Imagineindia news

The River (Jean Renoir). Screened at ImagineIndia Film Festival

2009-06-09T16:54:00.002+02:00

The River is a film about first love, and by extension, original sin. It,s essentially a myth about ever - repeating rites of passage from childhood to adulthood. First love, says the narrator, is the same in any place, but the flavour of this story is Indian. The setting is colonial Bengal and the Ganges river permeates this story, in which India and it,s natural beauty is used, at least superficially, a kind of Garden of Eden.

The film right away presents the difficulty : The Garden of Eden was perfect, but if we never left it, none of us would exist.

Children are slowly leaving childhood in this film, and young girls are trying to learn about motherhood, about what it means to give a body to a man, in order to, with all the physical and emotional pain it brings, bring about the next generation.

"I hate bodies", says Harriet, the protagonist and narrator. She narrates the film as an older woman, but in the story we see her as a teenage girl in love with an American veteran who has shown up at the neighbor,s house. The American survived the war, but he lost one leg, and he feels uprooted no matter where he is.

She and her many sisters, as well as her beautiful friend Valerie (who is like an older sister) fall in love with the American stranger, and Valerie and Harriet start to plot their romances, with or without his consent.

In Harriet,s large family , there is only one boy, Boggy. The boy has complete disregard for what he ought to be. He doesnt want to learn to read or write. He only wants to be with the snake and to charm it with the flute as the old Indian man in the bazaar.

Children, born exactly into whatever mix of cultures, religions and beliefs happen to surround them, only later learn to grapple with their roots and the question of where they belong -- in other words, where and how to start their own families.

The River is a visually beautiful film about the universality of myth --about stories that repeat themselves again and again, and bring dramatic changes to individual lives, while maintaining the balance of the natural world.

Alexandra Atiya
ImagineIndia Film Festival

Closing Ceremony Photos. ImagineIndia 2009

2009-06-07T18:43:00.021+02:00

Festival ImagineIndia. Photos (IX). 29th mayo 2009

2009-06-07T18:19:00.008+02:00

Juan, information point worker

Abdullah the photographer

Small ImagineIndia team

Pilar Santiago from the Embassy of India

Vanesa García Cazorla (translator)

The director with all his problems

Festival ImagineIndia. Photos (VIII). 28th may 2009

2009-06-07T18:02:00.006+02:00

Star singer Esmeralda Grao

Tv Star Monica Estarreado with the TV Presenter Sergio Pazos

One pakistani taliban protesting against the festival

Manuel and María (web designer)

Festival ImagineIndia. Photos (VII). 27th may 2009

2009-06-07T14:21:00.005+02:00

El Ateneo de Madrid

Paula Fouce, director

Ateneo de Madrid (another venue)

Festival ImagineIndia. Photos (VI). 26th may 2009

2009-06-07T13:46:00.008+02:00

Spanish Director Chema Rodríguez

La Escalera de Jacob

Spanish TV waiting to interview

La Escalera de Jacob (one of the venues)

ImagineIndia Director interviewd by Spanish TV

Spanish director Guillermo Fesser

Festival ImagineIndia. Photos (V). 24th may 2009

2009-06-07T13:34:00.004+02:00

ImagineIndia Collaborators from Republica Dominicana

Sponsors of ImagineIndia Film Festival

Festival ImagineIndia. Photos (IV). 23rd may 2009

2009-06-07T13:21:00.008+02:00

Gathering at the Information Point.

La Boca

La Boca Espacio Cultural

Festival ImagineIndia. Photos (III). 22nd may 2009

2009-06-07T13:05:00.005+02:00

Cultural Centre "La boca espacio cultural"

Festival ImagineIndia. Photos (II). 21st may 2009

2009-06-07T12:48:00.009+02:00

Chompa Didi (M.H.MODA), Paco Serrano

Festival ImagineIndia. Photos (I). 20th may 2009

2009-06-07T12:21:00.012+02:00

Inmaculada

Intereconomía Television

American singer, Jessy

Sonulal

Romanian attendant

American Soul Singer, James

Marina, from Spanish Film Institute

ImagineIndia Information Point at Lavapiés Square 5

IFFI-GOA, 2008 HONOURS LIFETIME ACHIEVEMENT AWARDEES

2008-12-06T09:22:00.000+01:00

Lifetime of cinematic excellence

IFFI-GOA, 2008 HONOURS LIFETIME ACHIEVEMENT AWARDEES

Conferring of one time Lifetime Achievement Award to four pillars of Indian cinema - Tapan Sinha, Dilip Kumar, Lata Mangeshkar and B. Saroja Devi in the 60th year of independence is a recognition to the contribution that art and culture makes to the enterprise of nation-building. In the quartet of these leading lights Indian cinema has found worthy ambassadors. IFFI-Goa, 2008 has honoured the awardees with screening of bouquet of selected films during the festival.

