chopra (Ajay 'I've changed my surname' Devgn), his best friend, married to Jhanvi (Bipasha Basu), schemes to inform Dharam that Veer is married, thereby making a case for an increased allowance. The incredibly wooden Mugdha Godse plays Veer's girlfriend, Vidya. Things meander along aimlessly for this motley crew until big brother Dharam decides to drop in and mistakes Jhanvi for Veer's wife. Much confusion ensues and the friends swap partners to keep the bluff going for as long as they can. In the mix is a mute don, played by a returning-to-form Johnny Lever, and a Pran-impersonating vagabond, played by Sanjay Mishra and a Malayali maid, Mary, played by the wonderfully talented Ashwini Kalsekar and a bizarre car race, something the director feels obligated to include in all his films.

It is actually this support cast that keeps the film from being a complete wash out and more screen time for these competent comic talents would have made for more pleasant viewing. The film's 'falling down/getting slapped' brand of slapstick comedy is repetitive and some times achingly unpleasant. Shetty tries hard, but fails to create a good comic experience for the viewer, even after ripping off an American play. His only redeeming effort comes in the form of the cinematic references to the classic 'mistaken identity' films of the 70s and 80s like 'Golmal' and 'Chupke Chupke'. Pity he doesn't learn from them.

2/5

Cheers,
Abhishek.

Tuesday, October 20, 2009

Blue 2 in the offing???!!???

Be afraid, be very afraid... if this article from the Mumbai Mirror has even a shred of truth to it...


If you think that the latest release Blue was made on a lavish budget, think again. A sequel to the film is already in the offing and is being planned on a much bigger scale.

Blue actor Sanjay Dutt informs that they will be starting with the sequel immediately. "It was a thrilling experience shooting for Blue in the Bahamas. Tony (director) is ready with the idea for Blue 2 and he has promised that there will be more sharks and action in the sequel," says Sanjay.

Sanjay says that shooting for Blue wasn't a cakewalk. "For me, Blue was an extremely difficult film to shoot. The same goes for the director Anthony D'Souza. Hats off to the producer who believed in the film and invested so much money in it. I don't know about others but I had a tough time while shooting as I was scared when I saw 50 sharks around me."

Blue 2 will be shot in Australia and will have one more key male actor other than Akshay Kumar, Sanjay and Zayed Khan. While Blue has several sharks, its sequel will have deadlier sharks such as Great Whites and Bull Sharks.

Why would Anthony D'souza do this? And who's funding him this time? Obviously he feels that Blue - Mark I isn't bad enough, so looks like he's going to try and top it. Clearly our man's cracked the cinematic success mantra. Film dangerous aquatic life and Akshay Kumar together and the crowds will flock to the theatre. The recession is well and truly over folks - when you can spend another Rs. 100 crore on yet another monstrosity, things must be looking up. Should be interesting.

Cheers!
Abhishek.

Saturday, October 17, 2009

Blue


I'll make this a short one. There's not much to write about anyway. One wonders what happened to the $20 million that the producers spent on this one? Perhaps if the bulk of the cash was used to hire a good scriptwriter, instead of paying the actors' stratospheric salaries, things would have been a little different. This 'titanic' deserves to rest peacefully, as the film's poster screams, '250 feet under the sea'.
The story involves a betrayal between two friends, a lost treasure, an errant younger brother in trouble, family honor and the most boring treasure hunt ever filmed, underwater or on land. If you find the description a tad loose, you need not worry. You won't care anyway. What should have been a tight action adventure film, involving a suspense-filled treasure hunt, is in the end reduced to a few well choreographed action set pieces with some slick camera work. The underwater scenes deserve mention, and there ends the very short merit list of this film. Unless you're a devout Kylie Minogue fan. Even AR Rahman's music is tired and unimpressive. The acting is bad, the dialogue worse and the drama quotient completely undermined by bad writing. Nothing quite works for director Anthony D'souza and this ship sinks pretty fast. Perhaps the saving grace is its tight sub 2-hour running time.
Avoid this one, unless your doctor has prescribed an antidote for excess celebration this Diwali.

Cheers!
Abhishek.

Sunday, October 04, 2009

Wake up Sid


The first commandment of 'coming of age' films is well known to be - 'Thou shalt always be compared to 'Dil Chahta Hai''. This is no DCH. While Ayan Mukerji's directorial debut bears a certain resemblance to the Farhan Akhtar classic, both in terms of look and certain sub plots movements, the film on the whole is a fresh, simple and sugary take on the inner battles of today's youth.

