kaash
kaash on instagram: “the leading ladies of kaash and their current feature. # repost ...
kaash on instagram: “finally got a hold of these images! # kaash crew attending # saiff # 2015 ...
if kaash was a revelation in 2002, it hasn’t lost its impact now .
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kaash was also created with generous support from the quercus trust, the jerwood space and birmingham dancexchange .
‘pushing dance into new realms of metaphor and metaphysics’ … kaash. photograph: tristram kenton for the guardian
kaash on instagram: “ladies and gentlemen, @ hbo and south asian international film festival ...
kaash on instagram: “these beautiful kids on the red carpet @ mumbaifilmfestival for the opening ...
kaash has also been created with generous support from the quercus trust, the jerwood space and birmingham dancexchange .
the 2014 revival of kaash was supported by a residency at trinity laban conservatoire of music and dance, london .
tumultuous destruction and creation … kaash by akram khan company at sadler’s wells. photograph: tristram kenton for the guardian
kaash released his first underground album in 2005. he’s the ceo of the popularly label known as blackkaash records .
kaash is a musical endeavor started in the year 2008. kaash blends indian melodies and sensibilities with a scorching rock backbone, creating an ingenious sound, which emancipates a sea of emotions and nostalgia in the heart of its listeners .
kaash on instagram: “ # repost @ perniaspopupshop with @ repostapp. ・・・ new year' s eve issue with ...
“these beautiful kids on the red carpet @ mumbaifilmfestival for the opening night of # kaash in # mumbai! @ varun. mitra @ kavyatrehan7 @ nidhisunil…”
“the leading ladies of kaash and their current feature. # repost @ perniaspopupshop with @ repostapp. ・・・ new year' s eve issue with @ nidhisunil and…”
14 years ago, akram khan teamed up with the celebrated talents of anish kapoor and nitin sawhney to present kaash, his company’s first full - length work .
“finally got a hold of these images! # kaash crew attending # saiff # 2015 @ southasianfilmfestival in # nyc @ kavyatrehan7 @ tanaysatam @ varun. mitra @ teebirdyfly…”
“ladies and gentlemen, @ hbo and south asian international film festival present the premiere of kaash in new york on the 12th of december at 8: 00pm. the…”
kaash stands as a striking work of pure dance that takes the spectator on a journey from the vast echo of outer space down into the red - hot centre of the earth .
kaash is a accra based port harcourt born recording artiste from delta state. he spent few years of his life in port harcourt before moving to warri where he started doing music .
focusing on the dance piece kaash, created in 2002 by the young british choreographer akram khan, it considers what happens when such contemporary work created by british asians enters the public domain through performance .
résumé: pour sa création « kaash », le chorégraphe akram khan s' est associé les talents du compositeur nitin sawhney et du sculpteur anish kapoor. kaash signifie « et alors? » en hindou... une évocation des dieux hindous: ganesh, krishna, shiva, chacun dépositaire de qualités symboliques et rythmiques ancestrales. la construction de ce travail chorégraphique est donc étroitement liée aux cycles musicaux traditionnels de la musique hindoue. création et destruction sont les points de départ de cette œuvre pour cinq danseurs .
kaash is an eccentric set of five people viren (vocals), shivam (keyboards), nishant (guitars), sonic (bass), nirvan (drums). backed by solid education they show a marked disregard of any musical style limitations .
it has been a long arduous process for kaash with many if only' s along the way. we just had to put a post up, to express how overwhelmed we are by all the support we have received so far, from stalwarts within the industry to strangers who decided to take a chance on us and allow the film to take them on an emotional road trip. we' re filled with gratitude and hope that you' ll continue to follow our journey to the end. much love, kaash
kaash is a band blessed with both strength and intellect, architects of a true hindi rock sound they bring a sense of freshness and spontaneity. their songs sound both honest and genuine; and have a sense of striking purity, undeniable magic and an unmistakable originality .
royal festival hall choreographer in residence akram khan teams up with the celebrated talents of anish kapoor (set design) and nitin sawhney (composer) to present his company’s first full length evening work kaash (hindi word for “if”). “hindu gods, black holes, indian time cycles, tablas, creation and destruction” are the starting points for this new work for 2002. danced by a five – strong international cast of performers, kaash continues akram khan’s quest to build bridges between the worlds of contemporary dance and the indian classical dance form kathak .
