Dilli, बड़ी रफ़्तार है

बड़ी रफ़्तार है तेरे शहर में

हर इक ठहराव पे गुस्सा निकलता है
बड़ी रफ़्तार से
हर इक तकरार पे चलते हैं खंजर
बड़ी रफ़्तार से

कभी गर भीड़ में रफ़्तार धीमी पड़ गयी तो
कोई चिल्लाता है फ़ौरन से,भइ
साइड को हो ले दिखाई को ना देता
पलट के आती है गाली बड़ी रफ़्तार से

कभी पीले से कपडों से दुप्पट्टा जैसे सरका
तभी झोंके से आई एक सीटी
बड़ी रफ़्तार से
चिपक के एक फब्ती कस दी किसने
मिली बेशर्म आँखें फिर
बड़ी रफ़्तार से

दिलाया याद सबको कौन हैं वो,नाम क्या है
दिया ठुल्ले को सौ का नोट
क्या रफ़्तार से
जो बच कर आँखों से छुपना हो मुमकिन
तो मारी केडी क्या रफ़्तार से

अगर भूले से आँखें मिल गयी तो
किया इनकार क्या रफ्तार से
जो उसने ज़ोर डाला सच का जालिम
दुहाई दी तो क्या रफ़्तार से

जो देखा सामने कमज़ोर कोई
दबाया उसको किस रफ़्तार से
जो देखा सामने भारी सा कोई
दबाया सच को भी रफ़्तार से

ये रफ़्तार तेरी है न मेरी
ये न सच है न कोई झूठ ही है
ये है रफ़्तार अब इस ज़िन्दगी की
ये है रफ़्तार तेरे इस शहर की

बड़ी रफ़्तार है तेरे शहर में
बहोत डर लगता ही तेरे शहर से

Book Review: The Girl On The Train by Paula Hawkins

I picked up Paula Hawkins’ “The Girl On The Train” for just one reason – for the last several weeks, I have seen the book perched on top of the NY Times Bestsellers list (Fiction). Lately, my reading has gone down significantly. Some of it can be attributed to paucity of time, but the bigger reason, I hypothesize, is a distracted head-space. Sometimes, I believe, reading fast paced fiction helps you get back in the groove. And TGOTT seemed to fit the bill. Also, I had seen a rather interesting promo image sometime back – of several ladies sitting side by side on a subway train reading ‘the girl on the train’.

TGOTT

Image Source: http://www.usatoday.com/story/life/books/2015/01/28/american-sniper-the-girl-on-the-train-usa-today-best-selling-books-list/22464365/

 

Rachel, the girl on the train, loves looking out of the window and weaving stories about what she sees. She gives names to people, imagines stories about stranded items like clothes or shoes, and obsesses over them. She is a divorced alcoholic with severe depression and confidence issues, who cannot seem to get over her broken marriage, and just cannot get her life back together. She is the central protagonist. Most of the chapters have been written from her perspective. The male characters in the book don’t get chapters of their own. The other two girls of the story are Anna – the new wife of Tom, and Jess/ Megan – a girl Rachel has seen many times from the train’s window. Tom is Rachel’s ex-husband. And Scott is Megan’s husband. Kamal Abdic is Megan’s therapist. With this much, here is a poll for you to consider – Column A is the murdered. And Column B is the murderer. Take a guess.

Victim Perpetrator
Rachel Rachel
Megan Megan
Anna Anna
Tom Tom
Scott Scott
Kamal Kamal
Some other person briefly mentioned Some other person briefly mentioned

TGOTT excels at its broader plot contours. It delivers a taut murder mystery. The book works well as a single session race to the finish. It uses the standard narrative of a shifting timeline and multiple vantage points to create a sense of darkness, foreboding, and suspense. More often than not, it succeeds. Paula has created a book which is ready to be adapted into a movie (and Emily Blunt will be starring as Rachel). All the right elements. But it is no “Gone Girl”. It neither has characters so grey or flawed, nor a suspense so riveting. Moreover, the central characters are not “that” smart. Megan is a bored seductress, Rachel is a broken alcoholic, Anna is an insecure home-maker and a new mother, Scott an overbearing masochistic husband, Kamal a flawed therapist, and Tom is the ex-husband who doesn’t like anyone touching his phone or laptop. The darkness that permeates that entire narrative of Gone Girl is missing here, save for the end where you see the untapped potential of some of these characters.

