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VVS Laxman, one of the go-to men of Indian cricket in the last decade and among the most stylish batsmen in recent memory, is likely to bring the curtain down on his international career. He expected to make an announcement in the next 24 hours.
Laxman has told his family and close circle of friends, including his long-time coach, that he was “contemplating” retirement after the two-Test series against New Zealand, which starts in his hometown Hyderabad on August 23.
“He said he was contemplating [it],” one of the Hyderabad Cricket Association officials, who spoke to Laxman, told ESPNcricinfo. Laxman admitted as much in this brief quote to The Hindu earlier today: “A final decision will be taken about the exact details of my plans by this [Friday] evening.”
Definitive word was still to come, but it is understood that Laxman was pondering the right moment to exit: whether to retire after the first Test in Hyderabad or to leave it till the end New Zealand series, after the second Test in Bangalore.
I haven’t yet watched Rohit Shetty’s latest film, Bol Bachchan, and I don’t intend to.
Not that my staying away from the neighbourhood multiplex should make a huge difference to Mr Shetty, who will be counting on another monster …
Rahul Dravid is likely to announce his retirement on Friday. Dravid, 39, has called a press conference in Bangalore that will also be attended by N Srinivasan, the BCCI president.
Dravid is set to be the first of India’s senior-most …
For long, for ages, our mainstream commercial cinema has made us believe that Aal Izz Well with the world.
Or at least, that it will all be well in the end.
And that the entire universe conspires to bring you what you want if you want it real bad.
It probably does but not always the way you want it to happen. As the saying goes: Beware of what you wish for, because it might come true.
Farewells of top sportsmen tend to be nostalgic. They make you relive the past champagne moments, they leave you with a sense of foreboding about the future, and they are avenues to offer respect to the player leaving the scene.
However, there is a feeling of tragic farce to this Dravid farewell. The real farewell to an end of era will arrive when Dravid retires from Test cricket; this feels like an end of a cruel joke on Dravid. This feels like a back-door exit, not an honourable ride to sunset.
The start to this disgraceful end began when Dravid was led into a ODI cul-de-sac in 2007. It might have been the time for him to go but he wasn’t given a chance to do it gracefully. Two years later he got a SOS before being jettisoned almost immediately.
The sucker punch came when he was selected for this ODI series against England. He reacted to it with a dignified snub to the selectors; he accepted the call for the series but said that he will retire at the end of it. You got the feeling that he had had enough of being shoved around and was almost embarrassed at the recall. Today, is the day for closure to the mess and for that, we can be even thankful.
A wannabe actress (Mahie Gill) lives alone in Mumbai. No big deal that. Life is a struggle for her. No big deal again. She believes that stardom is only one role away. No big deal either. When the girl eventually lands an assignment that promises to change her life, disaster strikes. This is a real big deal and Ram Gopal Varma, a director who has been off the boil for quite a while now, makes a fair fist of bringing the grim fate of an urban babe in the woods to the screen.
The protagonist of Not A Love a Story is not a protagonist at all. She is like the solitary gasping fish in the glass bowl that the restless camera catches each time to door to the girl’s pad opens. Her fate isn’t in her own hands.
The fishbowl may not be a terribly original visual metaphor for the sense of loneliness that assails her, but it isn’t entirely out of place in Not a Love Story.
The aspiring star is a girl constantly under watch: her possessive boyfriend (Deepak Dobriyal) keeps track of every move she makes, calling her virtually every hour of the day. It is clear that the “fishbowl” of her life is about to crack. When it does, there’s blood on her hands and dead man in on living room floor.
Recently, a Kolkata-based newspaper got two filmmakers who had worked with Amitabh Bachchan, to speak about what they preferred more — Bachchan the actor, or Bachchan the star.
Aarakshan is proof that there’s no need to choose. In the film, Amitabh Bachchan puts his best ‘feet’ forward, and makes a spectacle of his role.
As Prabhakar Anand, Bachchan is the soul of Aarakshan. Principal Anand runs a private educational institute with an iron fist; “anushasan” is the key word here.
If this reminds you of Bachchan from Mohabbatein, let me tell you it’s a similar character but without the arrogance. In fact, Prabhakar Anand may come across as a pushover a lot of times, but Bachchan lends the role a sense of dignity and charisma that compels you to take him seriously.
In the very first scene of AARAKSHAN, Deepak Kumar (Saif Ali Khan), while giving a college interview, is made fun of because of his caste. He storms off the room, not before insulting the interviewees and the film begins on a high note. However, as the clock ticks, the graph of the film only heads South.