“hindu gods, black holes, indian time cycles, tablas, creation and destruction” were the starting points for this work. kaash (the hindi word for “if only”) accentuated khan’s quest to build bridges between the worlds of contemporary dance and the indian classical dance form kathak .
scenario was represented at the confederation of indian industry media summit the big picture in delhi last month by producer mamta kaash, who met with an enthusiastic reception for our tv series the mughals from both hollywood and mumbai as well as the indian national tv channel and commercial broadcasters .
the hindi word kaash means ‘if…’. schooled in the dynamic north indian danceform kathak (a dance tradition more than 2, 000 years old), wimbledon - born khan stepped out with an epic inspired by shiva myths of creation and destruction and of a ‘multiverse’ of alternative worlds .
zindagi channel, which famously introduced the pakistani actor fawad khan to a large section of the indian audience, is all set to launch a new show on its channel - - - kaash aisa ho. the show will premiere on july 27 at 8 pm on the said channel .
kaash (english: if only) is an indian bollywood domestic drama film directed by mahesh bhatt, released on 4 september 1987. the film stars jackie shroff and dimple kapadia as a married couple, ritesh and pooja, who face a serious crisis after bankruptcy and marriage breakdown .
statistics aside, kaash’s indelible mark on the independent hindi music has given it a dignity and a richness that it rightfully deserves. this delhi band has tried to redefine hindi rock by distilling the purest essence of its rhythmic soul and infusing into it luminous production quality and equally stunning songs .
kaash was originally created with the generous support of southbank centre (london), tramway (glasgow), vooruit (gent), sampad (birmingham), danceeast (ipswich), maison des arts de créteil, wexner center for the arts at the ohio state university with support from the doris duke charitable foundation .
this essay investigates correlations between the visuality of contemporary dance and sculpture through a discussion of the 2002 dance piece kaash, choreographed by akram khan with decor by the sculptor anish kapoor. it locates these correlations in the context of modern and traditional models of the reception of the formal qualities of dance and sculpture. these correlations make it easier to see how kaash negotiated between the nationalistic ideologies that informed the revival of classical indian dance styles in the indian subcontinent and its meanings for diasporic immigrant communities in the west. this negotiation reveals common elements that can lead, in the context of modern, multicultural nation states within a globalized world economy, to an appreciation of and openness towards difference .
you revisit an old love with wariness. time’s passed for both of you — sharp edges have been smoothed, and reputations built. but seeing kaash again last week, akram khan’s tremendous debut ensemble work, made when he was 26, revived at sadler’s wells now that he is 41 and a world name, i felt the earth move just as before .
in the beginning, there is nothing. only a silent theater and dancer sung hoon kim standing upstage, stock still with his back to the audience. then akram khan’s kaash opens with a big bang, with thundering drumbeats that ripple through your heart. the ensemble emerges and rips into choreography that blends the furious attack of kathak and the lyricism of contemporary dance. you feel the universe forming in an atomic rush .
de keersmaeker’s reputation as the grande dame of european contemporary dance enables her to think along lines unthinkable in britain. golden hours (as you like it) is the polar opposite of kaash in its uncompromised plainness — nearly two and a half interval - less hours long, largely in silence, with no costumes or set, and only minimal clues to what it’s about. at which point you might say, enough already, it’s not as i like it .
akram khan teamed up with the celebrated talents of anish kapoor and nitin sawhney to present his company’s first full - length evening work fourteen years ago. “hindu gods, black holes, indian time cycles, tablas, creation and destruction” were the starting points for this work in 2002. danced by a strong international cast of performers, kaash (hindi word for “if only”) continued akram khan’s quest to build bridges between the worlds of contemporary dance and the indian classical dance form kathak .
well i haven’t seen any santosh pandit movies yet but i have seen many clips of it. from that i can confidently say that “super star” santosh pandit will have to be more serious in making stupid stuff as there are new people in the industry. i am talking about the makers of the new movie “kaash” starring the new ccl sensation rajiv pillai, bineesh kodiyeri, innocent, mamukkoya, suraaj and many more. the movie is such a waste of time and it tests our sensibility to its peak .
kaash aisa ho is the story of an orphan called irfa, played by saba qamar (the actress will soon be seen with bollywood star irrfan in the film hindi medium). irfa is madly in love with her cousin shayan since childhood. shayan on the hand, despite being fond of his cousin, doesn' t notice her love and mistakes it for mere affection. although they end up getting married to each other, the artist in shayan who is obsessed with perfection, wants a divine goddess instead .
mahesh bhatt’s kaash was a sensitive and sentimental melodrama of an estranged couple — jackie shroff and dimple kapadia — who fought a relentless legal battle over the custody of their only child — a son. the film took a dramatic turn when during the fierce legal battle, jackie and dimple, learnt, to their consternation, that the bone of contention — their son — was suffering from leukaemia (blood cancer). flabbergasted, they buried the hatchet and jointly looked after the ailing child. thus, in his death, the succeeded in bringing his estranged parents together. jackie and dimple gave intense performances that were straight from the heart .
