SHYAM BENEGAL: A maestro with a mammoth corpus

 ✒️ Sagnik Bhaduri

Culture,depending on the social sector, plays and has played a prominent role in shaping any form of art.Augusto Boal,the eminent theatre academician in his acclaimed treatise ,the, “Theatre of the Oppressed” wrote that any art form reflects society ,as elucidated by Marx and Plato,in accordance to the perspective of the dominant social sector. This has been the norm for each and every civilisation for eons. However ,not all hope is lost as the marginalised too have their own mode of artistic resistance . Similarly, in the Indian scene, it was at the behest of stalwarts-the likes of Satyajit Ray, Mrinal Sen ,Ritwik Ghatak, Govind Nihalani ,Adoor Gopalakrishnan amongst others from the diverse corners of India who gave birth to the Indian New Wave where the medium of film began to shatter off conventions in order to function as the pedagogy of the oppressed. An artist who nurtured this further was the towering Shyam Benegal who , aged 90, left for his heavenly abode on 23rd December,2024.

At the shooting of Nishant          Pic Courtsey: FB page

Revisiting his works

Benegal deeply impacted the New Indian Wave’s dialectics of rebellion via his diverse contributions which involved a scathing indictment towards the perilous politics of caste,patriarchy,feudalism and dogmatism,all of which existed alongside the modernity that was approaching a nation which was grappling with its newly attained autonomy from its colonial masters and the vestiges of a dastardly past marred by the British imperialism and feudal politics of stratified social estates through his Uprising/Rural trilogy-Ankur/The Seedling(1974),Nishant/Night’s End (1975) and Manthan/The Churning (1976). While “Ankur(1974)” and “Nishant(1976)” were an acerbic social commentary on the plight of rural India and its milieu portrayed through poignant performances by Shabana Azmi , Smita Patil ,Naseeruddin Shah ,Om Puri,Anant Nag,Mohan Agashe,Sadhu Meher amongst others, the two aforementioned films employed an intersectional approach to depict a decaying patriarchal order where women and dalits are shunned to the lowest rungs of the hierarchy and are constantly deluded by religion and blind faith.Whilst the last film in the trilogy i.e. “Manthan/The Churning(1976)” was a sensitive and humane examination on the White Revolution’s advent which was the brainchild of Dr. Verghese Kurien.The unique thing about “Manthan” is that it was the first Indian crowdfunded film by the farmers of the state of Gujarat with each of them depositing a meagre amount of 2 rupees.Therefore,it was made by the people and for the people. Even though,owing to the divergence of perspectives ,many deemed the film to be a work of aesthetic propaganda in favour of the erstwhile government -the Indian National Congress(INC). 

Three greatest fimmaker in one frame. Mrinal Sen, Shyam Benegal and Satyajit Ray

However, as sung by the inimitable Bob Dylan- "You are right from your side.I am right from mine. We’re both just one too many mornings and a thousand miles behind.Thus, “Manthan” rather than following a typical filmic approach explored the many realities of rural India through a pantheon of perspectives -be it the idealistic city bred veterinary specialist Dr. Manohar Rao (essayed effortlessly by the multifaceted Girish Karnad) or the bubbly Bindu,a dalit woman abandoned by her husband and a single mother of a newborn(reprised in an austere manner by the gifted Smita Patil) or the disillusioned and cynical Harijan leader Bhola(essayed flawlessly by noted thespian Naseeruddin Shah)-all of them socio-politically conflict with each other but at the same time harbour a distaste towards the dogmatic norms meted out by the devious and scheming Mishra,the local dairy owner (portrayed by the iconic Amrish Puri) who along with the village sarpanch acts as a constant hurdle to Dr.Rao and his efforts to establish a Cooperative society dairy for the benefit of the marginalised village proletarians  of the Kheda district,Gujarat. Dr.Rao’s character,based on the persona of Dr. Verghese Kurien, resonated with the reformist spirit that seemed to gather momentum in India during the 1970s and 1980s. Even in “Ankur (1974)”, an evocative portrait ,inspired by the dire failure of 1971-72 harvests ,of a dalit woman Laxmi(one of the most profound performances by Shabana Azmi) who is wrecked existentially as she struggles to make ends meet while society is oblivious to her longings and her desire to bear a child.This crisis is aggravated further when her mute husband Kishtaya(Sadhu Meher in a brilliant act) is kicked out from the village on grounds of stealing and on top of that him belonging to the lower caste which is followed by Laxmi falling in love with the young upper-caste  landowner Surya( played by Anant Nag) who despite being a progressive individual falls prey to the societal contradictions. Apart from having a plethora of morally grey characters,the film’s ending scene-the vignette of a young boy pelting a stone at the local zamindar’s mansion and breaking a glass serves as a revolutionary metaphor for the crumbling of the old order followed by the birth of free minds and free spirits!