Let’s revisit the poll with the additional information I just threw at you. Has your opinion changed?

TGOTT’s problem for me was its predictability. The victim’s too obvious, and so is the perpetrator. The haste in introducing the suspects, and the choice of crime scene makes it a little too obvious. The decoys and breadcrumbs are not the most engaging. Yet, the storytelling is gripping. I envy (and respect) people who can write such engaging stuff.

TGOTT’s other problem is the long drawn moping of Rachel. The continuously repeating montage of her getting drunk, reprimanding herself, and the wine and the gin and the tonic stops serving its purpose beyond a point, unless you are too absorbed to notice the conflict that is established in each such cycle. In the end you might just say – oh yea! remember that?

All in all – It’s a middle of the road – 6 on 10 – kinda thriller. I enjoyed it. I would not, though, go out of my way to recommend it. I won’t diss it either.

In a world where “The Girl On The Train” by Paula Hawkins is a long standing NY Times Bestseller #1 (Fiction), I worry about the quality and quantity of what is being read at large. Am I being extremely critical of the book? No. I definitely do not want to. Do I think the book is an undeserving bestseller? Not at all. It probably is the best thing visible on the shelf right now. My problem – the #1 for weeks should have been a little less obvious.

The novel has quite a few loose ends, which I hope get resolved some day. Someone once told me that to be a good writer, the need to be a good storyteller is way higher than the need to have a good story. So there! More power to Paula, because I do believe that the survivors of this novel can come together for another twist in the tale.

Bajrangi Bhaijaan – The Jaan Is Shahida

bajrangiI think it has been forever that I got down to watch a movie on its release day. And that is not to say that I was so excited by the prospects of watching Bajrangi Bhaijaan on Day 1 that I broke the well-defined norms of parenthood. I went down to watch Baahubali (having heard people rave on and on about its scale and grandeur), and since there were no shows of Baahubali, or any other movie for that matter, I watched a significantly overpriced Bhaijaan. Overpriced has a definition here. Each ticket of PVR Gold Class was 800 bucks. Without any popcorn or cold-drink included in the ticket price. Why did I not turn back? Because I don’t do that. No, I don’t. And if I try to, the missus does not let me do that. Not when movie watching events with just the two of us have become so preciousssss.

Now, you know, I am a fan of Bhaisms. That mindless over the top drama with dialogues like “main dil mein aata hoon, samajh mein nahi” or “mujhpe ek ehsaan karna…”

The movie is about a mute girl from Pakistani who finds herself stranded in India, only to be rescued by Bajrangi Bhaijaan, urf Pavan Kumar Chaturvedi, a naïve lad from Pratapgarh, who lives in Delhi, but finds the girl in Kurukshetra. Bhaijaan promptly decides that it is his duty to take the girl back to Pakistan, against all odds, and help her unite with her parents.

Can you imagine the hand pump sized opportunities here? A Pakistan full of stereotypes, an army full of good for nothing soldiers, an occasional world-unifying-Muslim-with-a-heart-of-gold, and Bajrangi Bhaijaan going “Hulk Smash” on them? The number of grey haired preachy sermons being delivered to tikka and akshat wearing nincompoops?

It does not happen that way.

 

Read the rest of the review with the sarcasmometer aside.

The movie is fairly heart-warming. But for the last 15-20 minutes, its reasonably well-toned and not over the top. The kid-Bhaijaan equation is not full of melodrama. In fact, it’s lovably cute. In fact, it is this that makes the movie very very warm. It’s not a typical Salman movie. [Spoiler alert]: Salman does not bare it all this time. There is a total of 2 minutes of serious Salman kinda violence in the movie at the end of which one guy is found hanging by the electric wires of purani dilli, and a policeman in Chawra, Pakistan is seen nursing his neck and apologising for letting a jasoos escape. Few broken tables and a few broken glass doors. That’s all.

