Kabali – Don’t review God

o-KABALI-facebookImagine standing in front of a tornado that’s fast approaching you at the speed of 280mph. And you stand there ready to dive into it. You stay put. All willing to hitch a ride. The tornado arrives with some dizzying surround sound. Engulfs you. And carries you to a spot which is the epicenter of an earthquake. And then suddenly ejects you out into outerspace..where you are floating somewhere between Neptune and Uranus.

I think such an experience cannot be called ‘watching a movie’.

So when a lot of them seem to be let down by ‘Kabali’ because of high expectations…I feel sad. Because I feel their expectations weren’t high enough. They weren’t willing to let go….and probably wanted to be sitting close enough to the ground…and maybe take them only as far or as high as a giant wheel can . Where they still get to see ‘familiar things’ around them. Like spotting their school from up there. Or point around towards some parks and roads which they’ve seen from close quarters. And get all excited because they are now seeing the same from as high as a giant wheel.

Kabali is certainly not that.

Don’t go, if you are in it for a movie. Don’t go if you are in it for a story. For screenplay. For familiar emotions being replayed. Don’t go for technical brilliance. And certainly don’t go if continuity, logic, brilliant performances, a coherent story, great character sketches all come in as prerequisites that first need to be fulfilled and tick-boxed before you are ready for the ‘take-off’.

Don’t go if you are not willing to ‘let go’.

Go only if you are willing to get carried away. And be swayed and swung and spun and churned and thrown around by the only superhero we know who exists for real.

He’s here in his newest avatar to take you on a heady trip you’ve never experienced…not here as a cuddly grandpa to sit you down and tell you a story.

And yes, he and we, want no time wasted before we’re in the middle of this trip. Because he knows and so do we that we’re here only for that trip. Nothing else. Rest is mandatory.

Yes, since he’s decided to only meet us at movie halls, he’s engaged some mere mortals who have sat down and put together some mandatories for that to happen. If you are going to be stuck there…then you are missing the ride. The larger picture. The madness. The heady giddy mix of all things Thaliava…all things Superstar…all things that we are in it for.

I have been watching every movie of Rajini ever since he made my brain understand that there are some things in life where every part of your anatomy can be given immense joy at the same exact moment.

There is nothing more supreme than this euphoria. Everything else is a means to it.

And ever since, after having watched every movie of his, he’s only left me behind with this feeling that makes me pissed off with the people who contribute words to the dictionary. Only because they haven’t invented a word that can fully express what this feeling is.

This feeling has now grown with passing time. And now this feeling has somewhere crossed the line and now has the audacity to make demands.


‘Expectation’ makes you the higher one. Makes you and your imagination the elevated one. And then someone has to rise above to meet it. It is great when you have it in some cases…and it’s absolute stupidity when it comes to some other things. And certainly impudent and immodest when it comes to Rajini.

kabali hi resTo me, ‘Kabali’ is a return of sorts. Right from the credit title. Where it’s back to where the ‘Superstar’ phenomenon all started. Back to those little led lights that tries to illuminate that feeling on the screen. A feeling so euphoric, that we’re unwilling to accept any word that the dictionary has to offer for it.

Rajini gives this feeling a new journey. A new path. Rajini reboots. Restarts. And goes back to a place where it all started. Back to that place where he walked into that dingy stage at the ‘Gubbi Veeranna’ theatre. Where he played the character of Ravana in a play.

A time when people queued up only to see him. He was there to show you how menacing he can be. People came to watch that. Nobody came to see the story of Ramayana. Everyone knew it. They came there to lose themselves and travel along with him.

Over there people knew the story. Over here I feel we need to assume it. Either way, the fun is only in travelling along with him.

He’s back here playing an evil baddie. He goes about killing everything that doesn’t suit his taste. Who or what he’s killing doesn’t matter or shouldn’t. Why he’s killing too shouldn’t. That part is ours. To fill it up on our own.

Half of what Rajini does lies in our imagination. Whatever he was fighting…we weren’t fighting the same enemy in our heads. We were fighting our own. He just gave us the manner in which it needs to be done. And we loved it.

We’re only back here for a refresher course. Not for a movie. To learn from a man who teaches us as to ‘how it’s done.’

And then…we now have to come back to terms that this is a movie.


Tiring to interact with people who still see him as an actor. And as an actor who acts in movies.

And then to see some reviewer say ‘his age is beginning to show’. I wanted to laugh out loud. Like the way Rajini laughs. I only want to ask him ‘where or when was he trying to hide it?’

“He’s not moving in the same speed. Not picking up the guns with the same swiftness.”

Now show me a 60 something man doing that with even half that speed. Fuck that. Show me a 20 something anybody who does that with one hundredth of that swag or style.

Infact he adds a whole new body language. That I think is nuance.

Chuck it.

Ok…now coming back to what if ‘Kabali’ were a movie.

After the previous two disasters, Rajini has understood the dangers of the tried and tested. The very idea that he now stars in a movie like this sends out a strong signal that he’s moved on.

