I LIKE THAT WHILE WRITING MY PAPER MICROSOFT WORD WILL CAPITALIZE LUDACRIS FOR ME
"In India there is this contradictory reality: it is a country of people who, for the most part, have skin as dark as me. But you just need to open the magazines or watch a Bollywood film to realise that they are all white, with blue eyes." - Lakshmi Menon (Indian supermodel & photographer)
femininevenom asked: Lol! ^~^ What about Atmosphere, have you listened to them? :o
scapegoat was my favorite :}
There’s an abundance of bad things happening right now, and it’s hard not to be sucked into that black hole of sadness, so let’s have a puppy party shall we.
Because, let’s face it, dogs never grow up.
ADDED BONUS, PUPS IN MOTION!!!
This is your Sunday evening reminder that you can handle whatever this week throws at you. Even if school, work or general life isn’t okay, you’ll get through it because you are damn strong and amazing.
my hands can’t even open water bottles
SEN: Our interview really is about this question of identity: what it means to be an Indian and yet have relations across the border; and what it means to be a Muslim or Hindu in this country, and elsewhere. I would like to begin with your film Mammo which is an endearing study of an old woman who comes back from Pakistan to visit her sister in India. Is it based on a true story?
BENEGAL: Yes, it is based on a true story, although fictionalized in its treatment. Khalid Mohammad had written up a little piece about his grand aunt in the Sunday edition of The Times of India, under a section called “The Personal Eye.” I was very moved by the piece and asked him whether he would like to do a screenplay—because I was keen to make a film based on it.
SEN: Khalid Mohammad is renowned as one of our eminent film critics—I didn’t realize he was a script writer!
BENEGAL: The original screenplay was by him. Later, Shama Zaidi and Javed Siddique made further inputs. The film was set in Bombay, where the incidents took place.
His grand aunt, who used to live in Pakistan, came to live with her sister in India, after her husband’s death. Her sister was her only next of kin. She had a temporary visa, and had to go back. The only way she could continue to live in India was to lose her passport—to become stateless, and melt into the multitudes of India.
SEN: I recall that very vivid scene of a whole trainload of people being shunted back to Pakistan. The pivotal point of this story seems to be that the old aunt comes back, she wants to stay in India and tries by various means such as a doctor’s certificate. But finally nothing works, and she goes back. Was that the main issue you were addressing—the need for improvement of human relations between the two countries?
BENEGAL: That is one of the issues I was addressing; but another emerged since the story hadn’t really ended there! The piece that was written by Khalid ended there; but in reality she did return once again, and some means had to be found to make her stay there. And they resolved it in in a fashion—-the way it was solved in the film was by getting her a death certificate. And getting that death certificate meant that she became invisible—a non-person. This way she could stay because there was no record of her anywhere. Now, this is really a big problem because it happens to a lot of people—-whether in India or Pakistan or Bangladesh: you have people who suddenly become non-persons. To me the irony is that she is accepted only when she becomes invisible.
There is someone out there for everybody.
Learn to trust the journey, even when you do not understand it.
it is so hard to be authentic in this world. when every “resource” is a gateway that can be used against you