what we are reading – EightandHalf
A thank you note – from Aron Ralston to A R Rahman.
Danny Boyle’s new film 127 Hours is based on the real life story of moutain climber Aron Raltson, who had to amputate his arm to save his life. And A R Rahman has composed the music for the film. Click here to hear the story of Aron Raltson in his own words.
Pic courtesy – Rahman’s FB page.
If only Ashutosh Gowariker stops taking himself so seriously, the world would have been a better place to live. Ok, thats called exaggeration. But yes, he might get his mojo back. Last night Ashutosh Gowariker was online, through the twitter account of Khelein Hum Jee Jaan Sey. One of us tweeted and asked him for Refund. And this is what he replied…
You are asking for a refund?? It is like asking for a refund from the revolutionaries who gave their lives for you!!
Woohoo! As if Gowariker is going to donate all the collections from the film to the families of freedom fighters. And dear Gowariker, if you think there is nothing wrong with KHJJS, then all the best.
On his Facebook wall, Anurag posted this message yesterday –
See Chittagong, a far superior film made on the same subject as KHJJS.. At 1/8 th the cost, far superior actors and immense passion.. Producers decided to sit on it, because of a phone call from someone, Because that someone was trying desperately to save his son’s career..welcome to bollywood, where whose son you are… outshines all the hardwork and passion and potential and talent. KHJJS came and went, now what.
And if its true, then its not the first time. Remember how AB Sr. put out all the congratulatory smses that people smsed him for Abhishek, in full page advertisements after the release of Guru. And for Raavan, he put the blame on editing.
Mumbai Mirror picked the info from Anurag’s FB wall and carried this news today. And according to Mirror, Amitabh Bachchan reacted to it saying its incorrect and baseless. Click here to read the report that The Telegraph carried in 2007 about Shonali Bose’s film. It seems Naseeruddin Shah and Jaya Bachchan were interested in it. One more Bachchan ? Wah, what an irony!
Shonali’s film Chittagong is directed by her husband Bedabrata Pain. It stars Manoj Bajapayee and Raj Kumar Yadav ( LSD).
We had read about this film but had no clue that it will look so gorgeous. Produced by Disney Pictures, Once Upon A Warrior is directed by Prakash Kovelamudi and stars Siddharth, Shruti Hassan and Lakshmi Manchau. And it seems finally we have got a desi fantasy film with super special effects. Enough of those cardboard drawings and tacky effects. Click on the play button and check it out.
This is the 3rd year of the Rendezvous With French Cinema (4th-7th December) and they have got some good films this year too. And the best part, its all FREE! Read on for all the details.
– All the films are subtitled in English.
– You can collect your free passes at the entrance of the Cinema, one hour prior to the screening time of each film.
– Passes are FREE but strictly on first come first served basis (2 passes per person).
– Each film will be presented by their respective cast and/or filmmakers. A question and answer session will follow at the end of each screening depending on the availability of the cast.
VENUE 1 – METRO BIG CINEMAS – DHOBITALAO JUNCTION
Saturday 4 December – 06:30 pm – Heartbreaker (Opening Film, by Invitation only, 1h45)
Sunday 5 December – 06:30 pm – Of Gods & Men. 09:30 pm – Potiche (1h43)
Monday 6 December – 07:00 pm – Oceans (1h43). 09:30 pm – Sarah’s Key (1h51)
Tuesday 7 December – 06:45 pm – Carlos ( 5h30 with 20 minutes interval). 09:30 pm – Love Crime (1h46)
VENUE 2 – FUN CINEMAS – ANDHERI WEST
Saturday 4 December – 06:30 pm – Of Gods & Men ( 2h)
Sunday 5 December – 04:00 pm – Carlos (5h30 with 20 minutes interval). 06:30 pm – Oceans (1h43) 09:30 pm – Sarah’s Key (1h51)
Monday 6 December – 06:30 pm – Potiche (1h43). 09:30 pm – Love Crime (1h46)
Tuesday 7 December – 06:30 pm – Heartbreaker (1h45)
Our Recco – CARLOS – Its cinema at its explosive best! Don’t miss it.
CONTACT – For more information, you can contact MONSOON FILMS – Tel: + 91 22 2880 5544 /2880 5544 /4003 5542 /4003 5542
EMAIL : rendezvousfrenchfilms@gmail.com
Naam toh suna hoga ? Ok, padha hoga ? Remember John Roy Hill ? Remember Dabangg ? Remember Dabangg’s first trailer ?
