Russian House to organise Soviet victory festival in Thiruvananthapuram from April 30
The event, titled Pobeda (Victory), is being organised in association with the Russkiy Mir Foundation, the Russian Embassy in New Delhi and Honorary Consulate of Russia in Thiruvananthapuram.
The festival will feature a series of seminars, exhibitions, competitions, a war film festival and a musical performance, the Russian House said on Sunday. Ministers, diplomats, former military officers, experts in international affairs, historians, and students will participate in the event.
Exhibitions include 'The road to victory', 'Hero cities through the lens', and 'Memory of generations'. Seminars include 'The impact of the USSR's victory in World War II on the fate of my country', 'The significance of the USSR's victory for the decolonisation of Asian countries', and 'Victory in World War II as a factor in the expansion of Russian language study worldwide'.
A musical performance featuring soloists from the Moscow State Conservatory is another highlight of the event. On May 8, 80 participants will display an 80-metre-long St George Ribbon.
The war film festival, organised with the support of Mosfilm, will be held at the Aries Plex from May 3. The films include 'On The Road to Berlin', 'The Star', 'Ballad of a Soldier', 'Liberation: Arc of Fire', 'White Tiger', 'Come and See', and 'They Fought for Their Country'.
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First Post
18 hours ago
- First Post
50 Years of 'Sholay': From Mac Mohan's Sambha to Viju Khote's Kalia, supporting characters of the blockbuster that became pop culture mainstay
Despite their limited screen time, these characters have earned a permanent spot for themselves in the collective memory of cinephiles Any mention of 'Sholay' instantly evokes the image of the unforgettable pair of Jai-Veeru and the many main characters that populate its runtime of over three hours, including the revenge-seeking Thakur, the menacing Gabbar, Basanti and Radha. But the enduring charm of Ramesh Sippy's 1975 cult classic also lies in its array of supporting characters, some in the background forever and some who pop up in the frame to utter just one sentence. Despite their limited screen time, these characters have earned a permanent spot for themselves in the collective memory of cinephiles. STORY CONTINUES BELOW THIS AD 'Sholay', penned by screenwriting legends Salim Khan and Javed Akhtar, gives audiences a choice to pick their favourite character from a vast bouquet — from Viju Khote's Kaalia, Macmohan's Sambha to Jagdeep's Soorma Bhopali. From Asrani's Jailer, A K Hangal's Rahim chacha to Leela Mishra's mausi. These people were meant to propel the plot, infuse humour or evoke pathos. Over the past five decades, they have become as memorable as the film's leading artists. And in the process, these brief appearances have become the defining roles of their careers. Kaalia, brought to life by actor Viju Khote, is a prime example. Khote had only two scenes in the film. He first appears when Kaalia and two other dacoits visit Ramgarh to collect foodgrain for Gabbar's gang. In the second scene, Kaalia and his colleagues are standing in front of their master, empty-handed and trembling with fear, prompting Gabbar to mouth the famous dialogue: 'Tera kya hoga Kaalia?'. Kaalia stutters and says, 'Sardar, maine aapka namak khaya hai,' to which the dacoit leader laughs and responds: 'Ab goli khaa.' Gabbar is not done. He first plays a game of Russian roulette with them and when they are almost relieved to be alive, he kills all three swiftly. Khote, who died in 2019 at 77, essayed many roles in his lifetime, including his comic turn as Robert in 'Andaaz Apna Apna' and in the sitcom 'Zabaan Sambhalke', but no character of his could come close to Kaalia in terms of popularity. STORY CONTINUES BELOW THIS AD 'For many years after the film's release, people on the road would recognise me and repeat what Amjad had told me: 'Tera kya hoga Kaalia'… It signifies the tremendous popularity of the movie. And that people liked Kaalia as a character,' the actor told Times of India in 2015. Sambha, played by Mac Mohan, is another character that despite his one line has lived on. It takes place when Gabbar asks Sambha, perched on a hilltop, about the bounty placed on him by the police, clearly enjoying his notoriety. To this, Sambha replies, 'Poore pacchas hazaar.' After 'Sholay', Mac Mohan did over 200 films till his demise in 2010, most of them negative. But in public memory, he remained Samba. In an old interview with Tabassum Talkies, the actor said, ''Sholay' created many records, and I believe this is another — that an artist became so popular after playing such a small role. I've never heard of or seen anything like it before.' The actor also said he shot many scenes for the movie, which included travelling to Bengaluru, but when he saw the final print, he was heartbroken as he was barely there in the film. STORY CONTINUES BELOW THIS AD 'I had to search for myself in the film and I thought I shot for so many days but they kept this only. I went to