Arna Mukhopadhyay,noted filmmaker and thespian, has cited the works of Shyam Benegal and Satyajit Ray as his primary inspirations towards venturing the path of a filmmaker and theatre artist. “As members of the human race we all have a social commitment. It is the sole purpose of any art and any artist to produce something which is ever resonant for the years to come. Similar is the case with the works of Shyam Benegal. His works like Trikaal(1985) and Nishant(1975) not only serve as essential depictions of human relationships but rather they reaffirmed our faith in the pluralistic environment of India due to the profound social commentary being incorporated,” he said. Further with his vast erudition regarding history he stated, “ In a nation like ours history has tended to be distorted anytime and everytime. However contemporarily with the creeping of the rightist minds like the RSS a monolithic perspective of a ‘Hindu Rashtra’ tends to engulf the cultural sphere . The onus is on us to revisit the works of Ray, Ghatak and the recently deceased Benegal to counter this mythical historiography for there is nothing as neutral.” Arijita Mukhopadhyay,eminent theatre practitioner and artiste provided a brilliant analogy of Benegal as an auteur by quoting the nobel laureate bard and polymath Rabindranath Tagore’s words - “Adhunikata bichar kara uchit marji diye, samay  diye naye.”(It is an imperative to determine modernity via the individual's purpose rather than their circumstances)

“As someone who was deeply influenced by Satyajit Ray,Benegal ,akin to Ray, was extremely international,extremely modern ,extremely foresighted. But  on the other hand both Ray and Bengal were constantly concerned with Indian politics,thus,making them strong social critics.”

Further she stated, “It is impossible to categorise Benegal into leftist or rightist politics. Auteurs like Benegal and Ray transcended these binaries through their works. Even in “Ankur” and “Nishant”,he depicted a squalor of a society affected by casteism and misogyny eating itself away owing to the voices raised by the marginalised. As someone who followed a layered and critical approach via films ‘Manthan’ and ‘Suraj Ka Satvan Ghoda(1992)’,based on esteemed Hindi novelist Dharamvir Bharati’s postmodernist magnum opus of the same name,Shyam Bengal had a profound capacity for imagination akin to Satyajit Ray and Rituparno Ghosh, the very justification of the feminist subtexts and texts pervading his entire oeuvre.”

A Feminist undertone

In a BBC interview dated 2006 he remarked aptly, “When you make a film that contests a whole value system,obviously you should’nt expect that to be exceedingly popular.” Quite truly, Benegal’s films did not ally with the escapist,status-quo centric .larger-than-life Bollywood narratives. His oeuvre also followed a distinctly feminist apporach brimming with iconoclasm when ,aided by the ‘empathy machine(as Ray Bradbury called it) ,he sensitively and fairly seriously approached the humanity , hegemony and resilience of the courtesans  in a brothel with memorable performances by Shabana Azmi as Rukmini Bai , Smita Patil as Zeenat and Naseeruddin Shah as Tungrus. Benegal’s films showed women as opinionated individuals rather than being an appendage to the hero when assisted by the gifted pen of eminent film critic Khalid Mohammed ,he set out to direct the Muslim Women trilogy-Mammo(1994),Sardari Begum (1996) and Zubeidaa(2001)featuring poignant performances by Farida Jalal,Rajit Kapoor,Kirron Kher,Karishma Kapoor,Rekha and Manoj Bajpayee. Apart from providing a profound commentary about the devastating vestiges of 1947 Indo-Pakistan partition , “Mammo(1996) ,with an iconic performance on part of Farida Jalal who played the titular role with ardour ,offered glimpses of an uncomfortable reality of a patriarchal society which has not ceased to exploit and subjugate women politically and socially.

“ His movies mirror a society at times incapable or unwilling to gaze upon the stark realities around itself. Take Ankur (1974), for instance. To me, this film is not just a story of caste and gender oppression but a quiet rebellion against the sanitized narratives of mainstream cinema. Benegal strips away the gloss, presenting characters who feel startlingly real. Lakshmi, the Dalit protagonist, embodies resilience, and her silent defiance is more powerful than a thousand loud protests.What impresses me most about his cinema is the dignity he accords to his characters, especially women. Bhumika (1977) stands out as a feminist milestone in Indian cinema. Smita Patil's portrayal of a woman navigating her desires and constraints is heartbreakingly human. As a critic, I often find myself returning to this film, marveling at its layered storytelling and emotional depth,” stated Abhirup Pal,a student from St.Xavier’s University,Kolkata.