On 2nd September 2008, the President Smt. Pratibha Devisingh Patil, conferred the awards to Dilip Saab and B Saroja Devi, Tapan Sinha who was also conferred with Dada Saheb Falke Award was represented by Anindya Sinha. Lata Mangeshkar could not be present but the president recalled her stunning impact on the nation and the exhilarating surge that was caused by " Ai Mere Watan ke logon�. The President emphasized the social consciousness reflected in the work of the awardees. �The film industry is a part of the more than one billion Indian team that will build a strong and confident India. Films, being an important part of the lives of our people should not only be a source of popular entertainment for families and individuals, but also a medium of education and a vehicle for social change� said the President on the award evening.

Tapan Sinha's 1956 masterpiece 'Kabuliwala' represents him at the 'Lifetime Classic Section'. Based on the short story by Rabindranath Tagore, Kabuliwala narrates the bonding between a Pathan and a little Bengali girl Mini. An unflinching belief in the indomitable human spirit marks the works of Tapan Sinha who never shied away from portraying the adversity in its most raw forms, however, his films always managed to convey the optimism that comes with unwavering trust in human capability to rise above one's circumstances. Starting as a sound engineer with New Theatres in 1946, Tapan Sinha won 19 National Awards with classics that include 'Kshudhita Pashan', 'Atithi', 'Kabuliwala', 'Zinder Bandi', 'Haatey Bajarey', 'Sagina', and 'Ek Doctor Ki Maut'.

Dilip Kumar epitomizes the evolution of Hindi cinema. He is a living example of the seemingly impossible marriage between dazzaling stardom and depths of resolutely realistic acting. He, along with other greats like Motilal and Balraj Sahani, can be credited with rescuing Hindi film acting from the clutches of ornate theatricality. His astounding range makes him an actor's actor. He has lent grace, pathos, lyricism, mischief and comedy to a vast array of roles that he has performed. If Devdas showcases his tragic histrionics, Kohinoor, Ram Aur Shyam lay down the grammar of perfect comedy. He even proved his dancing skills in his unforgettable performance in the song 'mere pairon main'. A Phalke awardee, Dilip Saab has brought charisma, poise and realism to his roles. Words 'thespian' and 'legend' gel easily with his breath-taking contribution. IFFI-Goa 08 screens Devdas which earned him the epithet of 'tragedy king'. The Saratchandra classic in the masterly hand of Bimal Roy gave full play to the vast range of Dilip Kumar's histrionic abilities and he created a memorable character touching unexplored depths of pathos, melancholy and above all love. The other film in the section is Mughal-E-Azam, that magnificent ode to the grandeur of film-making. Dilip Kumar's Salim flawlessly portrays the gracefully rebellious streak of the love stricken prince. In a film which has every department in near perfect state, Dilip Saab stand out for his restraint, charisma and effortless glamour.

Honoured with Bharat Ratna, Lata Mangeshkar is a flawless ageless voice that spells melody, mystery, romance and divinity. Her vast repertoire is represented in the festival by 'Hum Apke Hain Kaun' and Dil Ek Mandir. Festival brochure describes her as 'collective memory of the entire subcontinent'. The brochure eloquently goes on 'Lata Mangeshkar is not merely India's best known playback artiste. She's not just a vocalist mentored by Amanat Ali Khan, Ghulam Haider, Khemchand Prakash. She's not simply a singer who lifted to matchless heights the compositions of Anil Biswas, C. Ramchandra, S. D. Burman, Naushad, Vasant Desai, Hemant Kumar, Salil Chowdhury, Laxmikant Pyarelal, Madan Mohan, R. D. Burman and Hridaynath Mangeshkar. She's not just a world record setter for �. recordings. She's not remarkable for winning 12 BFJA, 4 Filmfare, 3 National Film Awards; Dadasaheb Phalke, Padma Bhushan, Padma Vibhushan or even Bharat Ratna. Nor is she only the icon who has been honoured by two States - Madhya Pradesh and Maharashtra - by instituting awards named after her.