the core of khan’s vocabulary is here – the whiplash speeds and silken arms, the percussive richness of bare feet against the floor, but some of the material has been reworked to reflect the stylistic diversity of its new cast. kaash is not a perfect piece, its gear changes between exhilarating intensity and slow meditation can feel forced. but these choreographic changes pay dividends in the long solo sections where, extending the metaphor of creation, the dancers evolve from abstract particles to vividly specific individuals: sadé alleyne hugging the floor in a sequence of folding, twisting, creaturely moves; sung hoon kim, tall, sinuous and floating like a bird in space .
find out more: urltoken (revival of the 2002 full - length work) akram khan teamed up with the celebrated talents of anish kapoor and nitin sawhney to present his company’s first full - length evening work twelve years ago. “hindu gods, black holes, indian time cycles, tablas, creation and destruction” were the starting points for this work in 2002. danced by a strong international cast of performers, kaash (hindi word for “if only”) continued akram khan’s quest to build bridges between the worlds of contemporary dance and the indian classical dance form kathak. recorded and edited by maxime dos subscribe: urltoken website: urltoken twitter: urltoken facebook: urltoken instagram: urltoken
if kaash was a revelation then, it hasn’t lost its impact now. on paper its ambitions sound diffuse, exploring ideas of the universe that are yoked together from theoretical physics and hindu theology, yet on stage it conjures a vast and confidently imagined cosmos. kapoor’s backdrop is dominated by a fathomless dark square – a geometrical black hole around which changing colours pulsate to the tumultuous drumming and chanting of sawhney’s score. khan’s choreography, meanwhile, is a dance of destruction and creation. his five dancers ride the music in stamping, spinning, flickering lines, a thudding ensemble from which individuals continually splinter off into variations of their own, as if khan were suggesting the infinity of possibilities within a single phrase .
the band has built up a serious fan following online, with close to 2. 5 lakh fans on their facebook page. several websites including urltoken and urltoken have ranked them as the no. 1 rock band in the country. equally at home in a concert hall or a downtown club, kaash embraces opportunities to bring their music to new listeners in non - traditional spaces. they have played to audiences throughout the country from trivandrum to guwahati to jaipur and delhi being their home crowd always greets them with the “loudest and proudest cheers”. the band has also shared the stage with some of the most renowned musicians in the world including grammy winning greek bassist panagiotis andrew, grammy nominated mexican vocalist magos herrera and slovenian jazz guitar legend igor bezget .
` 'kaash'' about a loser who comes to terms with it, consolidates mahesh bhatt' s position in the industry as a director to reckon with, in 1987. the film recognises dimple kapadia and jackie shroff as performing artistes. ketan mehta showcases smita patil in her best portrayal, '` mirch masala'', telling of the feudal oppression on rural women. the film is sensual and explores colours like never before. '` mr. india'' proves a turning point for director shekhar kapur and the lead pair anil kapoor and sridevi. n. chandra comes up with a powerful film on rape, '` pratighaat'' that pushes you head down into facing gruesome reality. singeetam srinivasa rao surprises everyone with his glimpse of a silent film in modern days, '` pushpak'' .
the movie was not a success at box office but earned reviews due to the meticulous handling of the script by the director mahesh bhatt. movies like saraansh, arth, zakhm and kaash make us feel the worthiness of this director. story is quite sensitive, touching and touches your soul. jackie has so brilliantly played the role of ritesh that you actually feel the pain of the man who lost his wealth, fame and spouse and has to be prepared to loose the only hope of his life, his son. unlike akele hum akele tum, the separation is not short lived but forever. the scene where the doctor informs jackie that his son is not gonna stay alive longer really pierces through your heart. i would recommend to watch it on a quite evening. but be prepared to resist a woeful tale of a father torn apart with emotions .
like athene, born fully armed from zeus’s head, kaash leapt astonishingly out of the modest, watchful mind of khan, then a superb classical indian soloist embarking on his first choreography for other dancers. one of the great pleasures of this past fortnight for a veteran dancegoer has been seeing his dazzling piece again days before the latest creation of his former mentor, belgian choreographer anne teresa de keersmaeker, now 55. the two dancemakers have in common a nervous attraction to the place of percussive rhythm and time statements in dance, in both textures of phrasing and in overarching themes. and, contra those sceptics who postulate that contemporary choreographers can offer no specific language to challenge the academic vocabulary of ballet, here were two danceworks showing instantly recognisable physical signature and grand imagination, like it or not. not, comes into discussion of the de keersmaeker, but more of that in a minute .
abhas kumar ganguly was born in khandwa, now in madhya pradesh. his dad' s name was kunjilal, a lawyer by profession, and his mom' s name was gouri devi, who came from a wealthy family. kishore was the youngest in the ganguly family, preceded by
, sati, & anoop kumar (i). sati was married to sashadhar mukherjee, who was the brother of ...