During the shooting of Junoon with Sashi Kapoor 

A smorgasbord of influences

It would be a sheer act of idiocy if one were to categorise Shyam Benegal’s works under standardised political theories.Even though he explored India ,via his films,with the lens of a liberal democrat, I did not find him taking any narrative sides. A stark admirer of Nehruvian humanism and the Gandhian philosophy of a peaceful transition to a much more just society,Benegal’s acclaimed “Bharat Ek Khoj” ,a 53-episode historical television series which aired on the then channel-Doordarshan was an apt tribute to Pandit Jawaharal Nehru’s(the former Prime Minister of India apart from being an erudite scholar,statesman and secular humanist) brilliant work of literary-political imagination “The Discovery Of India”. But here he did not utilise a singularly distinct Nehruvian approach.Rather,Benegal employed his own interpretation-that of a politically conscious artiste whose joie de vivre made him someone averse to fundamentalism,intolerance,terrorism as a means of attaining any political goal and inequities along the lines of caste,class and gender ,all of which continue to plague the nation critically.Therefore,he reiterated the age old truth- history progresses spirally and there is no single truth in it. “In a stark contrast to the run-of-the mill films,aka mindless violence and song-and-dance routines aimed at mesmerizing the audience to a ‘never-never land’,the parallel cinema arrived as a catharsis,a whiff of fresh air in the 1950s.Inspired by Italian neorealism,the parallel cinema was characterised by realism,naturalism and a penchant for analysing the socio-political milieu of the times. Following the footsteps of his illustrious predecessors(Sen,Ray,Ghatak,et al),Benegal captured the true essence of India,its feudal social structure,its exploitative nature and the struggles of the flotsam and jetsam.He also portrayed the rebellious spirit of the masses as is evident from the last scene in "Ankur".A film based on the White Revolution,”Manthan” speaks volumes for the maestro's capacity to blend intellectual prowess with cultural roots. The violence and brutality portrayed in "Nishant" is a telling commentary on a society,where poverty and illiteracy are rampant with the landlords holding sway over the common people,”said Shivaji Bhaduri,an esteemed educator based in Howrah Vivekananda Institution and an avid  film enthusiast. Further the 58-year old stated, “The hydra-headed demon of fascism has reared its ugly head in India.Right-wing nationalism has bared its fangs. Mind Boggling blockbusters have been vitiating the psyche of the masses.

Benegal uses Nehruvian modernity to counter this phenomenon.His unwavering commitment to social justice is a tool with the help of which he effectively counters the venomous propaganda of the right wing to present India as a monolithic society.Benegal's camera forsooth eavesdrops on everyday life and humanism permeates every cranny of his films.Thus he effectively counters the detrimental effects of photographed jatras.”

Apart from this,the auteur had created an illustrious career, as a copywriter of over 900 ads and 11 corporate films with taut and socially relevant scripts ,at Lintas Ad agency,Mumbai owing to Benegal’s social consciousness shaped by the Soviet masters and pioneers of montage -Sergei Eisenstein and Vsevolod Pudovkin apart from his exposure to voluminous world literature during his days as a university sophomore at Osmania University,Hyderabad where he studied economics and even established the ‘Hyderabad Film Institute’.Being the cousin of legendary writer-director Guru Dutt and the son of Sridhar B. Benegal,a noted stills photographer ,filmmaking attracted the young Shyam from a tender age of twelve. Hence he set out a legacy which altered the grammatology of Indian cinema fetching him an array of awards-the much prized Golden Berlin Bear at the Berlin International  Film Festival (1974) for “Ankur”,the Golden St. George (1997) at the Moscow International Film Festival for “Sardari Begum” and even the Golden Palm (1976) for “Nishant” at the prestigious Cannes Film Festival amongst a plethora of national awards.

Benegal may have left us, his loss echoing volumes, but his works ought to be introspected upon and preserved for posterity for in heart and spirit they are immortal for they were the brainchild of an individual who refused to compromise and avowedly in the words of Amartya Sen(nobel laureate economist and philosopher par excellence) was an ‘Argumentative Indian’.

KIFF 2024: An introspective journey

Pic from fb page

✒️Sagnik Bhaduri

Though the vestiges of an imagined past linger on ,the 30th Kolkata International Film Festival offers a faint ray of hope into an almost dwindling cultural sphere.

Calcutta and its ever consuming affair with culture transcending boundaries

The 30th Kolkata International Film Festival, held from December 4 to 11, 2024, celebrated Kolkata’s rich artistic legacy. The city, known for its deep connection to art, culture, and literature, has nurtured legends like Satyajit Ray, Mrinal Sen, and Ritwik Ghatak. Ray’s Calcutta Trilogy (Pratidwandi, Seemabaddha, Jana Aranya) explored urban struggles, while Sen’s Interview, Calcutta 71, and Padatik delved into political discontent. Ghatak’s films, inspired by the 1947 Partition, like Meghe Dhaka Tara, used striking techniques to highlight displacement and social issues. Together, their works redefined Indian cinema, blending art with resistance and transcending escapist storytelling.

 An insight into the conception of the film festival and its socio-cultural impact

The brainchild of the erstwhile Left government ,the Kolkata International Film Festival begun in the year 1995,under the Information and Cultural Affairs department ,and fostered a sense of humanism as auteurs ,the likes of Adoor Gopalakrishnan , Shyam Benegal, Goutam Ghose ,Ashoke Vishwanathan and Mani Ratnam assembled to challenge existing artistic convictions. 

