Primo.Qxd (Page 1)

Total Page:16

File Type:pdf, Size:1020Kb

Primo.Qxd (Page 1) SUNDAY, AUGUST 23, 2015 (PAGE-4) MOVIE-REVIEW HEALTHLINES A trip that yields mixed results How to eat? Dr.Varun Suthra Matravat: Quantity or dosage is the third most impor- Saibal Chatterjee wants to foist his bakery on the young man, unmindful of tant step that has to be decided carefully by an individual. The most imperative but lesser known fact is that a few Overeating or undereating both have adverse effects but his personal ambitions. effortless changes in lifestyle and daily regime reduce the The film's tagline says it all: All is Well is "all about car- The son is a singer who now lives in Bangkok because meals taken in an appropriate quantity are easily digest- ing for your family". Not a bad starting point that, but the risk of falling prey to various ailments by almost 90 per- ed and able to reach the anal opening without panic. It not he wants to get away from the constraints of small-town cent. Ayurveda is the most ancient discipline that makes film makes rather heavy weather of its voyage to its the- India. He is forced to return home in response to a phone only maintains the normal body temperature but also leads matic destination. us aware of such essential lifestyle components. Its dis- to a painless digestion. call from a man called Cheema (Zeeshan Mohammad tinction lies in principle of preserving healthiness. Follow- Many young men and women are often seen doing Ayyub), who has over the years lent the protagonist's bak- ing few simple regimen modules can save your time, ener- rounds of many doctors for their skin troubles mostly for er-father lakhs of rupees. gy and money, which you have to spend under compul- acne, but they hardly discover that trouble lies in their how The unflappable old man is unrepentant and refuses sion that too without any bargain at chemist shops, hospi- to eat. They should understand the fact that most of the to part with his bakery to pay off his debt. tals or clinical laboratories. times their bad eating practices are major reason for trou- His obduracy sparks off a comic battle of attrition Ayurveda widely classifies life into 'Sukhayu' and between the Bhallas on the hand and Cheema and his 'Dukhayu'. An individual free from major ailments both bles with their face and outer beauty. men on the other, which plays out in the form of a chase physical and mental, living a satisfied and liberal life, enjoy- Jirne: There should be a considerable span between in which the hunted and the hunter go around in circles. ing youthfulness, full of energy would be considered hav- two meals and the easiest measurement of the duration is Inder has two other stories unfolding in his complex ing 'Sukhayu' whereas someone leading an ailing life, full going for next meal only when the previous meal is prop- life. One hinges on a mother (Supriya Pathak) suffering of miseries and short of resources would fall under the erly digested. Pure burps and a sense of lightness is sign from Alzheimer's. ambit of 'Dukhayu'. Every individual aspires for 'Sukhayu'. of proper digestion. The other revolves around his neglected girlfriend, Most interestingly, Ayurveda is not just a discipline of Viryaavirudham: Going for right food combinations is Nimmi (Asin), who is on the way to get married to anoth- medicine but an encyclopaedia of er man. This story of a man in the grip of by a negative life which provides all solutions mindset that compels him to keep both his parents and for elevating a 'Dukhayu' to his girlfriend at bay is enjoyable only until it plays up the 'Sukhayu' and countless comic aspects of the rigmarole. researchbased Sutras' and When the tale turns deadly serious in the second half, Shlokas have been dedicated for it assumes overly moralistic proportions and loses its that, which are the outcome of rig- entertaining edge in the bargain. orous researches of ancient The film's many failings are somewhat offset by the seers (Acharyas) including quality of the performances, with Abhishek Bachchan Charaka, Sushruta, Vaghbhata, pulling off the pivotal role with some effort to spare. Nagarjuna, Chakrapani and The character, of course, suits him to a T because its many others. arc is restricted to a set pattern into which the actor set- Director Umesh Shukla works with two distinct moods To substantiate this fact, one - comic and emotional. While he handles the first with a tles with ease. most simple but imperative fair degree of flair, he isn't quite as self-assured with the Rishi Kapoor is formidable as the father, conveying a instruction from Ayurveda texts latter, which pushes the drama into the domain of uncon- wide range of emotions. The versatile Zeeshan Moham- on 'AharVidhi', would be the best vincing contrivances. mad Ayyub, on his part, anchors the funny passages with to reveal. Simply putting