Ramesh Sippy and asked him why even kept that scene. He told me that if the movie works, then everyone would start calling you 'Sambha'.' In the film, characters like Asrani as the jailer and Jagdeep as Soorma Bhopali balanced the heightened violence and vengeance with lighter interludes. All these years later, the comedy still evokes laughter. Asrani's character was clearly modelled after Charlie Chaplin's 'The Great Dictator' and carried a post-colonial hangover as he would declare his greatness by repeating the phrase, 'Hum angrezo ke zamaane ke jailor hai'. Jagdeep's comic act as Soorma Bhopali emerged out of Javed Akhtar's lived in experiences in Bhopal and the character's exaggerated mannerisms, tall tales and distinct accent has made him a fan favourite. The character was a caricature of the small-town braggart, which audiences found relatable and hilarious. STORY CONTINUES BELOW THIS AD Like Mac Mohan, Jagdeep had also shot for the movie extensively but his scenes were also chopped from the final cut. He got to play the main lead by producing and directing a movie based on and titled 'Soorma Bhopali' in the 80s with Dharmendra and Bachchan and many others from the movie did cameos in 'Soorma Bhopali'. Jagdeep, whose real name was Syed Ishtiaq Ahmed Jafri, passed away in July 2020 and at the time, Sippy remembered the actor for his contributions to the movie. 'It takes a superb artist to get all the nuances of a local character like that. Comedy is not easy. The timing has to be perfect and the reaction has to be right. It is not possible without talent. As a director, I cannot make an actor do comedy. I can only ask for improvisation,' Sippy told PTI. Leela Mishra as mausi or maternal aunt of Hema Malini's Basanti also shines in her brief scenes, where she is discussing Veeru's marriage proposal for her niece with Jai who cleverly lists the bad habits of his friend in front of her. A drunk Veeru finally takes matters into his own hands, climbs the water tank and threatens to jump unless mausi agrees to his marriage with Basanti. STORY CONTINUES BELOW THIS AD While these characters provided comic relief, veteran actor A K Hangal's portrayal of Rahim chacha brought a touch of quiet tragedy to the story. Rahim Chacha is a blind elderly villager of Ramgarh. In one of the most poignant moments, Gabbar's men kill his only son Ahmed during a raid on the village. His words, 'Itna sannata kyun hai bhai?', echo through the stunned silence in the scene. The dialogue has now become a part of pop culture, sometimes for humour and sometimes to convey a moment of awkward silence or tension.
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First Post
18 hours ago
- First Post
50 Years of 'Sholay': Popular dialogues that made the iconic movie's characters immortal
The Ramesh Sippy-directed film that released on August 15, 1975 and gave film lovers characters like Jai-Veeru (Amitabh Bachchan-Dharmendra), Thakur (Sanjeev Kumar), Gabbar (Amjad Khan), Basanti (Hema Malini), Radha (Jaya Bachchan) and many more 'Sholay' is a Hindi cinema classic that owes a lot to its memorable dialogues for its timelessness. Written by the acclaimed duo of Salim Khan and Javed Akhtar, the film boasts of lines that have stood the test of time. The Ramesh Sippy-directed film that released on August 15, 1975 and gave film lovers characters like Jai-Veeru (Amitabh Bachchan-Dharmendra), Thakur (Sanjeev Kumar), Gabbar (Amjad Khan), Basanti (Hema Malini), Radha (Jaya Bachchan) and many more. STORY CONTINUES BELOW THIS AD 'Sholay' celebrates its golden jubilee on Friday. Here are some of the most repeated dialogues from the movie: 'Kitne aadmi the?': Uttered by the legendary villain, Gabbar Singh, this dialogue showcases the tyranny of the bandit as he mocks his henchmen for failing to capture Jai and Veeru despite outnumbering them. 'Tera kya hoga Kaliya?': In the same menacing scene, Gabbar points his pistol at his right hand man and jokes. His joyous expression is contrasted with the terrified faces of his sidekicks. 'Jo darr gaya samjho marr gaya': After mocking his henchmen, Gabbar laughs and then plays a game of Russian roulette with the three bandits. In a chilling scene, Gabbar and the crowd laugh after the game, and the three henchmen join in the laughter with relief. But then Gabbar turns and shoots them point blank. 'Yeh haath mujhe de de Thakur': Revenge is the running thread that binds the film's narrative. Thakur arrests Gabbar and tells him 'Ye haath nahi phaansi ka phanda hai'. Gabbar remembers it and when he runs away from jail, he exacts his revenge by killing Thakur's family and chopping his hands off. This is when he utters this dialogue. 'Loha lohe ko katta hai': Thakur Baldev Singh uses this metaphor to convince ex conmen Jai and Veeru to embark on a mission to defeat Gabbar because as a cop, he has already failed to do so himself. 