Rajesh Nanoo's Blog

if you think only religion makes you bad, then what about the leftist/communist/marxist? the bigots,anarchist and slaughters were ever they ruled? 

if you think untouchability was only with hindu religion, then you have not seen a rich person’s home in which the poor have everything different? not seen a servant’s wash room? guard room etc? the poor people were not even allowed to sit in their sofa, chair or bed. what made these poor became untouchable so that even have separate glasses and plates to eat food in such homes? 

Go and visit film sets, there you can see the rich- poor, fame- fameless technician divide in its full glory, separate foods are served in sets based on all these. the actors behavior to the light boys or lesser technicians is crude form of untouchability. 

Go to europe or any western country they practice racism irrespective of religion, is not that another form of untouchability? the way (NO1 educated) keralites see bengali, up, biharis is nothing but racism, same is the case of north indian people viewing south indians, 

 if you go to any priest or politician you have to keep your heads low before their whims and fancies.

good or bad is a person’s second nature, religion, politics, money, race are only channels to superimpose their wickedness. untouchability comes when one start to feel superior complex in their mind. as long as that ego is there the untouchability and badness remains in some form or another. 

Sholay is the magnum opus of Bollywood that restructured the commercial format of Indian cinema. Even in today’s era of technical advancement and digital revolution, Sholay stands tall and also throw cinematic challenge to seasoned filmmakers to surpass its legacy. There was no befitting suitor to surpass the colossal challenge shows the benchmark Sholay put on the show biz.

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Since the louder facts of the film are reviewed by the critics & film buffs, I zoom to subtle nuances that secretly encoded in some scenes. The director’s moment in a film is usually marked by shift that happens in the viewer from ‘plain viewing’ to ‘watching experience’. Such a paradigm shift occurs only when director with array of shots visually gratify gist of theme, beneath the ongoing narrative.

In other sense, build up created by scriptwriter with the help of words gets demolished and replaced by visual interpretation. Due to the visual elevation director excels as a master craftsman. Many scenes in Sholay had signature of master craftsmanship. Let me first decode train sequence were the two lead characters Veeru & Jai are introduced.

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Veeru chats with inspector Thakur & Jai sleeps, their body language in the opening shot bestows dimension these two characters going to play through out the film. Veeru is energetic and wild while Jai is calm/composed & less spoken. This character sketch gets established from the first shot. As per the Indian metaphysics, energetic is the representation of Rajas and composure representation of Sattvik. To add more Sattvik quality the makers sprinkled Sri Krishna’s flora to Jai character making him play mouth organ, replaced by the flute of Sri Krishna.

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The similarity between Sri Krishna & Jai does not end with mouth organ, it becomes more & more obvious in the presence of cattle, farming and also the poignant/intense adoration Jai had with Radha. It will be foolish if the similarities been scoffed off as coincidence. It is definitely an inspirationally teared leaf from the mythological character. Otherwise why filmmakers pick the name Radha which is the exact name of Sri Krishna’s evergreen lover?

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Another significant fact is, Radha’s love with Sri Krishna never got fulfilled similarly Radha had unfulfilled love with Jai. Director illustrated the sunset of love with a gesture of Radha closing the window in her last shot. This exhibits Director’s command on the visual surging above words. Though Jai had a few shades of Sri Krishna, writer never equated or uplifted Jai to Pure Sattvik quality, which is the hallmark of godly nature. Writer underlined it loud and clear through the dialogue articulated by inspector Thakur to his fellow policeman about Jai & Veeru, they are bad but human. Making all the three lead characters (Jai, Veeru & Thakur) as mix of good and bad is yet another insight that humans are individuals with flaws. Upanishads proclaim that human birth happen only when good/pure and evil/sins feature in karmic debts. Absence of one quality is absurd and fantasy.

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From the film context Veeru deemed to be the protagonist but from the plot context Jai is the kingmaker because Jai takes ultimate decisions. Jai made Veeru follow him unknowingly using Toss method. The specialty of the coin is its one sided and the custody of the coin always with Jai. All riddles were solved using the coin and who tosses the coin in the air? Jai tosses and call the shots making Veeru mere spectator in the process. Whatever intent Jai had in his mind triumphed; the escape from train, accepting the task to catch gabber and climax scene were Jai’s made Veeru to obey his decision bitterly. Veeru refrain from killing Gabbar due to the promise Jai gave to Thakur.

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This dictum is aligned with spiritual doctrine. Sattvic guides Rajasivic that is why kings had Raja Guru (courtier) in their assembly. Temperament is vital in decision-making. A composed state augurs right thinking, which brings the best possible result rather than haste actions. Thus writers aptly put onus on Jai to take the story forward to its closure than Veeru.

