* Chandni chowk to China - English subtitles - 2 messages, 1 author
* Easily transfer all your contacts, SMS and photos from your old phone,It
only takes a minute and you don't need any cables or special equipment. - 1
messages, 1 author
* SLUMDOG IS ABOUT DEFAMING HINDUS - 3 messages, 3 authors
TOPIC: Chandni chowk to China - English subtitles
== 1 of 2 ==
Date: Thurs, Jan 22 2009 3:26 pm
From: email@example.com (habshi)
The karate/kungfu in this movie has to be seen to be believed.
And Akshay does his own stunts. In one the bad guy jumps and gets his
legs round Akshay's neck and throws him over without letting him go.
Akshay lands on his feet and throws the other guy over his head!
And Deepika as her own twin is really beautiful !
Saw it again and enjoyed it even more.
== 2 of 2 ==
Date: Sun, Jan 25 2009 9:20 am
From: firstname.lastname@example.org (habshi)
ccording to Mahmood Butt, the executive producer and 41-year
veteran of Evernew Studios, Lahore's sole functioning film studio, the
Pakistani government's decision last year to ease a 43-year ban on
screening Indian films sounded the death knell for the city's cinema
Known collectively as "Lollywood", two decades ago 11 studios averaged
a production schedule of roughly 120 films per year, with cinemagoers
filling the more than 1,700 theatres across the country. Today,
Evernew struggles to produce 30 films for less than 200 decaying
"Indian films are made with budgets of millions," Butt says. "Ours are
only about 100,000 Pakistani rupees (Dh4,600). We cannot compete. The
number of Lollywood films being made is decreasing due to investment
loss because only two or three films a year ever make a profit.
Otherwise, they nearly all screen at a loss.
"I used to have hope. Now I am just disappointed. We are using ancient
equipment. Our cameras are more than 30 years old. We're over three
generations behind in all forms of technology. Bollywood and Hollywood
are using DTS sound – we're still using mono."
Butt also blames inexperienced financiers who have taken over the
industry – people with money to burn who are content to make one
generic movie after another. "Twenty years ago the people making films
were educated. Now the uneducated are destroying what is left of
Lollywood. The financiers who are funding more than 90 per cent of the
films coming out of Lollywood are making purely formula movies," he
Nearly all films produced in Pakistan are financed by the Gujjars – a
wealthy family whose money comes from the dairy industry who often
provide backing for films with salacious and violent content.
"Unfortunately we have not changed the type of films we have been
making," Butt says shaking his head. "The only way to recover
Lollywood is to get back to making family films, comedies and social
Movies filled with buxom, gyrating, gun-toting women and sweaty,
moustache-twirling bad guys grace decrepit theatres across the country
and attract an audience mainly comprised of working-class men from
rural areas. Women are never seen in cinemas as the films' content and
theatre conditions have all but driven families away. They choose to
stay at home, enjoying the far cheaper option of watching high-quality
Hollywood and Bollywood movies on pirate DVD.
Aslam, a 25-year-old cinemagoer, stands outside one of the larger
cinemas in Lahore, clutching his ticket to a recent Indian
blockbuster. He only has time to visit the cinema two or three times a
year and wishes that more Pakistani films were being made.
"I want to see more love stories," he says. "I would never take my
family to see a Gujjar film," he says.
Small venues have also suffered thanks to the demise of Lollywood.
Between the declining quality and quantity of Pakistani productions,
not to mention the higher prices charged to screen Western and Indian
films, hundreds of theatres have had to close their doors. Now their
audiences flock to technically advanced cinemas with the resources and
finances to screen imported films.
Shabbir Hussain, a 49-year-old old projectionist from the Odeon Cinema
in Lahore, says that his employer can only afford to screen western
movies and now even has to forgo Indian celluloid. Showings have
declined to just three per day and Hussain spends much of his time
sleeping between two 50-year-old projectors that belong in a museum
rather than a functioning 21st-century cinema.
"Fortunately they still make spare parts," says Hussain, referring to
the tools of his trade. "But we barely have the resources to show
modern films. I am worried about the film industry. I worry for my
family and my children. I only know this job."