AARAKSHAN is about Prabhakar Anand (Amitabh Bachchan), who has been the pillar of a private college in Bhopal for more than 30 years. The idealistic principal believes in merit, but at the same time is considerate towards poor students who can’t score great marks. Deepak who is immensely helped by Prabharkar, is in love with his daughter, Poorbi (Deepika Padukone). Sushant (Prateik) is a good friend of Poorbi and studies in the same college.
A comment in a newspaper on the Supreme Court’s order on reservation lands Prabhakar in a tough spot. He resigns from his post giving way to the scheming Mithilesh Singh (Manoj Bajpai), who’s part of the institute but concentrates more on his private coaching classes. Due to his evil plans, Prabhakar and his family are even forced to give up their home. Will Prabhakar be able to reclaim his life, is what ensues.
Based on the social issue of reservation, Prakash Jha’s AARARSHAN has its heart at the right place. But it takes so long to convey its message that you run out of patience. The first half, despite taking too long (two back-to-back songs) to get to the central plot, is pretty good. The conflicts between the characters make for a compelling watch. But after the interval, Prakash loses his grip as the narrative just drags. It becomes laborious and repetitive watch, with the story moving at a snail’s pace. The climax is too good to be true and fails to have a great impact.
Hey Rahul, some of these youngsters don’t seem to fancy tough pitches, and those bouncers in the World Twenty20 in England were plain nasty. Do you mind playing ODIs in the South African pre-summer?
Hey Rahul, we know you were our second-highest run-getter in the matches you played on the comeback, but look at those flat pitches full of 400 runs, do you mind making way for the future of Indian cricket? Then again, we are sending an even worse message to the youngsters: that they are not good enough for the tough conditions.
Two years later, with Dravid well past his 38th birthday:
Hey Rahul, our strike bowler has pulled up sore, do you mind keeping wicket while the captain bowls a few overs?
It seems we will never exhaust our collective need for Planet of the Apes movies. The 1968 sci-fi classic spawned four sequels, a remake, and now a prequel, Rise of the Planet of the Apes. And guess what? The critics …
The Maharashtra government will reply today on a PIL on whether the release of Prakash Jha’s Aarakshan could pose a law and order problem. The hearing is expected around 3 pm.
The Censor Board has already given the film a UA rating after inviting four persons from the reserved communities to view it at the board’s screening.
The Bombay High Court on Wednesday (Aug 3) issued notice to the Maharashtra government directing them to file a reply on whether there are possibilities of law and order problems after the release of the film which has landed in a row for its alleged anti-reservation stand.
A division bench of Justices D D Sinha and A R Joshi was hearing a petition filed by two advocates stating that the film is anti-reservation and was likely to cause disharmony in the community. “The Additional Chief Secretary of State Home department will file a reply regarding possibility of law and order problems after the film is released and if there is any problem, the state government is well-equipped to handle the situation,” Justice Sinha ordered.
Rahul Dravid may as well confess he feels at home at Lord’s. The ground operates on the same characteristics that have defined Dravid’s career: discipline, order, balance, elegance, simplicity and respect.
He is an honorary MCC member and part of the MCC’s world cricket committee and has been making an annual visit to NW8 since 2008. He intimately knows the walls and the portraits in the pavilion that houses the committee room and the famous Long Room.
So when Dravid says Lord’s is a “very special” place for him, believe it. The respect is mutual. Dravid, who will become the first active member of the world cricket committee to play a Test at Lord’s on Thursday, was even allowed today to enter the inner sanctum of the pavilion in the Indian team’s bright blue tracksuit.
In the past, this would have been an unpardonable act at the 115-year-old MCC, long known for its insular and closed attitude; a place where you cannot enter without wearing a jacket and tie. It was an exceptional allowance granted to Dravid.
Murder 2 still dominates single screens despite the release of Zindagi Na Milegi Dobara and Harry Potter. Zindagi Na Milegi Dobara has not managed to get a good single screen chain as exhibitors prefer to give Murder 2 another week’s run. The opening in most single screens is low, in Delhi city the single screens had a better response comparitively.
Below are the figures for the Noon show in Kanpur. Murder 2 numbers are second week opening show.
Murder 2 – 8,348
Zindagi Na Milegi Dobara does exude pronounced traces of the spirit of Dil Chahta Hai, but its essential rhythm is its own, stemming from the dynamics of a full-fledged road movie shot through with intelligence, emotion and, above all, humanism.