Lata Mangeshkar is the voice of a million heartbeats.'

Ever since her debut in the National Award Winning Mahakavi Kalidasa, B. Saroja Devi has put soul into more than 150 films in Tamil, Telugu, Kannada and Hindi. Her landmark performances in finely crafted films like 'Kalyan Parisu', 'Thamarai Nenjam', 'Naadodi Mannan', 'Parthiban Kanavu', 'Thirudathey', 'Kittur Rani Chennama', 'Paigham', 'Sasural' and 'Beti Bete' spelt the golden era of family entertainers in Indian cinema.

Performing against the foremost names of their times such as Gemini Ganesh, Sivaji Ganesan, M. G. Ramachandran, Rajkumar, N. T. Rama Rao, A. Nageswar Rao, Ashok Kumar, Dilip Kumar, Sunil Dutt, Shammi Kapoor, Rajendra Kumar; and holding her own against the tallest of competitions, she earned the soubriquet, Queen of South Indian films. In the lifetime classics section, she is represented by 'Kittur Chennamma', 'Anbe Vaa' and 'Sasural'.

Balti Britain : A Book on British Asians

2008-10-26T19:05:00.005+01:00

Nick once told me he likes a curry. It was meant to be dismissive, a way of reducing the Asian contribution to British life to a single dish.
It,s well known that BALTI is an invented dish and it means bucket but Ziauddin Sardar finds in this invention that "the British Asian community has the ability to reinvent itself and reposition itself in relation to British society".

Balti Britain tells the history of Asians in the UK, from the 17th century to modern days and the terrorism arrests of the last few years, mingled with a history of his family,s arrival in Britain. History lessons that go staight from the Tudors to Hitler miss out the crucial centuries in which India built Britain,s wealth, shaped its culture and fought for its survival in 2 world wars.
The result is a nation so amnesiac that it treats Asian immigrants as strangers in their own home, despite being born here.

In a brilliantly reported passage on the Lancashire mill town riots of 2001, Sardar tells --- a cotton trade built on the enforced ruin of India,s mills and a migrant community then left stranded when Britain,s spinning industry declined---- and combines it with detailed observation of 2 neglected cultures pitted against each other. "I could see the mob attacking anyone Asian, banging doors, throwing bricks through windows and on and on. But the only thing they did not lack was British identity"....

Sardar,s discoveries lead him to appreciate the extent to which the empire reshaped every country that became entangled in it. "The question that emerged was not how it was possible to be Ahmed Ullah Khan, servant of the Raj. The real enigma was how could he, Ziaudding Sardar, ever have been considered "NEW" to Britain?"

Text : Courtesy of The Guardian.
Photo : ImagineIndia News.

Press Conference. ImagineIndia 2008. STILLS.

2008-10-17T04:12:00.037+02:00

Stills of Press Conference. Edition 2008.
ImagineIndia.

Indian Cinema in MadridFest and El Ojo Cojo

2008-10-14T08:21:00.002+02:00

Next 16th october ImagineIndia will screen Bhavna Talwar,s film DHARM included in the programme of MadridFest at Consejería de Cultura, C/ Alcalá 31, 19 h. The event is organized by FILMAD (Asociation of Madrid,s Film Festivals) of which ImagineIndia is Founder - Member. The film was award winner at our last edition.

More info : www.filmad.org

Also continuing with our promotion of indian cinema ImagineIndia screens in collaboration with the festival El Ojo Cojo the film with Shabana Azmi,s acting : Honeymoon Travels Pvt Ltd. The show will take place at Pza Agustin Lara on 19th october, 22 h.

More info : www.elojocojo.org

ImagineIndia News

Films Revisited : GANDHI

2008-10-08T02:17:00.001+02:00

October, 2, 2008 is 138th birth anniversary of Mahatma Gandhi. He is officially honoured in India as the Father of the Nation; his birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and world-wide as the International Day of Non-Violence .

Sir Richard Samuel Attenborough made the film Gandhi in 1982 and when we revisit this film afresh today we see its significance in a new perspective. Here is a review of the film.

