Tag Archives: vervemagazine

Vidya Balan: Sense and Sensuality

19 Friday Feb 2010

Posted by in Interviews (All), Interviews: Cinema, Interviews: Cover Stories, Publication: Verve Magazine

≈ 1 Comment

Tags

, , , , , , , , , , ,

Published: Verve Magazine, Cover Story, February 2010
Photographs by: Atul Kasbekar

She is undeniably sexy. While it is not a raw in-your-face sexuality, it is a deep passionate sensuality that emanates from her captivating smile and smouldering eyes. Vidya Balan is as much of this time as anyone else, but you get the feeling she may have been better suited to the era of the Romantics or the cinema of the ’70s. Worthy of being a muse, the man who gets her, will totally get her. Sitanshi Talati-Parikh woos the audaciously role-playing star of Parineeta and the just-released Ishqiya into talking about romance, men, career lows and what turns her on

Vidya02

 

I’ve seen you somewhere,” she says looking directly at me. We trace the connection back to our common alma mater, St. Xavier’s College, Mumbai. (She admits wanting to study there simply because Shabana Azmi is an alumnus.) I can’t deny I am surprised by Vidya Balan’s refreshing directness and razor-sharp memory retrieving faces seen more than a decade ago. Her smile reaches up to her eyes, rare in someone from the industry of make-believe. You don’t want to tell her that her eyes are in fact (as she suspects) looking weary, because you are afraid the captivating smile will disappear. You can’t exactly blame this diminutive powerhouse of talent for the fatigue factor – she’s run the marathon for Nanhi Kali, besides working round-the-clock promoting her latest film Ishqiya (2010), where she essays an author-backed role of a femme fatale, Krishna, opposite two thieves (Naseeruddin Shah and Arshad Warsi).

“I always felt that I could be a temptress and a seductress, but people didn’t really want to see me like that.” Balan launches into Krishna’s character with gusto. “Here’s a woman who’s unapologetic about her sexuality. She will not take things lying down…no pun intended,” she laughs a gusty, full-throated laugh. “She’s leading two men on, getting drunk and violent. She’s everything that, on a superficial level, I am not.” She actually thanked director Abhishek Chaubey for considering her to play a role for which she would not have been the natural choice. “People don’t want to take a risk casting against type. I have done some challenging roles, but they have been pretty much in one zone. As a character I relate to the fact that she lives life on her terms. But beyond that, the way she deals with situations is very different. I was doing everything that I had never done. This was exciting!”

The spirited eyes, the full smile and the expressive face all suggest a latent sensuality. “What you feel is what you exude. I enjoy being a woman! After all, I came in with Parineeta (2005). I revel in everything that is feminine, beautiful and sensual. When working on a weight loss regime, I told my trainer, ‘I want to lose the excess not the essentials.’ I love a woman’s curves! I find that ‘flat thing’ very asexual. Ethnic clothing from any part of the world is a lot more feminine. I like clothes that make me feel like a woman.”

Standing in a burgundy georgette-and-net gown-kurta while the camera takes position, her fingers unconsciously pinch the sides, and lost in thought, she gracefully twirls back and forth, looking like a wistful young girl waiting to be taken to the prom. When the camera is on, she slides her hand up to her slim waist, leans forward, a suggestive hint of cleavage visible, hair billowing, transforming into a Victorian temptress who can turn a good man into a sinner. “A man is a man is a man in every situation. A woman, however, transforms according to the role that is demanded of her at that point in time. You will find Krishna (in Ishqiya) playing the tanpura like Meera in one scene and in the next having a passionate affair with a man without any emotional involvement. She is in complete control of her life and truly the progressive woman of today.” She confesses that like Krishna, her feelings are fervent. “I am a very passionate person…I have come to accept that now. There is no midway for me. I love ardently. I don’t hate – one goes through anger; prayer gives me the strength not to hate anyone – but yes, that person ceases to matter for me.”

From the gentle lovemaking in Parineeta to the unabashed sex in Ishqiya, the 31-year-old actress hasn’t held back from giving roles her best. “Initially I felt very conscious, especially in Parineeta, my first film. But I had faith in Dada (director, Pradeep Sarkar) that the scenes would be done beautifully, that they wouldn’t look sleazy. I knew I would be well taken care of. The first thing that crosses your mind when you think of your lover with someone else is the physical aspect: it was important to the story in Parineeta. It is not a comfortable situation, but if it is justified and if I have faith in the people I work with, I am not going to be a prude.”

And being a perfectionist means going that extra mile. When playing a character afflicted with multiple sclerosis, in Mani Ratnam’s Guru (2007), she underwent rigorous training to understand the mental state of the character. Meeting patients, watching films on the subject and even roaming around her building at night on a wheelchair…all of it took a psychological toll on her. To the extent that one night, when trying to get out of bed to get a glass of water, she found herself unable to do so – having lost motor control in her limbs. “It scared the life out of me! At that point Mani sir suggested that I should stop – having prepared enough for the role. But despite that, when you do that kind of work – which challenges you, requires you to push the envelope, push yourself beyond your limits – it is deeply fulfilling.”

She looks exuberant when she talks about cinema and acting. About yearning to have been born in the time of a Jai Jai Shiv Shankar, wearing saris that marked individual style and holding forte with actresses like Shabana Azmi, Mumtaz, Sharmila Tagore, Rekha, Jaya Bachchan and Hema Malini. She knew she wanted to be an actor since she was 11 years old. “If I hadn’t become a movie star I would have perished! Being an actor defines me. I think I am a schizophrenic and want to be another person every day.”

Without having a filmi crutch, she has fumbled and only recently, through perseverance, faith and hard work, found sure footing. While opportunities came her way, many a door was rudely banged in her face. She landed her first TV show when just a few months into college. Balan got her pictures clicked at a local photo studio, with her sister in charge of hair, make-up and a winning bio data. At the time, barely over 15 years of age, she made the cut from 900 applicants. “I owe my sister my career,” she chuckles.

After eight months of filming, the show was shelved because the channel went bust. The producers sent the actors to Ekta Kapoor, who was making her first daily soap. Eyes filled with mirth, she remembers how taken-aback Kapoor was with Balan’s placid response, when offered the role of Radhika for the popular show Hum Paanch. “The cocky thing that I was, I turned back to Ekta and said, ‘I always take everything with a pinch of salt.’” Kapoor has to this date never let her forget it.

After a year on the show, when it began affecting her attendance at college, her parents insisted that she quit working. “I come from a traditional South Indian family, where education and academics take precedence over everything else. I was terribly upset…I grudged them that for a while, but today, I am so grateful to them.” Balan continued to do ad films on the side, going on to do 90-odd commercials. “It was perfect! I could enjoy college life, while pursuing my passion and making money. That’s how it really started….”

While in the South shooting for an ad film, the actress – who can speak five Indian languages – was approached by a model coordinator to star in a Malayalam film. The cockiness resurfaced with a question, ‘Who’s in it?’ When informed that it was her favourite star Mohanlal, she tested and was signed on immediately. While doing her Masters (in Sociology) from Mumbai University, Balan began shooting for the film. Halfway through, the director and Mohanlal had a fall out, and the film was shelved. But by then, there was a positive buzz about a Malayali actress from Mumbai, and Balan had already gone on to sign six films, while in talks for 12.

What she didn’t realise was that in the midst of the problems between the director and Mohanlal, she had been labelled ‘jinxed’, and was rapidly being replaced in all the films she had just signed. They didn’t even bother to inform her – her mother would get the Malayalam papers and discover that the film her daughter was supposed to be a part of had already started without her. Balan was unceremoniously thrown out of a Tamil film as well, after being told that she couldn’t act or dance and didn’t look good. “I didn’t know what it was that I was doing wrong. It was extremely painful. They made me feel really worthless. It had dented my confidence to the extent that I had stopped looking into the mirror for a while. When you are badly hit, you begin to believe what people are saying. In those moments of self-doubt though, I think somewhere my faith in myself and in God got strengthened more than ever. I was relentless.”