Tossing represents unknown fate and Jai’s cunning call represent decision-making, which fulfill the spiritual truth that person’s fate depends upon their decision. You reap what you sow or your present state is due to past action (which is referred as Karma in Sanskrit) Action = thinking plus doing. Jai teaches that when you are in state of blue, take a decision yourself and move on than brooding in uncertainty.

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Like Sri Krishna, Jai too is savior that has a duty to rescue countrymen from evil mongers engaging in tough battle. Jai’s evolution from evil to good or from robbery to service reflects the abstract philosophy that badness cannot be the end of the tunnel. In repentance lies opportunity for betterment. It bestows change by which previous sinful actions turn immaterial. Valmiki was also robber before transition as a sage in Ramayana. Jai is not elevated to exalted state; nevertheless it marks necessity to renovate oneself, which everyone undergoes at some stage of life.

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Another prominent subtle characterization in train scene is connected with Thakur who is the axis of the whole story. He is portrayed as helpless police officer in the film. Though it is symbolically represented with no hands but one more activity that reaffirm helplessness by becoming unconscious after stricken with a rifle bullet in the middle of a counter attack. This proves that Thakur solo game to finish threat posed by Gabbar & goons will not work. There should be powerful leverage to wage war, which he discovers in Jai & Veeru.

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The defiant moment in train sequence that underlies mindset of Thakur and also set tone of whole story is when he pierces handcuff of Veeru & Jai with a gunshot. Even being courageous police officer his belief in law gets jolted at later stages. He revamps mindset by concluding that the only way to hunt and seek revenge is to take law in hand. The gunshot is prologue of inspector Thakur dismantling slave mentality towards law & goes for kill on his risk.

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Gabbar is bizarre from other Bollywood antagonist. The introductory scene of Gabbar exemplifies the pattern through which the story in Sholay evolves. Gabbar renders dialogue in peculiar way; this is also his modus of operandi. At first he talks in sluggish tone concord with simple body texture and then replicates it in aggressive tone and mannerism. In the intro Gabbar grills Kaaliya: hmm do aadmi! He expresses it poetically, in split seconds he yells, which baffles audience. After yelling, once more the slow pace in dialogue delivery returns shortly intimidate with action & speech. The same rendering style is followed in the punch dialogue: Yeh haath mujje dedo Thakur!

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Gabbar’s pursuit unfolding from mellowness to ferocious seems exactly like the flow of the film. The twist and turns in the plot ooze through happiness and then ushered with menace. Goons first attack to the villagers occurs after the love shots between Basanti and Veeru. The intention of this scene is to show dalliance between mates and more precisely the expertise Veeru and Jai in shootouts. This funny shoot flick is tryout session to actual shootout between goons and team Thakur. Even though there is a terrorizing factor in the encounter, it was overshadowed by the comic feel due to Veeru’s gesture and Kaliya’s dialogue.

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Next sequence after this is showoff of Gabbar’s dexterity with rifle. He also starts process in funny frame of mind and howl with laughter reverberate the atmosphere he pulls trigger, suddenly everything halts in pin drop silence.

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Brutality in the midst of happiness is the hallmark of theme. There is a scene in-between Basanti-Veeru and the clash between goons & team Thakur that is meticulously choreographed to balance extreme moods. Jai’s whimsical with buffalo & radha’s laughter, which shift to melancholic mouthorgan performance by Jai while Radha lights lamp. Exhibiting chemistry between Jai and Radha is the main purpose nevertheless beneath the surface there is adjoining moment of happiness & sorrow. This combination is not a one time event.

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Next encounter between Gabbar & team Thakur is ferocious that occurs after the pompous Holi song. Flashback of Gabbar slaying Thakur’s kins is also on festive occasion. Jai and Veeru’s counter attack to Gabbar gang initiate in-between item dance, retaliation from Gabbar kicks off after Veeru’s witty suicidal attempt. Shoot out in the main climax triggers after Basanti’s dance. What is evident from all these?

It highlight that Sholay pitches on Gabbar style of sedate to aggressive shift. This augments terror after the laughter. Drunken Veeru mention to villagers that it is a sad story with emotion, drama and tragedy. In adjacent sequence villagers gets a letter, which conveys Gabbar’s message: if they don’t amend then face dance of death in every happy moments (ramgarh ke har aanad mei moth nachekgi). I feel that protagonist and antagonist are not addressing the villagers but the viewers to talk about the epitome of Sholay.