Salman tries to act this time, and not play Thalaivar. And for most of the movie, gets it right. By his sheer charm, not by his acting skills. There is something about his chemistry with Shahida (the kid, Harshaali). Their scenes together are almost perfect. Shahida, by the way, without a dialogue, is so awesomely perfect and cute in this movie that even before she is stranded in Pakistan, you start waiting for her to cheer for Pakistan Team. She is not just a cute prop. It is she who really elevates the movie to being a genuinely lovable movie. I can safely imagine quite a few tears being shed across the theatre, so heart-breaking her pain is in quite a few scenes. On second thoughts, it’s good that she does not have dialogues. Most adult script writers don’t get kiddy dialogues right. They make them either too cute or too preachy. Kareena Kapoor Khan  is an unrequired prop in the movie. She provides enough support to the emotions of the movie, and her eyes still light up the best in the industry.

Nawazuddin Siddiqui. You were waiting to hear about him, right? I think Nawaz confessed in an interview somewhere that commercial movies help pay the bills better than the movies with great scripts and direction. Nawaz is spot on. He more or less always is, these days. He pulls off that “Eid mein Karachi se andruni mulkon ki” video copy. Interestingly, his character is named Chand Nawab (just as it was in the original video here). I was so hoping that they allow him to swear freely, but I guess censor board would not have liked it. In a way, he owns the screens when he is there. And he may just have the problem that Irrfan Khan had some time back. He overshadows the “superstars” too easily. The only place where he falters a bit is that last passionate appeal of his exhorting people to come support Bhaijaan. But by then, it’s all over.

The others in support – Rajesh Sharma, Sharat Saxena, Om Puri, etc. are extremely well cast and right on the money.

For a change, Salman decided to start off with a script this time. Or, maybe, Kabir Khan decided not to throw away the script in his excitement of having signed Salman for a movie which was getting an Eid release.

One of the biggest positives of the movie – it’s neither preachy nor pedantic. Mostly.

The movie has its flaws, the biggest of which is its ending, and the long standing gripe I have against the “need to conclude”. I don’t think there was a need for Shahida to get her speech. I don’t think it was important to have the army general drama about forcefully trying to prove Bajrangi a spy. I don’t think there was a need to apologetically convert a staunch Hindu Bajrangi and make him do an Allah hafiz slow-mo. More importantly, I don’t think there was a need to stretch the movie too long to accommodate all this.

The music is not much to write about. Bhar de jholi meri + Adnan Sami is the high point. Selfie le re will always be the song that you don’t confess to liking, but are bound to hear on every radio channel 15 times a day, just because it’s so popular and catchy.

Camerawork / DOP deserves some mention too. The opening shots, and some of the shots of Pakistan part of the movie (the corn truck scenes/ the sunsets, etc.) are beautifully shot. For some reason, the last shot of the movie, between the two borders, reminded me of Henna.

The movie runs much longer than I would have liked. But the charisma of Bhai is such that directors always think more is better.

 

In short – it’s a very decent, un-Salman movie which has done well to encash his stardom. I do have my doubts about it being a 150Cr movie though. And – “pehle pata karo ye Boo Ali kaun hai”

 

Book Review: Teresa’s Man and Other Stories by Damodar Mauzo

Book Review of Teresa’s Man and Other Stories, written by Damodar Mauzo and translated by Xavier Cota now live on The Tales Pensieve 

A vibrant, yet subtle cover that matches the flavors in the book

Is it evil?

In the last few weeks, I have come across three somewhat disturbing stories. All relate to start-ups in Mumbai.

 

In the first one, someone told me that a co-founder X of a successful start-up A was involved in a car accident. He was driving. There were three other people (employees of the start-up, I think) in the car. One died on the spot. Another one died couple of days later. The driver (X) was booked by police for rash and negligent driving. He was later released on bail. The start-up otherwise receives a fair bit of media attention these days. Except that this one news item did not get as much coverage. Interestingly, the “add-on” I heard was that X was trying to flee the scene after the accident, after the car apparently hit the divider and went towards the other side of the road. It was only after some passer-by saw what had happened and reported it to the police that X was booked for rash driving. Apparently. Last heard, X was out on bail. While it is not exactly clear why the accident happened, but “fleeing the scene” bit makes you wonder.