At a point of particularly low self-esteem, while working on an ad film, her path crossed that of Pradeep Sarkar’s, who wasn’t very impressed with what he saw. When he was casting for a music video, Euphoria, he was reluctant to call Balan in for the screen test. She relates, “It was at this stage that I had begun to pray…and begun to pull myself out of this negativity.” She got selected, and after shooting for the video all night, was rewarded with Sarkar’s words, ‘Ay ladki, tere saath main film banaonga. (Hey girl, I will make a film with you.)’ While not sure how to react – the bitterness of past experiences still fresh in her mind – she found Sarkar to be as good as his word. “Without sounding dramatic, if I am sitting here today, it is because of that man’s faith in me.”

She went on to do more videos and ad films with him, even assisting him. “That is why people began to talk rubbish about him and me. It was literally like a mentor-student, a guru-shishya relationship…where I wasn’t living in his gurukul, but I was spending a lot of time there. He would show me movies and performances and we would discuss them in great depth. He was constantly teaching me, honing me.” And then, Parineeta happened. “All the things that didn’t work, didn’t work because I was meant to do a Parineeta. That fire wouldn’t have been there….” Balan has been known to share great onscreen chemistry with her co-stars. “I wasn’t nervous even though it was my first film and I was facing Saif Ali Khan and Sanjay Dutt. It could have been George Clooney or a tree for that matter. I would have made love to the tree if I had to, because I was driven by the passion to prove a point. I had to prove it to myself…for every moment that I had considered giving up on my dreams. Something gave me the strength to go on…I wasn’t going to get intimidated by anything or anyone.”

The passion was there for all to see, and that drove the media to a feeding frenzy. “I thought it would never happen to me, but I was shocked to find myself linked with everyone, starting with Pradeep Sarkar. I didn’t know why I was being linked, and people would say that ‘there’s no smoke without a fire’.” Could it have been a publicity stunt to promote the films? “You can dance around naked if you have to, but if your film is not good, it won’t work. I am very proud of the fact that Paa (2009) and Ishqiya are the kind of films that don’t need this kind of publicity – they haven’t had to resort to such things. Story is king and enough to garner interest in it.”

Two movies that lacked the Vidya Balan energy and drive were the ones to not do justice to the audience’s expectations – Heyy Babyy (2007) and Kismat Konnection (2008). “Those were the only films that I did without scripts. I wanted to work with Aziz Mirza (director, Kismat…). Whatever the criticism might be, I am proud of all my work and happy with each experience. The film didn’t turn out the way it was meant to. As human beings we are not consistent, in fact, that kind of consistency almost takes away from creativity! Having said that, I lacked passion in these films…I’m very transparent.” Why would someone so driven not give it her best shot? “I thought I could go through those films without much effort and I was mistaken. I admire those actors who do the regular roles so beautifully. After Kismat… my eyes opened to the fact that what we look upon as regular may actually be a lot more challenging. There are very few times that I have fallen prey to being indifferent towards my work…and both those times it showed. Today, even if I do less work, I want to do work that I believe in.” It is evident that this belief has worked for her. Balan’s mother, who is normally not the “weepy sort”, found her eyes welling up after seeing her daughter’s portrayal of a strong single mom of a progeria-afflicted 13-year-old in Paa, and her father – deeply impressed with her performance – spontaneously gifted her a Mercedes, something she had been eyeing for a while, with a note ‘From Paa for Paa’.

Vidya Balan writes a diary every day, however late it may be. Music pulses through her veins – eclectic, more instrumental than vocal – think Sufi, Asian Underground, Nirvana, Buddha Bar, and that of RD Burman and Gulzar from the ’70s and ’80s. She can talk on the phone endlessly with someone she’s interested in. Even after seven days of no sleep. But you can’t talk to her when she has just woken up. And an undercurrent of silence really gets her buzzing. “There is nothing more romantic than standing in a room full of people and there is silent communication taking place between the two of you. You can be in two different corners of the room, but it feels like you are right next to each other. I’ve experienced it…wanting those 100 people to disappear and somewhere in your head they have actually disappeared.”

While she wants to get there someday, she is not ready for marriage and kids yet. “You are constantly role-playing when you act. I don’t know who I am going to fall in love with. There are no limitations, about loving someone from within the industry or outside it. I know I can still be genuine, but it takes a lot. But, if I can help it, I wouldn’t want to be with an actor – two people constantly fighting for the mirror is just bad news!” She laughs, obliterating the opportunity to probe further.

There is a faraway expression in her eyes as she rattles off qualities in a man that turn her on. “Long and unruly hair can be so sexy! A man’s voice – it has to have a certain base to it. Not a baritone, but a certain lingering quality; and of course interesting conversations. Being self-assured, I find that extremely attractive. A little bit of arrogance for a while can be fun. Definitely someone who likes me the way I am. I don’t have a vision of a man I’d get attracted to…it’s never about the looks for me, it’s always about personality. I have never been able to tell my type – having fallen for radically different, even unusual men.” Anybody I know? I counter. And no, I’m not buying that George Clooney line. She lets out a peal of mischievous laughter. “We shall talk about that later.”

Men she may choose to postpone; success she can’t. Paa has already begun garnering wins for her, and Ishqiya promises to take her to a new high. “Success is something that is personal. Its definition changes every day, if not every moment. When you accomplish what you want to do, that’s success. You know that if people are accepting you, then you need to continue doing what you are doing. It gives you the courage to be who you are, more than ever.”

Cocktails for a Cause

18 Friday Dec 2009

Posted by in Publication: Verve Magazine, Social Chronicles

≈ Leave a comment

Tags

, , , , ,

Published: Verve Magazine, Features, December 2009

Three young girls came together to party for a cause – and their friends joined this circle of trust. Now, Partying Against Poverty has three chapters in Mumbai, London and Hong Kong, where youth come together to rock the town while contributing towards eliminating poverty. SITANSHI TALATI-PARIKH uncovers the ingredients that enable people to enrich someone else’s life while dancing and making merry

FOR THOSE BEGINNING TO THINK THAT URBAN SOCIALISING AND endless partying is becoming more banal by the minute, or for those who ever needed a reason to party, raising a few lakhs for a few hours of socialising and dancing sounds like quite the plan. All you need to do is go out and party – the cover you pay for entry (which includes the drinks you would consume) goes straight to a predetermined cause – whether it’s towards charity, for the under-privileged, or a cause to fight a social ill. If a charity ball is the thing for pearl-draped or diamond-dripping middle-aged divas, then partying for a cause is for the 20-something newbies – the kind that lead a privileged life and choose to party at least a few nights a week, and find it convenient to combine philanthropy and a rocking time by partying for a cause. It’s simple and doesn’t have an agenda – and most importantly, doesn’t require the party-goers to make any change in their lifestyle. In fact, it lacks pretension in the most basic sense that a charity ball might have. Namrata Tanna, an initiator of ‘partying for a cause’ in India finds that, “Charitable giving is always looked at as something that is done by the very rich – those who have the means to give back to society. Party Against Poverty (PAP) activates all classes of society as well as the youth of our country and helps them start thinking about what they can do for the underprivileged.”

It is a global concept: in New York partying for a cause finds a masquerade ball sending the proceeds towards The World Race which in turn attempts to fight for the victims of modern-day slavery; in Toronto it sends their partying money to charity – to the tune of $36,000; in Miami parties and concerts send money to cancer patients. It is not one organisation with many worldwide chapters, rather multiple people across cities picking up on this simple and effective concept and making it work for the cause they believe in. In India – more specifically, in Mumbai – three young media professionals, moved by the realities that surrounded them, decided that simply reporting facts wasn’t cutting it for them – they wanted to do something more. This led to the creation of an NGO, Creatives Against Poverty (CAP is currently being registered as a non-profit organisation), which aims to use the collective creative skills of volunteers towards out-of-the-box initiatives that can fund the causes they wish to support.