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you' re checking in at the famous new york plaza hotel ...
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my name is anthony gonzalves
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lekar hum deewana dil
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pal bhar ke liye koi hamen pyaar kar le
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( performer :
jab ladki siti bajaye... . mamla gadbad hai
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aankhen do, aankhen do
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( performer :
josh - e - jawani... tauba re tauba
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sun le zameen aasmaan
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tu lajawaab bemisaal. . dilbar yaar dilbarjaani
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( performer :
maine toh mangi hai bus yeh dua, tere jaisa bhai sabko miley. us gulshan main khusboo kaise na hoo, phool tera jaisa jis me khiley
,
thokar pe hai sarha zamana, jo ban jaye mera nishana, kyon ke, sari ki sari yeh duniya meri jeb mein
,
duniya meri jeb mein
)
( performer :
haath me jaam na lu, jaam ka naam na lu, roop amrit jo miley, zaher se kaam na lu. haath me jaam na lu
,
jishey yaar ka sacha pyar miley ushey sarhey jahan ki daulat kya. teri ankhon me chamke pyar agar, heeron ki mujhko jarurat kya. duniya me jiska maul nahin, woh kya hai, pyaar... . pyaar... pyaar. jishey yaar ka sacha pyar miley ushey sarhey jahan ki daulat kya
)
( music :
badhti ka naam dadhi
,
apne bas ki baat nahin hai. . pyar vyar ka chakkar
,
phir suhani shyam dhali
,
o gori maan zara
,
yeh jawani din char
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hun kaun chhun mane
) / (performer :
badhti ka naam dadhi
,
apne bas ki baat nahin hai. . pyar vyar ka chakkar
,
phir suhani shyam dhali
)
( performer :
kya nazare. . kya sitare. . sab ko hai intezaar
)
- episode dated 28 august 1977 (1977)... himself - music guest
- episode dated 29 august 1976 (1976)... himself - music guest
- episode dated 2 september 1973 (1973)... himself - music guest
i was surprised when
lata agreed to do stage shows with me in london. though i was thrilled, i was worried about one thing - her discipline. she would never go on stage without proper rehearsal. but i like to take things easy. we had to sing five duets: chai pe bulaya hain (souten), gata rahe mera dil (guide), jai jai shiv shankar (aap ki kasam), accha to hum chalte hain (aan milo sajana) and ...
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the year 2000 in many ways can be compared to the 1980s. yash chopra has brought back cheer with his record - breaking '` mohabbatein'' in india and overseas. in the 1980s raj kapoor revived himself with '` ram teri ganga maili''. if today tabu is re - inventing her image with mahesh manjrekar' s '` astitva'', smita patil and supriya pathak never lost faith and continued to support small cinema with films like '` bazaar'' .
no matter what the cynic said middle - of - the - road cinema never faded out. if '` ardh satya'' and '` pratighaat'' existed then '` kairee'' and '` dil pe mat le yaar'' fight for survival now. if star sons were making their debut then, the millennium kids are stealing a march now. recalling the milestones :
` 'bazaar'' based on the social practice of older men buying young brides in hyderabad, makes space for middle - of - the - road cinema director, sagar sarhadi. producer shashi kapoor gives break to one more director, aparna sen, in '` 36 chowringhee lane''. jennifer kendall, in spite of a brilliant performance, doesn' t win the national award because she isn' t an indian citizen. after years hindi cinema gets a singing star, salma agha, in b. r. chopra' s '` nikaah''. raj kapoor' s lavishly mounted '` prem rog'' addresses the issue of widow re - marriage. '` satte pe satta'', raj sippy' s indianised version of '` seven brides for seven brothers'' is one more feather in the cap of amitabh bachchan. ramesh sippy' s '` shakti'' brings titans of two generations, dilip kumar and amitabh bachchan together for the first time .
the suave jackie shroff is launched opposite another debutante, meenakshi seshadri, in subhash ghai' s '` hero''. the year is 1983. dharmendra' s son sunny deol and amrita singh debut in rahul rawail' s love story, '` betaab''. shekhar kapur makes his directorial debut in '` masoom'', based on erich segal' s book, '` man, woman and child''. urmila matondkar and jugal hansraj make their debut as child artistes. sridevi makes a second attempt at hindi cinema in k. bapaiah' s '` mawaali''. later supported by a performance - oriented '` sadma'', balu mahendra' s remake of the tamil film '` moondaram pirai'' opposite kamal haasan, she becomes superstar. govind nihalani depicts the angst of an honest cop battling a corrupt system, the role of the cop played to perfection by om puri in '` ardh satya'' .