There are further casualties. Pakistan's film industry spent more than
60 years scouting out a steady supply of movie heroines and musicians
from the Hira Mandi area, in Lahore's Old City. Today, it has
descended into a cesspit of drugs, gangsters and violence.
"About 25 years ago, all the women came from Hira Mandi," says
Butt."Most were talented and also many of the musicians who performed
on the films' soundtracks were from there. Nowadays, people there are
not so qualified."
Away from the city's hardscrabble back alleys, others are also losing
their livelihoods. The new trend for computer-generated posters has
driven traditional billboard painters out of business.
An art form unto itself, the Lollywood billboard is a dying medium.
Productions facing severe cost cuts can no longer afford six-metre,
hand-painted billboards to adorn the local cinemas.
"Ten years ago, the business was huge. But now it has it has
declined," says Mohammed Ajimal, one of Lahore's most respected
billboard artists. "Computer posters have taken over, the billboards
have finished completely. The last one I painted was almost a year
Ajimal's hand-painted billboards used to take up to three weeks to
paint, with four or five people working on them, and cost upwards of
65,000 Pakistani rupees (Dh3,000).
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== 1 of 1 ==
Date: Sun, Jan 25 2009 12:14 pm
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TOPIC: SLUMDOG IS ABOUT DEFAMING HINDUS
Slumdog is about defaming Hindus
By Kanchan Gupta
Sunday, January 25, 2009
In keeping with American politics of the times, Slumdog
Millionaire has been nominated for as many as 10 Oscars
and our deracinated media, which constantly looks for
inspirational 'good news' stories that invariably revolve
around Western appreciation of 'truthful' portrayal of
the Indian 'reality', has gone into a tizzy. Saturday's
edition of a newspaper published from New Delhi had a
blurb on the front page that read, "The Slumdog story:
How 'Danny uncle' and his 'moral compass' created the
biggest 'Indian' blockbuster -- and why you should watch
it." Predictably, the chattering classes, who had been
blissfully ignorant of Vikas Swarup's Q and A (as they
had been of Aravind Adiga's The White Tiger till its
perverse denigration of India and all things Indian wowed
the judges of last year's Man Booker prize) are now
making a beeline for the nearest bookshop for a copy of
the novel, whose title has been suitably changed to
Slumdog Millionaire so that the book and the film are
eponymous and both publisher and producer can encash the
extraordinary hype that has been generated. Late last
year, there was similar hoopla over AR Rahman getting the
Golden Globe award for the music he has scored for
Slumdog Millionaire. An approving pat on the back by the
Hollywood Foreign Press Association, it would seem, is
the most important marker in an artiste's career. Those
Indian musicians who haven't got the Golden Globe are not
worthy of honour at home just as Sahitya Akademi award
winners are not worthy of finding space on our
bookshelves, leave alone feature on news pages or news
The larger point is not really about going gaga over an
American award or a British prize, but how they are seen
as India being admitted into the charmed circle whose
membership is strictly controlled and is by invitation
only. That invitation invariably follows a certain
pattern; it's not merely the keepers of the gate
chanting, "Eeny meeny miny mo, catch a tiger by his toe,
if he hollers let him go…" Apart from the fact that the
'tigers' in this case are not hollering but salivating at
the prospect of seeing themselves clutching a handful of
trophies on Oscar night, the nomination process is far
more rigorous than we would think, with filters to keep
out those films and books that do not serve the judges'
purpose or pander to their fanciful notions -- in this
case, of India. Aravind Adiga crafted his novel in a
manner that it could not but impress the Man Booker
judges who see India as a seething mass of unwashed
hordes which worship pagan gods, are trapped in caste-
based prejudices, indulge in abominable practices like
untouchability, and are not worthy of being considered as
an emerging power, never mind economic growth and
knowledge excellence. Similarly, Danny Boyle has made a
film that portrays every possible bias against India and
structured it within the matrix of Western lib-left
perceptions of the Indian 'reality' which have little or
nothing in common with the real India in which we live.