“WE DON’T ASK PEOPLE TO BECOME SUFFOCATED BY SADNESS AT THE IDEA OF POVERTY; we offer hope that this suffering can be alleviated by something as simple as partying! People like emerging from their plush lifestyle and giving to a community.” – Fatima Najm

Fatima Najm spent a lot of time discussing areas that troubled her with college friend Tanna. CAP fell into place after they began working hands-on on some local initiatives in India and realised that it would be hugely effective to pool creative talent together for a cause. Najm explains, “We started from the premise that everyone is good, everyone wants to make a positive impact and everyone will give their time, energy and skill as long as we create a format that doesn’t detract from their lives – we promise to use only your free and recyclable energy.” They threw the first ‘party against poverty’ bash at Najm’s house in South Mumbai, with the idea of creating nurseries in Mumbai slums from the proceeds. Friends – what Tanna describes as the “circle of trust” – flocked to support them and they realised that they had something very promising on their hands. The second party, also hosted by Najm was for the victims of the Bihar flood. The third party, held at the hip Mumbai nightclub Privé, saw a sizeable turnout, with the aim to create nurseries and scholarships for impoverished students of high potential. The success of the concept in Mumbai led Najm to start a London chapter of CAP – which had its first party against poverty early this year. Tanna continues to head the Mumbai chapter, and Neha Kumar has recently launched a Hong Kong chapter. Najm’s friend and Mumbai-based former model and model coordinator Achla Sachdev was willingly roped in to putting in her time, effort, organisational skills, and is now a key factor in drawing the crowd and media attention for the parties (and their causes) as well. Sachdev realised that the combination of feeling good about contributing while having a good time, is a winning “double whammy.”

The causes are not randomly chosen – rather, the research-based recommendations draw from a journalistic approach to charity, also steering clear of religious issues. Whether it is a single person – like a little girl called Anu who needed the valves in her heart replaced (which they funded by activating willing people who had attended a party against poverty) or Sharifa Khanum who fights for the rights of Muslim women in Tamil Nadu; or locations like the Congo valley (one of their biggest projects) where Najm works with local volunteers to educate and create a life for the impoverished youth of the region, the girls have spent time understanding where the funds collected will be going – by actually speaking to the people they are trying to support. Kumar defines a very clear-cut process-driven approach to tackle the issues that may prop up. “I think the first most challenging thing is to find the right organisation to work with: a lot of them either have high administrative costs or aren’t genuine. Secondly, we spend at least three to six months working with them to ensure that they genuinely do what they claim. After which, we raise awareness among people through photo essays, documentaries and articles in the press. Then comes the actual process of raising funds for the organisation. The challenge sometimes is finding sponsors to enable having a party at cost price so that all of the money raised goes to the charity.”

The organisation is run by affluent people who are only looking to help creatively – they will find just use of your talent and just cause for your money. The fact that the idea germinated from a collaborative friendship, makes it a strong foundation that keeps the fire burning. Tanna agrees, “Collaborating with friends on projects is always a motivation in itself. CAP has no financial backing. Our currency is our positive energy and enthusiasm. Since we share the same ideology we motivate each other to work harder to alleviate poverty and find new and creative methods to help the NGOs we support and keep going.” And they maintain that a 100 per cent of the money raised goes to the cause they have identified. Trust is a huge factor in their working: they are tapping into friends and family who believe in them and their due diligence and in turn, the causes they support.

“IN INDIA CHARITY IS ASSOCIATED WITH SACRIFICE AND PURITANICAL BEHAVIOUR, which is not how it needs to be. There is nothing wrong with going out, drinking, spending money and giving back at the same time. It is the ideal form of capitalism.” – Bharati Thakore

While that’s a great concept in itself, you wonder if people balk at the idea of mixing ‘poverty’ and ‘partying’ into a palatable cocktail. Tanna believes that partying with family and friends is always fun. “While it may seem odd to some that we raise money by partying, I believe that in doing this we have activated members of society who usually give little or no thought to charity to become aware, reflect and contribute in a small way to helping the underprivileged. Party Against Poverty is an unconventional approach to charity – it makes charitable giving fun.” Najm states very simply that they were simply bored of the repetitive partying scene in the city: despite the fact that it was so dynamic, it was purposeless. “We just didn’t feel like dressing up and going to one party after another and shelving the issues that we were confronted with.” But isn’t it intrusive or doesn’t it defeat the purpose of having ‘fun’ to have to deal with depressing or dismal issues while downing a Martini? While Tanna believes that they overtly refrain from an in-your-face attitude about the cause, Najm has stronger views. “We don’t ask people to become suffocated by sadness at the idea of poverty; we offer hope that this suffering can be alleviated by something as simple as partying! People like emerging from their plush lifestyle and giving to a community. We want to tap into the goodwill of our guests, we want to take them into the slums, we use photo essays to open a window into a world where many of our guests many not have the time to go.”

In fact, it is this very tenuous relationship between the rich and the poor that initially bothered Najm. She didn’t want to involve anyone who wanted to throw money at the problem, she wanted people to give time and energy, to interact with the people they were trying to help – “to see how much fun these children can be, how creative, witty and generous, despite the poverty they are surrounded by. I couldn’t help wondering what would happen when we exposed the communities who needed help and nurturing to a world that doesn’t understand their strife? I was afraid that this would invite people with a donor mentality. We are so cushioned in our comfortable existence that our senses have become numb to the poverty that overwhelms our cities and chokes our streets. But the challenge was in putting the solution in a format that was easy to respond to – that is why we chose to party against poverty.”

Speaking to some of the PAP attendees, we realise that they come to party for a cause for a variety of reasons. Bharati Thakore, who runs a production company called Education World Films, heard about PAP through a Facebook invite, and wanted to be a part of it because she figured she would meet like-minded people who believe that philanthropy is important. “Honestly this is the most painless and fun way to contribute!” She elaborates, “Every society, including developed countries of the west has elite epicureans who live the high life because they can afford it. I think it’s a different way to get people to perform an act of kindness. In India charity is associated with sacrifice and puritanical behaviour, which is not how it needs to be. There is nothing wrong with going out, drinking, spending money and giving back at the same time. It is the ideal form of capitalism.”

Rachna Sheth, an HR professional joined PAP because she was a friend of one of the founders. Sheth admits that she did feel weird initially – partying to pay for those who can’t afford a square meal. “But, at the end of the day, PAP to me means doing something ordinary and still feeling extraordinary about it.” Juan Katrak, involved in event management and PR, also got roped in wanting to support his friend in the venture. He hasn’t observed people feeling overly bothered by the duality of the concept. “I would be lying if I said I felt weird, because we party every week, irrespective of whether it is for a cause or not. But PAP generates a good feeling – because I know I am helping out – even if the cause for which I am partying is not too evident at that time.”

Whatever the reason may be that brings the night-owls out in their finery to prowl the racy streets of the chic metros, the important thing to remember here is that they are contributing – whether in a deeply heartfelt manner or in a completely irreverent thoughtless fashion – towards enriching someone’s life somewhere in the world. In fact, while having fun with their friends they are actually making the world a better place – one cocktail at a time.

Fatima Najm, 33

Background Human rights journalism. Has worked as a reporter for the Toronto Star, Women’s Own magazine in Karachi and for Arab News in Saudi Arabia for nearly a decade on the human rights beat, besides having traversed countries activating social awareness.
Aim “We are a coalition of creative individuals who donate skills for social impact, nurturing ideas and turning those ideas into concrete action to alleviate the suffering of the voiceless communities we are confronted with.”
If not a part of CAP, she would be…“still engaged in committing human rights journalism.”
Moved by “The providing of opportunity. You can feed someone, you can clothe them but if you can provide an opportunity to them, that is beautiful because then you are offering them dignity, not charity.”
When not partying she…“would be living between the pages of the National Geographic and roaming tribal preserves.”
Desired societal change “My own approach. We have so much to learn from the NGOs we work with on the field.”