Well, if you belong to a club like ours where every new detail or piece of information about cinema makes you curious, then here is something for cheap thrill. Take a look at this pic.
Now you remember ? The first theatrical trailer of Dabangg opened with this quote by John Roy Hill. If you still can’t remember, here is the trailer…
And a trailer of Salman’s film opening with a quote ? Well, even Ripley must be scratching his head.
It made us curious. Who is this John Roy Hill ? Why we haven’t heard about him before ? We googled him, we googled the quote, we asked the quote masters. But nothing helped. Because someone else was having a cheap thrill by calling himself John Roy Hill. Aha, Fight Club!
Ok, here is the answer. John Roy Hill. Abhinav Kashyap. #SameGuy. #CheapThrill.
Because we surely are trying our luck.
And you just have to write 140 characters. Ok, its even less than that. Its Tim Burton’s Cadavre Exquis ( or Exquisite Corpse) – a technique used to collectively tell a story. Each contributor adds to the story in sequence, building on the last line revealed. This is part of Tim Burton’s movie celebration at Toronto International Film Festival.
All you need is a twitter account. And you have to contribute just 127 characters. Because #BurtonStory = 13 characters, is a must with every tweet.
And here are the basic details –
And the opening line of the story is – Part 1 “Stainboy, using his obvious expertise, was called in to investigate mysterious glowing goo on the gallery floor #BurtonStory”.
So, what are you waiting for ? Click here and start writing.
WHAT : This initiative, focusing on a different region every year, operates in two modes. On the one hand, Open Doors co-production lab brings professionals from the chosen region together with potential partners, mostly from Europe, to foster support for projects that would otherwise be difficult to make. Every year, following a call for submission, the Festival selects new projects from the chosen region, which will be presented during the Open Doors co-production lab.
At the end of the workshop, the winning project will receive either development or production support.
On the other hand, especially for the public audience, the Open Doors Screenings: a non-competitive section of films particularly representative of the cinematographic and cultural universe of the chosen region. This year the Open Doors section is dedicated India.
HOW : Open Doors 2011 is the result of a two-year collaboration with the Film Bazaar India/Goa Festival’s Screenwriters’ Lab, instigated with support from Nina Lath Gupta, managing director of the Indian national film promotion office (NFDC). During the last two editions of the Locarno Festival, a total of 12 Indian screenwriters have participated, and been able to present their work-in-progress to a range of film professionals from all over the world, all under the aegis of the Binger Filmlab.
WHO : Three Indian experts will work with the Festival on the Open Doors 2011 program: Sunil Doshi, Meenakshi Shedde and Uma Da Cunha (consultant).
The final short-listed applicants (a dozen in all) will be invited to participate in the co-production lab to take place during the 64th edition of the Festival del film Locarno (3-13 August 2011).
WHERE : Indian projects can be submitted to Open Doors 2011 via the Festival website: www.pardo.ch.
DATES : The 64th Festival del film Locarno will take place from August 3rd to 13th, 2011. The days dedicated to the Open Doors co-production lab will be from the 6th to 8th August, 2011. The deadline for the submission of projects is set on March 13th, 2011.
For more, click here.
UPDATE – We had put this post last year. But the makers got to know about it and thought it was too early and might harm the prospect of the film. So we removed the post. Now that the film’s trailer is out, we are posting it again. Haven’t change anything else.
This one is strictly for the fanboys. Dibakar Banerjee, easily one of the best directors among the current lot, is busy working on his fourth film titled Shanghai. And a good soul did a good deed for the day – mailed us the synopsis of the film. And it seems much more than just synopsis. The film is based on Vassilis Vassilikos’ novel Z. Costa Gavras’ film Z was also based on the same novel. Click here to read the synopsis of Z.
And yes, here is the SPOILER ALERT! Read on…
A politically volatile state in India gears up for two much awaited events : the assembly elections and the completion of a multi-billion dollar special economic zone (SEZ) deal, both timed together to help the ruling party clinch the elections.
This is a story of modern India. A country ruled by contradictions. A country whose elite leadership is preoccupied with the growth rate and elected politicians thrive on the resentment created by economic development. This story is playing out across every town in India that wants to find itself on the map of “shining India” at any cost.