Gandhi

(India/UK / 1982 / Col /BW / 188 mins)
Cast: Ben Kingsley, Rohini Hattangadi, Saeed Jaffrey, Roshan Seth, Alyque Padamsee, Martin Sheen, Ian Charleson, Amrish Puri, Geraldine James.
Direction: Richard Attenborough
Production: Richard Attenborough, Screenplay: John Briley.
Cinematography: Ronnie Taylor, Billy Williams.
Music: Ravi Shankar.
Editing: John Bloom.

Film Gandhi documents the biography of Mahatma Gandhi, (Mahatma means great soul) who started his career as a lawyer and then rose to become one of the greatest spiritual, and Political mass leaders that India has ever produced. He became famous for his philosophy of non-violence, which he effectively used as a weapon against the British Empire to attain independence for India.

We saw this film in public theatres when it was released in 1982. By seeing it now in DVD format, twenty five years after its making, the impression it creates in us is something very profound in nature. It is because we do not see it like we see other films just for appreciating and experiencing its cinematic excellence. Here in this film our interest is something more than that, and our involvement is totally different.

Making a cinema of three hours on a person’s life who became the Father of the Nation, controlling the pulse of a country with a population of over 350 millions, most of them poverty stricken, illiterate, culturally diversified, multi religious masses is a stupendous task. Each and every day of Gandhi’s active life was eventful, illuminating the lives of many who came in contact with him. Where to start, what to show and how to end is definitely a daunting task. Richard Attenborough is successful to a great extent in making this film a worthy documentation of the life of a ‘Great Soul’ Mahatma Gandhi. It is the very reason he starts the film with a caption: No man’s life can be encompassed in one telling……………. The film begins with the killing of Gandhi, then a funeral procession in which a sea of humanity participate, a foreign radio reporter giving a running commentary on this last journey tells the world:

The objective of this massive tribute,

Died as he had always lived:

A private man without wealth, without property, without official title or office, Mahatma Gandhi was not the commander of armies, not a ruler of vast lands, He could not boast any scientific achievement or artistic gift, yet men, governments, dignitaries, from all over the world have joined hands today to pay homage to this little brown man in the loin cloth who led his country to freedom. In the words of General C.Marshall, AmericanSecretary of State, Mahatma Gandhi has become the spokesman for the conscience of all mankind. He was a man who made humility and simple truth more powerful than Empires. And Albert Einstein added, Generations to come will scarce believe that such one as this ever in flesh and blood walked upon this earth.

The film immediately flashes back to South Africa of 1893 to tell us the story of how Gandhi was successful in fighting against the Authorities to repeal the unjust law framed against colored people. This was his first fight against injustice, and the success he tasted was something unique because here is a man from an alien country who stood firmly against an empire, experimented with a new weapon called truth and non-violence and became successful in his mission. His writings and his philosophy received wide coverage in the western press. Many of the leaders of the congress party in India took note of this development and gave a cordial reception to him when he returned to India.

In India, his meeting with Gokhale, then his extensive tour of the country to discover India, his enlightening speech at the Congress session, his fight for restoring the rights of the farmers of Champaran which made him a mass leader, then his total involvement in the congress party to fight for the freedom and the events like the civil disobedience, the famous Salt Satyagraha that follow are beautifully visualized.

Richard Attenborough is very faithful in his approach, he gives a glimpse of the personal life of Gandhi, particularly his relationship with his wife. It actually begins from South Africa where there was a conflict between the two with regard to cleaning of toilets and they end up in a reconciliation that brings them closer. On their arrival from South Africa, KasturBa quickly retorts “My dignity comes from following my husband” when one from the crowd on the ship questions about the indignity she suffered because of her husband’s imprisonment. In one most unforgettable scene, Gandhi and Kasturba enact the sequence of Saptapadi (Seven steps) of their marriage, explaining its meaning, on the banks of a river, to the benefit of two foreign journalists. The bond between the two which was the motivating force for both of them ended only when death came to KasturBa in the Ashram in his presence. It is a moving scene.