mahesh bhatt makes his most effective film on extra - marital relationship starring shabana azmi and smita patil displaying their histrionics in his semi - autobiographical '` arth''. mohan kumar highlights the dignity of senior citizens in '` avtaar''. sir richard attenborough after screen - testing every indian hero, signs ben kingsley to play mahatma in his bilingual, '` gandhi'' .
manmohan desai' s '` coolie'' wherein amitabh bachchan met with a near - fatal accident is released. a 'freeze frame', recording of that gruesome moment of the action shot, when the superstar was injured, is added on public demand .
` 'aaj ka mla'' by dasari narayan rao starring rajesh khanna and t. rama rao' s '` inquilaab'' with amitabh bachchan have a common plot of the protagonist taking the law into his hands. the release becomes a topic of controversy in 1984. '` chhota chetan'', the first 3d film in india is released, which viewers watch with special spectacles. ketan mehta makes a foray as a director with the then unknown aamir khan in '` holi'' focussing on the tragedy of ragging, in a boarding school. other prominent films of this genre in the year are kundan shah' s '` jaane bhi do yaaron'', mrinal sen' s '` khandhar'', saeed mirza' s '` mohan joshi haazir ho'', mahesh bhatt' s '` saaransh'' and sai paranjype' s '` sparsh''. madhuri dixit is launched by the rajshris in '` abodh'' and dismissed for being too natural. writers salim - javed split and javed akhtar' s solo screenplay '` mashaal'' is a second entry for anil kapoor after the debacle of '` rachna'' .
the year 1985 is one of mega releases. manmohan desai comes up with '` mard''. diffident after '` satyam shivam sundaram'', raj kapoor strikes with a vengeance in '` ram teri ganga maili''. mandakini, a buxom, green - eyed lass is the metaphor for ganga. dimple kapadia returns to films after a gap of 10 years with ramesh sippy' s '` saagar'. shashi kapoor makes his magnum opus '` utsav' directed by girish karnad, a costume drama. kapoor puts on weight for the role which he is never able to get rid of. the film proves a financial doom for kapoor. commercial and parallel cinema run side by side. jagmohan mundhra makes kamla based on a true experience of a research journalist. gautam ghose makes '` paar''. amol palekar extends his theatre and acting experience to making a film, '` ankahee'' .
after javed akhtar, it is his other half salim khan' s turn to script an independent project with mahesh bhatt' s '` naam'' in 1986. a fluke success '` nagina'' starring sridevi has the box office celebrating and trade analysts doing post - mortems. '` khamosh'' focusses vidhu vinod chopra as a director to watch out for. '` ankush'' is the beginning of n. chandra' s projection of the angry young man. '` ilzaam'', the beginning of govinda - neelam musicals. a dancer loses her leg in an accident and t. rama rao is inspired to make a film '` naache mayuri'' using the real - life dancer, sudha chandran in the lead role .
feroz khan remakes tamil film '` nayakan'' as '` dayavan'' in 1988, based on the life of the don varadaraj mudaliar. rakesh roshan offers rekha the role of a lifetime in '` khoon bhari maang''. the film is a super - success and brings her awards. mansoor khan makes his debut with '` qayamat se qayamat tak'' starring newcomers aamir khan and juhi chawla. the film is a teenage rage. amitabh bachchan is into politics and his opponents exploit his film career as an attacking ground. tinnu anand' s '` shahenshah'' is released amidst riots. '` tezaab'' is a take - off for the anil - madhuri pair and javed akhtar' s lyrics 'ek do teen' is the buzz song. smita patil' s last film '` waaris'' shot during her pregnancy is released with rekha' s voice .
after a lean phase, the rajshris revive with the second generation director sooraj barjatya in 1989 with '` maine pyar kiya'', a record - breaking romantic film, starring salman khan and bhagyashree. written, directed, produced and exhibited in - house, sooraj becomes a role model for young directors like aditya chopra and karan johar .
after an unsuccessful '` khamosh'', vidhu vinod chopra combines intensity with violence and comes up with '` parinda''. subhash ghai makes one more tribute to the family story formula, '` ram lakhan'' .
mira nair pays homage to the city that never sleeps and makes a film about street children, '` salaam bombay''. rajiv rai' s multi - starrer '` tridev'' with music by viju shah is a superhit and has the nation singing 'oye, oye...'