Namrata Tanna, 27

Background Television producer. Has worked with Times Now, Sony and BBC London. She makes documentary films on humanitarian issues.
Aim “Activating the inherent goodness that exists in people and using their skills productively to create social impact.”
If not a part of CAP, she would be…“Raising awareness about social injustices across the world through photo essays and documentaries.”
Moved by…“The fact that there are so many people committed to helping those less privileged lead a better life.”
When not partying she…“would be spending time with friends and family, reading and traveling.”
Desired societal change “We don’t aim to change anybody. We aim to create awareness about social issues and through that, hope that our audience starts reflecting on these issues as well as their individual contribution to society.”

Neha Kumar, 29

Background Journalist and writer. Has worked with Bloomberg News, Institutional Investor and Asia Money. Currently works as an editor/writer for a Japanese hedge fund, and also maintains a blog about humanitarian issues.
Aim “Make a change in someone’s life – bring back their aspirations and desires.”
Pet cause Youth Progressive Foundation that is setting up a school in the eastern part of Sri Lanka for displaced children.
When not partying she…“would rather be socialising with friends, writing or reading.”
Desired societal change “We hope to bring meaning to their lives by galvanising them to be party warriors.”

Trust-fund Trysts

18 Friday Dec 2009

Posted by in Humour, Publication: Verve Magazine, Social Chronicles

≈ Leave a comment

Tags

, , , , , , , , ,

Published: Verve Magazine, Musings, December 2009

Oh how we long to be young! Ironically, the young long to be mature and sophisticated. Mud wrestles and creamy cakes are not child-friendly anymore – the quotient has been upped with designer parties, kiddie spas and island hopping on private jets. The one-upmanship is like parental roulette and the trust-fund babies hold the strings to throwing a mean party, Russian circus et al, finds SITANSHI TALATI–PARIKH

I COME FROM THE ERA OF BRIGHT balloons, candy floss, Goriawala’s chocolate cake and deliciously buttery Camy wafers. It sounds like a cliché, but I don’t know where in the space of two decades childhood became a cliché and sophisticated maturity became the new youth buzzword. Recently, at a Verve A-lister party, I was amazed to see that these Chanel-bearing, Choo-tapping and Vuitton-wearing younglings (under 25, mind you) carried themselves with an air that made them out to be well beyond their years. They eyed the paparazzi through the fringes of their long masacara-ed lashes, simpered and smiled, posed and pirouetted with feline grace. I was almost embarrassed to think back to the gauche teenager I used to be. Carrie and Samantha – the ultimate echelons of style and sophistication – shared my concern in Sex and the City. Where the Hamptons are taken over by beer-spouting kids and ‘grassy’ romps on the beach, childhood has entirely gone to pot. Besides ruminating on questions like ‘where has the childhood gone?’ and ‘why must everyone be in such a tearing hurry to grow up?’ we arrive at the things people are doing to grow up super fast.

Ever heard of the ‘sparty’? Let’s take it a step further, ever heard of a ‘sparty’ for eight-year-old divas? So, you pick a cool spa like Rudra, Myrah or your favourite deluxe hotel, pack off the little pretty-somethings for a day of relaxation and detoxification – because of course education can be so stressful nowadays. Primping and softening the tresses, pedicures and manicures, will have them looking the best for their play dates. It’s a fabulous way for the little girls to bond and create lasting friendships. After all, every girl worth her bath salt knows that the secrets shared at the most vulnerable – attending to the most exquisite feminine rituals – are secrets that will last a lifetime.

That’s probably still rather tame compared to having an entire Russian circus troupe flown in for a birthday – I mean you can’t get more global than that. But then, Raj Kapoor was a trendsetter in many ways – though the poor chap may be turning over in his grave at the thought of the fresh age group his ideas now cater to. So custom-made Hello Kitty invitations-and-theme-parties probably don’t stand a chance against a Russian circus, but then what are the less fortunate to do?

Pyjama parties – sleepovers – are still in, apparently. It always helps to read the updated fine print – because you might find your knickers in a twist when you realise that sleepovers come with a spanking new avatar. I may have studied at a co-educational school, but believe me, my mother would have not stood for mixed-sex sleepovers without parental control (she probably wouldn’t have stood for it even with parental control). The buzz is in on a recent sleepover of seven-year-old boys and girls at a premium luxury hotel: a heavy-duty suite booked to accommodate the growing demands of the kids, who probably enjoyed an out-of-control and slightly racier version of not-so-Home-Alone part deux. I’m guessing they weren’t just painting toenails, or is that just me?

For the concerned parents who prefer chaperoned luxe, they are careful to plan a trip for the mommies as well as their darlings – all flown out to an exotic locale – logistically preferably to a nearby country, like Koh Samui, in Thailand – to bring in the birthday of their special little someone amid Thai massages and palate-stinging curries. To be honest, however, birthday bashes at luxury hotels are passé unless they happen to be an entire island – secluded and completely private. American reality show Paradise Hotel comes alive with a private jet flying the closest friends of the 16-and-18-year-olds to the Vivanta Coral Reef (by Taj), Maldives – the latest hip resort perfect for the swish set to unwind with tantalising curry Martinis. The new avatar of the resort sits well with those willing to party hard rather than just sunbathe. The long weekend is sunny and bright: with a private cruise liner floating around, just waiting to be boarded and there is no better way to get the perfect tan that will be flaunted when back in the city.

iPhone-wielding kids in the age group of four-10 are generally used to being cajoled with TAG Heuer watches and Mercedes cars – because toys and books just don’t cut it anymore. BlackBerry phones are the order of the day for the busy eight-year-olds because they can always get a ‘BlackBerry thumb’ massage to release the stress from their little fingers at a ‘sparty’ later. And the outfits are chosen with determined precision and care – a pre-planned outing to Emporio in Delhi (or the equivalent in your urban centre) is required to make the spectacularly difficult decision between a chic Moschino and Marc Jacobs outfit for the little one who has about a decade to go before her debut into haute society.

So it is not exactly surprising that these kids as teenagers frequent hip nightclubs for their exclusive private parties – tables booked, champagne flowing, and an open tab running – where the kids I’ve seen, look no older than 12. Okay, they’re probably 14 or 15. Where celebratory escapades to Alibaug homes, on daddy’s private jets to Jaipur, Goa beach houses and Ibiza raves are the flights of fancy, I’m guessing this is the point where parents stop being too concerned about their ‘naïve’ kids taking a wrong turn when headed abroad – like making headway during Spring Break at a Cancun foam party or breaking the ice when at a semester-at-sea course.

At the end of the day, it’s not just about throwing the party of the century. The cyberworld, paparazzi and glossy magazines should all be buzzing with reverential whispers of your budding creative genius. In whichever way you choose to package your baby’s luxe bash (no pressure, of course), ultimately it is merely a test of your imagination, creativity and trust fund that gives it the right touch of extraordinaire. After all, it is going to set the standard for your child’s future endeavours.

Art and Conversation

27 Friday Nov 2009

Posted by in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , , ,

Published: Verve Magazine, Features, November 2009

Photograph: Ritam Banerjee

Former wife of advertising magnate and art collector Charles Saatchi, Kay Saatchi has been following the path to international curating. At the Art Expo in Mumbai, she talks to Sitanshi Talati-Parikh about watching Damien Hirst as a student, living with unliveable art, and being Kay Hartenstein Saatchi

 

Satchi

In the maze of people at Nehru Centre, it took a while for us to find each other. Once I did, it took but a moment for me to realise the lady embodies resilience and vulnerability. There has been much said and a lot more not said about Kay Hartenstein – former wife of the reclusive art collector and advertising magnate Charles Saatchi, who after their divorce in 2001, married celebrity chef Nigella Lawson.