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Birth & death or happiness & terror encompassed in storyline and Gabbar the deceit an embodiment of both, are symbolical representation of life itself. As spirituality elucidates life comes with a carry-bag of happiness & sorrow. For every up there is down and for every high there is low. No person gains everlasting joy; climb down to opposite realm is certain. Every situation pass away is the sacred message. The up and down formula of life, writers Salim-Javed artistically adapted, synchronized and authenticated in plot, propelled with technical astuteness made Sholay a class apart.

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All actors flourished with startling performance onscreen. Akira Kurusowa’s renown film Seven Samurai and Raj Khosla’s film Mera Gaon Mera Desh had similar backdrop in the plot and making style. Having said that, director Ramesh Sippy command in mis-en-scene is iconic. It reflects in ant roaming in Gabbar’s hand (before murdering the youth) or Veeru, smashing stick into two (as breaking pledge) & shooting spree yoked in slow motion at Thakur’s inmates particularly Gabbar slowly appear tucking in a horse in between the swing swaddle and kid like messenger of death is mind-boggling.

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Editing, Music Cinematography, and Sound effects acted coherently with the narrative rhythm. In the train chase sequence goons seen between thorns in single frame, horses’ hustle through reddish sky indicating the forthcoming avanchale and the natural lighting in lamp shot epitomize profound vision cinematographer Dwarka Divecha discovered through camera lens.

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The straight cut from pistol pointed on Takur’s grandchild to the train smoke and also the revelations bought by blowing wind in major sequences reveals splendiferous touch editor MS Shinde graced to the film. The soundtracks of RD Burman enhance emotions trekking from soothe to savagery. The song Yeh Dosti appears after train chase so train movement inbuilt in the rhythm. Similarly, from humming ooh ooh, lays possibility of confusing train whistle with human voice that much delicate the tone oozes out in Mehabooba song.

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The remarkable feet musician achieve by intoning BGM with state of affairs is noteworthy. Sound effects of coin tossing, gunshots, belt, boot & rocks in the intro scene of Gabbar and in many other shots are astonishing.

Written by Rajesh Nanoo,  Writer, Director & Actor.  SWA, Mumbai – 25240. mediavibesfilms@gmail.com

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On my travel yesterday, I experienced something which made me feel‪#‎good‬. From Navimumbai to Versova I have to change two trains. Quarter part of the journey was through a metro with fully ac and high end facilities. Another quarter in a local train. The first part of the journey went smoothly without any rush but towards the end, it was so jam packed so hardly to get a breathe!

In short what I can say is, it was two type of journey ‪from high end to low end towards the same destination in which I remain the same . ‪#‎life‬ is a similar travel in ‪#‎train‬. It moves along with ‪#‎happy‬ and ‪#‎sad‬ facilities, We should remain as ‪#‎witness‬ because both are passing phases.

Filed under: Life Philosophy, Local Trains, Metro, Metro Life, Metro Train, philosophy, spiritual, Sub urban trains, wisdom, witness

When one ‪#‎person‬ abuses another persons ‪#‎belief‬ in a ‪#‎speech‬ then one moron is born when ‪#‎listener‬ claps for it then its birth of two ‪#‎morons‬ and multiplication of morons brings terror…

‪#‎Ancient‬ ‪#‎Indians‬ knew this so they welcomed every ‪#‎thoughts‬ and didn’t spread hatred. If we analyse those place in which ‪#‎terror‬ dancing now then we can see that its their forefathers that has spilled the seeds in some other regions and now it became thicken woods elsewhere and eating them..

So remember the ‪#‎law‬ u reap what u sow, lamenting afterwards is like leaving the tree after giving up the hands that was securely holding..

Wen you believe in only text & abuse others then remember this equation, sadwis, nayiks & pastors should read this equation with their heart out..

Filed under: Abusing Religion, Hate, religion, Religious Fanatics, Religious Hate, Spreading Hate, wisdom

I stand on

Every concept

I wrote

As

Careless writing

Is not my bake.

I set free

Those words

To fly to any

Who looks on

In the shape

They are taken in

A warm welcome

And a contempt

Is equally accepted

As experience differs..

I don’t experience

What you experienced

That I experienced

You not experienced

Chance to crisscross

Remains dim and

Light is also dull

The easy way is

You go your way

I go on my way

Walk with me

Only when you

Take side unto

Which I walk on.

Rajesh Nanoo

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Filed under: personal poem, poem, poet, poetry, wisdom

What is ‪#‎depression‬?

