Friday, February 27, 2009

New Zealand clinch series after a thrilling 5-wicket win

New Zealand today snatched a dramatic last-ball victory in the second Twenty20 cricket match to clinch the series 2-0 against India, who very nearly pulled off an incredible win in the dying moments of the thriller.

Chasing a modest 150 to win, the hosts were cruising along comfortable before the Indians changed the complexion of the game with some tidy spin bowling and Irfan Pathan's double strike in the 18th over.
Needing 12 runs off Pathan's last over, the Kiwis rode on Brendon McCullum's unbeaten 69 to scrape through to record their third consecutive victory against the world champions The home team won the thrilling match by five wickets.
The result of the ding-dong battle at Westpac stadium could have been different had substitute fielder Rohit Sharma latched on to a difficult catch off McCullum, which would have carried the game to the eliminator stage.
Put into bat, India's formidable batting failed to click for the second time on the trot, leaving New Zealand with a
fairly simple task of scoring 7.50 runs per over.
Only Yuvraj Singh hit 50 off 34 balls and captain Mahendra Singh Dhoni (28 not out) and Virender Sehwag (24) were the other notable contributors. The New Zealand run chase began with a flourish with McCullum and Jesse Ryder (26) putting on a brisk 53-run partnership.
Ryder hoicked Irfan Pathan for a six in the very first ball and then hit Zaheer Khan for two fours in the next over as he played a cameo off 15 balls before being dismissed by Khan. Indians were lucky to have their second wicket when Kiwi umpire Gary Baxter adjudged dangerous Martin Guptill (10) leg before off Harbhajan Singh despite a big inside edge.
Guptill went for a pull, missed the shot and Indians made a furious appeal. Baxter had a long look at it and surprised everyone by raising his finger, upholding the appeal. Ravinder Jadeja, who replaced Rohit Sharma in the side, bowled in tandem with Harbhajan to put brakes on the Kiwi scoring rate.
With the spinners drying up the runs, the game gradually tilted towards India after Pathan's twin blows left the home team with a difficult task of scoring 23 runs off 12 balls. Pathan dismissed Taylor and Jacob Oram (0) on consecutive balls at the start of the 18th over, setting up an exciting climax to the match.

Wednesday, February 25, 2009

Supreme Court says bloggers may face libel and even prosecution

(Times of India, 24 Feb 2009)

A 19-year-old blogger's case could forever change the ground rules of blogging. Bloggers may no longer express their uninhibited views
on everything under the sun, for the Supreme Court
said they may face libel and even prosecution for the blog content.

It will no longer be safe to start a blog and invite others to register their raunchy, caustic and even abusive comments on an issue while seeking protection behind the disclaimer — views expressed on the blog are that of the writers.

This chilling warning emerged as a Bench comprising Chief Justice K G Balakrishnan and Justice P Sathasivam refused to protect a 19-year-old Kerala boy, who had started a community on Orkut against Shiv Sena, from protection against summons received from a Maharashtra court on a criminal case filed against him.

Petitioner Ajith D had started a community on Orkut against Shiv Sena. In this community, there were several posts and discussions by anonymous persons who alleged that Shiv Sena was trying to divide the country on region and caste basis.

Reacting to these posts, the Shiv Sena youth wing's state secretary registered a criminal complaint at Thane police station in August 2008 based on which FIR was registered against Ajith under Sections 506 and 295A pertaining to hurting public sentiment.

After getting anticipatory bail from Kerala HC, Ajith moved the Supreme Court through counsel Jogy Scaria seeking quashing of the criminal complaint on the ground that the blog contents were restricted to communication within the community and did not have defamation value. He also pleaded that there was threat to his life if he appeared in a Maharashtra court.

A computer science student, Ajith pleaded that the comments made on the blog were mere exercise of their fundamental right to freedom of expression and speech and could not be treated as an offence by police.

Unimpressed, the Bench said, "We cannot quash criminal proceedings. You are a computer student and you know how many people access internet portals. Hence, if someone files a criminal action on the basis of the content, then you will have to face the case. You have to go before the court and explain your conduct."