Sid (Ranbir Kapoor) is a going-nowhere-and-loving-it rich kid, showing no signs of trying to make anything of himself, much to the chagrin of his parents, who want him to join the family business. Sid, having freshly failed his graduation exams, rebels and leaves home, only to crash with his new friend, the out-of-towner, independent-new-girl-about-town, Aisha (Konkona Sen) who's out to make it in the big bad city of Bombay, oops...Mumbai, and there starts both a heartwarming coming of age tale as well as a smartly told love story.

The film, however has its set of niggles. Sid's story isn't as compelling as it should have been. He has no particular emotional anchor to hook you with, not his fight with his best friend, not his failing his exams, not his fights with his parents. We just hope and wait for things to get really bad for Sid, so his redemption can seem all the more heroic and satisfying, but nothing of the sort ever happens, and once we realise that the film is produced by the folks at Dharma Productions, it seems to make sense. Only the track with Sid's reconciliation with his mother packs any sort of emotional punch. Downplay and subtlety is welcome, but Mukerji clearly overdoes it. The pacing of the film is also a tad sluggish, the first hour of the film taking too long to set up the story.

A word on the acting - this is entirely Ranbir Kapoor's film. His consistent and believable portrayal of Sid is a great turn. He single handedly makes this film more watchable than it should have been. Konkona does a variation of her roles in Metro and Luck By Chance and if she wasn't such a fabulous actress, she would be starting to really get on the nerves of viewers with her lack of range in commercial cinema. The rest of the cast are pitched perfectly and are eminently every-day, with the exception of Rahul Khanna, who does yet another meaningless bit part. He seems to be making a career out of doing the handsome boss/other man cameo. Yawn!

Shankar Ehsan Loy's music is fine, suitably young and hip, but none of their tunes hit the peak that guest music director Amit Trivedi reaches with the beautiful 'Iktaara', which immeasurably enhances the film, both aurally and mood wise.

Its a well told, young and simple little story of coming to terms with ones own little problems, and overcoming ones own trials and tribulations, however trivial they may be. Hidden in there somewhere, is a slick, neat little love story and and some great music.

3/5

Cheers!
Abhishek.

Saturday, September 12, 2009

Curfewed Night by Basharat Peer: Book review


There is something distinct and inherently powerful about the concept of identity, isn't there? Something that can cause a whole generation to sacrifice its future in its name? Basharat Peer's poignant 'Curfewed Night' is as much a chronicle of Kashmir's conflicted past and uncertain future as it is a love song to the paradise valley of his childhood. The book's relentless and breathless narrative is perhaps deliberate, maybe an attempt to drive home the urgency of the situation. After all, by most estimates, more than a hundred thousand lives have been lost since the inception of the conflict in the late 80s. Tragedy is...we are no more closer to a peaceful solution than we were at any point in the past.
Peer recounts his relatively peaceful childhood in the early 80s in the idyllic northern state. Then, with the peoples' growing discontent with Indian governance, arrived the militant freedom fighter with his Kalashnikov and things were never the same since. A vicious circle of violence was unleashed in the state, with the youth of the time idolising the freedom fighters. Peer himself makes no bones about the fact that he wanted to pick up the gun in the name of freedom and identity. His father's wisdom prevailed and Peer left the state to pursue his education. Much of the book's content is a result of conversations with people he returns to after the completion of his studies. These stories, all heart wrenching and tearful, have similar themes, about missing sons and fathers, massacred relatives, constant excesses of the Security forces, the loss of innocence and a pitfalls of being caught in the cross-fire, when all these people had wanted in the first place was to be left alone, wanting to be free to live in the way they were accustomed to. A particular observation of the author that I remember from the latter part of the book is about kids in Kashmir playing their own version of 'chor-police', called 'militant-army', with discarded weapons that the children found lying around.
If you are looking for objective analysis and intricate political dissection of the Kashmir issue, with possible solutions, this isn't the book for you. This is a deeply moving and personal tale of a home that no longer exists, of lives unnecessarily lost, of a colossal ongoing tragedy. This is clearly a human document, a book meant to be a Kashmiri voice, saying 'enough!'



Cheers!
Abhishek.

Wednesday, August 19, 2009

Stranger to history by Aatish Taseer : Book review


Being born to an Indian mother and a Pakistani father, puts ex-Time magazine journo and first time author, Aatish Taseer in a unique situation. As Indians or Pakistanis, one normally assumes one clear identity, one culture and one kind of relatedness. Aatish, unenviably, needs to straddle two very different worlds and cultures, which were, ironically, the same at one point in history. Truly, midnight's chosen son.