An important thing here – Those who are in the front seat typically have their seat-belts on. That explains why 2 of 4 survived the accident. Those in the back seat were the ones who did not make it through the accident. Remember that when you’re in the back-seat the next time. Accidents don’t happen with a lot of warning.

 

In the second incident,  a young, struggling but passionate group of individuals running a start-up (Startup A) have found it difficult to hit the big league. They work in a niche space. And in that niche space, they recently came up with a great proof of concept. This idea, they knew could work well for another company, a successful and well-funded startup (Startup B). So, A went shopping for their first customer B. A knew that sooner rather than later, B would want to have such a solution in their portfolio. One of the guys at A knew a senior guy at B. After showcasing the solution, which the big boys at B liked, the big boys at B decided to ask their in-house team to make it on their own and (additionally) try to poach the team-members of this struggling start-up. Individually, all the co-founders of A were approached for a job, so that they could build this idea inside B as part of their job, and for a better “salary” than what their struggling startup was making.  And lest I forget, B had only recently gone through a phase of screaming rats on another start-up a few months back for apparently stealing their idea. A is working on the idea, but has been reasonably scarred by the experience.

 

In a third incident, the CEO of a successful and well-funded startup run by a very young team sent a rude and profane letter to a VC big-shot calling the VC unethical, inhuman, etc. The context, at least, as explained by the VC later, revealed a “perceived” poaching of an employee from the start-up by the VC. The letter/email was apparently leaked by an insider on the internet (one can keep wondering about the reasons why it was done). Several questions emerge – Irrespective of the truth behind poaching, was the CEO right in sending that email to the VC? If he indeed did send that mail to the VC, what made him copy some of the other folks in his organization? Or, was it the VC who got someone else to put that letter on the internet? The VC by the way is not invested in this particular start-up. The world at large had a field day reading the shikwaa and jawaab-e-shikwaa. But in the process, a large majority agreed on a few things – the brashness/foolishness/ arrogance of the CEO, and the potential impact this action may have on some of the outcomes around that startup being not so favourable for the CEO.

 

 

All these stories are about young guys who have hit the big time very early in their life. One of the things that I remember from a Harsha Bhogle speech at IIM-A (search for the youtube video – its a gem) is that one should never grudge anyone their success.

Are they  idiots? Are they evil?

One can not help but feel that they have not been able to handle this huge success, this fame and this over-exposure. Or, maybe, these are just growing pains/ stretch marks that come when you grow too fast. That adrenaline rush of Virat Kohli? Or, maybe, they live a life which is infinitely more stressed than mine.

However, it raises another question – do these young high performance individuals need mentoring? To be under the wings of seasoned CEOs who can tell them all about weathering the lows that eventually do happen, or about grace under fire, while enjoying the highs that life has to offer, and without losing their sanity in this joy ride. There is no doubt that these are very very high performance/ high talent individuals.

 

At a personal level, the second incident bugged me the most. Accidents do happen, even when people are careful. There are moments when you fly off your handle. You can patch up some times, and some times, you can not do much move on. But nothing justifies why you should try to steal someone else’s idea. Not when you were in a similar boat a little while back. Not when you know what it means to be young and struggling. Not when you know what it means to get a fighting chance for your idea. That, to me, is evil.

 

 

 

Watch NH10 for Anushka

This scene is not in the movie. Not exactly like this, at least
This scene is not in the movie. Not exactly like this, at least

There are many things that need to happen in the right amount for a movie like NH10 to work. And history suggests that Bollywood has a knack of screwing those many things many times over in many movies.

For instance, in a thriller, should the lead actors necessarily sing and dance around the trees? Or, in a rather dark movie, should the protagonist emerge as a larger than life person taking on some 20-goons at the same time? And beating all of them to an unrecognizable color (black/blue/white/gold)? Or, should a story that can be told in 90 minutes be told in 150+, so that the audience feels that they have got their money’s worth?