Rajini has chosen a guy with right kind of sensibilities.

Even if he doesn’t have the right sense.

Pa Ranjith’s desire of seeing Rajini as a menacing gangster who probably should have been in ‘lock stock and two smoking barrels’, is absolutely mind blowing.

The mind-blowing part of Ranjith pretty much ends there. And is then taken over by Santosh Narayan.

Santosh is sensible enough to understand that all the bullshit that Ranjith serves and all the awesomeness that Rajini radiates, needs a separation.

His job is now then to become a guide of sorts to bring our attention back to the screen at the right moments.

Which comes in the form of a siren. A siren that summons us back. A siren that has been programmed to release the dormant endorphins within our bodies..asking us to drop our popcorn, leave our phones alone, stop our pee midway and rush back in time to succumb ourselves to the God on screen.

Kabali_2834894fAnd It is in these parts where Rajini takes it upon himself to more than make up for the mistakes committed by his mere mortal crew.

It’s only then when it strikes us.

That we were here only for him. Nothing else matters.


Like when you wait for your turn at a barber shop, you do notice a lot of things. You notice it, because you are doing nothing but just waiting. You notice that the barber just went outside and blew his nose, and then he’s back massaging some guys head. You watch some random telegu channel, which you have at your home too, but never ever stopped at it. But you now watch it in the barber shop because you have nothing better to do than wait. The guy next to you is on the phone speaking to his uncle about some sick relative of theirs in a language that you dont understand but you strain your ears and try and figure out the story because you have nothing better to do in that barber shop than wait.

Court is an incredible incredible documentation of just observations. Observations that are so accurately translated back to cinema.

c o u r t_0If every road, every street and every room in the country had a cctv camera, and if one incident were to be covered in its entirety by only using footage from these cameras, the result would be something like court.

Court makes everyday life more exciting than fiction. Court throws the spotlight on everyday mundanity and makes it steal the thunder out of the most bizarre fantastical dream. Court creates superstars out of nobodies. Court makes you sit up and take notice of everything happening around you, and makes you believe that your life is not mundane. It makes you think that you could actually be amidst the most engrossing story ever.

Court opens up your mind to a new topic. A mundane life. And it has the sexiest stories hidden underneath.

Emosanal connecsion


The pop corn seemed potent. And the coke tasted like neat vodka. Watching Dev D is like going on a dizzy ride into fantasy, rather ecstasy. The thrill is quite similar to screaming together in a rock show, watching the local band belt out ‘cocaine’. The intoxication is so misleading, that you start confusing the cheap liquor inside you to be something of an higher order. 

Fluorescent streaks of colour, crazy camera works, eclectic sound effects transport you to a world that you only hangovered about till now.  

It looks like the director, the cast, the cameraman, the spot boy, the editor were on dope throughout the making of this film. And the censor board was on a overdose  to pass it. 

The film is a narcotic pot boiler (quite literally) of a man who indulges in everything that you only had seventh hand information about. All said and done it was one hellofatrip in the name of modern cinema. All the weed that Anurag Kashyap sowed has reaped off. And it shows.dev-d-0a1



What distinctly catches your eye in that dark tele cine are a few scenes, infact single symbolic shots, like the sex starved punjabi kudi who cycles away to the some ganne ke kheth with a bed on her carrier, freeing the location from the clutches of Yash Chopra and his disciples, and putting it to better use. 

Or the scene where Abhay Deol walks in slow motion, out of a wine store balancing an entire carton of vodka on one hand, to depict the extent of his misery. Worth learning how to whistle.

Or the scene where the firangi girl turned prostitute, regrets why her father did not pardon her for all her sins, and Abhay Deol pulls her close and gives her a hug, reciting the same lines that she wanted to hear from her father. 

smoking-upYes, there could be people who would argue that this encourages alcoholism and drugs and spreads messages that are against our culture. But again, it is only a movie. Nobody set out to install lightbulbs in villages after seeing Swades. Maybe, movies can only do so much. So, it’s best to leave your moralistic viewpoints aside, and watch this movie for the sheer pleasure of watching good cinema.  

The guts behind getting a local brass band to lend their voice for the lead single ‘Emosanal Attyachar’ says a lot about the director wanting to redefine the tried and tested Sonu and Udit for delivering a hit, or for that matter  engaging a garage musician to score the music tracks.  

Apparently, most of the songs were written by the singers themselves, because Anurag had identified closet poets behind those voices.

This movie actually reminded me of someone closer home who tried what Anurag accomplished, a decade ago. Uppi.satyam42

Yes, if you follow closely, there is an uncanny resemblance to what Uppi set out to do when the audience had still not got their fill with run of the mill stuff (the rhyme happened without my knowledge, sorry about that). Right from the title, Uppi decided to be different, yes just for the sake of being different. Titles like A, Shhh, Om, Upendra, Swastik, H2O and other titles that weren’t as distinct as the ones above. 