When the author published an article on British Muslim, Hassan Butt, the suspected 7/7 bomber, his philosophy of a 'literal Islam' and his efforts to recruit other young Muslims to fight in Afghanistan, he received an angry letter from his father in Pakistan, politician and businessman Salmaan Taseer, about how he had failed to understand the 'the ethos of Islam and Pakistan'. Not wanting to meet his father without an understanding of 'being Muslim' and the current moods in the Islamic world, he sets out travelling in search of a grounding, right from fiercely secular Turkey through to Syria, Oman, Iran and Yemen, with the final port of call being his father's Pakistan. The deeper and more personal question being, how his father, a non-practising Muslim could feel so strongly about his article, without actually being a 'believer' in the conventional sense. The question I kept asking myself," Taseer writes, "was how my father, a professed disbeliever in Islam's founding tenets, was even a Muslim. What made him Muslim despite his lack of faith?"

The book is clearly divided into two parts, which run parallel to each other, merging at the end. One part is the travelogue through 'Islamic lands' as the larger title of the book suggests, and the second is the author's telling of his estranged relationship with his father. And it is here that Taseer's writing really shines through. Elegant and mature, his prose allows us an embarrassingly front-row view of a poignant tale of a home broken by the redrawing of a map. While father and son never do make their peace, there is hope that they at least understand each others' motivations and purposes.

The journey itself is unremarkable and provides no deeper insight into already existing notions or knowledge of the countries he visits. There is the secular Turkey, where a more traditional and literal expression of Islam is almost abhorred . Then comes Syria, the current hot bed of radical Islamic thought, where interestingly he witnesses the burning of the Danish assembly on the Prophet-cartoon issue. He then travels to Iran, where trivialities of the Holy Book and its arbitrary interpretations are used to police the State into an almost schizophrenic straight-jacket. His journey remains a personal one, and while we wait for something fantastic to happen, our hopes built up in the initial pages, nothing really does. We will him on to meet some fascinating characters, but sadly, all we have to make do with is a bunch of Iranian Hare-Krishnas, a telling result of the hardline Islamic stance of the State and its corrupt and powerful moral police.
Things tend to get a bit of a move-on in Pakistan, and Taseer is back to what he writes best about, the subcontinent and the pain of partition. He makes an interesting observation in Pakistan - as the nations get younger, he says, they drift more and more apart, as the younger generation shares none of the hybridity that the older generation had about them. This was an interesting takeaway, as I would have thought that the baggage of old would have stopped weighing down the populations of today. Taseer gets a feeling that this is not the case with the youths of both countries charting entirely different paths, making them even more difficult to find common ground. It is in Pakistan where we meet another interesting character, the wealthy and feudal mango exporter, whose life is the telling of another kind of dichotomy in Pakistan.

Overall, a fine first book, heartfelt and poignant. It might not go down well with his father nor indeed in the Islamic world as well, but every attempt is made to be genuinely objective and his effort is praiseworthy. It challenges notions of identity, belonging and cultural roots. I would be very keen to see him write about India as well, in all its white, black and grey. I hear he's working on it.

In the meanwhile, 'Stranger to history' will do just fine.

Cheers!
Abhishek.


Sunday, August 16, 2009

Having a money philosophy





What is your money philosophy? What is that, you ask? Well, according to Alla Sheptun, "The philosophy of money is the mode of the intellectual inquiry of the essence of money as a social phenomenon and its influence on the world of things, the world of people and the inner world of the individual."




To put it simply, having a money philosophy is to know the 'how' (much money is enough), the 'why' (is money important to you) and the 'where' (will you spend it). It should ideally work like this. We all have our goals, both short term and long term, and in most cases, we need money to realise them. In that sense, money is just a means to an end and not the end itself as a lot of us make it out to be. Money, according to well known personal finance writer, Dave Ramsey, is only good for 3 things - creating wealth, having fun with and giving away. I'd largely agree with him. Therefore all we need to do is figure out what our goals are, and then allocate our spending patterns accordingly in the 3 categories above mentioned, the composite result being our money philosophy.





For example, my long term goals involve retiring from active corporate life latest by 50 to pursue interests in the arts, a house in the suburbs of Kolkata and a small independent business of my own. To achieve this over the next 20 years or so, I would therefore need to use most of my disposable income to create as much wealth as possible to take care of my family's future needs as well as to invest in my business idea. Using my money to have fun would therefore sadly have to occupy a much smaller piece of the pie. How this pans out is, of course, open to conjecture and only time will tell of its success or failure.