Debasish Sen Sharma,eminent filmmaker and film academician, fondly recalled about the days when during his years as a student he flocked to the the festival since its very inception and used to be affronted by its grandness alongside being exposed to the immortal works of masters like Krystov Zanussi, Jafar Panahi,Fernando Solanas and many more.

“In the contemporary epoch,when the onset of the digital revolution has caged us into a square screen,festivals such as these are instrumental to initiate the discourse on film and its semantics.Regarding improvement, I think the festival curators ought to incorporate contemporary pieces that have been prominent in eminent film festivals across the globe since these films are not easy to access from elsewhere”,he stated when asked about his perspective regarding the influence and impact of the film festival in the cultural landscape.

The thematic notions of the KIFF 2024 

Despite all hurdles, it was still a intellectually as well as emotionally fusing experience on my end as I got the wonderful chance to watch Iranian director Nader Saeivar’s directorial debut ‘The Witness(2024)’, a political drama based on the contemporary “ Women,Life and Freedom” movement or the Iranian resistance against patriarchy with a compelling script penned by the eternally iconoclastic neorealist auteur Jafar Panahi followed by Oh-Jung Min’s ‘ House of the  Seasons(2023)’, a moving parable on a multi-generational south Korean family whose pathos,love,loss and humanity are seamlessly combined by vibrant frames ,an elaborate mise-en-scene and humane performances. Jacques Audiard’s French crescendo ‘Emilia Perez(2024)’ which bagged the Jury Prize at the 77th Cannes Film Festival due to its raw, acerbic yet contemplative tone encompassing political corruption in Central U.S.A. , transgender solidarity , humanism , deceit and love in a distinctly Tarantino-esque manner coupled with poignant performances by Karla Sofia Gascon, Zoe Saldana and Selena Gomez. However,what fascinated me the most,was a special screening of Sergei Paranjov’s 1969 magnum opus ‘The Colour of Pomegranates’, a surrealist Soviet-Armenian art film based on the life,experiences and sensibilities of 18th-century vagabond poet Sayat-Nova. As it boasted a divergent curation of masterpieces from the lands of Venice,Cannes and the Berlinale ,the Kolkata International Film Festival 2024 also featured a section which consisted of restored Indian classics that have altered the film grammatology of the country including the 1971 masterpiece ‘Ghatashraddha(The Ritual)’by one of the prominent voices of the New Indian Wave Girish Kasaravalli , G.Aravindan’s profound ‘Thampu/The Circus Tent (1971)’, Shyam Benegal’s sensitive study of the Green revolution ‘Manthan/The Churning(1976)’,auteur Barin Saha’s obliviated  magnum opus ‘Tero Nadir Parey/Beyond Thirteen Rivers(1969)’ alongside a retrospective of eminent experimental filmmaker Kumar Sahani. 

A multiplicity of perspectives unravelled via the opinions of diverse individuals.

 Arjya Shikdar,a university sophomore specialising in economics alongside nurturing his penchant to dissect and analyse the magic of 24 frames per second expressed his admiration upon witnessing the haunting symphony of dogma , discrimination and life as poignantly reflected in Girish Kasarvalli’s ‘Ghatashraddha’, the existentialism of decadence ,media-induced consumerism and disillusionment of post-war Italy portrayed effortlessly by the iconic Marcello Mastroianni in Federico Fellini’s sprawling avant-garde masterpiece ‘La Dolce Vita/Sweet Life(1960)’ or the macabre and unriveting Danish cinematic gem ‘The Girl with the Needle(2024)’ by Magnus Von Horn. “As I am an ardent cinephile, it was an esoteric experience for me as I got to see productions from Panama to Lithuania. In the contemporary era, where people seldom read literature or watch films, KIFF plays an instrumental role in bridging the gap”, stated the 19-year old. Muhammad Aditya Rashmi Rahman, a student at St. Xavier’s University,Kolkata pursuing an undergraduate degree in legal studies, lamented upon the fact that he could not attend this year’s festival . However,with his vast erudition, he commented upon the nature,reach and relevance of festivals such as these in the contemporary socio-political scenario of a world grappling with polarisation and intolerance in utilising artfrom as a mechanism of resisting social inequities and crass right-wing propaganda.

Kaustav Chakraborty, an educator by profession, mentioned aptly that the Kolkata International Film Festival ever since its conception has significantly turned the city into a “melting pot of various cultures”. However even though he praised the diversity of subjects encompassed through the films shown , he urged proper awareness to be spread amongst the youth regarding the process of filmmaking,something which is ever resonant. 