There is a reference in the film to the infamous comment Half naked Fakir made by Winston Churchill, and as though it is an answer to this and to the west in general. There are many encounters Gandhi has with the British authorities in the film and in all of them Gandhi through humility and simple truth is able to come out a clear winner. It starts with General Smuts in South Africa who had to budge, then in the court in a trial where the judge and the entire court stood up in honor of the accused (Gandhi), then at meetings with the Viceroy and the English General, in all such meetings it is the half naked man, who calls the shots.
Richard Attenborough uses minimum dialogues, there are no long drawn speeches, no preaching of sermons but whatever spoken is so apt, they add immense value to the entirety of the film. There is only one speech that he makes, that is when he addresses a congress session, even this is very short but it is up to the point. Even though Gandhi was very humble and soft spoken, he was very stubborn and uncompromising in his stand on his principles. Whether it is in his writings, or in his speeches, or in courts or in his meetings with the authorities he was unequivocal in calling the British Raj an evil force and they should quit India. This was his great quality and this spirit has been portrayed in the film very effectively.

Before it ends, the film goes back to the scene where he is shot and killed and then to the cremation and the immersion of ashes in the river. His words, told earlier to Miraben at the time of his fasting reappear again: When I despair I remember all through history the way of truth and love has always won. There have been tyrants and murderers and for a time they can seem invincible but in the end they always fall. It reminds us that he lived for his principles and he sacrificed his life in upholding it.

It took nearly two decades for Richard Attenborough to mobilize funds for making this epic film, which was his pet project. The British Rulers left India long back, but there are many good things they left for us which we still cherish. Our long association with them made us understand the importance of unity, discipline in life, a taste of good administration and many other things. This is the reason why Gandhi insisted that Britain and India should part like friends. Similarly there were also many English men who really loved and admired India and its values, ethos, and its people. Richard Attenborough is one such person who loved India and he has great respect for Gandhi. He could not have thought of a better tribute than this film which is really great. I call it great because this DVD of Gandhi will definitely find its place in many houses and institutions in India. The future generations will watch it and understand that a legendary person named Gandhi was born in India who got freedom for India in the twentieth century. We should thank him for this precious gift. The film won a large number of awards including 8 Oscars besides being a big success commercially having its run in public theatres in many countries around the world.

Courtesy of H.N.Narahari Rao

ImagineIndia

Kon Ichikawa - A Tribute

2008-10-08T01:44:00.002+02:00

		Born in 1915, Kon Ichikawa studied in a technical school in Osaka and after his studies, in 1933, he got a job in a film studio. He was later promoted as assistant director which gave him the opportunity to work under many eminent filmmakers. He later moved to Tokyo and joined Toho Film Company where he met Natto Wada, a translator whom he married. In 1946 he made his film on a puppet play A Girl at DojoTemple. His wife, Natto Wada actively associated with him in many of his works as a screenwriter. He made two anti war films The Burmese Harp and Fires on the plain during 1950’s. Their partnership lasted up to 1965 when they made the film Tokyo Olympiad (1965).
Kon Ichikawa (1915-2008)

She later withdrew from films and died of breast cancer in 1983. Ichikawa and Wada specialized in screen adaptation of many well known literary works. A good number of his films made during 1950s and 1960s received widespread international distribution. Ichikawa was a very prolific filmmaker who made a large number of films, numbering around 80, which included art films, documentaries, melodramas, thrillers and others. He made his last film in 2006 when he was 90. He received an award for cultural merit from the Government in 1994, and a lifetime achievement award at the Montreal World Film Festival in 2001. He died after a brief illness in February, 2008, at the age of 92.

The Burmese Harp :

(Original title: Biruma no tategoto / Japan / 1956 / BW / 116 mins)
Direction: Kon Ichikawa

The Burmese Harp is a film with a poignant appeal on the absurdity of war. While we have come across many anti war films coming from western countries, this is one important film from the eastern sector which won recognition at many international film festivals. The decomposed dead bodies of the Japanese soldiers lying every where moves Mizushima to change his mind to become a monk and stay back in Burma to give a decent burial to his deceased countrymen and pray for them. The film is highly sentimental and melodramatic. Mizushima is deeply moved when the British hospital authorities pay their respects to a dead Japanese soldier who could not be saved. There are many scenes in the film which appear more like a fantasy - like the British soldiers joining their adversaries in singing is something unusual and very optimistic, conveying messages through birds, and fellow soldiers going in search of Mizushima following the sounds of his Burmese harp music while he hides in the caves to avoid being traced. The Japanese soldiers have some sentimental attachment with an old, local Burmese woman who frequently sells them fruits. Ichikawa has deliberately used this style to enhance the anti war sentiments through universal brotherhood as a poet’s imagination. Symbolically also Mizushima changes his dress from military uniform to religious robe.