But having a philosophy of money, and importantly, internalising it, egenders a clear thinking and an internal peace. It helps to filter out all the money noise we hear all around us everyday. " Too many people spend money they haven't earned, to buy things they don't want, to impress people they don't like" said Will Smith, very sagaciously, I might add. Having a philosophy in place helps us take a step back from spending money in unproductive areas, areas that will get us no further to our goals, and help to keep us grounded.





Its hard not keeping up with the Banerjees, but the philosophy of money can make a certain contribution to educating us all and helping us remember that the measure of all things must always be human values and not 'stuff'.





Cheers!


Abhishek.



Sunday, August 09, 2009

Amul in Bollywood


An article on the start of the most enduring chapter in Indian advertising.

From the The Asian Age (1996)

"The moppet who put Amul on India's breakfast table

50 years after it was first launched, Amul's sale figures have jumped from 1000 tonnes a year in 1966 to over 25,000 tonnes a year in 1997. No other brand comes even close to it. All because a thumb-sized girl climbed on to the hoardings and put a spell on the masses.

Bombay: Summer of 1967. A Charni Road flat. Mrs. Sheela Mane, a 28-year-old housewife is out in the balcony drying clothes. From her second floor flat she can see her neighbours on the road. There are other people too. The crowd seems to be growing larger by the minute. Unable to curb her curiosity Sheela Mane hurries down to see what all the commotion is about. She expects the worst but can see no signs of an accident. It is her four-year-old who draws her attention to the hoarding that has come up overnight. "It was the first Amul hoarding that was put up in Mumbai," recalls Sheela Mane. "People loved it. I remember it was our favourite topic of discussion for the next one week! Everywhere we went somehow or the other the campaign always seemed to crop up in our conversation."

Call her the Friday to Friday star. Round eyed, chubby cheeked, winking at you, from strategically placed hoardings at many traffic lights. She is the Amul moppet everyone loves to love (including prickly votaries of the Shiv Sena and BJP). How often have we stopped, looked, chuckled at the Amul hoarding that casts her sometime as the coy, shy Madhuri, a bold sensuous Urmila or simply as herself, dressed in her little polka dotted dress and a red and white bow, holding out her favourite packet of butter.

For 30 odd years the Utterly Butterly girl has managed to keep her fan following intact. So much so that the ads are now ready to enter the Guinness Book of World Records for being the longest running campaign ever. The ultimate compliment to the butter came when a British company launched a butter and called it Utterly Butterly, last year.

It all began in 1966 when Sylvester daCunha, then the managing director of the advertising agency, ASP, clinched the account for Amul butter. The butter, which had been launched in 1945, had a staid, boring image, primarily because the earlier advertising agency which was in charge of the account preferred to stick to routine, corporate ads. In India, food was something one couldn't afford to fool around with. It had been taken too seriously, for too long. Sylvester daCunha decided it was time for a change of image. The year Sylvester daCunha took over the account, the country saw the birth of a campaign whose charm has endured fickle public opinion, gimmickry and all else. The Amul girl who lends herself so completely to Amul butter, created as a rival to the Polson butter girl. This one was sexy, village belle, clothed in a tantalising choli all but covering her upper regions. "Eustace Fernandez (the art director) and I decided that we needed a girl who would worm her way into a housewife's heart. And who better than a little girl?" says Sylvester daCunha. And so it came about that the famous Amul Moppet was born.

That October, lamp kiosks and the bus sites of the city were splashed with the moppet on a horse. The baseline simply said, Thoroughbread, Utterly Butterly Delicious Amul,. It was a matter of just a few hours before the daCunha office was ringing with calls. Not just adults, even children were calling up to say how much they had liked the ads. "The response was phenomenal," recalls Sylvester daCunha. "We knew our campaign was going to be successful."For the first one year the ads made statements of some kind or the other but they had not yet acquired the topical tone. In 1967, Sylvester decided that giving the ads a solid concept would give them extra mileage, more dum, so to say. It was a decision that would stand the daCunhas in good stead in the years to come.

In 1969, when the city first saw the beginning of the Hare Rama Hare Krishna movement, Sylvester daCunha, Mohammad Khan and Usha Bandarkar, then the creative team working on the Amul account came up with a clincher -- 'Hurry Amul, Hurry Hurry'. Bombay reacted to the ad with a fervour that was almost as devout as the Iskon fever.

That was the first of the many topical ads that were in the offing. From then on Amul began playing the role of a social observer. Over the years the campaign acquired that all important Amul touch.

India looked forward to Amul's evocative humour. If the Naxalite movement was the happening thing in Calcutta, Amul would be up there on the hoardings saying, "Bread without Amul Butter, cholbe na cholbe na (won't do, won't do). If there was an Indian Airlines strike Amul would be there again saying, Indian Airlines Won't Fly Without Amul.