The contemporary scenario alongside the influences and discontents prevalent this year

As I am someone who,alongside being an avid reader sans any specialisation, is fascinated by the philosophical brilliance and the transcending ability of the “empathy machine”(as the renowned science fiction Ray Bradbury fondly termed the motion pictures), I could not fail to the notice in this year’s festival the vestiges of a bygone era which had been erratic ,avant-garde and unconventional as opposed to the collective mediocrity being bred by the armchair intelligentsia and purists who desperately hold onto the once cherished beliefs and institutions redolent of a mammoth tearing off its tusk or a once prosperous mausoleum basking in its past glory.Though there was pomp,ardour and exuberance ,the spirit of film appreciation seemed to take a backseat owing to the convoluted and Kafkaesque time schedule further marred by a faulty administration.A school teacher,who chose to keep her identity anonymous,commented that the inability of the concerned authorities at integrating the multiplexes of the city along with an arduous time stretch made it an Orwellian affair for individuals to queue up for the festival. She further added that these fallacies might be contributing towards the downfall of film appreciation and discourse, a once vibrant vocation in the City of Joy!

Now that the festival has ended all that is left are its memories,the wintry mornings ,the diverse nature of the people,the frequent arguments following musings on a specific film,its aesthetics  and the variety of perspectives on film theory and studies that arose from those discussions!

                                   

The Universe Will Conspire: Gukesh Dommaraju's marvellous journey to become a chess legend.

✒️ Suptothita Mondal

They say that if you really want something with all your heart, the whole universe will team up to help you get it." Such inspirational words by Bollywood superstar Shah Rukh Khan really do ring a bell in this chase of dreams and staying the course. For Gukesh Dommaraju, an adolescent boy from Chennai, It wasn't just an idea, but his destiny.

So, like, when Gukesh was just eight, he was all like, "I want to become the world's youngest chess champion." That's a pretty gutsy thing for a kid to say, but he really meant it. What a lot of people thought was just some wild dream turned into his life's mission. Fast forward a few years, and while everyone was cheering for him as the youngest undisputed World Chess Champion, Gukesh totally showed that when you mix determination with opportunity, amazing stuff can happen.

The beginning of a dream.

So, Gukesh Dommaraju was born on May 29, 2006, in Chennai, India. He had no family history in competitive chess. His mother, Padma, is a microbiologist, while his father, Rajinikanth, is an ENT surgeon with both extremely busy schedules at work. They just fell into it when Gukesh, who had just turned seven, encountered the game completely by accident.

The hobby soon turned into passion. Gukesh was now a moth to the flame: he would solve puzzles for hours, commit openings to memory and analyze games. His family recognized natural talent and decided to nurture it.

It seems his people made some drastic adjustments to kick-start their son's life. Rajinikanth even quit his medical gig, and Padma became the sole bread earner while he and his father travelled with Gukesh in tournaments. Only rock solid faith in his talent kept him going and laid foundations for his success story.

A future genius in the making.

Right from the start, you could totally see Gukesh’s talent. By eight, he was already snatching up regional tournament wins. Then in 2015, he had his big moment when he took home the Under-9 Asian School Chess Championship, showing everyone he was a star on the rise.

Therefore, Gukesh was really causing a ruffle when, in 2018, He won the World Youth Chess Championship, in the Under-12 category, and won five gold medals at the Asian Youth Chess Championships. Then at just 12 years, 7 months, and 17 days old, he became a Grandmaster, which, at the time, was the second-youngest ever to be made in chess history.

Every step of his journey seemed to confirm what he declared as a child: "I will be the world's youngest chess champion."

Winning out of problems.

Gukesh did not have things his way to get to this great success. Competition in sport dominated by veterans requires more than a heart of stone. Losses to larger opponents were not setbacks for him but rather learning moments for Gukesh.

Money issues were also a thorn in the flesh. For instance, those international tournaments aren't cheap. His parents always had to stretch. But you know what? Everything that his parents had given up only seemed to have made Gukesh hard working. He knew, of course, that each step he took on the board was supported by his family.

It took a lot of studying and preparation to take that great road, but Gukesh embraced all that hustle completely. He made challenges into stepping stones by turning determination towards that great goal.

Historic Milestones

Gukesh's career ascent was seriously fast! In 2022, he absolutely killed the game at the 44th Chess Olympiad, clinching an individual gold and also helping his team grab the bronze. The way in which he outwitted all the veteran players established him as one of the coolest talents in chess.

In 2023, he totally broke records by becoming the youngest player ever to hit a FIDE rating of 2750, which puts him in the chess elite. Then, he qualified for the super important 2024 Candidates Tournament, a tough competition that picks who's gonna challenge the current World Champion.

Winning the Candidates was a big deal. Gukesh took down some really tough players in the world, showing off his wonderful tactics and rock-solid focus. His win made him the youngest person ever to snag that title, thus giving him a chance for the ultimate championship.

Fulfilling the Prophecy

Everyone was on the edge of his seat as he faced current World Champion Ding Liren of the 2024 World Chess Championship. It almost felt like a showdown of the young upstart vs. old-school pro.

Gukesh played like a total champ, mixing creativity with smart strategy. Every game showed off how prepared, tough, and genius he is. When the last move happened, Gukesh came out on top, living out that childhood dream. At just 18, he became the youngest undisputed World Chess Champion ever!