Sunday, February 22, 2009

Slum Dog Mania

Slumdog Millionare makes a clean sweep at the 81st Oscar awards. It was a dream run at the Oscars for India.
Filmmaker Danny Boyle’s rags-to-riches romance set in India, Slumdog Millionaire, won eight Oscar awards for best feature film, direction, original song, original score, sound mixing, editing, adapted screenplay and cinematography.
An elated Rahman who won the Academy Awards for best original score and song from the film Slumdog Millionaire said, “I want to thank everyone. The essence of the film is optimism and hope. All through my life I had the choice of love and hate…I chose love and I am here.”
Indian music maestro AR Rahman won the Oscar for his original score in the highly acclaimed movie Slumdog Millionaire.
The composer was overwhelmed and interspersed his speech with Hindi as well as Tamil on receiving the coveted trophy here Sunday.
“There is a dialogue from an old Hindi film,”Mere paas ma hai” - which means I have nothing but a mother. My mother is here, I have her blessings. I am glad she could be here,” said Rahman.
He ended the acceptance speech by saying “God is great” in Tamil, something he says after winning every award.
Boyle, 52, who had never before been nominated for an Oscar, beat David Fincher (The Curious Case of Benjamin Button), Ron Howard (Frost/Nixon), Gus Van Sant (Milk), and Stephen Daldry (The Reader).
Boyle also becomes the first British winner of best director since Sam Mendes was honored in 2000 for American Beauty.

Friday, February 20, 2009

Delhi 6-My Review(1.5\5)

Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First AKS, then RANG DE BASANTI, now DELHI 6. A two-liner of the story may give you an impression that it's similar to UTV's earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But DELHI 6 bites more than it can chew.

Set in old Delhi, the screenplay [Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey] takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot... The two warring brothers [Om Puri, Pawan Malhotra] and the wall that divides the two; the daughter of the house [Sonam Kapoor] aspires to be an 'Indian Idol' contestant; a moneylender's [Prem Chopra] wife has an illicit relationship with one of his lecherous debtors [Cyrus Sahukar]; an 'untouchable' [Divya Dutta] makes more sense than the so-called thekedaars of samaj; a friend of the family [Rishi Kapoor] has still not forgotten his first love [Tanvi Azmi]. Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours. 

But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?' 

Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time. 

DELHI 6 tells the story of a young American boy Roshan [Abhishek Bachchan] of Indian origin, who comes to India for the first time, to drop his ailing grandmother [Waheeda Rehman]. She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in. 

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was. 

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu [Sonam Kapoor], who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart. 

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back. Also, portions in the second hour, when a Baba [Akhilendra Mishra] triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay. 

Rakeysh's handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems. Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible! 

Abhishek doesn't work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri [powerful], Pawan Malhotra [flawless], Vijay Raaz [tremendous], Deepak Dobriyal [genuine], Divya Dutta [admirable] and Cyrus Sahukar [likable] leave a mark. 

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction. 

On the whole, DELHI 6 has a terribly boring beginning [first hour], an absorbing middle [second half] and a weak end [climax]. At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend. The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down! 

Wednesday, February 18, 2009

Chennai traffic police unveils new website


Chennai City Traffic Police (CCTP) today launched a new website to provide up-to-date information on traffic regulations. 

Director General of Police K P Jain launched the website in the presence of city Commissioner of Police K Radhakrishnan at a function in the city.

The home page of the website will have the city traffic police logo with a message from the Commissioner. According to a press release, the site will provide all the emergency phone numbers, along with the numbers of traffic police officers. It will also have links to other websites of the police and other government departments. 

It will also provide news regarding traffic and daily events, ambulance details and motor vehicle accident information. Among the features is an interaction forum for the public to post their suggestions and ideas about traffic management. 

Police have entered an agreement with a private cartographer who will provide the city map along with minute details of roads and streets. The site will also offer a glimpse into the history of traffic police, with rare photographs from the pre-Independence era, the release added.

Shah Rukh’s surgery successful

The King Khan underwent the much-needed shoulder surgery yesterday (16th February, 2009). The star rushed from London, where he had been with Lara Dutta and Irrfan Khan, to promote his latest venture Billu. Shah Rukh Khan had hurt his shoulder while shooting for the film Dulha Mil Gaya, but put off the surgery as he had to complete Billu and promote the film. The operation was performed by a team of doctors headed by Dr. Sanjay Desai. 

Doctors at the Breach Candy Hospital in Mumbai said that the surgery was successful and that SRK would be out of action for at least four to six weeks. Shah Rukh will resume shooting soon after he recovers fully, probably in mid-March, says sources close to the actor.