There are stories about the butter that people like to relate over cups of tea. "For over 10 years I have been collecting Amul ads. I especially like the ads on the backs of the butter packets, "says Mrs. Sumona Varma. What does she do with these ads? "I have made an album of them to amuse my grandchildren," she laughs. "They are almost part of our culture, aren't they? My grandchildren are already beginning to realise that these ads are not just a source of amusement. They make them aware of what is happening around them."

Despite some of the negative reactions that the ads have got, DaCunhas have made it a policy not to play it safe. There are numerous ads that are risque in tone.

"We had the option of being sweet and playing it safe, or making an impact. A fine balance had to be struck. We have a campaign that is strong enough to make a statement. I didn't want the hoardings to be pleasant or tame. They have to say something," says Rahul daCunha.

"We ran a couple of ads that created quite a furore," says Sylvester daCunha. "The Indian Airlines one really angered the authorities. They said if they didn't take down the ads they would stop supplying Amul butter on the plane. So ultimately we discontinued the ad," he says laughing. Then there was the time when the Amul girl was shown wearing the Gandhi cap. The high command came down heavy on that one. The Gandhi cap was a symbol of independence, they couldn't have anyone not taking that seriously. So despite their reluctance the hoardings were wiped clean. "Then there was an ad during the Ganpati festival which said, Ganpati Bappa More Ghya (Ganpati Bappa take more). The Shiv Sena people said that if we didn't do something about removing the ad they would come and destroy our office. It is surprising how vigilant the political forces are in this country. Even when the Enron ads (Enr On Or Off) were running, Rebecca Mark wrote to us saying how much she liked them." There were other instances too. Heroine Addiction, Amul's little joke on Hussain had the artist ringing the daCunhas up to request them for a blow up of the ad. "He said that he had seen the hoarding while passing through a small district in UP. He said he had asked his assistant to take a photograph of himself with the ad because he had found it so funny," says Rahul daCunha in amused tones. Indians do have a sense of humour, afterall.

From the Sixties to the Nineties, the Amul ads have come a long way. While most people agree that the Amul ads were at their peak in the Eighties they still maintain that the Amul ads continue to tease a laughter out of them.

Where does Amul's magic actually lie? Many believe that the charm lies in the catchy lines. That we laugh because the humour is what anybody would enjoy. They don't pander to your nationality or certain sentiments. It is pure and simple, everyday fun."

Amul has often had a special connection with the film industry. A collection of some of the brilliant Amul adverts over the years -






Cheers!
Abhishek.

Monday, July 13, 2009

The Case Of The Missing Servant by Tarquin Hall: Book review




Tarquin Hall's first foray into fiction is a fine attempt by any standards. As a journo based in South Asia for much of the 90s, his study and insight into Indian society and custom is thorough and the reader is rarely suspicious of the writer's distinctly non-Indian roots. His marriage to an Indian-American of Punjabi upbringing also helped immensely, I would imagine, as Hall's characterization, setting and insight are positively flawless. He successfully manages to put the pizzazz back in the detective genre.

Hall's detective Vish Puri, is eminently likeable, as most Punjabis are, being typically rotund, jovial and fiercely proud of his culture and heritage, evidenced by his blind faith in his guru Chanakya and his bible, the peerless 'Arthashastra'. He believes the Holmes' of the world to be nothing more than dilettantes and upstarts, who copied Chanakya's principles in their method but never gave any credit to the source. He lives in an upper middle class neighborhood with his wife, Rumpi, his 4 daughters and his mother Mummy-ji. Suitably, he also carries the nickname 'Chubby'. He heads up Most Private Investigators ('Confidentiality is our watchword') and carries out mainly pre-marriage investigations, as most detectives in India do. But when he is called in to investigate the mysterious disappearance of a maid servant from a reputable lawyer's bungalow, things get pretty interesting. Using his vast network of informants as well as his able associates, the wonderfully nicknamed Flush, Tubelight and Facecream, he moves from clue to clue, from west to the east of the country, and from suspect to suspect, until the truth is finally out. In the mix is Mummy-ji, a budding detective in her own right, who despite being an irritant to Puri in his investigations, is sniffing out the culprit in her own little mystery. This subplot is actually a master-stroke in terms of plot handling and enhances the reading experience, giving the reader a perfect little distraction, a breather if you will, from Puri's own relentless case file.