section: entertainment previous: ambedkar... man and the movement next: he moved the dalits
on the sands of time — 1987 year of the invisible hero m. l. dhawan
lambasted the concept of live - in relationships. in the film, naseeruddin shah loved anuradha patel but married rekha. rekha handled the situation created by the ‘other woman’ with maturity and pragmatically as she believed in the old saying, ‘if you love someone, set him free’. like most husbands in a similar situation, shah made the best of both the worlds, until anuradha died in an accident and wife rekha not only left him and his house without his
but also married shashi kapoor. shah was left to rue the complications which were of his own making. he met the fate of a man who tries to sail on two boats. gulzar gave a mature treatment to the eternal love triangle of
in the soul - stirring voice of asha bhosle left an impact. rekha, naseeruddin and anuradha came out with emotion - loaded performances .
n. chandra’s pratighaat opened with scenes of hooliganism orchestrated by a lumpen youth leader, kali prasad (charan raj). he committed murder and mayhem with impunity and graduated from one crime to another — smuggling, stealing, homicide and arson, etc. lakshmi joshi (sujata mehta), a college lecturer, took the bull by the horn and filed a criminal suit against kali. in retaliation, he disrobed her in a street with all her neighbours and family watching helplessly. lakshmi joshi was rescued from the scene of public humiliation by durga (rohini hattangadi), who had been raped by kali’s men and her husband tortured to death. an honest cop (nana patekar) then joined durga and lakshmi. together, they formed a three - man army against kali and put an end to his villainous ways and life. sujata mehta breathed fire and brimstone in her role and lived up to the image of durga, the mythological goddess .
in shekhar kapoor’s mr india, mogambo (amrish puri) — a comic - psychotic, fascist villain — lived in a self - contained island. he planned the annihilation of india and hankered after a formula to become invisible. arun (anil kapoor) ran a household full of cute orphans and cook calendar (satish kaushik). seema (sridevi), a journalist who hated the brats but loved arun, joined the household. mogambo wanted to evict the orphans and turn their home into an arms warehouse to penetrate into this country. one day, arun stumbled upon a bracelet / wristband left to him by his scientist father. this wristband could render arun invisible. with the help of this band, arun became mr india — an invisible, ordinary indian who promised to destroy all exploiters. mr india, seema and the kids destroyed mogambo’s empire. mr india presented hindi cinema’s only invisible hero. amrish puri played the role with a sense of fun and became synonymous with his catchline, ‘mogambo khush hua ’. with this role, amrish puri earned a permanent place in the celluloid ‘hall of infamy. ’
rakesh roshan made a successful directorial debut with khudgarz, in which jeetendra and shatrughan sinha played best friends despite a yawning economic divide between them. they stood by each other through thick and thin. unfortunately, a blow to sinha’s self - respect and dignity terminated the friendship. friends turned into foes. sinha became obsessed about becoming a richer man than his erstwhile friend. little did he realise that his much - maligned and castigated friend was always silently backing him .
singithan sriniyas rao’s pushpak was an experimental silent film laced with black humour and satire. kamal hassan was shown as an unemployed youth who dreamt of becoming a millionaire, but his room was decorated with posters of rambo and karl marx. the message and meaning of the film was conveyed in the last scene, when the body of a beggar, who had died on a pavement, was lifted by the municipality people and some currency notes — his life - long savings — flew out of the rags and were trampled over by the traffic on a busy road. kamal hassan and amala lent credibility to the most complex scenes by emoting effortlessly, without the use of words .
vijay mehta’s pestonjee was a psychological portrait of friendship between two parsi friends — the extrovert pestonjee (anupam kher) and the shy and introvert piroj (naseeruddin shah) and traced their relationship after the seductive jeroo (shabana azmi) comes into their lives .
shah brought the character of piroj alive and won accolades for this landmark portrayal, which made him an idol of the intelligentsia .
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one of the most original and celebrated choreographers of international dance. acclaimed for his dance language rooted in the ancient indian dance – kathak .
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“our new five - strong cast of international performers sheds another light and energy on the piece, focused on physicality and precision, that i believe still has all its relevance today. ”
there’s always a question about whether early works will live up to their memory, but this reworked version certainly still has the power .