'Basanti, in kutton ke saamne mat naachna': Veeru says this to his love interest Basanti when they are captured by Gabbar and he asks her to dance or see Veeru die. The dialogue encapsulates Veeru's bravery as he refuses to give in to the cruelty. STORY CONTINUES BELOW THIS AD 'Itna sannata kyun hai bhai?': This heartbreaking line is delivered by character, Imam chacha. He is blind and does not know yet that his son has been killed by Gabbar. The villagers, Basanti and Veeru are scared to break the news to Imam chacha, who eventually breaks down while holding his son's body. 'Tumhara naam kya hai, Basanti?': Bachchan and Dharmendra's Jai and Veeru meet Basanti, the talkative tangewali, once they reach Ramgarh. She keeps referencing her name throughout their journey from the train station to Thakur's home. At the end, she asks, 'Tumne ye nahi puccha ki humara naam kya hai', prompting Jai to sarcastically ask, 'Tumhara naam kya hai, Basanti?' 'Hum angrezon ke zamane ke jailor hai': This comedic dialogue is delivered by the jailor played by Asrani. The comical character was modelled after Charlie Chaplin in 'The Great Dictator'. The character explains how he doesn't believe in reforming the prisoners (Jai and Veeru) as he finds it useless. This scene, also later highlights the great character development as Jai and Veeru indeed change and become the heroes of the story. STORY CONTINUES BELOW THIS AD 'Arre o Samba, kitna inaam rakhe hai sarker hum par?': Another classic dialogue by Gabbar Singh who asks this question just to boast about his notoriety. This solidifies Gabbar's character as someone who takes pride in the atrocities he commits, often enjoying the infamy that follows.
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First Post
19 hours ago
- First Post
Buddhism to Bollywood, Yoga to Zero: India's gifts to the world
From Buddhism and Yoga to Indian English and Hinglish, from zero and space missions to chicken tikka masala and turmeric lattes—India's cultural exports have shaped the world. And beyond food, films, and philosophy, India's greatest gift remains its idea of unity in diversity The year was 1954. Raj Kapoor had just landed in Moscow at the height of the Cold War. The Iron Curtain was firmly in place, visas were difficult to get, and protocols were even tighter. The Bollywood actor arrived in Moscow without proper documents. Yet, instead of facing a grilling at immigration, he was greeted with a smile. The officers simply let him go. Stepping out of the airport, unsure of what to expect, Kapoor waited for a taxi. That's when it happened — a crowd began to gather. People started pointing and calling out his name. The atmosphere turned electric. The mob surged forward, surrounding him. When the taxi finally arrived, his fans were packed around it. Some accounts even claim that the crowd lifted the car onto their shoulders. STORY CONTINUES BELOW THIS AD 'Awara' fever in the Soviet Union Such was the craze for Awara, a film released in India in 1951. The story of a poor young man caught between fate and choice resonated deeply with Soviet audiences. Its themes struck an emotional chord, and the numbers tell the story — the film sold an estimated 64 million tickets in the USSR, making it the third-most-watched foreign film in Soviet history. The song Awara Hoon was reportedly played at state banquets, and even former Russian president Boris Yeltsin was heard humming it. Following this, several Bollywood actors — including Dilip Kumar and Dev Anand — found fame in Russia. But none captured the Soviet imagination like Raj Kapoor. In Russia, he was not just a movie star; he was an emotion. Bollywood as India's soft power This anecdote reveals the influence Bollywood can have. It is one of the largest film industries in the world, dominating the Indian box office and making India the third-largest movie market globally. Bollywood is perhaps the most obvious example of India's soft power — but cinema was only the opening act. Over the decades, India has given the world many gifts. They may not always make headlines, but they have quietly reshaped the global imagination. First global message: Buddhism Around 2,500 years ago, a man named Siddharth Gautam sat beneath a tree in deep contemplation. There, under its shade, he attained enlightenment and became the Buddha. This marked the birth of India's first global message — Buddhism, a path of moderation, inner peace and non-violence. King Ashok carried this message beyond India's borders. After witnessing the horrors of war, he converted to Buddhism — and with him, India's foreign policy transformed as well. Emissaries were dispatched across Asia to spread the teachings. They carried scrolls, sutras and stories, building Buddhist art, sculpture and temples wherever they went. Buddhism became the world's first global religion, and its roots were in India. Today, it is the world's fourth-largest religion, but every path leads back to that single Bodhi tree in Bihar. Tree of practice: Yoga If Buddhism was the tree of thought, Yoga was the tree of practice. Known in Sanskrit as Yog, the tradition is thousands of years old. Lord Shiva is regarded as the first yogi — the Adi Yogi. Historical evidence shows that yoga existed in the pre-Vedic period, even in the Indus Valley civilisation, and it gained prominence during the Vedic era. It finds