The best and easiest definition I can give for depression is like this “when the ‪#‎mind‬ goes from a ‪#‎4G‬ to ‪#‎2G‬ speed that is depression

Filed under: depression, depression from defeats, sadness, wisdom

A person came and said

Teach me ‪#‎zen‬

He replied

I am a ‪#‎teacher‬

Without any ‪#‎teaching‬

He offered him tea

It was awesome

Now they ‪#‎connected

 

Filed under: buddhism, Koans, Lama, poem, poem of learning, poems, spritual teacher, wisdom, zen, Zen Diciple, Zen Teacher

I found out the best way to save ‪#‎relationship‬ with which most ppl are broken by ‪#‎fb‬ ‪#‎whatsapp‬ etc and ‪#‎internet‬ use. The main problem is we don’t have ‪#‎time‬ to spend with ‪#‎family‬ in home due to ‪#‎social‬ network so simply disconnect wifi and switch on to bsnl ‪#‎3G‬ if you are in ‪#‎india‬. Then you won’t have a network in home will have to surf everything outside so once u r in home u have time to ‪#‎talk‬. Even if you want use net in home the speed will be as good as that you can answer 100 questions from your wife before you get reply to ur msg in WhatsApp or FB..

Hereby I allow indian govt to use this tagline for the bsnl service for free of cost.

Bsnl 2G makes life better, connecting your people without disconnected from modern technology…

Disclaimer Note – this msg is not valid for those who have trees near your balcony and know climbing….

Good morning and good night as this is the last msg of today as i am entering home now.

Hope this msg is posted and you guys can read it…

Beep..ding dong..

Filed under: 3 G, broken relationship, Healing Relationships, Humour, Internet, Joke, Mobile, Relationship Crisis, Relationships, Sarcasm, Social Media, Time, wisdom

Upanishads says there are 72000 Nadis (network of nerves) and this again subdivided into more Subtle Nadis. Energy or Prana is flowing through this. But i think due to our life styles the food we eat and thoughts we think, majority of these Nadis are blocked. By this we get stress, sickness and lethargy.

Medicines cannot remove the blocks as it acts mainly in the gross body thus holistic healing methods come to rescue. Still am not sure how many therapies can activate these millions of Nadis and Chakras in which they are situated and clear the energy imbalance. When these Nadis are activated then it gives full energy recharge for 3 t 7 days. It bestows relaxation, rejuvenation, motivation, creativity, wellness and sound sleep like never before. It also triggers Detoxification when done in a regular systematic way.

In my healing experience i came to get in touch of Healing methodology which i feel is activating major Nadis. I am not sure how many of them are getting activated and how many does not. But since my hands are travelling almost all nooks and corners of the patients body in Energy Enhancing Massage Technique (EEMT) I think a very large number of them are getting activated. By such an energy massage benefits that obtained from Acupuncture, Acupressure, Reflexology, Eastern & Western massages and also Reiki healing.

I feel delving in Buddhist and Hindu Tantra’s helped me to fine tune this Healing Technique along with the Reiki Master who taught me healing 15 years ago. Though saying all these I firmly believe it’s the Prana, Chi or Ki is the ultimate healer and Practitioners like me are only tools. Tools cannot claim fame from the efficacy bestowed from healing thus I have no claim whatsoever, just thought to share what I am doing as a Holistic Health Healer.

If you want to experience this EEMT healing or for a counseling session provided u r now in Mumbai or Navi Mumbai then don’t hesitate to call me or whats app me. As per the person whom I gave treatment two days before in a Spa center told me – “When you were healing I thought you are playing Tabla on my body and it was very rhythmic and natural!”

Thus I welcome you all for a Musical Mystical Energy Vibrations that reverberates in physical body and subtle body in the name of healing technique discovered from time immemorial.

Bodhi Wellness Care

Dr. Rajesh Nanoo (Alternative Medicine)

Mob – 9769514250

WhatsApp – 9895369280

Our Page – https://www.facebook.com/Bodhi-Wellness-Center-40861543597…/

Filed under: broken relationship, Chakra Activation, consciousness, Counseling, energy healing, gaining motivation, Healing Relationships, Health, Health Care, healthy life style, holistic healing, Holistic Health, inspiration, meditation, Mental Power, Mental Strength, Mental/Emotional, Mental/Emotional Imbalance, mind, Mind Power, overcoming stress, powers of subconscious mind, reduce stress, reiki, Relationship Crisis, Relationships, Sleeplessness, spiritual, spiritualism, spirituality, stress in job, subconsious, wellness, wisdom, workloads and health problems.

‪#‎Paper‬ was blank

‪#‎Mind‬ was blank

‪#‎Poet‬ in peace

Idea flashed

Mind flourished

Words drizzled in paper

Poet perturbed

Mind pierced, as

What ‪#‎written‬ is

What that be in

Corridor of unwritten.

Paper thrown to bin

Mind breathe easy

Poet sits in ‪#‎Peace‬..

End of a ‪#‎Poetry‬

RIP words..

Amen…

http://www.rajeshnanoo.com/books.php

Filed under: wisdom