The book, while being generally amusing and light hearted, is also serious in the issues it lays bare. Apart from being detective fiction, it is also in part a social commentary on the dichotomy of modern India, much like some of the issues explored in Adiga's dark 'The White Tiger'. A good read on the whole and Puri proves to be a worthy successor to the likes of Bandyopadhyay's Byomkesh Bakshi, Ray's Prodosh Mitter and Keating's Inspector Ghote. The Indian detective is alive and well and Puri should have many more cases to solve. I can already see a few film adaptations in the offing.

My only quibble with the text is the constant and unnecessary use of Indian English by the characters, which ceases to be funny after about the first 50 pages. In any event, I look forward to Hall's next, 'The Case Of The Man Who Died Laughing'. Don't skip this. It's great fun.



Cheers!
Abhishek

Monday, July 06, 2009

Kambhakkt Ishq


Oh dear!


Kambhakkt Ishq is not so much a film as it is a series of amateurish, silly and sometimes asinine gags, loosely connected with something like a story-line. It will probably make the producer a ton of cash, but otherwise will do nothing for Akshay Kumar's and Kareena Kapoor's careers. While Kumar's turn in film after film gets evermore predictable, Kareena's career may have actually taken a step backward with this monstrosity.


Set in Hollywood, the film tells the 'tale', if one may call it, of the hate-hate relationship of the film's protagonists, Viraj (Kumar), a Hollywood stuntman, and Bebo (Kareena) an aspiring surgeon who moonlights as a 'supermodel'(no less). Predictably, this egoistic gender war ends with the pair falling head over heels in love and getting married. In the mix is one of the worst sidekicks ever in Vindoo Dara Singh, a mysterious 'sue-er', Keswani, who bears no connection with the goings-on whatsoever, played by Javed Jaffrey, a caring Dolly aunty (Kirron Kher), whose sole purpose for the few moments that she shows up, is to convince Bebo that marriage is a good idea and a deaf doctor, played by Boman Irani, who really had no business being in such a film. Oh, and the supporting pair of Aftab Sivdasani and Amrita Arora have nothing much to do other than look adequately sad as they stand back and watch the film's lead pair destroy their marriage as result of their ego trip.


And the gags, well, the less said about them, the better. We last saw 'the surgeon leaving his watch behind in the patient's stomach' gag in Jaspal Bhatti's Flop Show years ago. While it was funny as a 15 minute sketch, played out superbly by the deadpan Bhatti, here it is almost half the plot. No prizes of guessing that it gets boring really fast. The dialogue mainly consists of swearing, mouthing bad english lines and screaming 'Bhai'. The music is insipid and unimpressive.


This film is more of a 'golden turkey', than a 'golden baby', something Denise Richards wants to produce with Viraj. Seriously, who approved the dialogues?!? Even His Royal Akki-ness and Diva Kareena can't save this one. It was fun watching Stallone spout hindi dialogue though. Never thought I'd see the day.


1.5/5



Cheers!


Abhishek


Saturday, July 04, 2009

New York


A film about discrimination in the USA in the aftermath of 9/11, New York has its heart in the right place, but is led down by a flawed screenplay and clunky dialogue. In short, it could have been a much better film.

The movie starts with an FBI agent (Irfan Khan) detaining an Indian Muslim, Omar (Neil Nitin Mukesh), now working in America, on suspicion of terrorism. To clear his name, he is then asked to infiltrate his friends' (John Abraham and Katrina Kaif) home as the FBI has suspected them of being involved in running a terrorist sleeper cell for a while. The film tells the tale of the three friends in flashback... how they met, all the fun times, the love won and lost. Omar loses the love of Maya (Kaif) to Samir (Abraham) and then 9/11 happens. Samir is forcibly detained and tortured for 9 months and is lucky to be one the 4 to be released on grounds of lack of evidence. He is understandably disillusioned and thus begins his downward spiral into the world of revenge, jihadis and terror. Do his friend and wife succeed in stopping him? That's where the film's climax culminates.

It all starts off very well, with the three friends meeting in college and having a whale of a time. The first 40 minutes of the film are perhaps its best, and then on things start to get a tad tedious. The emotional connect with the audience is just not strong enough here, as is required to justify the victim's position. As American citizens, I would have expected Samir and Maya to show a tad more emotion when the 9/11 news broke. They just hugged and looked glum. Also, a better actor than Abraham would have been able to better emote alienation and intense anger during and after the months of detention. Samir's story is the the most important track of the film, but doesn't hook you at all. Its the frivolous bits that actually seem a lot more genuine.

