Movies and TV series (1 Viewer)

RDXChauhan said:
Not impressed with the trailor, the real guy DIG Dubey narrated it beautifully in M&W Podcast.
The ' Call in the best man' and other cliched dialogues spoiled the trailer
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whenever Progressive Writers' Association or their aulad/friends get involved in a script that has potential to support nationalistic fervour, such a movie script always gets sabotaged and delivers below par. i suspect it is done on purpose, to prevent others from investing in such movies. it is a form of thought control.
 
highly recommend you all to watch

The pitt- a very realistic medical drama about ER. Show focus on the pressure of working as a emergency doctor in a hospital. You will forget that you are even watching some show. its that much realistic. There is no unnecessary love, drama or woke shit just pure depiction of pressure and professionalism. If there are doctors here you will appreciate this show more. Do watch this.

Landman- Show is about a landman who negotiates and acquires land for oil and look after oil fields in Texas. Very gritty and also shows a very realistic depiction of oil industry and its workers, also it has no woke shit.
 

View: https://youtu.be/4K5u7ngvl7g?si=aCqllt57o7EZ_nRm

Among the many benefits of the recent nationwide lockdown caused by the Chinese-made Corona virus, Doordarshan’s re-telecast of the timeless classic series, Ramayana, Mahabharata and Chanakya counts as the foremost. Needless, their enduring popular appeal has remained intact as evidenced by the TRP of Doordarshan that shot through the roof.

A byproduct of the Chanakya telecast during this period was a complementary increase in the viewership of my interview with its maker, the legendary Dr. Chandraprakash Dwivedi. It has been my good fortune to interview him to understand the detailed process, research, groundwork, and trials and tribulations that went behind making this iconic TV series that is still unparalleled in the annals of Indian television.

A common thread that emerged even as Chanakya was being telecast was a request from our readers to provide a list of reference material that Dr. Dwivedi used for his research. Here it is, organised by language and subject.

Sanskrit
Arthashastra – Kautilya


Mudrarakshasa – Vishakhadatta

Gujarati
Bhagawan Kautilya – K.M. Munshi

Mahaamatya Chanakya and Chandragupta Maurya – Gauri Shankar Joshi (pen name: Dhumketu)


Marathi
Arya – Vasant Patwardhan

Hindi

Amrapali – Acharya Chatursen

English
Arthasastra
Arthasastra of Kautilya – Translated by R. Shama Sastry

The Kautilya Arthasastra (in three volumes) --- R.P. Kangle


Maxims of Chanakya – V.K. Subramanian

Kautilya and his Arthasastra – Usha Mehta

Commentaries on Arthasastra – Various authors

History and Politics
Chandragupta Maurya and his Times – Radhakumud Mookerji

Invasion of India by Alexander the Great – Translated by J.W. McCrindle

Indian Polity – K.P. Jayaswal

Ancient Political Thought and Institutions – B.A. Saletore

Art, Architecture, Literature and Daily Life
Indian Architecture (in two volumes) – Percy Brown

Archeological Excavation Report at Kumhrar – L.A. Waddell


Essays in Early Indian Architecture – Ananda K Coomaraswamy

Early Indian Architecture – K. Krishnamurthy

Village, Towns and Secular Buildings in Ancient India – Amita Ray

Town Planning in Ancient India – B.B. Grover


Food and Drinks in Ancient India – Dr. Om Prakash

Indian Art – Vasudev Sharan Agarwal

Life in Sanchi – A.L. Srivastava

Sculptures of Bharhuth – R.C. Sharma

Life in Ancient Uttarapath – N.P. Joshi


Costumes, Textiles, Cosmetics & Coiffure in Ancient and Mediaeval India – Motichandra, et al

Trade and Trade Routes in Ancient India – Motichandra

Material Culture of Ancient India – Malati Mahajan

Ancient India as Described in Jain Canons – Jagdish Chandra Jain

India as Known to Panini – Vasudev Sharan Agarwal

India as Described in Classical Literature – J.W. McCrindle
 

View: https://youtu.be/h5hTERtHtBI?si=vPi1DeECUyLVHw9X

In this movie 'The Judge’, we could see a pattern in these Love Jihad cases. Based on that, these cases could be broadly classified into nine categories.