A prominent and respected social activist, Doctor Ahmedi, known as nationally and internationally for his successful struggle against the governments and multinationals to protect the rights of the poor, accuses the state government of acquiring huge real estate for the project without adequate compensation to the people living on it.
On the day of Doctor Ahmedi’s arrival, Shalini Pearson, a British social worker working in the working-class area where the SEZ is going to be set-up, learns of a threat to Doctor Ahmedi’s life. She warns the party, but her warnings are not taken seriously. They tell her, “You cannot afford to be afraid if you decide to stand up against injustice.”
That evening, amid a turbulent meeting in Bharat Nagar, Doctor Ahemdi with his supporters exhorts the locals to fight for their rights. A handful of police officials keep a mute watch, ostensibly to protect the doctor. A lone photojournalist, Jogi Parmar, is present.
As the doctor and his supporters are leaving the venue, a scuffle break out between the supporters and opponents of the doctor. In the melee, a truck crashes into the crowd, heads for the doctor, mows him down inches away from Shalini and escapes. One of the doctor’s supporters chases the truck and gets on to it. A distraught Shalini rushes to the doctor to the hospital, where he slips into a deep coma.
The state machinery moves into high gear to defuse the situation. The truck driver is caught and a case of drunk driving is registered. The doctor’s wife accuses the state of a conspiracy to kill her husband. The allegation is quickly countered by setting up of an enquiry commission by a former judge, Padmanabhiah.
Soon skeletons start tumbling out as the judge starts his meticulous investigation into the accident. Truth and falsehood get mixed up as testimonies get recorded. Questions are left unanswered or stalled. What seems to have been an open-and-shut case soon becomes a conspiracy and a cold-blooded plot to get rid of Doctor Ahmedi.
Shalini, working relentlessly to strengthen the case, finds the first witness, a local cable operator and photojournalist Jogi’s boss, who has accidently recorded a telephone conversation between the local politician, Bhausaheb, and an unknown person plotting to get rid of Ahmedi. However the witness is found dead and the tape is lost before it can be presented to the judge.
Shanghai is a political story about the workings of Indian democracy told through three unlikely protagonists with ground level differing aims and often conflicting with each other as they start unraveling the story behind Doctor Ahmedi’s death.
Judge Padmanabhiah for the first time emerges out of the legalistic cocoon to understand the real, messy truth at the ground level. Jogi starts fighting for truth – something his opportunistic, hustling mind could have never thought possible before.
The danger increases, the hunter becomes the hunted. Truth pits them against the might of a ruthless political machinery. Hanging in balance is the control of the state, power equations in the country’s political capital, Delhi, and the very meaning of justice in contemporary India.
So, what’s your bet ?
As promised, ButtUpSajid is back. With 2nd part of his post on Aamir, Dhobi Ghat and more. Click here to read the first one.
It all started with a column. Yes.
Hello, again folks. So, is Aamir a star only because we’re too dumb? Does he ‘know his audience so well that he confidently feeds them tripe’?
Well, I’ll say he clearly does know his audience pretty darn well. As for feeding them ‘tripe’, perhaps that would be going overboard. Aamir’s films (and I’m obviously not talking Fanaa, Ghajini or his cult-classic Mela here) are anything but tripe. Yet, they’re hardly works of great artistic merit or as daringly different as they’re widely propped up to be, right?
Is he a star because we’re too dumb? I wouldn’t say yes to that, because that would be condescending and not completely true. However, part of the appeal of Aamir’s films is that they make us feel intelligent. They’re clearly way above the average tripe Bollywood serves us, and certainly don’t ask us to ‘leave our brains at home’ like a lot of films do. But they don’t particularly require us to use our brains either. Did we really have to exercise our intellectual capabilities watching Taare Zameen Par, however un/limited they might be?
So, while the content is meaningful and not run-of-the-mill, it’s hardly challenging. Or penetrative. It’s astute entertainment, not quite junk, like the low-fat snacks and cola Mr. Khan so convincingly hawks, but easily digestible and spoon-fed, all the same. In the Great Taran Adarsh Book of Cinema, it fulfills all the three Es: Entertainment, Education and (sic) Enlightenment. But it doesn’t challenge us. And we, the frogs in a well, are happy to believe we’ve just watched something mighty smart and sophisticated. Some find it ‘phenomenal’ and some even feel ‘shell-shocked, challenged and motivated’! Jai Ho!