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co - producers the south bank centre the tramway the vooruit sampad danceeast maison des arts creteil wexner center for the arts at the ohio state university with support from the doris duke charitable foundation .
akram khan. until the lions. la grande halle de la villette. décembre 2016
diana vishneva: beauty in motion - f. l. o. w part iii
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
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sudarshan kumar is an honest custom officer who gets in bad books of smuggler durga das jetia after he catches his consignment. sudrashan kumar is killed and witness gauri shankar is framed... see full summary »
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ritesh has established himself well as a movie actor and producer within the people of his community. but eventually his career starts fading and this has had a tremendous toll on his marriage life with his wife pooja leaving him. with no aim left in life ritesh takes to alcohol and is forced to sell all his possessions to compensate his dues taken as an actor. his only penchant for solute is his young son, romi - who also won' t be there for long as he is diagnose with cancer and does not have long to live .
it was alleged that dimple kapadia got involved with jackie shrofff during the making of the film. the story went that sunny deol and dimple were going thru a rough patch in their relationship and dimple had a fling with jackie during this period. both denied the story in print .
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career, the moment when this prodigiously talented dancer revealed himself as a choreographer of stamina and reach. it wasn’t simply that
, khan found a way of pushing dance into new realms of metaphor and metaphysics .
he had never worked on a classical ballet, and had seen giselle just once. but the choreographer jumped at the chance to drag the story into the 21st century – with the help of english national ballet
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this long - awaited revival from sadler’s wells associate artist akram khan, one of the most revered dance makers working today, will be performed by an acclaimed cast of dancers who will shed new light and energy on the piece .
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in keeping with the theme, khan and his composer nitin sawhney destroyed and recreated parts of the 2002 work for their 2016 dancers — and yet if anything the fiery emotiveness and apocalyptic mystery of the original is intensified. the drama explodes in your face from the first: a lone man staring into darkness is subsumed in the cacophonous fiery - red eruption of a cohort of dancers remorselessly scything across the ground with huge, jagged drags of the arms. the need for dreams, the beautiful violence of imagination and the lure of death are all encapsulated in the thrilling opening moments, and these true themes are not let down during the piece’s 55 minutes .
central to the imagery is anish kapoor’s mesmerising backcloth, a blurred rectangular void framed in white, which, washed and drenched in colours by lighting designer aideen malone, can appear to be a portal into the unknown, or a wall of fire, or a vanishing illusion. the floor is a blood - red carpet, or chequered like a jasmine - yellow quilt, which transmutes the wheeling dancers into celestials bouncing on air .
the marvellous deep focus of kapoor’s vision mitigates the sentimental eclecticism of sawhney’s lightweight musical frame to the work, decorating it with everything from whispers and heavy breathing to gamelans and plainchant .
from his five dancers, austerely dressed, khan constantly conjures suggestive formations, each telling of a particular dynamic relationship: one with four, or opposed by four; one confronting one, or one with one; mass martellato lines against blurry meltings - away, while the light plays tricks on your eyes. an exhausting, frantic solo for a woman in ultra - dark - blue light becomes a nadir of lostness, stilled by the sentinel appearing at the window. there is omen, there is release. it’s the work of a blessed young talent, and the revision is tauter but no less wondrous. bouquets to each of the five dancers .
on the contrary, among the myriad shakespeare danceworks this is one of impressive boldness, both faithful to the sourcework and yet absolutely original. the dozen dancers have each learned as you like it ’s lines and their dance is almost a casual dance - mime of all the comedy’s roles. lines from the play and brian eno’s 1975 song ‘golden hours’ (from another green world) sporadically add signposts, but in fact this is an unusually dance - friendly plot, full of youthful physicality — wrestling, loveplay, cross - dressing, and homoerotic banter between long - haired boy rosalind and rugged orlando in his sequinned sneakers .
like khan, de keersmaeker frames her dance within a larger time signature: the ensemble moving in almost imperceptible slow motion, as if the earth is turning. despite being dressed down indistinguishably in t - shirts and jeggings, they are distinguishable as the comedy’s characters through their performing and their choreography, as gleeful as skaters, hunkering down, spiralling around each other and through each other, fresh in emotion. de keersmaeker, who also debuted in memorable style, has stayed a 30 - year course .
the british government is in crisis, again. enter trump, stage right, again
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bollywood actor ritesh and pooja are married and live a fairly wealthy lifestyle. when he ventures to produce a film, a huge risk considering his naivety, results in financial losses, which they have to make good by selling all their personal properties, vehicles, and belongings. they re - locate to live in a small flat, and ritesh loses himself in an alcoholic and nostalgic world. pooja decides to take over the reins of this family by seeking employed, much to the chagrin of her husband, who would prefer that she stay at home - a discussion that may well be the turning point of their relationship and signal the end of their marriage .