Irfan is dependable as ever and as the conscience of the film, is saddled with the trickiest and worst dialogues, but carried them off bravely enough. Katrina Kaif finally gets to do more than sing songs and look phenomenally gorgeous. Here acts moderately well and of course, looks phenomenally gorgeous. Neil Nitin Mukesh's earnest turn is eye-catching, but the big disappointment is Abraham, who perhaps gets the most opportunity, but fails when it counts. He is natural as a carefree American college jock, but as an anguished and haunted individual, he isn't as convincing. The music of the film is passable. Kabir Khan's direction is good and every frame looks great. A really glossy body. But not enough soul.


2.5/5


Cheers!

Abhishek.

Tuesday, June 23, 2009

99


99 isn't the funniest film of the year, nor is it always 'pure fun' as the black and red posters of the film would have us believe. It is however a smart, warm and generally amusing piece of work in the crime caper genre and is worth a watch.
The film revolves around 2 small time scamsters, Sachin (Kunal Khemu) and Zaramud (Cyrus Broacha), who are forced to work with the endearingly phsychotic bookie AGM (Mahesh Manjerakar). When the bookie sends our boys out to Delhi to collect payment from a congenital cricket gambler Rahul (Boman Irani), things get interesting. The money is lost, then found, then lost again and then.. err..you guessed it.. found again. The last gambit involves the gambler and the 2 crooks teaming up against a big time cricket match fixer/bookie to recover the lost money. Thrown into the mix is the scene stealing Kuber (Amit Mistry), a small time Delhi bookie to whom Rahul owes money..(is there anyone in the film that he does not?), the pretty hotel receptionist Pooja (Soha Ali Khan), who wants to break out on her own, preferably to open her own coffee shop, much like Sachin, the disconsolate Mrs. Rahul (Simone Singh), who has walked out on her husband because of his compulsive gambling habit and the big boss of the cricket match fixing game, JC (Vinod Khanna), who desperately wants to beat Rahul at cards after having lost to him earlier.
Things take some time to pick up here, so don't expect a laugh riot from the word go. The first hour is spent etching out the characters and their motivations. Its towards the middle of the film that the real action starts with the boys reaching Delhi. Not to say that the film is beyond flaw. The romantic track involving Sachin and Pooja is totally unnecessary and slows down proceedings considerably. The music isn't phenomenal either, with only the song 'Delhi Destinty' being airplay worthy. Direction wise, the debutantes Raj Nidimoru and Krishna DK are pretty good and the film is well shot, slick and well packaged. But its the actors that come up trumps here, with natural performances from Khemu, Irani, Mistry and Manjerakar. Khanna is functional while Khan is adequate. Broacha is perhaps the only weak link this ensemble, but shows significant promise in some scenes. One wonders why there was a need to further pad-up an already XXL Cyrus?


Time well spent, this film. Watch.

3/5

Cheers!
Abhishek.

Saturday, June 20, 2009

A quick Kolkata trip and some lost treasures





Kolkata for a week is never enough, but this trip was somehow satisfying. The parents are in the process of moving house and there was a bit of excitement there...what with setting up the new place and all, buying some furniture, helping set up the completed portions, choosing the curtains, lighting etc. Also managed to finally tick off some long standing to-dos. But the big surprise lay elsewhere. In an old store room, locked up in a tattered suitcase. My parent's entire LP record collection. Almost all of them in good condition! Just touching the vibrant full colour packing covers brought back wonderful memories of lazy afternoons in Kanpur/Madras/ Calcutta spent listening and trying to memorise some of these very songs. A really interesting mix of music there...given dad's passion for old film music and mom's more western tilt. Some of the records I can remember from the 70 odd that I found are:

western/pop/fusion
1. Tom Jones - She's a lady
2. Usha Iyer - Scotch and Soda, Love Story and others
3. Neil Diamond - The best of
4. Paul Anka - The best of
5. Boney M - The best of
6. Pink Floyd - Piper at the gates of dawn
7. James Last - Trumpet a go-go
8. Yehudi Menuhin/ Ravi Shanker - Improvisations /East meets west 3
9. Nancy Sinatra - These boots are meant for walking - original 1966 release edition

hindi/bengali
1. Satte pe Satta
2. Piya ka ghar
3. Salil Chowdhury and the Calcutta Youth Choir - Modern bengali songs
4. Anand
5. An evening with Mohd. Rafi
6. Bade Ghulam Ali Khan - Legends
7. Lata Mangeshkar - Classical evening

Here are some pics.
Now all I need to do is find a record player. Any ideas where?

Cheers!
Abhishek.

Wednesday, May 13, 2009

Kolkata Knight Riders - How deep is the sea of tears?