Which is why Dhobi Ghat– a film that is so far removed from anything Aamir has acted in so far- becomes an important and interesting film to look out for. When Aamir talks about how it’s ‘fine cinema’ and ‘not for everyone’, he’s not just saying it’s out of his audience’s comfort-zone- he is also pointing out that it is way out of his own league and territory.
In the world of Dhobi Ghat, it’s Aamir who’s the real newcomer- a highly capable actor, but one who comes with the layers and baggage of years of ‘popular’ cinema, one who’s used to flashing his schoolboy charm and playing to the gallery when required. Here, he’s in a naked, alien space, without the comfort of the props he’s usually equipped with. It’s natural, the nervousness- right? Far from being condescending, as Raja dramatically puts it, I’d say he’s being very honest… and refreshingly human.
I’ve often been accused to being anti-Aamir. It couldn’t be further from the truth. It’s just that I find the entire ‘perfectionist’ persona and the excess hoopla around his performances/films a little overbearing. But nothing takes away from the fact that he is one of our best mainstream actors. And there’s all the more reason to applaud Aamir, now that he’s actually living up the hype of being ‘different’, at least in his choices as a producer: Peepli Live, Dhobi Ghat and Delhi Belly.
At a time even UTV doesn’t want the tag of making ‘meaningful’ films, Aamir is now admirably backing films that are a marketing nightmare without majorly compromising on their spirit. He managed pretty well with Peepli Live (though Anusha Rizvi’s film, with its earthy, ribald humor had some popular appeal despite its style) and turned a small film big. But Dhobi Ghat and Delhi Belly will be harder to sell, with their moody, urban landscapes and English dialogue. (I’m making an assumption about Delhi Belly, but it reportedly being a dark, urban sex-comedy majorly in English, and the fact that its been completed for a while now gives me a feeling that they’re still figuring what to do with it.) I sure hope he succeeds; these are the kind of films that might help open a lot of new doors, especially for Indian films in English.
Ah, back to the column:
Calling the Indian audience short of sensitivity or emotion is a stretch in any book. We’ve always been suckers for high drama, even in comic scenes. You know, the kind of films where vacuum cleaners birth infants just so caricatured fathers can have changes of heart? Yeah, those wouldn’t work if the audience didn’t react with its heart and forgive all the farce.
Yes, Raja- high drama, the key word here is high, not drama that is subtle, that doesn’t scream its lungs out. Hell, even Rocket Singh, a film that was all heart and soul, a film I know you loved too- failed last year because apart from the poor marketing, it lacked high drama. It was very much mainstream entertainment with generous doses of humor and heart-tugging moments, but its relaxed, non-gimmicky tone wasn’t very appreciated, was it? I’ve even read reviews that described it as an office ‘documentary’. Yes.
And since when did you need to be cine-literate to appreciate a good film? A masterpiece is a masterpiece is a masterpiece, and hits you right between the eyes — and shoves you in the heart with the force of a roundhouse right — no matter what you know about the craft of cinema. A good film is a visceral experience, and you do not need to be aware of technique or predecessors to be overwhelmed by it. Sure, film theorists and critics and their mothers all have different ways of consuming a film, but a solid film — which could be personally smashing for any single one of us — doesn’t need cinematic education to show off its chops. At all.
Oh, come *yaw*on. Are you really that naïve? A masterpiece is a masterpiece is a masterpiece, eh? So whatever happened to Eklavya, which you hailed as one? My God, there’s so much utopian idealism in this one paragraph that it would put Ashutosh Gowariker to shame. One man’s visceral experience can be the other person’s headache, even unintentional laugh riot. Black, anyone? Hell, I’m sure I can find folks who found Dabangg a visceral experience. Gosh.
Then again, as a friend suggests, perhaps this too is strategy on the part of the masterful marketing maestro. Berate the masses, and dare them to come see a film in defiance of the claim that they won’t get it.
Your friend, I’m sorry- and there’s no polite way of putting this- sounds stunningly daft. Yes, film-marketing is done using wildly experimental reverse-psychology methods. Right.
But what bugged me most of all in the column is this bit:
The sheer level of condescension in that quote is alarming. As a member of your audience, Mr Khan, that quote just hurts. It is thoughtless, callous, dismissive and most uncalled for.