mention in ancient Indian texts such as the Vedas and Upanishads. Contrary to modern perceptions, yoga was never about flexibility alone. It was designed as a system to unify the body and the mind, to harmonise oneself with the universe. By the 20th century, spiritual ambassadors began introducing yoga to the West. Initially dismissed as contortionist nonsense, it is now practised daily by around 300 million people worldwide. It is taught in schools, embraced by athletes, followed by celebrities and CEOs and spread through countless online tutorials. In 2014, the United Nations declared June 21 as International Yoga Day. Today, yoga is a multi-billion-dollar global industry — but its heart remains in India. STORY CONTINUES BELOW THIS AD Indian English and Hinglish: Language reinvented India was colonised in English, but today it owns the language. Over 300 million Indians speak English, making India the second-largest English-speaking nation after the United States. But what is spoken here isn't British or American English — it's Indian English. Words are repurposed, phrases are reimagined, and meanings are Indianised. If you've heard terms like 'prepone,' 'close the light,' or 'out of station,' you've heard Indian English. The language is richer for expressions such as 'cousin brother,' 'timepass,' and 'pass out.' Then there is Hinglish — a seamless blend of Hindi and English. Sentences begin in one language and end in another, with no strict grammar rules. Hinglish is the language of youth, the streets and the internet. It's spoken by brands, politicians and filmmakers alike. This is not broken English; it is a cultural collision, and it is here to stay. From zero to Mars: India's scientific legacy While cinema, religion, and language are tangible cultural exports, India's intellectual contributions are just as significant. One of the most transformative was the invention of zero, along with the decimal system. Ancient Indian texts also describe advanced medical techniques, including plastic surgery. The Sushrut Samhita details procedures like rhinoplasty and skin grafting. In modern times, India has continued to make strides in science and technology. Consider the Mars Orbiter Mission — Mangalyaan. It succeeded on its first attempt, at a cost lower than that of Hollywood films like Gravity. India reached Mars for less than the price of Sandra Bullock's spacewalk scene. In Silicon Valley, over a third of engineers are of Indian origin, and top global tech companies are led by Indians. India is not just participating in the tech revolution; it is helping lead it. Spices, sweets and songs: Cultural exports India's influence extends into kitchens around the world. Chicken tikka masala, now often called Britain's national dish, has Indian roots. Even trendy drinks like turmeric lattes — sold for six dollars in American cafés — are simply India's humble haldi doodh (turmeric milk) in a new avatar. Indian music and dance forms are now performed at international festivals. Indian celebrations have gone global; Diwali, for example, is a public holiday in New York. The world has absorbed these traditions into its own identity. STORY CONTINUES BELOW THIS AD Unity in diversity Perhaps India's greatest gift is not a tangible one at all. It is the idea that differences are not dangerous, that chaos is not disorder. Few countries can claim India's diversity: 22 official languages, 1,600 dialects, and eight major religions coexisting for centuries. Diversity in India is not a challenge — it is part of the national DNA. There is no single version of 'Indian culture' because there are thousands. And yet, it works. India practised inclusion long before the West coined terms like 'diversity' and 'equity.' Inclusion as a way of life India wrote the principles of diversity, equity and inclusion into its Constitution in 1950. It created reservations for marginalised communities and implemented policies tailored to language, region and history. Today, up to 50 per cent of seats in public universities and government jobs are reserved. Article 15 bans discrimination based on religion, race, caste, sex or place of birth, while Article 16 guarantees equal opportunity in public employment. In 1993, India established the National Commission for Backward Classes. In 2021, it passed the OBC Bill with near-unanimous support. India mandates quotas for women in village councils, with over 1.4 million women now holding elected positions at the grassroots. Inclusion here is not a passing trend; it is the way forward. A civilisational storyteller For centuries, India has been many things to many people — a mystic land, a spice route, a colonial subject, a software superpower. At its core, however, it is a civilisational storyteller. It has given the world numbers, knowledge, stories and systems. Yet it rarely brands these gifts. Buddhism is now considered Asian, yoga is global, zero belongs to the world and diversity has become a buzzword. Real influence doesn't need a stamp. It moves quietly and travels far. Some call it soft power. India calls it what it truly is — an enduring influence.