The Kolkata Knight Riders' woes in the IPL 2009 season continue. Mr. Murphy is vindicated and whatever could have possibly gone wrong, has gone wrong. The failed Multiple-captaincy (or, the get rid of Ganguly) theory, Ganguly's ouster from captaincy and the subsequent public backlash, the pathetic fielding standard, new captain Brendan McCullum's woeful form, the Fake IPL Player's stinging and salacious blog, authentic or not, and now the racist allegations. Theres enough there to fill in a dozen HR case studies! And its turned the captain, who till a few weeks ago was in top form, into a mournful, gibbering wreck. To his credit, though, he's put up a brave face and carried on manfully. This must feel like the longest 6 weeks in his professional career. 
This from a team that had everything going for it, on paper. An owner capable of generating mass hysteria with a juggernaut-like PR machine, the largest brand value amongst the IPL teams, one of the largest and most imposing stadiums in world cricket as it's home base, the most passionate home crowd already steeped in club culture and some fantastic ODI cricketers in Gayle, McCullum, Ponting, Sharma and Hussey. 
But lets not dwell on what has been a disastrous outing for the men in black and gold. Here are a few things Joy Bhattacharya and Co. can consider going forward: 

1) Change the kit: The black and gold ain't cutting it anymore. See what the Deccan Chargers have achieved with a smart revamp of their 2009 kit. From bottom placed no hopers last season to serious contenders this time around. SRK can get his good mate Manish Malhotra to come up with something suitably jazzy as the 2010 season approaches. 

2) Get rid of the existing coaching staff: Buchanan and Co. have been an unmitigated disaster. KKR needs a behind-the- scenes kind of coach, and not a superstar primadonna we have right now. When you have strong personalities like Ganguly and Ponting already in the squad, you need someone with the tact, subtlety and diplomatic skills of an Indian civil servant, and not a laptop toting, overbearing, de Bono quoting professor with all the subtlety of a brass band. Didn't we learn from the Chappel/Ganguly episode? Where's someone like John Wright or Gary Kirsten when you need them? I quite agree with Warne's theory of not needing coaches at top level, especially for a slam bang 6 week tourney like the IPL. One doesn't need active coaching at this level, but someone who can help get the best out of the squad, help strategise and motivate. And what's with having more support staff than players? Cut the staff size down to 4-5 max. And get a good mix of foreign and local staff. 

3) Create a city bond among the squad: What do the foreign players actually know about Kolkata apart from its hotel rooms, the Eden Gardens and the social service opportunities it presents? Lets get them a little more entrenched, I say. The local players could educate the likes of Ponting, Gayle, McCullum, Hussey and Hodge about the city, its culture and sporting history (glorious when it comes to football, nothing much to write home about as far as cricket is concerned). They could try something like a student exchange program, where the local boys could host the overseas pros in the city for a week/fortnight. Tough when you consider the international cricket calendar, but might help the overseas boys bond a bit more with the franchise. This could help ease whaterver alleged racial/communal tensions that exist between players from different nationalities. Compulsory community work at Nirmal Hridoy should be made a must for all players as payback to the fans for such a horrendous 2009 season. 

4) Invest in local talent: KKR doesn't suffer from lack of quality overseas talent. Its the lack of decent Indian/Bengal cricketers that's letting them down. Invest in getting back Bengal troopers Manoj Tiwary and Shreevats Goswami. With the ICL cricketers soon returning to the mainstream fold, there is the talented Abhishek Jhunjhunwala and the utilitarian Rohan Gavaskar to chose from as well. Cheteshwar Pujara, Tiwary(should they get their hands on him), Saha and Shukla should be given ample scope. Agarkar, Chopra, Bangar,Taibu, Akhtar, Hafeez and Henriques should have their contracts cancelled (Most of them should not have been contracted in the first place). The aim should be for a lean, well oiled and performing squad and not the 50 strong batallion they have now. The extra cash could also help...theres a recession on, by the way. 

5) Strong leadership: Should Ganguly play in the next edition, he should be made captain with McCullum as deputy. He is a strong individual who can galvanize the team and make things happen. Should he give up cricket altogether, in disgust, after this car wreck that was 2009, Ponting is probably the best man for the job. While his tactical skills aren't the best in the world, at least he looks the part. We're tired of seeing a haunted and desolate McCullum match after match. 

6) Tone down the hype: You'd be forgiven for believing that the KKR outfit was topping the league tables, given the amount of hype surrounding the team. Lets tone it down chaps. Empty vessels and all that. Keep things quiet for the next year and focus on the cricket. Robbie Williams sings when he's winning. So should you. 


Cheers!
Abhishek.