1) The Hindu female and the Muslim male are in love. They want to marry. The girl wants to remain Hindu after the wedding. The boy agrees. After marriage and especially after the child/children are born, the boy’s family starts pressuring the girl to convert, with dire consequences for the girl when she refuses.

2) The Muslim boy pretends to be a Hindu. Even goes to temples and does puja. So the innocent Hindu girl marries him. After marriage she discovers that he is a Muslim and then she is forced by the boy’s family to convert.


3) The Muslim boy promises the Hindu girl that he is a true Muslim and that he won’t have sex with her until the marriage. The girl thinks very highly of him because of his principle and consequently marries him. A few years later he starts marrying more women as his religion allows polygamy. This happens more in semi-urban and rural areas.

4) The Hindu girl who is ignorant of her Hindu roots and philosophy is targeted and is approached by the Muslim boy. As she isn’t aware of her own religion, she is slowly made to question it. She loses faith in it, giving the boy the full opportunity to take advantage of her. After she starts living with him, she realises her mistake. A lot of such cases have been happening in Kerala and also in other urban areas of the country.


5) The girl marries the boy voluntarily because both are in love with each other. Both are supposedly modern liberal progressives. After the wedding, the boy starts to have doubts on the girl’s fidelity as she continues to be liberal even after the marriage. So he attacks her, in most cases killing her.

6) The Hindu woman has a relationship with Muslim man that doesn't end up in marriage. There could be many reasons for this. She could already be married and hence feels guilty about cheating her husband.Or after the initial excitement she could realise that she had made a mistake. Or in some cases where the women are middle aged, they come to know that the same man is also having an affair or targeting one of her younger female relatives( which could even be her own daughter). This could make them end their relationship. Angry over this, he attacks the woman and sometimes even her whole family.

7) Hindu women are just raped and/ or murdered, usually in the most gruesome way. In some cases photos or videos are taken of girls in compromising situations, and they are blackmailed to do more sexual favours. A lot of cases in rural and semi-urban areas including those that involve Dalits belong to this category.


8) Hindu woman marries Muslim man. They both follow their own respective religions even after the marriage, and there is no interference by the man or his family. But their offsprings are definitely brought up as Muslims, with a touch of secular ‘respect’ for Hindu Gods. Bollywood is full of such cases.

9) In this category, the girl is always a minor. She is seduced and made to madly fall in love with the boy. The girl’s family won’t permit their marriage. So she is kidnapped (with her consent !). Converted to Islam. And then married to the boy as it legal under Muslim law even when she is under 18.

In many of these categories, the Muslim male tends to be already married with one or more wives and with children before he targets the Hindu girl and marries her. The Hindu girl is completely unaware about this fact.


All these categories of Love Jihad may seem disconnected at the outset, even quite extraordinary, because in many instances the kafir girls themselves participate in it willingly. But in all this, there is an underlying concept that is rooted in the Islamic ideology. And that is the need to expand the Ummah and the concept that kafir women are basically slaves and need to be treated so. Hence they are totally dispensable. When these are the ideas that are taught in Madrassas and even in supposedly ‘modern progressive’ families as a part of the religion, then it is no wonder that boys when they grow up, end up as foot soldiers of Love Jihad. It is a system approved and sanctioned by the highest authorities of their religion: Collect as many kafir wombs as possible. Increase the Ummah and simultaneously decrease the population of kafirs. And if things don’t go as per the plan then kill or injure the woman as she is just a kafir, a slave, in status. Hence such violence.


