AKA Life

The macabre imaginations of non-existence.
The morbid interests of people show in my choices.

The manipulative judgements by the wishful mob.
The maniacal interpretations of the merciless souls.

The connection between fate and celestial geometry—often fashioned.
The coherence between life and logic—often conjectured.

The jolts of life.
The jeering people nudging me to the pyre—not at all a surprise.

The velvety words. The coarse assumptions.
The visual appeal of inaudible emotions.

The deceitful intentions.
The demanding expectations.

Life is a smorgasbord.
What else, after all, do I expect it to be.

© Suyog Ketkar

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Micropoetry: War Medals

Medals symbolize
Not what’s won but also lost.
That’s, the untold story.

© Suyog Ketkar

#micropoetry #haiku

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Movie in Review: Housefull 4

It is only over weekends when your work is done and you have nothing better to do, do you realize the true potential of such brainless work of fiction—in a good spirit, of course. And to appreciate the creativity (if there is any) and to spend time with your family you then head toward the nearest theatre to watch movies like the Housefull 4. It is neither a directorial blunder nor is it any fail of the mediocre acting skills of most of the actors that you can completely put the blame on to. Yet you chose to come to the movie. So, now, don’t complain. In a nutshell, the movie is a good 1.25 out of 5 stars, and, maybe, an additional point for Akshay Kumar. That still makes it a one-time watch. As always, a detailed review follows.

For a change, I will begin with what I did not like about the movie.

First, there is no story at all: there are three brothers but the story revolves around only one of them: this is akin to 3 Idiots, which even though was title one, but was based on only one of the ‘idiots’. If there could be any other name outside of the ‘Housefull’ franchise, it would be Bala, the character played by Akshay Kumar. The story of his (and everyone else’s reincarnation) revolves around his recalling his (and others’) previous births. No wonder people joke that Akshay Kumar has done an official promotion of Ayushmaan Khurana’s Bala that is set to release soon.

Second, the character of Ranjit underpins the characters of every other guy, excluding, of course, the villains. This is truly irritating because then you have the entire Madhavgarh that aimlessly hums the same disgusting mannerisms of their Maharaj. All of that while his daughters giggle shamelessly. But then we are far from logic. Besides, if you can have ‘Pasta’ in 1419, why not the absence of logic?

Third, the comedy revolves around PG-18 jokes that even though you understand, but will never enjoy it when overdone. On some occasions, I found the language to be rather offensive. For instance, they equate Donald Trump with Donald Duck and they use Baahubali songs and character names. It is good though that every single dialogue sounds as if is spoken by the very person impromptu: the best thing about such dialogue writing is that the very effort of writing goes unnoticed.

Fourth, the girls are there for the very purpose of creating a screen presence with you guessed what: their clothes (or the absence, thereof) and their acting (or the absence, thereof). But, much like Akshay Kumar, the girls’ squad relies equally on the shoulders of Kriti.

Fifth, I can never fathom the reason actors like Rana Daggubati and Sharad Kelkar would have done a movie like this, especially, the characters like theirs. How could they? Also, Riteish’s screen presence did not match up to the stardom that he enjoys. I wished to see more of the roles of the other two brothers.

Sixth, aside from the ‘Bala’ track, no other song happens to strike the chord. In fact, when you get off to leave as credits appear, there is only one song that you remember. But then it is overused in the movie. Speaking of credits, I watched the credits, too. Surprised? Well, I wasn’t, for I enjoyed the credits more than the movie. I watched how the cast and the crew had so much fun while filming the movie.

Not all isn’t wrong with the movie.

The character of Giggly is such that you will enjoy both her previous and current birth: Jonny Lever and his daughter have slipped into their characters effortlessly. Sharad Kelkar’s role is underpowered, but his screen presence is as good as that of Akshay Kumar. If there is a lesson that Rana must learn, it is that often people love (or hate) their protagonists not for what they do but for what they could do. Sharad’s voice, eyes, and the sardonic laughter spell that magic for us.

Chunky Pandey has secured a chunky (pun intended) role for himself. This time, his career lasts for a span of over 600 years (pun intended, again).

Situational comedy is difficult to achieve because you must rely on the critical triad of actors, script, and the background score. They managed to pull off a couple fo sequences of situational comedy, which is both a rarity and a treat to watch. Thank you, Bollywood, for a change.

Bobby Deol is still one of the most handsome and most well-built actors. Two of his biggest challenges are taken care of rather well in this movie: acting and dancing. He has done both quite convincingly. Given what others have contributed, aside from the talented Akshay, Sharad, and Jonny, his acting is far better than all of them—including Parikshit Sahni and Nawazuddin Siddiqui.

For the cast, the crew, the budget, and the locations, if there’s a name that truly justifies the movie, then it is Housefull. But, the story and the acting are far from helping it lend that title to movie theatres. Even after the courageous ones, like us, registered our presence, the movie theatres weren’t ‘Housefull’. But, should I even be writing so much for a movie like this? That’s one question I ponder as I end this post.

🙂

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The Name that Wasn’t

No voice, no noise.
No reflection of oneself.
No definition; none for assumption.
I am not myself.

Now here, now there.
I pity myself.
Now this, now that.
I am not myself.

Neither today nor tomorrow.
I can’t portray the inner self.
One’s thoughts, another’s actions.
I am not myself.

Neither from the rain
Nor from the draught.
From where do I then
Glean myself?

I am but a name
That tiny nothing
Neither more nor less.
I remain myself.
© Suyog Ketkar

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What Stops Me from Writing?

It is the fear of losing out—
The experience, that is—on the Present
That I sometimes
Stop myself from writing.

However, it is the boon of—
Heart, that is—self-belief
That I reserve as I
Get back to writing.

It is the fear of falling behind—
The dreaded race, that is—monies
That I sometimes
Stop myself from writing.

However, it is resorting to—
Karma, that is—calmness under pressure
That I fall back upon myself and
Get back to writing.

It is the fear of getting lost in—
Cluelessness, that is—the abundance of words
That I sometimes
Stop myself from writing.

However, It is the truth of—
Candid confessions, that is—life
That I seek, and thus,
Get back to writing.
© Suyog Ketkar

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Micropoetry: The Wait is Over

Time flies, I would say.
Cuddles, and not Calls today;
My Princess comes back.

© Suyog Ketkar

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