Therefore, it is not surprising that Boyle's film is
about a slum where extreme social exclusion, political
suppression and economic deprivation define the lives of
its inhabitants. He has made every effort to shock and
awe the film's audience by taking recourse to graphic and
gory portrayal of bloodthirsty Hindu mobs on the rampage
-- the idiom that defines India as it is imagined by the
lib-left Western mind -- laying to waste Muslim lives (a
Hindu is shown slitting a Muslim woman's throat in an
almost frame-by-frame remake of the videotape that was
released by the killers of Daniel Pearl) and property.
There's more that makes you want to throw up the last
meal you had: Hindu policemen torturing Muslims by giving
them 'electric shock therapy', street children being
physically disfigured and then forced to beg, and such
other scenes of a medieval society where rule of law does
not exist and every Hindu is a rapacious monster eager to
make a feast of helpless Muslims.
Nor is it surprising that Boyle should have cunningly
changed the name of the film's -- as also the book's --
protagonist from Vikas Swarup's Ram Mohammad Thomas (a
sort of tribute to the Amar Akbar Antony brand of
'secularism' which was fashionable in the 1970s) to Jamal
Malik. The name implies a Kashmiri connection, and we
can't put it beyond Boyle suggesting a link between
Jamal's travails -- it is his mother whose throat is shown
as being slit by a Hindu -- and the imagined victimhood of
Kashmir's Muslims who, the lib-left intelligentsia in the
West insists, are 'persecuted by Hindu India'. Asked
about the protagonist's name being changed, Swarup is
believed to have said that it was done to "make it sound
more politically correct". There is a second hidden
message: The Hindu quizmaster on the 'Who Wants to be a
Millionaire?' show has doubts about Jamal, who gets all
the questions right, not because he is a 'slumdog' but
because he is a Muslim; so he sets India's Hindu police
on the hapless boy. Swarup did not quite put it that way
in his book, but the film does so, and understandably the
critics in Hollywood who sport Obama buttons are
The last time depravity was portrayed as the Indian
'reality' was when Roland Joffé did a cinematic version
of Dominique Lapierre's City of Joy. In that film, the
Missionaries of Charity were shown as the saviours of an
India trapped in filth, squalor, poverty and Hindu
superstition. Some two decades later, Boyle has
rediscovered Joffé's India and made appropriate changes
to fit his film into the Hindu-bad-Muslim-good mould so
that it has a resonance in today's America where it is
now fashionable to look at the world through the eyes of
Barack Hussein Obama.
In her review of the film, "Shocked by Slumdog's poverty
porn", Alice Miles writes in The Times: "Like the
bestselling novel by the Americanised Afghan Khaled
Hosseini, A Thousand Splendid Suns, Slumdog Millionaire
is not a million miles away from a form of pornographic
voyeurism. Slumdog Millionaire is poverty porn."
Commenting on the BBFC's decision to "place this work in
the comedy genre", she says, "Comedy? So maybe that's it:
I just didn't get the joke." It's doubtful whether most
Indians, Hindus and Muslims, would get it either if they
were to watch Slumdog Millionaire.
Hindu Holocaust Museum
The truth about Islam and Muslims
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== 2 of 3 ==
Date: Sun, Jan 25 2009 3:08 pm
It is not about anything involving hindus as to the questions it raises
. The only good question is does it tell the truth, which is different
then asking if it embarrasses those who would want the truth to be
== 3 of 3 ==
Date: Sun, Jan 25 2009 6:43 pm
From: Mirza Ghalib
On Jan 25, 1:41 pm, use...@mantra.com or www.mantra.com/jai (Dr. Jai
> Slumdog is about defaming Hindus
> By Kanchan Gupta
> THE PIONEERhttp://dailypioneer.com
> Sunday, January 25, 2009
> In keeping with American politics of the times, Slumdog
> Millionaire has been nominated for as many as 10 Oscars
But Dr. Maharaj, the central character in the film
carries the name Jamal Malik, which is a Muslim
name. So at best you can say it defames Indians,
not only Hindus.
Incidentally, the condition of the dwellers in Dharavi
where this movie was shot is far better than of some
living in rural areas of India and subject to the same
feudal exploitation as in British times. Sad to say,
the movie is not far from the reality.
Although I do not intend to see this movie, hope
it sends a kick in the ass to the Indian Government,
who have been promising for the last 60 years
"good times just around the corner".
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