Really, Raja- since when did you, of all movie buffs and critics, become such a darling of the masses? You, who has spawned twenty-odd ‘I Hate Raja Sen’ clubs? You, who makes it a point to regularly diss moronic money-spinners (The likes of Rajneeti and my very own bête-noire Sajid Khan’s potty films) and casually throws in American pop-culture references in your reviews (and kindly also provides corresponding Wikipedia links to explain them)? Damn, I bet half the audience you are so bravely standing up for doesn’t even understand the language in your reviews.
Aren’t you the guy who ‘groaned’ a few weeks back, when audiences danced in the aisles watching Dabangg? And so- as someone correctly asked at an online movie forum- you have every right to be condescending to an audience, and Aamir doesn’t? At least Dabanng wasn’t pretentious. It delivered what it promised. This on the other hand is, and Raja, no disrespect, but um, this is total shit. You’ve beaten your friend @MallikaLA’s push-up bras and bustiers, when it comes to making a mountain out of a molehill.
I was tempted to ask: Did you write this column only because you’re dumb? I don’t believe so, because despite appearances, I’m not the founder member of one of those silly hate clubs. Despite your occasional pompousness and self-indulgent writing, (And facepalmy moments like when you award Ghajini’s music 5 star and hail Kisna as ‘a return to form by a director who knows exactly what he’s doing’ for and… well, let it be) the reason some of us liked your writing is that you were bold, fun, and irreverent. You weren’t a sell-out. Your reviews came across as passionate and with solid and convincing arguments- even when we disagreed with you wholeheartedly. Come on man, we are all condescending and elitist at some level, and you know it. Let’s at least not pretend otherwise and be apologetic about it.
#KThanxBai. Or better still- Good Night, and Good Morning, Mr. Sen.
As the opening credits of the film rolled, a plate appears on screen, of you dedicating the film to your father. My mind quickly went back to another film, and easily this year’s best so far, Alejandro Gonzalez Inarritu’s Biutiful. And strange as it may sound, the actor of the film is Javier Bardem. You may not have seen his film, The Sea Inside, or may be it’s difficult to remember what all films you saw before you decided to make Guzaarish, but whoever told you that making the canvas BIGGER creates all the magic, needs to see the film Biutiful.
Workman 1: Hey, you can’t go down there!
Alfred Borden: I’m part of the bloody act you fool!
Black wasn’t The Miracle Worker, Saawariya wasn’t White Nights, and of course, Guzaarish isn’t The Sea Inside. I remember a friend telling me that after he interviewed you and left, you called him up and asked him to describe you as an “auteur” in the piece that he is going to write. Over the years, those who have access to you, or say those who are granted access to you, including a certain famous fluffer of Patna, and his tribe, they don’t spare the opportunity to put you into that “Auteur” category. But if possible, look outside, get out of your cocoon, take your film outside and ask any film lover, what do they think of it? No, not the star lovers. Not the production designers. Not the cinematographers. Only those who love film.
Sarah: Alfred I can’t live like this!
Alfred Borden: Well, what do you want from me?
Sarah: I want… I want you to be honest with me. No tricks, no lies, no secrets.
[pause]
Sarah: Do you… do you love me?
Alfred Borden: Not today. No
Not sure if you will ever read this post, or even if you get to read, one of your fluffer will surely dismiss it as another smear campaign, by someone who belongs to blah and blah camp, one who has no sense of aesthetics. But if you are happy with all the love and respect of all your fluffers who surround you, who nod all their heads in every word that you utter, only because they are all there to gain something from you, then, sir, the artist in you is dead.
Cutter: Take a minute to consider your achievement. I once told you about a sailor who drowned.
Robert Angier: Yes, he said it was like going home.
Cutter: I lied. He said it was agony.
The same happened with another filmmaker. The man who came with his explosive brand of cinema. Bollywood hadn’t seen something like that before. We worshipped him. And then, came the fluffers. He said yes, they agreed. He said no, they agreed. He says anything, they agree. And those who agree, are those who matter to him. Earlier we used to think, he will deliver with his next one. Now, we don’t bother. We will never. Because Ramu is RIP. More than once. Long live the fluffers!
[after showing a little boy how to do a coin trick]
Alfred Borden: Never show anyone. They’ll beg you and they’ll flatter you for the secret, but as soon as you give it up… you’ll be nothing to them.
And you know whats the worst part, your character wants to die. And I don’t feel anything. Because it seems synthetic, its seems just a wish, because you don’t dare to go close to him. To show us how ugly he is. How ugly his life is. In the opening scene, when Ethan is lying on the bed with just a bedcover on him, the camera goes far away from him, almost scared that he might appear ugly. Or is he really ugly ? He is still the Hrithik Roshan, looks well maintained, body all covered. Now see this picture.