So there he was on that big stage, holding up the championship trophy, when Gukesh thought of something that he had believed for ages: "If you want something with all your heart, the universe conspires to make it happen for you."

Inspiring a new generation

Gukesh's is a story of hope and inspiration for millions around the globe. His story shows that age is no barrier to greatness and that dreams, no matter how ambitious, can come true with dedication and belief.

In India, a land of deep chess history, victory for Gukesh ignited everyone's passion for playing the game again. Schools, nowadays, include chess within their curriculum because they clearly see how it can train children to think critically and solve problems better. 

Shalini Passi: The Eccentric Queen of Confidence and Self-Love

 

In recent months, Shalini Passi has taken centre stage on the internet and social media, captivating audiences as the standout personality on the Netflix reality series Fabulous Lives vs. Bollywood Wives. But what makes Shalini more than just another affluent figure in a world already brimming with glamour? It's her fearless confidence and unapologetic self-love that have set her apart and sparked widespread admiration.

Shalini Passi in Netflix reality series Fabulous Lives vs. Bollywood Wives

A Life of Elegance and Depth Shalini Passi is not just a fixture of India's elite social scene but a dynamic personality who thrives on artistic exploration. Known for her impeccable style and lavish lifestyle, Shalini embodies a blend of elegance and eccentricity. As an art collector and philanthropist, she actively participates in cultural projects and designs her life with a unique blend of luxury and substance. Despite her wealth, she is no idle socialite; Shalini invests her time in learning and exploring new skills, from music to dance, displaying a zest for continuous personal growth​

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Shalini Passi with son Robin Passi

Confidence as a Lifestyle 

What really sets Shalini apart is her boundless self-assurance. In Fabulous Lives vs. Bollywood Wives, she defies conventional social pressures with grace, famously stating, "With me, expect the unexpected." Shalini's unbothered attitude and poise in the face of criticism resonate with audiences who see her as a symbol of resilience. She handles even dramatic scenarios—like being splashed with wine during a social gathering—with startling calmness, demonstrating that her strength lies in being unshakeable​

​Championing Self-Love Viewers are particularly drawn to Shalini because of her authentic embrace of self-worth. She does not pretend to conform to societal norms or peer expectations; instead, she champions individuality and staying true to oneself. This bold approach has earned her fans who appreciate the importance of living life without seeking external validation​t

Is She Real or a Persona?

Shalini’s on-screen persona might appear over-the-top to some. Her penchant for sipping champagne through a straw or changing outfits multiple times a day might seem extravagant, but these quirks underscore her unapologetic embrace of who she is. To her admirers, these are symbols of embracing one's uniqueness, a quality that many find empowering in a world driven by conformity​

Takeaways from Shalini’s Journey Shalini Passi’s newfound internet fame underscores a broader cultural shift towards celebrating women who embody self-confidence and embrace their flaws. Her ability to face ridicule while pursuing her passions teaches us an essential lesson: true confidence comes from within. Whether through hosting charity events, pursuing new hobbies, or being the quirky life of the party, Shalini reminds us that life should be lived on one's own terms​.

Shalini Passi’s story is a testament to how authenticity, even when surrounded by the glitz and drama of reality TV, can resonate deeply with audiences. Her life mantra is clear: be yourself, and do it boldly. For those looking to channel their inner Shalini, it’s not about mimicking luxury but about nurturing unshakeable self-belief.

   

Pic Courtsey : Social page of Shalini Passi

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Ruh Baba and Manjulika Step into Kolkata as Bhool Bhulaiyaa 3 Nears Release!

Sreeja Ghosh

Kolkata recently welcomed Bollywood stars Kartik Aaryan and Vidya Balan, who made an appearance in the city ahead of the much-anticipated release of Bhool Bhulaiyaa 3. Vidya Balan turned heads in a sparkling black Anarkali suit, while Kartik Aaryan looked dapper in a black jacket, shirt, and trousers. Amidst a gathering of eager  press, Vidya was asked the first question in Bengali: “You took a tumble while dancing with Madhuri Dixit, didn't you?”

With a smile, Vidya responded in Bengali, “Yes, I did fall! But dancing on-screen  with Madhuri Dixit was an incredible experience.” Vidya admitted that she felt scared when asked about how she felt upon learning that she would be sharing the screen with Madhuri Dixit. She added, "There is dance in every gesture of Madhuri (unke har ek ada mein dance hain). But she is very sweet."

Photo : Soumyadeep Mukherjee 

Kartik Aaryan humorously shared his time on Bhool Bhulaiyaa 3, working with two “Manjulikas.” Asked who gave him the tightest neck hold, he playfully named Vidya Balan. Kartik reminisced about his work with Tabu in Bhool Bhulaiyaa 2 and expressed his joy at collaborating with Vidya Balan and Madhuri Dixit for this new installment. Describing it as an unforgettable experience, he summed it up by saying these actresses are legends in their own right.

Photo : Soumyadeep Mukherjee 

Kartik joked that having three Manjulika's played by Vidya Balan, Madhuri Dixit, and Tabu would not only be dangerous but “Maha dangerous.”