 

American-born Kay had moved to London to start an art gallery of her own, but not long after ended up curating around 30 shows in eleven years at Saatchi gallery (and a dozen more after) while being Mrs. Charles Saatchi. All through she concentrated on “mothering” young artists. “I like watching them develop their career along the way. I’m not really in it for financial reasons, but you can’t help but feel clever when you buy an artist when they are terribly young and discover that you have made a good investment 20 years later.” She met the now internationally-renowned English artist Damien Hirst when he about 19, an art student going around the degree shows. “I saw his very first show…when I was married to Charles Saatchi, we gave him big shows – I’ve known him always and forever.”

 

How does she pick up on who will be the next big art sensation? “After all these years of going around shows, your gut instinct becomes the strongest factor. Artists have to have skill, and conviction about what they are doing. I spend a lot of time talking to them about why they want to be an artist and what they’re trying to say with their art.”

 

The 56-year-old Southern belle with a clipped British accent maintains her interest in art began when she was a baby. “I am quite creative as a person – I paint and draw and take photographs. Every Saturday I would wander into art galleries – it’s always been a part of my life. The process was that we (Charles and I) would go see everything. We would travel to Zurich, New York…that was the fun bit, I loved that. I have behind me 25 years of learning – meeting and talking to dealers, collectors. If I see a work of art in a degree show, I will immediately know if it connects up to something I’ve seen before. Artists tend to copy other artists – they tend to be greatly influenced by the work they admire…until they find their own voice. I can sift through that.”

 

She has seen all kinds of art – beautiful, outlandish and even macabre. Can she live with the things she buys? “I do! But also, I have had the incredible privilege of having a gallery with my ex, where we can exhibit things that would be of too big a scale or too demanding to have at home. I have had some wild things at our house (think Damien Hirst). It changed for me when I had a child in 1994 and I thought, ‘I don’t want this little toddler growing up and looking at rather shocking art.’”

 

If people are going to think twice about housing a work of art, what purpose does it serve? There is an idealistic spark in her eyes as she warms up to the topic. “It’s the creative process,” she emphasises. “Whether or not it sells! It’s good for the artist if it does, so they have the money to pay the rent and keep making more art. Some people like living with very shocking art…art is less about shocking now than it once was. Lately there is a trend towards beautiful craftsmanship and beautiful sculpting. In the English art world people wanted attention and publicity and that worked very well. There would be huge headlines about artist Tracy Emin’s ‘unmade bed’ (from the series My Bed) and that’s good up to a point. It’s not what the real meaning should be.”

 

As she winces at the state of her hair in the local post-monsoon humidity, she confesses that she is very partial to India. “Art is born out of the culture and this is a culture that I am very interested in. Some of the Indian artists are fantastic – I love Anju and Atul Dodiya’s work.” She pauses and as an afterthought adds, “The Indian art market has developed very quickly – it has had to slow down like the rest of the world because of the economy, and that is probably not a bad thing. A little correction and not everyone thinking they can start a gallery without doing their homework!”

 

“It’s okay not being a part of the Saatchi gallery anymore. At the end of the day, speaking about owning things, they are just things. I buy art all the time. I don’t want to have a gallery again – neither commercial nor private. I buy small things, emerging artists, things I can house. I try to get my other friends that are collectors to buy what I love! What I liked about doing things at the gallery was getting to know the artists, handling the shows, introducing art. When we started doing this, there wasn’t too much contemporary art being shown in London. It was just the excitement of it all and the memory of that which keeps me going. I like to look forward, not backward.”

 

I delicately broach the topic of the love of art bringing two people together and then suddenly realising that the love for art is all that’s left. That, and a teenage daughter (Phoebe) she talks fondly about. She seems perturbed by all the “rubbish about her past life” that has perpetuated on the Internet. While she considered going back to her maiden name after her divorce, she found that people remembered her as Kay Saatchi – “besides, it helps to get a table reservation!” she quips. On a more serious note, “I hope I am defined by my efforts in the art world and not by my name.”

Deepika Padukone: Killing Them Softly With Her Smile….

20 Friday Nov 2009

Posted by in Interviews (All), Interviews: Cinema, Interviews: Cover Stories, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , , , , , ,

Published: Verve Magazine, Cover Story, November 2009

Photograph by: Prasad Naik

She responds to questions with wide-eyed innocence. She will giggle and toss her head, even shriek with laughter. But to get her to reveal her innermost thoughts is a real job, discovers Sitanshi Talati-Parikh as she engages Deepika Padukone, voted the ‘Hottest Girl on Earth’ by a men’s monthly, in a freewheeling chat

Deepika04

There has to be a sense of mystery,” she intones, weaving her charm around us, zapping us with those smouldering doe eyes. She is the antithesis of the ‘socially networked generation’ that keeps fans enthralled with their hour-by-hour updates. A child-woman combination: the dimples in a captivating impish face reach out to you as if wanting to say something, but with firm, resolute determination, Deepika Padukone keeps interest at bay.

I look squarely at the long-limbed, quietly self-assured girl and wonder why she constantly holds back – doesn’t let herself be understood. “Having a guard or barrier up, not telling all, is a good thing.” She flashes that 100-watt smile. I don’t melt. I’m angling for a peek. “But that peek will never end. Today you’ll peek and tomorrow someone else will say I want to peek a little more – and then there’s no mystery left!” She continues animatedly, “There’s only that much we want to share with people. We are also human beings leading normal lives. You have to keep some things – nice and not-so-nice – to yourself. Even normal people don’t share everything with their friends and family. It’s important to have people wanting to know more.” That must take some effort – being consciously ‘normal’, constantly enigmatic. “It’s not an intentional thing. It’s automatically created. I’m not someone who makes the effort to create a particular aura around myself. I mean, how do you create something like that? It’s important to just be you and be real.”

She is Meera Pandit from Imtiaz Ali’s Love Aaj Kal (2009): the strong, silent type, simmering with emotion within. “Like Meera, I absorb and understand a lot without having to say anything. Even the way I react to certain situations. In the film, Meera is silent, as she wonders why Jai has waited until her wedding day to tell her how he feels. Only people who have understood the character have understood the silence in that scene – and that’s how I am. A lot of things are better left unsaid.”

Deepika was a great co-star. She suited the role of Meera in Love Aaj Kal really well and displayed a lot of depth. She is a very quiet and professional person, and seems down to earth and very attached to home.
– Saif Ali Khan, actor

While the twirly ‘RK’ tattoo on the nape of her shapely neck stares at me defiantly, expressively and even outrageously, the girl with the tattoo remains stubbornly silent about discussing relationships – past or present. Of course the letters could stand for anything – rock king, reverse karma, renegade kitten. While Wake Up Sid star and heart-throb Ranbir Kapoor and her make a very attractive couple, the rumour mills have been suggesting turbulence. “I’ve reached a stage in my life, in the last couple of weeks, where I have become a little superstitious and I don’t want to talk about it. I am guarded now. I want to keep it to myself. I think enough has been said, stories going back and forth, people saying what they want…. As long as we know what’s happening in our lives, that’s all that matters.” Does she aim for perfection? After all, Kapoor has been recently quoted in a daily, saying, ‘I don’t want a perfect life.’ “Ranbir and I come from different families – I guess what he thinks is perfect or imperfect will be different from what I think. For me, a perfect life is when obviously everything goes my way. If I am happy doing everything I am doing, happy in the relationship I’m in, with the way my career is going, my family life, if my films are successful, if I am being appreciated for my work, if I’m eating good food…that’ll make me happy.”