 

Thankfully, NH10 manages to avoid most of these pitfalls. It’s a superbly edited edge of the seat dark thriller, elevated a few notches solely by Anushka Sharma’s performance (despite her disconcertingly gone wrong lip job).

Running at an approx. 2 hours length (probably lesser), NH10 moves at a hectic pace almost all through. And not because there are too many characters and too many sub-plots (like Gnags of Wasseypur), but because, for a change, someone hired an editor who knew what editing should do to a movie.

Anushka Sharma hits this one out of the park. Make no mistake, it’s her movie. All the way. Right from having football field size cojones to put her movie in a script like this, to acting out of her Band-Baaja-Baraat-ki-saddi-dilli-wali-bubbly-kudi skin, this is her show. Meera (Anushka) is a better symbol for gender equality than Deepika Padukone’s or Twinkle Khanna’s open letters. Definitely more than Shobha De’s columns.

In a particular scene, a police inspector remarks that “ye shehar ek badhta hua bachcha hai, koodega to hai hi”. The disgust on Meera’s (Anushka) face speaks volumes about how much she has matured as an actor.

The transformation of Meera in the second half of the movie is somewhat heroic and filmy, maybe, but it isn’t a hyperbole of Salman-ian Radhey standards. Her methods, but for the one scene where she climbs the walls of a construction quarry, are more real than Vidya Balan’s last scene transformation in Kahanii. The climax seems a minute too longer and a conclusion too exaggerated, but is probably one of the most lucid and definitive conclusions I have seen in similar bollywood fare. Remember Mardaani? And how the end seemed a little too much? Even for a cop? This one doesn’t. If at all, I expect many women to want to learn driving (really well and not just a car), and working on. You know, it might come handy some day without things really having to become that bad. By the way, let’s be real here. Bollywood finds it natural to have a male actor kick 40 bad guys in a climax. How can you expect them to find credible endings for female protagonists?

Movie has a fantastic cast overall. Neil Bhoopalam is someone I have been wanting to see in a big role. Unfortunately, in this one, he looks and acts more like Rajkumar Yadav (heard he’s changed his name?). That is not bad, but that is not the Neil Bhoopalam I have come to expect from his theatre circuit performances. The villain dudes are pretty good. The cops, better. The creepy guy in Meera’s office – fits. They even have a Deepti Naval thrown in for artistic effects.

The background score is excellent. It helps maintain the tautness of the movie.

If you remember Manorama – Six Feet Under, you can see Navdeep Singh’s imprint all over again. The movie has that shadow almost all through the movie, and you’re almost always on the edge of your seat waiting for something to happen. There’s a point in the movie where Meera stops at a water tap and is splashing her face. It’s the middle of the night, and you spend almost the entire fifteen seconds wondering if something’s about to happen. I won’t throw too many spoilers like these your way.

The music is not meant to be consumed without the movie. And there isn’t much of a distraction. No song and dance sequences to take you off the main course. The mood – continuously sombre.

 

The movie has its share of flaws and generalizations. The good people (Meera and Arjun) are educated, drive a Fortuner, speak English, and go to swanky parties. Interestingly, they have a licensed gun. The bad people, however, are the rural folks/ honor killing kinds, drive around in a trademark Mahindra (Scorpio) vehicle, speak in  colloquial Haryanvi, and watch Ramleela/Nautanki equivalents in their village for entertainment. Oh, and they kill with sickles and iron rods. Fifty Shades of Grey, not! Almost every thing is black and white. Much as the police inspector tries to explain to Meera, the obviousness of certain things is unmistakable.

Deepti Naval is a forced distortion in a movie of this genre. It’s a hat tip to our habit of trying to include every possible dimension. It would not have made any difference if Deepti Naval was replaced by an unknown person of any gender.

Anushka-NH10Some of the page 3 discussions early on in the movie seem forced. But they help establish the characters Meera and Arjun. And thankfully, not a lot of screen time is wasted on that. If I could, on hindsight, I would take out about 10 more minutes from the movie.

 

Overall, highly recommended movie for the week. Watch it to encourage more such movies. Watch it for Anushka.