Sunday, February 15, 2009

Chennaiyil Oru Mazhaikalam


Director: Gautham Menon
Screenplay: Gautham Menon
Story: Gautham Menon
Dialogue: Gautham Menon
Producers: Gautham Menon
Music: A. R. Rahman
Cinematography: Manoj Paramahamsa
Editor: Anthony
Choreography: Ahmed Khan
Lyrics: Thamarai


Trisha Krishnan
Nikita Thukral
Daniel Balaji

Chennaiyil Oru Mazhaikalam is a the current title for the forthcoming Tamil film to be directed by Gautham Menon. It stars Trisha Krishnan and four male debutants in the lead roles. The film's score and soundtrack will be composed by A. R. Rahman with lyrics by renowned poet, Thamarai. Editing is being handled by Anthony. The movie has been said to be about life in the underworld. Shooting for the film began on the 24th of July, 2007 at Tidel Park in Chennai, India.

Gautham Menon registered the name, Chennaiyil Oru Mazhaikalam for a previous project of his, later titled Vaaranam Aayiram.

The photo shoot of this film took place at Tidel Park, in late 2007 with Trisha Krishnan and four debutant male lead actors. The film is said to be a musical entertainer and the story is set against the IT background. Manoj Paramahamsa, a new cinematographer has been introduced.Currently, the film is dropped for undisclosed reasons

Wednesday, February 11, 2009

Race from your Home

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 Also the winning calculation is very easy winning amount=(Amount Bet X Winning payoff ) / Minimum bet denomination
 the race calendar can also be viewed in this website.
 There is someting special known as Bet America bonus track. In this you will win for every money you Bet.
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 We can watch two tracks at the same time using this Live Video. Also the horse racing results can be viewed from here itself. Wow ! that's amazing..
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Saturday, February 7, 2009

Naan Kadavul-My Review(101% BALA'S MOVIE)

Naan Kadavul - Review

Starring: Arya, Pooja 
Banner: Pyramid Saimira, Vasan's Visual Ventures 
Story, direction: Bala 
Music: Ilayaraja 
Cinematography: Arthur Wilson 
Dialogues: Jaymohan 
Art: Krishnamurthy 
Stunts: Kannal Kannan 

Oh, this is a difficult, difficult task, telling you what Naan Kadavul is about .

The most hard-hitting sensation you feel when you step out of the cinema hall after the movie? A queasy and disturbing feeling at the bottom of your tummy. Call it macabre fascination, call it reluctant appreciation for its stark canvas, call it a sadness (so typical of a Bala-film-effect, you say?) at some harsh realities thrown brutally at you. Whatever it is, it is unavoidable and the movie DOES affect you and you WILL remember it in the hours to come. Let's look at why. 

The astrologers said it was bad luck to keep his son at home. Surrendering to this superstition, as so many Indians do, a doting father abandons his son at Kasi and only returns after 15 years of guilt at his cruelty and sin drag him back to the holy place to find his boy and take him back home... 

What the father finds is not a normal young man, but a wild, shaggy-haired and bushy-bearded man with an insane light shining in his eyes. Rudra (Arya), brought up in the company of Aghory sadhus with their unspeakable practices, seems other-worldly, with his ranting and chanting of ancient texts. He seems like a madman, perhaps made so by the strange nature of the Agory swamis' upbringing - teachings so radically different from what we learn at home and at our schools; being surrounded by corpses burnt or waiting to be burnt at the colossal open-air crematorium, incessant chanting and yogic meditation. All of this, combined with the hallucinogenic effects of unlimited bhaang, of course.

The boy makes his trip from the banks of the Ganges to the heart of Tamil Nadu, with none of the return to "sanity" as his family hopes he will have. In fact, Rudra leaves home for a yogic life in a cave, never returning to human bonds like home, parents, family, etc. 

Meanwhile, the life of temple beggars is thrown at us in harsh clarity. Beggars who are not just poor, but blind, handicapped, less-than-able or absolutely unfortunate from birth or made so at the hands of the unspeakably cruel "beggar-runner" Thandavam. The minutes you spend digesting what you are certain must be rife across the country, are full of sadness, disgust, shock and revulsion at the depths human minds can sink to. As the story weaves along (almost as insanely in places, like the grass Rudra smokes!), it includes the portrayal of the blind beggar girl Hamsavalli (Pooja), she of the sightless eyes and heavenly voice. 