Surprisingly, underneath that controlled veneer, she confesses to being a die-hard romantic. “I am a complete sucker for love and romance. I love doing those perfectly romantic things. Being in love is a beautiful feeling. I’ve written lots of love notes….” In a (desperate) bid to get an unrestrained confession, I suggest, ‘Have you ever gift-wrapped yourself?’ I am rewarded by a widening of the kaleidoscope eyes and a look of shock. “Gift-wrap myself?! NO!” A moment to reconsider – “But that’s a good idea!” She chuckles – possibly planning a 5-feet-9-inch surprise in her head. “In the kind of life we lead, the best gift that you can give is spending quality time with each other. No amount of material gifts makes any difference.” How often does that happen? “You’ve to make time for it. People think that if you are in a relationship you’re distracted, but I’m very good at balancing it out. It doesn’t mean that I am not focussed or not as driven as someone who’s single. It makes it easier, because it feels more complete. Romance can’t be defined. There’s too much theory on love and romance and relationships – you can’t go by what the textbook says. Sometimes you just need to let it be – the process and experience is different for different people. When you are in love and in a relationship, everything just falls into place.”

We certainly did not expect Deepika’s dream to be a top model to be realised so soon – it’s entirely due to her determination and clarity of thought. We are extremely proud and while we want her career to continue, it is more important that she make an effort to be a better human being and remain grounded at all times. It may look charming from the outside, but it is a very tough life.
– Prakash Padukone, father 

Adulation then. That must be a tough one. “It’s something I already knew would happen to me when I got into this profession. If you do well, that is. If you are honest to your work and performance, everything else will follow – fame, success, money. My family keeps me grounded. Fame is not new to me – I’ve seen the way my father has handled fame and success. Today it’s there, tomorrow it may not be there.” Will that be okay? “It would be if I’m not affected by it now.” But it’s a part of your life, you’re used to having it around. What happens when it’s not there? She hesitates. “I have no clue. It may be scary.”

Six films in the kitty – with romantic thriller Karthik Calling Karthik opposite Farhan Akhtar and comedy Housefull due to release next year – and she’s already worked with some of the top directors and actors, across genres. Not to mention handling a box office debacle, Chandni Chowk to China (2009), with equanimity. “You move on. I handle my successes just the way I handle my failures. Ups and downs are a part of my profession – there’s no point feeling bad about it. I’ve worked hard and as an actor I know where the film went wrong and I’ll be careful next time.”

Deepika is the epitome of an Indian beauty – regal, graceful, dignified and with a maturity well beyond her age. She has always been a consummate professional, the discipline deeply ingrained – probably from her modelling and sports background. She will go a long way.
– Farah Khan, director

It may be The Secret or just plain wilful resolution, but Padukone hasn’t found herself floundering through decisions like a radical career shift, moving from Bengaluru to Mumbai (which was a huge change for the Padukone family) and disassociating herself with beauty pageants that have been the ticket to stardom for many a model. “My mission for myself was that I would become a famous model – without taking part in a beauty pageant. It’s a great platform for certain people, but it’s not for me.” Hesitant to break away from her firmly adopted diplomacy, she explains, “I can’t compete with other people and be questioned about what I want to do. And being given points because I’ve answered a certain way – that’s just bizarre. I don’t get it.”

With ex-badminton champion Prakash Padukone as her father, a younger sister entering pro golf and the fact that Padukone herself used to play national-level badminton, it was just her single-minded knowledge of who she wanted to be – a top model – that brought her to where she is now. “I didn’t enjoy sports enough to make it a profession for the rest of my life. You just know that something is coming your way or something is meant to be and it all fell into place.” It’s like a fabulous dream, I suggest. She interjects sharply, “But I’ve also worked hard for it! Which is why this is happening to me. I’ve done the right thing at the right time. I also believe that if you really want something, it happens.” At 23, Padukone is the owner of a Mumbai home and a BMW to take her places. But she is far from resting on her laurels. “I haven’t done everything! I have a lot left to do. More films (an Indian period film, like Umrao Jaan)…and so much more in life too. At 60 I’ll hopefully be married, with a happy family…cruising somewhere. When I look back I want people to remember me as a good human being – not an actress or a famous person. If you are not a good human being, nothing else matters, how rich you are, how beautiful you are… whatever you’ve achieved doesn’t make any difference to anyone.”

I can see that the intent to be a good person is deeply ingrained. And it is this intrinsic goodness which may have been taken advantage of. Someone somewhere has touched a raw nerve and made her a hard-backed turtle – careful, diplomatic and withdrawn. I sense a deep-rooted distrust of the media. “Sometimes it (media) bothers me a little bit. It’s annoying when stories are fabricated. Check with me, clarify with me – that’s fine. When things just come out of nowhere – I’m not saying everything is false – but not everything is true. It is annoying when things are not true.” There appears to be something specific on her mind. Just as I feel that she may say something more, the moment has passed and she has reverted to her unflappable self: “If you look at everything positively, it shouldn’t matter. I can’t pick up a tabloid and read it. It might affect me for a bit but then I get into yoga and other things and I get my mind off it or get into work. There’s no point being upset over something. I like being surrounded by positive people and positivity. I get over things fast. I have no idea how I manage – it’s scary sometimes! My father in particular has been a very positive influence – ‘don’t let things affect you, if something is bothering you, talk about it, let it out.’” Obviously there was a footnote which said, talk, but be careful whom you talk to.

Deepika Speak
Greatest fear “To lose loved ones.”

Filmi buddies “Beginning with Ranbir (Kapoor) – you can’t get filmier than that! I’m in touch with a lot of actors like Asin and Bipasha Basu. We don’t hang out – we speak or sms each other once in a while. I’m pretty okay with everyone…Priyanka (Chopra) even. We used to meet earlier, now we don’t, but we’re still in touch.”

Quirks “I am obsessed with cleanliness. If I have to live with someone, I’d clean their mess too!”

Passions Work, food, playing sports, yoga.

Pet Peeves “None.” Not possible. Thinks. “None.”

TV’s Dressing Down

18 Wednesday Nov 2009

Posted by in Art, Literature & Culture, Features & Trends, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , ,

Published: Verve Magazine, Nerve, October 2009

Looking at cult American television styling for inspiration may not be such a bad idea for the Indian boob tube, suggests Sitanshi Talati-Parikh

It was in 1998 that a deep sense of style began to permeate American television, with the advent of hit TV show Sex and the City. While the women were sharp, well put together and style conscious, the show only became the crucible of fashion a couple of seasons down, as it became more firmly established and daring. Not surprisingly, the show won an Emmy award for Costumes, and last year, designer Patricia Field launched a 60-piece Marks and Spencer clothes line modelled on the show’s styling.

Television04

And in that very fact lies the secret of the show’s successful outfitting: it brought about the genuine mix of high street and high-end designer fashion and made it accessible; also pointing out that the protagonists are not afraid to poke around musty vintage shops. Not just in the fact that Carrie is brave enough to wear her wardrobe experiments with élan, but also the fact that her concoctions are acceptable because of her supreme confidence. Think of the time she wore a Chanel top backwards with a handkerchief, or embellished her outfits with exaggerated accessories (corsages). Not to miss her unabashedly running through the streets of Manhattan in bright hot pants and stilettos.

One would assume all shows set in Manhattan would immediately be style and brand conscious – but that was not the case with Friends, where the styling was often atrocious (which did nothing to reduce its fan following). Gossip Girls may never achieve cult status like that of Sex and the City, but for both men and women, the show promises a feast for style-conscious eyes.

Television02

So what’s wrong with urban Indian television? Is it the fact that there are no shows set in trendy metros? Are we to remain relegated to putting up with the antiquated styling and oppressive jewellery of soap operas on the one hand and jeans and trashy urban outfits of reality shows on the other? Brinda Shah, styling consultant for television channels like Zoom explains, “We have a lot of restrictions in terms of clothes. Not just with the censor board which is difficult to say the least, but also the fact that Indian women cannot carry styles like high-cut backs. While celebs and VJs can experiment, regular people and TV actors are not as easy to work with.

The receptiveness of the audience needs to be considered – and really, it’s all about attitude.”