 

 

(image courtesy – ibnlive and filmibeat)

Cricket Times They Are A-Changin’

Cricket, the game of glorious uncertainties. World Cup, the biggest stage the game has to offer. And how the stage has changed!

kapil1983In 1983, Kapil Dev played one of the most breath-taking innings (apparently) to help steer India out of tight corner. At 18/5, Kapil and Kirmani carefully constructed a partnership to take India to a winning total. Against the perpetual minnows – Zimbabwe. Kapil, that day, scored 175 not out. Out of a total of 166. Kirmani scored 22. Unfortunately for the world, there are no tapes or archives of that day because of a BBC strike. No one was recording it on a TiVo or HD+ or their high def cell phones. India went on to win the World Cup in 1983.

dyanora-tv-oldFor 28 years, Indian cricket fan reminisced about the 1983 Prudential Cup win, the catch that Kapil took to dismiss Viv Richards, the greatest ODI cricketer of all times, the 175 not out, the military medium of Madan Lal, Mohinder Amarnath, Roger Binny, and the guile of Bedi, that spell of Sandhu, and many such things. In 1983, many Indian families bought the black and white TV sets from companies like Salora, Uptron, Beltron. Many of those companies do not compete in the television market, or any market for that matter, any more. Some of those TV sets came with wooden cabinets that people would close to protect them from dust and unwanted access. The channels had to be changed by twisting a hard knob that made the sound of cricket ball hitting the bat (almost). And the memories are distinctly black and white – a beaming Kapil Dev wearing an Indian Cricket Team jacket/ sports-coat (logo on the breast pocket) holding that cup at the Lords’ balcony – etched on an Indian cricket lovers’ mind for almost three decades.

Back then, they sold post-cards. In the absence of desktop wallpapers or Facebook walls, people collected bingo cards and post-cards of players. K Srikanth hitting a lofted square cut, Sunny Gavaskar smiling in a close up, Ravi Shastri in that blue and yellow jersey with a white helmet at the Benson & Hedges series down under, Kapil Dev’s signature bowling pose. There was Big Fun, a chewing gum company, which must have made a fortune by somehow convincing a generation of cricket watchers to collect bingo cards of cricket and football players.

In the coming three decades, we tried hard to repeat that feat. In 1987, the first world cup outside England, in India, we lost the semi-finals of Reliance World Cup. Shortly thereafter, we pinned our hopes on a short fellow named Tendulkar. 1992 wasn’t ours (we won 2 of 8 matches). 1996 took us to the semi-finals again, where a Sri Lankan demon (the first one after Ravana) took us apart.  Tendulkar fought back valiantly, but once he left the golden rectangle (like Jataayu), even the pitch turned on us. In 1999 (horrible super six performance), 2003 (a Bazooka Ponting vs Zaheer Satkela in Final), 2007 (knocked out in round robin with one win against Bermuda!), we hit a here and there, a reasonable high and an embarrassing low.

During this time, the whites were replaced by colourful dresses and multiple brand endorsements. And the black and whites were replaced by color TVs. The CTVs were replaced by a myriad of varieties – Plasma, LCD, LTV, Flat screen, curved LED, 3D, Smart TV. Internet streaming is the new thing. The broadcasting evolved. From 1-3-5 cameras per match, suddenly, there are more than 20-30 cameras per game. There are cranes and javelins and quadcopters. There are moving boundary cameras. There is stump-vision. Oh, how I loved the Sky-network’s boundary camera vision which moved from right to left as the bowlers ran in to bowl!

By 2015, the few commentators that used to be have given way to an army of commentators. Sometimes, the line up of commentators is like a team that could take on any of the current world-cup contenders with aplomb, despite their age. The time spent on technicalities by ex-greats have made a successful commentator out of Ravi Shastri (for the sheer variety he introduces in the commentary box with phrases like ‘tracer bullets’) and Harsha Bhogle (the common man’s commentator).

From two umpires, we moved to three. From three, we have moved to 3+ technology. We have seen Hawk-eye, spin vision, snicko meters, hot-spots, stump mics that record sound, and multiple cameras whose job is to just watch your bat and the crease. We have learnt all about “it’s the on field umpire’s call”. We have learnt about marginal errors. And we have noted with great relief that Steve Bucknor’s faulty version could be replaced by an android. Finally!