Ackerman: We’ll have to dress it up a little. Disguise it. Give them enough reason to doubt it.
Difficult to stare? Eh? Well, still can’t figure out? Now, imagine if i tell you that he is one of the hottest hunks around, the heart throb of millions. Its hard to believe, right? That’s what daring is all about. Shouting out from rooftop that my film doesn’t have an item number doesn’t make it any different or daring. If your memory is still failing you, here is another one to complete the picture…
Yes, its Javier Bardem, easily one of the best actors of our generation. In one of the sequence in The Sea Inside, the camera moves over his body, from toe to head, and nothing is Biutiful there, but unlike your film it doesn’t shy away to get close to him.
You stay far away, making the frames bigger with every film, lighting up million candles, illuminating your canvas from every angle and making it as soulless as possible. Do they have blood in their veins? Are they just mannequins who can emote? Since you rarely watch films by other directors, as you claim in every interview, let me introduce you to a small marathi film called Vihir. It also deals with death, almost in a meditative way. As a character tries to understand it, everything goes silent for about 15-20mins. No dialogues. Nothing big. No drapes. No candles. No coffins. Thats Biutiful.
Robert Angier: He lives his act.
Even the one by Innaritu. Biutiful. It also deals with love, loss and death. It moves in breathless and dingy spaces, not a single prop that makes you go wow at the talent of the production designer. But when the lead character is about to die, you want to hold his hand, want to make him believe that this will not happen, and you forget that its just cinema. Innaritu is also accused of telling an intimate tale, being over indulgent, spending millions but when you stare at the screen in that dark room, nothing else matters. There is no shaft of light. Its still gut-wrenching, and yes, its not even dressed in any designer attire.
And the magic tricks? On screen? Well, ask the Harry Potter fans. Special effects make it look like nursery kids homework. Even if its a flying flame. The beauty is always in the story, the ones that lead to the tricks.
Alfred Borden : A real magician tries to invent something new, that other magicians are gonna scratch their heads over.
And is Guzaarish again set in timeless and spaceless zone? The court is all smoky. Or is it magic realism? News channels, discussions, campaigns, where are you heading SLB? Does it feels like a scary thought, to go out in the sun and shoot? And so even the court comes home soon. Yes, we have all read about your bad childhood days and how that has inspired the way you work. Now you don’t want to see anything ugly, you want to control everything, you are the master of every frame, you will beautify the way you want it, the revenge of the childhood scars. But now that the claustrophobic trilogy is complete, can you please step out? Perhaps inhale some fresh and ugly air. Remember the joy of aaj main upar, aasman neeche? Wasn’t that Goa too?
Sullen Warder: How did you get so famous then, eh?
Alfred Borden: Magic.
And those who have worked closely with you have a theory to offer. Since Khamoshi was all soul and it didn’t work at the box office, you decided to go for all possible decorations to make it bigger and better, and it worked! The obsession continued. To make it bigger than the previous one! The fluffers made sure that you went in that direction, with more vengeance. Yes sir, that looks just WOW! They must have said with every move of yours. But since fluffing is a physical act, I wonder if they could trace the soul anywhere. And may be its high time to report a ‘Lost & Found’ case for that battered soul.
Nikola Tesla: You’re familiar with the phrase “man’s reach exceeds his grasp”? It’s a lie: man’s grasp exceeds his nerve.
Or, it will remain what it looks like, a big boring pretentious fuck. Much like what google seems to offer as i typed your name and selected the “Images” option. Its all just poses. Here, there, see i am thinking, see i am seriously thinking, see i am making a film! And some more! Where are you, Mr Bhansali? Still in the cocoon. May be you can’t control everything but the world is not so bad. Come out. We will applaud.
Or hail the fluffers! May be they only make your life worth living. We will move to the next epitaph.
(P S – Please leave the tangible-meet-intangible words for Gulzarsaab. Because everything else sounds like nursery rhyme. Yeh coffee gadhi kaali hai is pure pedestrian, which is trying too hard to belong, and is not really getting any help from Kunal Ganjawala’s voice dipped in sugary syrup. Its making it more synthetic)
.Robert Angier: Which hat is mine?
Nikola Tesla: They are all your hat, Mr. Angier
F.i.g.h.t C.l.u.b 