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A large number of people are there who always shout as soon as they get a chance that India is the land of Khajuraho Temples and these people treat these temples as the places depicting sexual behaviour of mankind. Many of them equate Khajuraho temples with the erotic shops available elsewhere. If it is so then why these statues were carved on the outer walls of the temples and why they have not found place inside the main building or in Garbhagrahas of temples? An erotic shop keeps alluring things in the glass window and these things work as an advertisement and a pulling factor to sell more such things lying inside the shop.

If erotica was the subject of Khajuraho’s temples then why they have not been selling concept of sex inside also? Many of these people …

Warning: Post contains strong language and sexual content.

Imagine, me entering my hitlerian Dad’s room. Imagine me asking for his permission to go out and see a movie called Bhavani Junction. Then imagine Pitashree’s right hand moving in slow motion, big tight palms connecting to my left cheek sending me flying out of his room in slo mo. Had that incident happened, I would never have dug deep into Bollywood films, never have the desire to blog and never would have reviewed any movie in my life.

All you new age Bollywood hating blogging punkers, just imagine that. HA! That incident never happened. I simply picked up my books to go to tution class and instead was standing in line to buy the ticket of Bhavani Junction at Mayur Cinema close to my house.

Now Mayur Cinema, and I’m not sure if it exists …

When a genius like Girish Karnad, the playwright, who wrote his most famous play, Tughlaq, at the age of 25 only and won Jnanapith award for writing plays in 1999, joins hands with another genius Shashi Kapoor, a film producer who dares to make different and sensible cinema and tries to carry cinema to new heights, then only a film like Utsav borns. Girish Karnad had made his foray in hindi cinema by directing Godhuli in 1977 and Shashi Kapoor as a producer had already made, Junoon and Kalyug with Shyam Benegal and Vijeta with Govind Nihalani and 36 Chaurangee Lane with Aparna Sen.
Going back in time was not new for Girish Karnad as his plays though dealt with the centuries old subjects or mythological and historical characters and yet they also brought modern sensibilities and social and psychological conflicts before the readers/audience. Girish Karnad?s plays go back to …