The palpable excitement surrounding Bhool Bhulaiyaa 3 hints at a strong box office opening, as fans eagerly await the next thrilling installment in this beloved franchise.

India Sets Global Precedent with Complete Animal Species Inventory

Reported by

Sreeja Ghosh 

In a groundbreaking move, India is set to become the first country in the world to publish a comprehensive checklist of its fauna, detailing the number of animal species found across the nation. The Zoological Survey of India (ZSI) will unveil this monumental document on June 30. ZSI Director Dhrithi Banerjee heralds this achievement as a significant milestone, underscoring India's commitment to biodiversity and wildlife conservation. Stay tuned for an in-depth look at this historic development and its global implications.

The Zoological Survey of India (ZSI) is set to celebrate its 109th foundation day on June 30, 2024. Marking this significant milestone, the ZSI has organised the Animal Taxonomic Summit 2024, which will take place from July 1 to July 3. This summit aims to bring together eminent taxonomists, researchers, and scholars from around the globe to discuss and advance the field of animal taxonomy. The celebration not only honours ZSI's long-standing contributions to zoological research but also emphasises the importance of taxonomy in understanding and preserving biodiversity.

Union Minister of Environment, Forest and Climate Change, Government of India, Sri Bhupender Yadav, will be the Special Guest at a significant event where he will launch the Fauna of India Checklist Portal. This pioneering portal, the first of its kind, will provide a comprehensive database covering all faunal species reported from India. The launch marks a major milestone in the country's efforts to catalogue and conserve its rich biodiversity.

Recently in a press conference at Kolkata Press Club ZSI Director Dhrithi Banerjee mentioned that despite advancements in biological research, no country in the world has yet dared to publish a comprehensive checklist of its entire fauna. This ambitious endeavour, which would span from microscopic amoebas to majestic elephants, remains an unfulfilled task. Each has a separate list, such as how many insects there are, how many fish there are, or how many mammals there are. But this complete checklist is published by the first Zoological survey of India in the world and will be updated every year.

Basudev Tripathy, scientist ZSI added that so far 1 lakh 4 thousand animals have been classified by the Zoological Survey of India. However, there are many other animals that we don't know about. What We know is the tip of the iceberg

Premiere Triumph: 'Nerve' by Sayan Basu Choudhury Captivates Audience"

The premiere of Sayan Basu Choudhury's "Nerve" at South City Inox was nothing short of spectacular. The film's stars, Rupsha, Akshay Arun, and Ananya, arrived in style, greeted by a sea of fans and flashing cameras. The event was a perfect blend of glitz and anticipation, as attendees eagerly awaited the unveiling of this new Bengali thriller. "Nerve" has been lauded for its riveting storyline . 

The event was graced by the film's stellar cast, including Rupsha, Akshay Arun, and Ananya, who captivated the audience with their charm. The red carpet was a bustling scene of excitement and glamour, as fans and media gathered to catch a glimpse of their favorite stars. The film, a gripping tale of suspense and drama, promises to be a game-changer in Bengali cinema.

Now let's talk about the movie. Mental Illness, which still has a stigma in our society or we still think twice to talk about it,  director Sayan Basu Choudhury. brings out that very aspect through thriller, suspense.

Well-crafted" is the best way to describe this movie. The director masterfully keeps the audience engaged for hours, showcasing strong storytelling and captivating visuals. However, there's room for improvement in the comedy timing, which occasionally feels off. 

Now coming to the performance Ananya Guha shines in the role of Ritika, delivering a compelling performance that adds depth to the film. Rupsa's character has different shades which she has done justice to. She has combined the transformation of the character's shades very beautifully. But newcomer Akshay Arun has to play a bit more. More care should be taken towards dialogue delivery

Music has been properly implemented in this movie. Everyone will like to hear "Herechhi Dil" as a romantic song

 

From Pixels to Paintings: The AI Art Revolution in Kolkata "

AI's influence spans across various domains, from self-driven cars to robotic surgeries, indicating its growing presence in tasks traditionally performed by humans. Notably, the art world has also embraced AI since around 2014, exploring AI-generated art as a novel creative avenue. This intersection of technology and art showcases the evolving role of AI in shaping cultural expression and creative processes, ushering in new possibilities and debates within the artistic community.

Kolkata's creative landscape is experiencing a captivating fusion of art and technology with the inaugural art exhibition on artificial intelligence, hosted by the Bridging Culture and Arts Foundation (B-CAF). This groundbreaking event has sparked a vibrant dialogue surrounding the intersection of AI and creativity, offering artists and enthusiasts alike a unique platform to explore the innovative possibilities within this burgeoning field. Located at the prestigious Academy of Fine Arts, the exhibition showcases a diverse array of artworks created through an open call, highlighting the multifaceted ways in which AI is reshaping the artistic landscape. From mesmerizing digital compositions to thought-provoking installations, each piece offers a glimpse into the limitless potential of AI as a tool for expression and exploration. With the exhibition running until May 5, attendees have the opportunity to immerse themselves in this cutting-edge fusion of art and technology, igniting new perspectives and inspiring future collaborations in the evolving realm of creative innovation.