ritesh (jackie shroff) is a film star who lives in the past. shunned by filmmakers and hounded by creditors, he becomes an alcoholic. pooja (dimple kapadia) works to support the family. romi, their child, becomes a silent spectator to their constant fights. alok (anupam kher) saves pooja from a hoodlum and offers her a job in his firm. ritesh asks pooja to choose between her job and house. she leaves. ritesh wins romi' s custody. he discovers that romi is going to die of cancer. to keep their child happy, ritesh and pooja agree to spend time together. thrown together under the shadow of their child' s death, ritesh and pooja rediscover themselves and each other. by gavin @ sunny _ deol2009 @ urltoken
the show' s plot is that of a love story, where the difficult life led by the protagonist comes in the way of her dreams. the show stars the beautiful saba qamar, along with mohib mirza, shahood alvi, and others .
eventually, shayan leaves irfa and her child behind in search of a better life and fame, and from then on begins irfa' s real journey, who is left behind to fend for herself. in order to get to know irfa and her story better, tune into zindagi on july 27 at 8 pm .
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this show finally came to an end this week and although the story had nothing new to offer the show still captured my interest because of the amazing cast and their superb acting. saba qamar has done an outstanding job; i cannot even come close to describe how perfectly she had portrayed the role of irfa. i must confess that i never liked mohib mirza because i found that he always over acted in his serials but he had completely gotten into the skin of his character this time and managed to surprise me with his marvelous acting skills. from now on i will definitely look forward to more of his shows. sana askari as maleeha also did a good job but her portrayal of the same kind of characters in every show is seriously getting on my nerves now. shahood alvi and yasra rizvi were an integral part of the show and their characters gave more life to the show. shahood alvi as bilal was one of my favorite characters in this show. i do not know if people like bilal exist in this world but i always like to admire such characters when i see them on screen .
the ending was predictable but i was glad to see that irfa at least considered ansar’s proposal. she did not get offended when he proposed her and took it in a positive sense but she just had one answer for him; that she was married. ansar was a new sign of hope in her life after a long time and some part of her did want to accept him but then it all came down to rahima and her happiness. she might be overwhelmed by ansar’s proposal but she could not forget that shayan was rahima’s real father and she would not accept anybody else as her father now that she was so attached to shayan. surprisingly even bilal and minahil had the same opinion that irfa should accept shayan back in her life. bilal did not tell irfa directly but he did say that shayan would be forever grateful to her if she accepts him now with his guilty conscience .
irfa, however, put up a good argument when minahil tried to talk to her about shayan and why she should accept him back in her life. i simply loved their conversation as it had some beautiful dialogues. at first irfa was adamant to choose the new path in front of her and venture away from the old one but the only thing that stopped her was rahima’s happiness. when the innocent girl told irfa to accept shayan back in her life for her happiness she could not help but think about it. it was a very tough decision for her to forgive shayan and accept him back in her life but she did it for rahima’s sake .
ansar was waiting for her final answer and he finally got it when he saw shayan taking irfa away. irfa had clearly told shayan that she had learned to live without him and she had no place for him in her life anymore but when shayan told him that rahima needs both of them, she gave in. i felt bad for ansar when he stood there with a bouquet in his hand and saw irfa taking shayan’s hand and returning to her old life. till the very end irfa did not truly forgive shayan but then she finally gave in and accepted her fate.
kaash ( english : if only ) is an indian bollywood domestic drama film directed by mahesh bhatt , released on 4 september 1987 . the film stars jackie shroff and dimple kapadia as a married couple , ritesh and pooja , who face a serious crisis after bankruptcy and marriage breakdown . the film follows their separation and reunion when their child , romi , is diagnosed with a brain tumor , and how they learn to cope with this cruel reality . like several other 1980s films by mahesh bhatt , kaash , contains serious and realistic content and , upon release , received critical acclaim . 
kaash (english: if only) is an indian bollywood domestic drama film directed by mahesh bhatt, released on 4 september 1987. the film stars jackie shroff and dimple kapadia as a married couple, ritesh and pooja, who face a serious crisis after bankruptcy and marriage breakdown. the film follows their separation and reunion when their child, romi, is diagnosed with a brain tumor, and how they learn to cope with this cruel reality. like several other 1980s films by mahesh bhatt, kaash, contains serious and realistic content and, upon release, received critical acclaim.
kaash (english: if only) is an indian bollywood domestic drama film directed by mahesh bhatt, released on 4 september 1987. the film stars jackie shroff and dimple kapadia as a married couple, ritesh and pooja, who face a serious crisis after bankruptcy and marriage breakdown. the film follows their separation and reunion when their child, romi, is diagnosed with a brain tumor, and how they learn to cope with this cruel reality. like several other 1980s films by mahesh bhatt, kaash, contains serious and realistic content and, upon release, received critical acclaim.