Undoubtedly, top TRP-endorsed Indian serials manage to put together a dazzling array of traditional finery – to the extent that it creates aspirational dressing for the audience, particularly when occasions demand such opulence. In that lies the strength and weakness of the fashion quotient that exists on television: it remains more traditional costuming where the women practically ‘sleep in their jadau’, rather than moving up the design ladder to becoming cutting-edge styling that has design houses taking notice. With top designers upping the ante in the Indian film industry (where Karisma Kapoor’s puff-sleeved frilly dresses changed into Kareena Kapoor’s chic minidresses) hopefully it is just a matter of time before they decide to foray into televsion – an untapped medium of huge impact.

Barenaked Ladies’ Men

18 Wednesday Nov 2009

Posted by in Humour, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , ,

Published: Verve Magazine, Verve Man Supplement, October 2009

Salman Khan, the trailblazer of toplessness in Hindi cinema, transformed from an endearingly lean romantic hero into a full-blown male with an explosion of warrior-like muscles. The others grudgingly followed suit(less). Tongue firmly in cheek, SITANSHI TALATI-PARIKH disclaims all puns as truly intentional as she traces the shirtless journey

Ranbir01

WE LOVE THEM, WE LOVE TO hate them, and now we’ve got them by the balls. For years, Choli ke peeche remained a resounding metaphor for desi mankind, as women heaved with cleavages bared and shimmied their naked bellies. It’s time for retribution. Men have now to convince us of their physical worthiness. No, I’m not a feminist. I truly love men, but this is honourably judicious and just sound philosophy. No woman or gay man worth her/ his salt will settle for less than that.

So began the era of the shirtless man – and the ball was set rolling by Prem-boy. Boy, do I miss Prem from Maine Pyar Kiya. I’d be his friend any day! Ignoring the fact that his first commercial success may have had something to do with his lean frame and boyish charm, Salman Khan instead fixated upon the name as a lucky charm and decided to henceforth fill the screen with his presence, literally. Prem from Partner and No Entry are not exactly more prem-worthy simply because there is more of him to love. Characteristically, Salman Khan’s beefy frame became more ‘wanted’ than his histrionic abilities as he cleverly diverted our attention to his torso, with frequent fluid and well-practised moments of sudden shirtlessness. The swollen muscles oozed charm and the girls swooned. And the men followed suit. Swooning, I mean. They began hyperventilating – they realised that to be taken seriously, as true romantic lovers, with fire in their loins and sincerity in their hearts, they would have to bare all. Truth be damned, the shirt must come off. And so began that waxing of the bodies and the waning of the clothes, as the actors worked themselves into a deep sweat for the roles that demanded an idolisation of their bodies. The Khan gym became the harvest ground for the upcoming lean, mean male machines.

Shah Rukh Khan decided that the best way to circumvent this phenomenon was to do exactly the opposite – keep his shirt on. Tantalising and teasing, he wore skin-tight ensembles, T-shirts that promised a well-toned torso when peeled off, to which only those near and dear would be privy. For the not-so-lucky others, it was left to the fertile imagination and Chinese whispers. And then, someone near and dear to him decided that enough was enough. Such magnificence must not be left inside the closet, but must be shared with the populace at large. So, amid quite a splash, all multiple packs of SRK’s un-really flat belly were exposed in Farah Khan’s Om Shanti Om. The women (and men) responded with sincere gratitude – so much money was spent in a genuine quest for sensual pleasure that the two Khans (one with a flat stomach and one generously pregnant) sang their title track all the way from the box office to the bank.

Aamir Khan watched in stoic silence. He knew his work was cut out for him. Baring his chest as a farmer would only get the spade card – he needed a clever way to up the shirtless quotient into an ace of hearts. He decided that the only way to make women scream with orgasmic satisfaction was to go down south. That’s when he decided to recreate Ghajini in Hindi. His blown up torso filled the screen with its angst, the veins on his muscular arms popped out with fury – that seemed to glower with an incinerating question – Prem, Rahul or Me? After all, if anyone came after his girl with a hatchet, whether she lived to tell the tale or not, he would make sure justice was achieved. Even if it killed him to remember to do so.

While the cream Khans were running around scheming pure nudity, at the Kumars’ there was much debate about the best course of action. How could the great body transform from toned-stuntman-entertainer into sizzling garam masala? That is when they decided to take the high road – with the wife unbuttoning khiladi husband’s pants in a public display of affection. Truly hedonistic. Meanwhile, his old counterpart Saif Ali Khan was not to be left an anari any longer. He figured a hot new avatar was in order and in Salaam Namaste, in a mad Race, with a lot of Tashan, he showed the world that what he was made of. We know at least one girl who fell hard for it and requested a more detailed inspection. While playing onscreen gangster roles to vindicate his offscreen ones, Sanju baba (Sanjay Dutt for the uninitiated) decided that he couldn’t be forgotten – after all, he was in his hey days, the proud bearer of a hot bod, too! So he joined the ranks of the younger lot – the likes of Arjun (Rampal), Zayed (Khan), Upen (Patel) and Dino (Morea) who were flashing well-toned bodies and not much wit.

When you talk of the real current guard of male hotness, Hrithik Roshan and John Abraham immediately spring to mind. I recall a young Hrithik Roshan out on a romantic date with then-girlfriend Sussanne, looking dangerously attractive. He wasn’t buffed up – he was lean and lanky. And then out of the blue, Kaho Na Pyaar Hai threw up an overnight sensation – a new dancing superstar with rippling muscles and a body that seemed like it would burst out of the sheathed vests. The girls nearly jumped out of their seats with uncontrollable hysteria. I can only imagine that Roshan, a shy, ambitious youngster (the industry is full of such oxymorons) was overwhelmed with the response, scared even, so afraid for his life that he decided it was better to keep the clothes all on – at least until he was well armed. The Greek-god-superhero protected us in Krrish, battled his suitors in Jodhaa Akbar and matched wits with his counterpart in Dhoom 2, all suitably unclothed, leaving women severely asthmatic with increased bouts of breathlessness. As if that is not enough, to drive the point home hard, Roshan (with full aashirwad from Roshan senior) has decided to shipwreck our hearts even more with his upcoming super-sensual Kites, where it is all about baring more, not Barbara Mori.

John Abraham had it easy or hard depending on who’s judging. He could have been written off as a piece of rugged meat: good to bite, but tough to chew. He met all the traditional bad-boy expectations: hard, chiselled body, a driving desire for bikes and the rough road to success; and to the disappointment of many a woman, a hot babe to go with the hot body on the hot wheels. The slightly crooked, dimpled smile and the wayward earnest expression belie the fact that he has an MBA tucked up his sleeveless arm. Going straight into no-nonsense territory, steamy Jism proved early on that he had no qualms about using his body to the best advantage, Dhoom sent pulses racing faster than his bike and Dostana captured the juicy dimples in all his cheeks. After his serious nudity in New York, we may grudgingly agree with the bootylicious actor when he asserts, ‘You may know me for my body, you may think I am sexy, but you will respect me as an actor.’

And just around the corner, the boy next door has come a long way from being a performer in Shaimak Davar’s dance troupe, better known for his flamboyant relationship with Kareena Kapoor. And now he is playing the role of one of the most eligible bachelors, playing the field by playing his current relationship(s) close to his chest. Always sporting a well-expanded torso, ‘F’hahid Kapoor is riding a high horse, with hair askew, grim determination and a lean, shirtless body steering him very close to the winning line, making him the industry’s latest poster child of toplessness. Rather than well-clothed charm and boyish appeal, it is the (unnecessarily) bare-chested appeal of kamina Charlie that seems to tug at female (and box office) heartstrings.

When we speak of male nudity, there is a young debonair rake who will possibly never live down the unexpected sensation of a particular homoerotic towel scene in his debut movie, one that will be etched into memories of an unforgiving and salivating audience for years to come. He may hide behind his beard (Rocket Singh), wear khadi (Rajneeti), sleep in (Wake Up Sid) and disappear from the media, but Ranbir Kapoor will forever remain the iconic just-showered Ranbir Raj from Saawariya – all infamously fair and handsome.