Once the characters are introduced, the movie is then about the struggle of these beggars to find positivity in their depressing lives, mirth even; and Rudra's efforts to reveal that the search for God sometimes shows you that you ARE God yourself to us mere mortals . The strange light shining from Rudra's eyes now suddenly seems less like a deranged pot-smoker's and more like someone blessed with some divine powers. Rudra's violent streak, his swift retribution, quicksilver mood swings and ultimately, his seemingly psychotic but deeply thought-provoking and wise teachings of life and death make you believe him when he says about himself, Aham Brahmasmi (I am the creator, I am Brahma). 

Arya has done a superb job as Rudra. It must have been a truly difficult task to learn yogic poses and force the manic light out of his eyes amidst all that hair on his face, but he has done it very well. Plus, for a guy who can barely speak Hindi, his fluent switch from language to language is admirable too. His body is perfect for a yogi's and his light eyes are truly magnetic. Here is a star in the making, for sure. And given Pooja's great talent, her role of Hamsavalli is also beautifully executed. 

The stark and very disturbing portrayal of all the beggar characters - real ones that Bala painstakingly researched and found, complete with the physical and mental disabilities that one usually didn't get affected so powerfully by until now, during the movie.

The brilliant performance of Thandavam, the villain.

The screen presence of seemingly insignificant characters, like the kind-hearted eunuch helper and the midget beggar boy who has, despite his woes, loads of attitude and a great sense of humour.

The haunting music throughout the movie.

The controlled violence and ritualistic nature of the fight sequences that leave you swallowing.

The combination of intrigue, suspense, mirth, cruelty, poignancy, shock-value and strangeness that is present for the entire duration. 

These are what stay with you in your mind as you leave your seats once the movie is over. 

In retrospect, there are a few things that could have been righted in the movie. Like a little more explanation of why it all happens. It all seems a little too sudden sometimes. The sudden appearance of Rudra. The sudden weaving in of the beggars' tales. The sudden correlation between them and him. How does he establish himself as someone like a sorcerer. Etc., etc. Plus, most Hindi and Sanksrit words should have had Tamil and/ or English subtitles to keep the audience in the loop of things. There is much violence (cruelly creative, we say!) that leaves you queasy (the scenes where Thandavam unleashes his terrible anger on his hapless beggars and on Hamsavalli). Add to this the freak-show quality of constant streams of differently-abled people shown on screen and the mindless and ruthlessly expressed cruelty of Thandavam and others; and you wonder what audiences is Naan Kadavul really made for - the mass audience, the "hat-ke" parallel cinema lovers or a mixture of both? Well, it's certainly not for the faint-hearted. 

Whatever the answer may be, Naan Kadavul is full of Bala's signature style of movie-making - the combination of a deeply psychotic side of human nature, an inexplicable godliness in man, and even some mirth in the face of adversity. The flow of the movie is as weird as the concept and story, edited ably by Suresh Urs. The colours of the visuals, thanks to cinematographer Arthur Wilson, are as real as they can get. Music by Maestro Ilayaraja is typically melodious and melancholy. And the overall movie experience: just unforgettable. 

Still weighing the points, will decide in a couple of days when the uneasy feeling in the stomach settles! 

For Arya, this is his biggest movie awaiting critical acclaim, finally seeing the light of day after 2+ years in the making. And for the work he has done for it, we wish him nothing but the very best.

Wednesday, February 4, 2009

PTI Umpiring howler accounts for Tendulkar yet again

Colombo: For the third time in a row, Sachin Tendulkar was on Tuesday done in by poor umpiring in the current one-day series against Sri Lanka, being declared leg before wicket in yet another dubious decision.

Tendulkar was declared leg-before in the first ODI in Dambulla when the ball was clearly pitched outside the leg stump, he fell LBW against in the second ODI when the ball was missing the leg stump and was again ruled leg-before by Sri Lankan umpire Gamini Silva on Tuesday when the ball was going down the leg side by an even wider margin. 
The three umpiring errors have meant that Tendulkar has made scores of 5, 6 and 7 in the series so far. 
True to his character, Tendulkar has not shown any dissent although his disappointment was palpable. 
India's coach Gary Kirsten was seen shaking his head in disbelief after watching television replays of Tendulkar's dismissal in the dressing room.

The champion batsman, who had been in excellent form in the recent series against Australia and England, suddenly finds himself going through a lean patch for no fault of his. 
Tendulkar has compiled 16,433 runs in 421 one-day matches at an average of 44.05, while he has an even better average of 54.27 in the longer version of the game in which he has accumulated 12,429 runs in 156 matches.

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Monday, February 2, 2009

Cash Flow

How about having enough cash when you are not supposed to be??
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