We envision Bengal and Kolkata as the epicenter of AI innovation, harnessing the expertise of our IT professionals from Sec V, Newtown, and beyond. Let's pioneer AI in art and propel our region to the forefront of technological advancement. AI art is there everywhere, over the internet. But it has never been exhibited  alongside actual real painters and artists. We want to display AI art alongside art created by real painters and artists to see how people react. As stated by Debasish Sen (Founder Dir. & CEO of New Bengal Consulting, Former IAS officer).

The inauguration program was adorned by Chandra Shekhar Ghosh, the Founder, MD & CEO of Bandhan Bank, Dr. Andrew Fleming, the British Deputy High Commissioner, Richa Sharma (Mrs. India Universe/Actor), and numerous other distinguished guests.

Kolkata's Love for Football Echoes in Maidaan Movie's Homage to Legends

Actor Rudranil Ghosh, director Amit Sharma, and producer Boney Kapoor at a press conference for upcoming film ‘Maidan’ in kolkata

In a heartwarming ode to the indomitable spirit of Coach Syed Abdul Rahim and the illustrious football legends he nurtured, the Maidaan team recently descended upon Kolkata, stirring up a frenzy of excitement and nostalgia. As the countdown to the film's release intensifies, the city's fervor for football reaches new heights, echoing the resounding legacy of Rahim Saab.

Led by director Amit Sharma and producers Boney Kapoor and Arunava Joy Sengupta, alongside the charismatic presence of Bengali actor Rudranil, the Maidaan ensemble unveiled exclusive behind-the-scenes footage, captivating audiences with glimpses into the extraordinary journey of Rahim Saab and his proteges. From the bustling streets to the hallowed grounds, Kolkata reverberates with the echoes of Rahim Saab's vision, igniting a wave of anticipation for the cinematic masterpiece.

Rahim Saab's storied legacy, rooted in the vibrant tapestry of Kolkata's football culture, serves as the beating heart of Maidaan's narrative. It was here, amidst the fervent energy of the city, that Rahim Saab unearthed gems like PK Banerjee, Chuni Goswami, and Pradyut Barman, laying the cornerstone for India's football revolution. With each step taken on Kolkata's sacred soil, the Maidaan team pays homage not only to Rahim Saab's enduring impact but also to the city's integral role in shaping football history.

The tribute extended beyond cinematic realms, as the makers arranged a special screening for revered football stalwarts like Arun Ghosh, D.M.K Afzal, and the esteemed family members of Chuni Goswami, PK Banerjee, and more. Seeking their blessings before the film's much-anticipated release, the gesture exemplified the deep reverence and gratitude towards those who paved the path for Indian football's ascent.

The dynamic portrayal of Coach Syed Abdul Rahim by Ajay Devgn, Maidaan promises to be a poignant celebration of resilience, passion, and the triumph of the human spirit. With a stellar ensemble cast including Priyamani, Gajraj Rao, and Rudranil Ghosh, the stage is set for an unforgettable cinematic experience.

Screenplay and dialogues penned by Saiwyn Quadras and Ritesh Shah respectively, Maidaan's soul-stirring soundtrack, composed by AR Rahman and featuring lyrics by Manoj Muntashir Shukla, adds an extra layer of depth to the narrative.

As the film gears up for a worldwide theatrical release this Eid on April 10, 2024, audiences can brace themselves for a cinematic spectacle that transcends boundaries and captures the essence of football's timeless allure.

Journey Through Bengal's Artistic Heart: Art Fair Unveils Treasures"

Discover the captivating world of art at the Saltlake Affordable Art Fair, held on 2nd and 3rd March at Aikyatan SaltLake. Showcasing the vibrant creativity of artists from across Bengal, this event promises to be a feast for the senses. From stunning paintings to intricate sculptures.

The fair was inaugurated by chief guest Mr Qin Yong acting Consul General of the People's Republic of China and Mallika Chanda, the curator of the event and Founder of Daughtor Art Gallery.

Yong's perspective highlights the importance of events that bridge the gap between artists and society, emphasizing the cultural richness of West Bengal in India. Open fairs like the one described provide platforms for artists to connect with audiences and foster a deeper appreciation for art and culture.

The spectacular event truly lived up to its promises, delivering a celebration of art accessible to all who attended. With over 100 talented artists showcasing their creativity, and displaying more than 2000 captivating artworks ranging from paintings to sculptures, photography to mixed media, there was something to captivate every art enthusiast's imagination. The live pottery sessions added an interactive dimension, providing attendees with hands-on experience and further enriching the artistic atmosphere. It was a memorable occasion that highlighted the diverse talents and mediums within the art community, leaving attendees inspired and enriched by the experience.