Mizushima’s letter to his friends which is read by the captain on the ship is a very lengthy one; it almost runs to several pages, explaining in detail the tragedies of war and the reason for his decision to stay back in Burma. It is just like reading a sermon.

Film Societies in India had screenings of the film The Burmese Harp in the Seventies through the courtesy of the National Film Archive of India. It is now a refreshing experience to see it on DVD after three decades. It is enjoyable more as a fable. The film won Oscar nomination for Best Foreign Language film and also won prize at Venice.

Select Filmography of Kon Ichikawa

A Girl at DujoTemple (1946), The Burmese Harp (1956), Fires on the plain (1959), An Actor’s Revenge (1963), Tokyo Olympiad (1965), Olympic Visions (1972), The Burmese Harp (1985 re-make), The Inugamis (2006).

Courtesy of H.N.Narahari Rao

Indian Films at La Casa Encendida

2008-10-07T16:52:00.003+02:00

ImagineIndia has curated a selection of Indian Contemporary Films for the prestigious cultural centre in Madrid, La Casa Encendida. The screennings are scheduled from 22 oct. to 17 dic 2008. Continuing with it,s politics of collaboration with the main cultural institutions of Spain, ImagineIndia has selected 8 indian contemporary films.

October Programme :

Wednesday- 22 oct.: A season inside / To remember / A night of profecy (Amar Kanwar).

Wednesday - 29 oct. : Gulabi Talkies (Girish Kasaravalli).

More Info : www.lacasaencendida.com

Chidananda Das Gupta

2008-10-07T15:55:00.001+02:00

There are film reviewers and there are film critics. A reviewer can dismiss a film or praise it in two hundred words or less. A critic needs space and takes time in analyzing a film. Pauline Kael of the New Yorker magazine was the most distinguished of that breed. Chidananda Das Gupta is one of the few in our country who can claim to be a critic.

		Seeing is Believing is unlikely to find a wide readership but it is indispensable to anyone seriously interested in films of some of our eminent directors, Mrinal Sin, Shyam Benegal and Adoor Gopalakrishnn among them. Das Gupta’s study of Satyajit Ray’s films is particularly erudite, perhaps because he knew the man intimately. The author paints with a wide brush. We have here pieces written over a sixty years span and they address such diverse subjects as the parallel cinema of the 1960s, the depiction of women in our films and the use of song and dance. Das Gupta is 87 years young and films are his passion.
Chidananda Das Gupta

He started a film society when he was twenty-six, edited several film magazines, directed a number of documentaries, even a feature film. He has also contributed two major talents to Indian cinema, daughter Aparna Sen, one of our best filmmakers, and granddaughter Konkona Sen Sharma, currently making waves as an actor in Bollywood.

One quibble: it would have been helpful if the reader was given the dates on which these essays first appeared and the name of the publication. Some of them seem quite ancient but there is no need to be bashful about it.

Courtesy of FilmFocusIndia.

ImagineIndia

Masterclass Directors : Adoor Gopalakrishnan

2008-10-01T10:08:00.003+02:00

ADOOR on ADOOR.

I just did what I thought was right. I still do what I think is right. I go along with a personal conviction. "Swayamvaram" happened to be in a new idiom of cinema. What I am trying to do is interpret the reality that I experience, the reality that I go through, in my own way. I tried to present the reality as reality, and show a pace which was different from what was being done. I also try to present each of work differently, different from what I had done earlier. So, each time I start making a film, I look at it as a fresh experience.

I was very sure and convinced about what I was doing. Yes I had to cross so many hurdles to make that film. But in the process, I learnt a lot about making films, about the stance that I was taking, etc....
In fact, the stance was hardened as a result of the bad experiences and difficulties I faced, and also the long wait : finance was not forth coming. So, in a way, those experiences were good because when I look back, I feel it is better to go through that kind of struggle rather than get something on a platter.

Struggles make you stronger. The difficulties I faced made me more and more convinced about what I wanted to do. I would say my convictions got hardened which in turn helped me take a strong stand.

ImagineIndia : Thank you very much Mr Adoor for all you humanity and compromise.

Courtesy of Osians.