The Judge’ is an attempt to depict the typical liberal reaction of Hindus to this issue. It explores how blinded they are when they encounter such a situation. Though they may be given the benefit of doubt, owing to their ignorance due to the sparse media coverage and governments’ interference, their deliberate attempt to not even consider it as a serious issue, when sufficient evidence is presented is something that is despicable and which needs to be addressed. And our film attempts to do just that. The film also explores another aspect of the liberal Hindu elites. And that is their reactions to the issues of their fellow Hindu brethren, who tend to be practising Hindus with a better Dharmic foundation. The elites typically display a ‘holier than thou’ attitude towards them and for most part consider them with contempt. They don’t hesitate for a second to categorise such people as Bhakts, Sanghis or gaumutra drinkers etc ( ignorantly believing these words/phrases are pejoratives). This Hinduphobia (yes, practised by Hindus themselves) leads to a total rejection of the problems that normal Hindus face. And Love Jihad is typically one such problem

This film tries to present an issue that has been neglected for so long as a result of political correctness and the power that is wielded by the liberal/left ecosystem. Bollywood wouldn’t dare to make a movie on this subject under present conditions, when it is the one of the culprits promoting Love Jihad through its films and its film stars. Although this film isn’t exactly based on any of the actual love jihad cases and the story is fictional, it has been inspired by many of them. By making and presenting this film, we are trying to create an awareness and sensitise people on this issue throughout India so that girls, parents and society at large can be more alert in fighting this menace.

The film was made on a shoestring budget and was crowdfunded with several people donating generously for the cause. We wish that people watch this film, enjoy it and share it with their friends and family. We also wish that more such issues of Dharmic communities in India (which are neglected by the mainstream media and the left-liberal-secular system), are taken up by more filmmakers and more films, web series, short films etc are made
 
ezsasa said:
whenever Progressive Writers' Association or their aulad/friends get involved in a script that has potential to support nationalistic fervour, such a movie script always gets sabotaged and delivers below par. i suspect it is done on purpose, to prevent others from investing in such movies. it is a form of thought control.
Click to expand...
swesh said:
www.dailypioneer.com

How CPI’s politics sapped Ipta of its vitality

A major reason for decline of Ipta was the CPI’s tight control over its cultural units which were forced to do propaganda Ipta entered the world of cinema. By 1946, Ipta members had done two films. Neecha nagar, released on September 29, 1946, was directed by Chetan Anand. The other was Dharti
www.dailypioneer.com www.dailypioneer.com

Though Ipta was active till the CPI suffered a split in 1964, it was not even its shadow of the 1940s. Meanwhile, the cultural spectrum of India saw a sea change, as the entertainment of mass popular cinema, film music and commercial theatre gradually took over. After 1964, except Balraj Sahani, Kaifi Azmi, Habib Tanveer, Shabana Azmi, Javed Akhtar, etc., only a few popular faces involved themselves actively with Ipta. In Bengal, the new party CPI(M), born out of the split, got the Ipta name whereas the CPI renamed it as IPCA. However, at the all-India level, the CPI still owns the name Ipta. In 2017, Ipta celebrated its 75 years in Patna with a big festival with theatre, song and street plays.
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The pseudo-secularization of Bollywood had begun in earnest in 1936, when the prejudiced brain of Sir Syed Ahmed Khan – father of the two-nation theory and promoter of Aligarh Muslim University, brought forth an organization to control the intellectual narrative, called the ‘Anjuman Tarraqi Pasand Mussanafin-e-Hind.’ For broader coverage, this bunch soon morphed into a leftist cult called the ‘Progressive Writers Association’ (PWA), which included Faiz, Manto, Rajinder Singh Bedi, Sahir Ludhianvi, Amrita Pritam, etc. Later, in 1943, the Communist Party of India under PC Joshi took the same PWA members and birthed a bigger entity called the Indian People’s Theatre Association (IPTA) boasting of Bimal Roy, Chetan Anand, Prithvi Raj Kapoor, Balraj Sahni, Kaifi Azmi, Utpal Dutt & so on[8]. Like most Communist activities, IPTA too was a deceptive front for their naked propaganda – first via theater and then via cinema. It was here that the Left got deeply rooted in Bollywood

stophindudvesha.org

From Namaste to Salaam: Bollywood's Islamization

How India's largest entertainment industry devolved from being the voice of India to becoming the voice of Pakistan?
stophindudvesha.org stophindudvesha.org
 
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