Ahar So, All is Well is the kind of film that is watchable only commendable aplomb. Vidhi means 'How to Eat', yes in parts. As it nears its business end - the facile climax - All is Well is a well-meaning, mildly diverting trip that method of meals which is indis- it takes on unintentionally laughable overtones. This is the tends to meander far too much for its own good, but, pensable part of consuming food story of Inder Bhalla (Abhishek Bachchan), who hates his despite the avoidable detours, it does manage to get but majority of people make small father Bhajanlal Bhalla (Rishi Kapoor) because the latter somewhere in the end. (PTI) mistakes here due to their igno- rance which actually leads to big PERSONALITY troubles later. Ayurveda has very scientifi- cally and systematically shown some very simple steps to again another very important step. There are many wrong be followed by any individual while having their meals irre- combinations like sour items with milk, radish with curd, Living Legend of Jammu Theatre spective of what you eat. Do remember How you eat is milk after garlic etc. are some very wrong combinations much more important than what you eat. Undoubtedly what which must be avoided. Lalit Gupta you eat makes you what you are but how you eat is fore- Ishta Deshe-Ishtaupakarnam: Meals should begin In a scenario where only 0.1 percent creative people get the most thing to be taken care of. with grace in order to create a quiet, calm and respectful distinction of being recognized in their life time, Kavi Rattan, due Following these simple steps on methods of meal environment and should be eaten in quiet without distrac- to single minded dedication, life-long commitment and passion ensure mental and physical strength, strength of tissue ele- tion such as television, reading, reading or excessive con- to his calling of heart, stands tall as a living legend in the field of ments (Dhatus), pleasure of senses, complexion, good versation. It is the most widely discussed but hardly fol- voice, longevity, happiness, satisfaction, intellect, enthusi- theater. lowed instruction. Involvement of mind is equally impor- asm and memory. His is a 75 year-old visage, but his eyes have the fire of a tant in eating as the use of physical body. Known as 'Ahar-Vidhi' the Sanskrit Sutra from Ayurve- zealot; in his own words, he has lived and breathed theatre all Natidrutam-Naativilambam: Pace of eating again his life. Kavi Rattan, for whom drama is more than a religion, da describes method of meals in few steps: needs to be balanced neither one should eat rapid or in rues the commercialization that has reduced theatre from an art "Ushanam Snigdham Matravat Jirna Viryavirudhe Ish- form to a commodity today. ta Deshe Ishtupkarne haste nor too sluggishly. Eating fast increases the threat One who invigorated the cultural scene from 1970s onwards Natidrutam Nativilambam Ajalpan Ahsan Tanmna of taking the impurities like hair easily in and would not through introduction of innovative theatre language and tech- AtmanamAbhisamikhye' allow the eater to enjoy the taste even. Whereas eating niques to generations of young persons in two regional metrop- Ushnam: Food should be taken warm as it stimulates too slowly will lead to irregular digestion. olis of Jammu and Srinagar, Kavi Rattan, a very well respected taste buds which is most essential to trigger a better diges- Ajalpan-Ahasan Tanmna: Avoid laughing or talking name across the three regions of J&K will go down the annals tion. It enhances the catalytic effect of digestive process, while eating. It has adverse effects on smooth digestion of of history of the state as having laid the foundation of a serious in Ayurveda terminology it's called 'Jathragni Pradipan'. food. drama movement in the state. Most importantly it leads the passing gas towards anus Atmanam Abhisamikhye: One must consume any With all encompassing range of expertise as an actor, direc- and that is most important for uninterrupted digestion and food only in accordance with acceptability and adaptabili- tor, playwright, set designer, music composer and light design- saves one from all gastric ailments. The Ayurveda termi- ty of body. er, Kavi Rattan remained and is as an institution in himself. It nology for the process is " Vataanuloman'. Vata or Vayu is Ironically parents nowadays are stressing kids to learn was due to across-the-board facility in all departments of stage referred as air. Always say no to stale food. dance, skating, aerobics, acting etc. from very early stage production, followed by painstaking efforts to bring together right Kavi Rattan in Hindi play ‘Thank you Mr. Glad’ Snigdham: Then food must have a balanced amount and invest a lot but fail to teach this most basic principle kind of back stage support team and appropriate actors that he of 'Snigdha'- something with oily properties.