Proving their own worth in the meatpacking business is the young crop of ‘thinking actors’ who are in various stages of undressing. Neil Nitin Mukesh, who has a predilection towards dark roles, has seriously gone the full monty for his upcoming film Jail. Farhan Akhtar gave us a splashy preview in Rock On!! and Abhay Deol was darkly interesting in his lazy, rather hairy topless state in Dev.D. Imran Khan has yet to show us what he’s made of, and he can kidnap us anytime to do so!

Verve and the Divas

10 Tuesday Nov 2009

Posted by in Fashion & Style, Publication: Verve Magazine

≈ 1 Comment

Tags

, , , , , , , ,

Published: Verve Magazine, Line Up (Behind the scenes of the cover shoot), October 2009
Photographer: Vishesh Verma

Lineup01
Lineup07

 

Suddenly, a lazy Sunday becomes suffused with energy – there are make-up artists, hair stylists and a host of Verve staffers scurrying about the impressive Mahindra Towers, Mumbai. Really, getting eight women of ‘hot’ couture together could be termed nothing short of an achievement. Smiles pasted, calves toned to deal with the pressure, endless cups of soda (not diet, by the way) and coffee later and we have 10 hours worth of memories of one helluva iconic shoot.

We start with two good omens: the breaking of porcelain and Rita Dhody. The first to arrive, amicable to a T and replete with fresh ideas, Rita remains, until the end of the day, charm personified. In an aside, while we wait for the others to put on the finishing touches of their make-up and get the team from Yasmin’s to tease their hair into sensational curls, she tells me, rather nostalgically, how she not only let Verve into her heart, but also into her home for an “amazing feature, full of depth, that brought in everything that was good and beautiful in my life” way back in 2003.

There is a lively sprite-like quality about Akanksha Nanda. Her vitality seems to spring from more than her slight frame and she chats with me about how much fun she had on a ‘London holiday’ where she did a fashion story with Verve and managed to squeeze in time for some heavy-duty sightseeing as well.

I skip past reams of cloth and a tangle of wires, stop to admire a couple of well-guarded stunning pieces of Zoya jewellery and make my way towards Nandita Mahtani and Haseena Jethmalani. As they are busy multitasking – what with make-up, personal chats and phone calls, it becomes practically impossible to get a word in edgeways. Besides, Nandita is terribly distracted, having made a rather ambitious plan for Alibaug for this afternoon. As her phone rings non stop and her antsy stance begins to affect the others, photographer Vishesh Verma and the Verve art team (creative director Falguni Kapadia and photo editor Lamya Bhatri) attempt to get the perfect shot.

Verve fashion director Nisha Jhangiani (ably assisted by Sohiny Das and Rishika Roopchand) has barely stopped to eat, as she flits from one woman to the next, as if on adrenalin, picking the most flattering outfit, convincing, cajoling, mollifying and possibly, mentally exploding. In the midst of it all is an incessant demand for banana chips, mirrors (and more mirrors!) and the cause of finding lost phones and designer handbags.

Malini Ramani strides in with her personal air of unabashed confidence. Immediately she needs a caffeine high – she can probably sense the zing in the air. Poised through it all, from the moment she steps out of the bubble-elevator, Simone Singh’s eyes light up with the memory of her first cover shoot with Verve – which incidentally took place right here and was ‘all roses’. Now, as she gets her make-up done, she appears apprehensive about ruining her pristine white skirt. A Verve staffer’s throw is quickly handed to her, with Lancôme make-up artist, Stafford Braganza’s reassuring voice in the background saying, “The make-up won’t spill!”

Kalyany Chawla, driving straight from the airport chats animatedly with everyone; a little hug here, a little peck there, noting every style detail and keeping a firm hand with her hair and make-up artists. Leaning forward she confides, “I appreciate the fact that you don’t have to be 20 to be on Verve’s best-dressed list!”

Waif-like Priya Kishore, who flits (even floats) across the room, confidently carrying off an extraordinary haircut, in a way that only she can, gives us a thumbs up for willing to experiment with her unconventional style. I follow her up narrow metal stairs and watch with fascination as she deftly pulls off a fabulous inside shot in a matter of seconds. She quietly takes off her sky-high gold heels, puts ballerina flats back on and flits back down to earth. It will be some time before we do.

Age of Lovelessness

18 Sunday Oct 2009

Posted by in Art, Literature & Culture, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , , , , ,

Published: Verve Magazine, Nerve, September 2009

Young men and women have become cavalier about love – romance has disappeared and it is a recall to the era of practical compromise, this time, by choice. Sitanshi Talati-Parikh touches upon the pulse of relationships as portrayed by contemporary cinema

No longer is a single man (with or without fortune) in want of a wife. Men are slippery eels – the kind who don’t know their mind and remain confused bachelor boys for life, while the woman of their dreams escapes into the arms of another. Simultaneously, women these days (the strong career-driven kind) are equally adept at being dense at matters of the heart. Spending time on a long-distance relationship is not worth the trouble to either party, and hopping in and out of a relationship is easier done than said. Love Aaj Kal (2009) takes a step forward from Hum Tum (2004) and drives home the point touched upon by Kabhi Alvida Naa Kehna (2006). Hasty marriage choices – particularly made because it is the right time to do so, or due to societal pressures or even because they seem logical, tend to lead to greater unhappiness.

Qayamat Se Qayamat Tak (1988), Dil (1990) and their ilk were about breaking free from the boundaries of familial pressures and making choices purely out of love. Movies like Chalte Chalte (2003) and Saathiya (2002) moved on to explore the consequences of following the heart and the reality of making those choices. The new age of romantic cinema is that of Love Aaj Kal, where love is about practicality. Money is not necessarily the issue here – rather it is things like geographical location, the frame of mind, the inability to say ‘I do’, the desire to not get fettered by the shackles of a permanent relationship, and the importance given to the career of both individuals.

While Love… is actually pointing out the folly in choosing practical considerations over holding onto a soul mate, the fact still remains that we are currently living in a loveless age. Coming together and moving on is so easy – the options are so much more; it is easier to break up than stay together. It’s so lacking in emotion, that a break-up can be celebrated with a party thrown by the couple together. It is the era of the thinking couples’ love story – devoid of romance, emotion and yet full of unrecognised heartbreak.

Literature: Eat Recycle Save (Tristram Stuart)

26 Saturday Sep 2009

Posted by in Food, Publication: Verve Magazine

≈ Leave a comment

Tags

, , , ,

Published: Verve Magazine, Nerve, September 2009

The writer of The Bloodless Revolution, Tristram Stuart, is back with another sit-up-and-take-notice book, Waste, about how tackling the problem of waste is one of the simplest ways of reducing pressure on the environment and on global food supplies. The UK (Sussex)-based author tells Sitanshi Talati-Parikh what’s working and what’s not in India

Tristram02

What are we doing right?
In India the recycling tradition has always thrived – kabari-wallahs collect unwanted trash for recycling and food waste is left for animals to graze on, turning it back into meat, milk and manure. As a result, India produces meat and dairy products much more efficiently than Europe and the United States. Also Indians eat more vegetarian food and less meat than other nations, and this is a much more efficient way of feeding people than the meaty diets of the West and of China.

What should we keep in mind as we embrace a more consumerist culture?
Growing food uses land and water, so reducing food waste can help to reduce water depletion, deforestation and global warming.
Nearly one billion people are malnourished in today’s world: we can help alleviate their hunger simply by wasting less food. It means the food will stay on the market where people can buy it to feed their families, instead of the food ending up in our rubbish bins.
We have to keep an eye on food companies, who often waste thousands of tonnes of food for no good reason. When supermarkets get too powerful, they make farmers grow food that they then decide not to stock, causing harm to the land and to the farmers.
The government should help farmers keep their food fresh so it doesn’t rot before it reaches the market. Simple things like fruit crates, cool storage in markets and on farms can help a lot.
Food storage in the home is really important: keep it cool, and use up leftovers – don’t let them go to waste.
Just remember: Buy what you need and eat what you buy!