The equipments evolved too. From the culture of heavy bats for heavy ground strokes, we moved to long handles, light bats, custom bats, curved edges, heavy bottoms. Somewhere, we learnt about Tennis elbow too. Leather balls became white. No longer a shining red cherry, yeah? And now, one ball has given way to two. To be used from different ends of the stadium. The softer kookaburras to the harder SGs, the realization that SG was Sanspareills Greenlands, and not Sunil Gavaskar, also became all pervasive. Thigh pads and helmets became lighter and sturdier. The LED lights of stumps and bales – who’d have thought! Reviewing umpire decisions rather than getting fined for showing dissent is almost as strong a deviation from the gentlemen’s game as an Indian bowler clocking speeds of 145+ consistently. Umesh Yadav – you have my vote for now!

The discussions evolved. From quoting shots and moments, the cricket debaters have started quoting statistics – averages, home and away records, fastest 100s, strike rates, no of dots in a double century, game impact index. The visualizations now show multi-coloured lines to show the singles and the boundaries and the wickets. There is an accurate capturing of short and good length deliveries. There are dossiers that players carry on their iPad. About their competition. Joel Garner probably believed in small things. Like bowling at fiery pace and making the bowl land in the right areas. And playing mind games. Most teams in the last world cup were probably spending 6 hours discussing how to get Sachin Tendulkar or Virendar Sehwag out by reviewing various batting tapes.

And then 2011 happened. Yuvraj happened. Sachin happened. Mahendra Singh Dhoni happened. The bowlers tendulkar2011showed up. The fielders did. And Wankhede erupted. And a new memory got etched in the new generation’s sub-conscious – that glorious six to win the world cup, Mahindra Singh Dhoni holding the pose after hitting that six and then completing a gladiatorial 360-degree swing of the bat, a team carrying Sachin Tendulkar around the ground, and sending the cup to the background. The color across the stadium – Blue. And yes, the tricolor. And Sunil Gavaskar making the remark – “when I die, the last thing I want to see is the six that Dhoni hit in the 2011 world cup final”. Now when I think of winning the world cup, my memories are not Black and White. They are, 32-bit-high-definition-high-resolution-high blah blah, full of colors. Oh, how the game has changed!

 

There is a small thing that hasn’t changed. Commentary on radio used to be a visual narration filled with excitement. It could not depend on visual aids or the colors. It has stayed Black and White.

“Amarnath is bowling from the pavilion end to right arm batsman Ian Botham.

Bowl thoda andar ki taraf aayee aur ballebaaz ne kalai ko ghumate hue square leg ki taraf bhej diya hai. Umpire chusti se hatTe hue. Bahut hi aakarshak stroke tha Narottam (Puri), aur bahut hi khoobsurti se is se pehle ki fielder Bishan Bedi gend tak pahunche, Botham ne ek run poora kar liya hai. Bahut hi sadhaa hua shot tha aur aise shots se hi aapko pata chalta hai ki Botham jitney ache gendbaaj hain, utne hi ache ballebaaj bhi.”

 

“Agli gend karne ko gendbaaz mohammad shami pavilion end se hawa ke virudh daudte hue, aur off stump se thoda bahar tappa kha ke, halke se bahar ki taraf gayee aur ye jordaar appeal. Aur ye umpire in Ian Bell ko out karaar diya. Mahindra Singh Dhoni ka ye is match mein teesra catch, aur Shami ka pehla wicket.

Absolutely Shekhar. This was a beautiful outswinger. You could say that it did not swing much. It just held its line and from the wide angle of the crease from where Shami bowled it, that was good enough to flummox a well set batsman like Ian Bell. Kudos to Shami for having persisted with that line and invite Ian Bell to play that shot. Bell played inside the line and was beaten all hands up. With that we will take a short advertisement break and we will back shortly to celebrate this wicket.”

Oh! Sorry. There’s one thing that has really changed about radio commentary – There are no boundaries hit on air anymore. They are “shandaar BSNL chauka. Connecting India.”

 

 

 

 <This post is my entry for the Blogmint – Harsha – Blogger Dream Team Contest>

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