Recommended publications
  • Prospectus 2017-18
    PROSPECTUS 2017 National School of Drama (an Autonomous institution of the Ministry of Culture, Govt. of India) Sikkim Theatre Training Centre Nepali Sahitya Parishad Bhawan Development Area Gangtok, Sikkim 737101 NATIONAL SCHOOL OF DRAMA Ph - 03592 201010 [email protected] http://sikkim.nsd.gov.in SIKKIM THEATRE TRAINING CENTRE 2 NSD 4 Former Chairpersons Directors & 6 NSD Chairman 7 NSD Director 9 Centre Incharge 10 NSD, STTC 11 Camp Director 12 Vision & Objectives 13 Subject of study 14 Syllabus 16 Epigrammatic Report From April 2016 to March 2017 20 List of Visiting Faculty 22 Admission Related Matters 24 General Information 26 Centre Festivals 28 Administrative & Technical Staff 30 Repertory Company 32 How to reach 2 NSD 4 Former Chairpersons Directors & 6 NSD Chairman 7 NSD Director 9 Centre Incharge 10 NSD, STTC 11 Camp Director 12 Vision & Objectives 13 Subject of study 14 Syllabus 16 Epigrammatic Report From April 2016 to March 2017 20 List of Visiting Faculty 22 Admission Related Matters 24 General Information 26 Centre Festivals 28 Administrative & Technical Staff 30 Repertory Company 32 How to reach NATIONAL SCHOOL OF DRAMA NEW DELHI The National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. Established in 1959 as a constituent unit of the Sangeet Natak Akademi, the School became an independent entity in 1975 and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. The School offers an intensive and comprehensive three-year course of training in theatre and the allied arts.
    [Show full text]
  • Academy of Theatre Arts 1
    ACADEMY OF THEATRE ARTS 1. Profile : The Academy of Theatre Arts was established in August, 2003. The University of Mumbai initiated this Academy keeping in mind the dearth of theatre training institutes in Mumbai, despite the city being the main centre of theatre activity in the country. The Academy has taken long stride at national and international level within a short span of twelve years and it has become one of the leading theatre training institutes in India. The Academy of Theatre Arts offers a two - year full time comprehensive Master’s degree course in theatre arts. This course is an integrated course based on the structures of the world renowned theatre training schools as well as rich traditional & modern theatre training practices of India. The subjects academy offers are:- Dramatic Literature and Theatre History ( Western, Eastern & Indian Drama ) Stage Craft and Theatre Technique ( Theatre Architecture, Set Design, Light Designing, Costume Design, Makeup & Music Design) Acting ( Body Movement, Rope Mallakhamb, Martial Art, Voice & Speech, Traditional and Modern Dances, Yoga, Various Styles & Schools of Acting. ) Production & Direction ( Designing of the Production, Production Process & Direction. ) Participation in Departmental Productions, Play Writing, Theatre Management and Art Administration. The course emphasizes the ratio of 40:60% for theory and practicals. The students are given ample opportunities to watch and study plays and interact with theatre personalities at various festivals, performances and seminars thereby exposing them to current theatre practices. Fieldwork and field projects are given adequate importance in the programming of the Academy. The students are encouraged to understand creative processes, organizational and administrative aspects as well as marketing values of theatre arts.
    [Show full text]
  • Govind Singh Yadav,Vasant Kanetkar’
    Subhadip Raha’s HASH ERNESTO TAG GUEVARA Playwright & Director: Subhadip Raha Group: Krishiv Creations, Pune Language: Hindi & English Duration: 1 hr 15 mins The Play Delhi based lecturer Rajashree and her sister arrive at a country side place to stay in a government guest house. This place is a guerrilla warzone. Rajashree is a self – styled political idealist sympathiser of the guerrillas. An alibi for her presence is that of a researcher pursuing a PhD related to the place. Her sister Sudha is a college girl without an ideology, but flamboyant and rebellious. She is told not to step out of the guest-house. The bored collegiate draws her sister into a discussion around political ideology, questions her leanings, compelling Rajshree to reveal her true purpose. She is an undercover scribe on a mission to uncover the police’s human rights violation for holding a guerrilla leader captive. She seeks permission to meet the leader in lieu of finding out his name. She enters the cell surprised on seeing the guerrilla who (it seems) is no one else, but – Che Guevara! He / his look alike engage and disrobe her ‘pseudo’ socio-political ideology, in conversation. Doubtful, she leaves the cell casually naming the captive leader as, Che Guevara to the police, returning to the guesthouse. Sub- inspector Sant gleefully reveals the captive’s identity, to be Che and gets beaten for no one believes him. Sudha too is shocked by the sting video. Rajashree reaches the police station to meet the leader and clear her doubts. Sant allows her a last chance while threatening her with death.
    [Show full text]