However prepared you might have been for unpreparedness, Uppi still had surprises. Surprises that you enjoyed. Fleeting references to situations that you’ve been through in the past. He narrated stories from a place that you left behind to join a group that you actually don’t belong to. He sucked you in, releasing you from the trappings that you have so stupidly got yourself into. He welcomed you back to a world that is loud, unpretentious and mediocre, where appreciation required no additional knowledge or effort on your part. Letting you give in to the unpolished side of yourself, that you sometimes so desperately seek in the world you’ve graduated into. 

Crude dialogues, unpoetic lyrics and extreme performances found a method to creep into plots that made the last benchers of school, first benchers in the cinema hall. Weaved into stories where you willingly reduced yourself to the lowest common denominator. 


Sample this dialogue from A…”Indian culture is great, Indian tradition is great, Indian heritage is great….but Indians are not great.” This is juxtaposed against a rape scene, where he steps in to save the victim. Over the top and deshdrohi..ish, but thoroughly enjoyable when you become one with the crowd and whistle along.

The story lines made you uncomfortable in your seat, and the message was conveyed only after tossing and turning in your bed that night. For instance, Upendra was a film that set out to prove that a man can actually have relationships with three different women, one for love, another for lust and the third for marriage, as all the three from one person could be unsatisfying. Or H2O was a story about a Kannadiga and a Tamilian falling in love with the same woman called Cauvery. And just to make it more difficult for audiences used to regular cinema, he made it a bi-lingual film, where the two heroes (He and Prabhudeva), spoke in Kannada and Tamil respectively. What happened was not as surprising as the film. It was promptly banned.

Strangely, I find far too many similarities between these two geniuses of cinema.

I found the cinematic treatment of Dev D slipping into trance, quite similar to Uppi’s introduction shot in Upendra. A technique where still photographs are taken on a trolley that rotates around the subject, and then strung together in high speed, to give you a crazy rush. Apparently, Danny Boyle advised Anurag to use this technique to get the desired effect, while Uppi plainly learnt it from ignorance.  

Or for that matter, the shaky camera that blurs on and off as Dev D approaches his lover after downing a bottle, is quite close to the ‘helkolakke ondu ooru’ song where Uppi in a similar state goes swaggering all over the place, conveniently transferring the buzz in his head on to yours. And made it a universal favorite of every boozard in crowded cheapo bars, when alcohol began to corner them to solitude. Suddenly a lonely victim from under a zero watt bulb would break into this number, slowly drawing the fellow drunkards into his gloomy world. Eventually, the entire bar would echo his sentiments, pour their left over drinks to plastic tumblers and sway down the dark stairway, singing in chorus, bumping into each other and bonding like buddies, finding similarities in the shitty scripts that God  had written for them.


Uppi then offered further comfort to lonely love-struck boozards with an optional number in H2O, ‘Dil ilde love maadukke”, repeating his cinematic treatment with lyrics that conveyed feelings for his beloved by comparing them to alcohol, that roughly translated like this ‘If I see you, it is like downing a 60. If you laugh, it is like downing a 90. If you talk to me and laugh at the same time, it is like downing a full bottle.’ These automatically found an emosanal connection with Auto drivers and truck drivers, who paid homage in the form of distorted caricatures of Uppi on truck and auto backs. 

Uppi fused popular advertising baselines like ‘Boost is the secret of my energy’, or ‘Amul, a gift for someone you love’ into his film’s music track of ‘A’. As juvenile and crazy it might sound, it certainly boasted of a newcomer’s guts who gave into his raw instincts without letting them steer away into logic, without processing them till they came back without that spunk of spontaneity.  

Even the posters were eccentric. The poster for ‘A’ had Uppi pulling a handcart with a woman sitting on it. He narrated the script to a local artist, and asked him to paint anything that came to his mind after hearing the story. He then added a baseline under the painting that read ‘For intelligent people only’. The poster for the film ‘Upendra’ had Uppi screaming, with the letters “FRID’ in bold. He later told me that it meant nothing. He wanted to write something in the poster that meant ‘nothing’, just to get people talking about it. And it worked. The public went bonkers trying to decode that nonsense, and even drove them to buy a ticket, just to solve the puzzle. 

He then wanted to make a movie with no title. His distributors who were still clinging on to sanity, requested him to call it something, or they would not be able to list it in the papers. Uppi found an intelligent solution that could keep both of them happy. He gave it a symbol instead, the symbol of Swastik. The posters had nothing but the sign of Swastik. This time, he got people guessing, what the name of the film could be. 

Eventually, Uppi had to catch up with the audience, who had now returned to their regular cinema after that brief stint with insanity, dragging him there in the process.

Unfortunately, Uppi did not have the finesse to elevate his kitschness to an art form, that could be openly appreciated by MG Road audiences of Bangalore. Uppi restricted himself to kannada speaking audiences and failed to transcend beyond these provinces. Nevertheless, it was incredible to see him blend his learnings from world class cinema, suitable enough to an audience that he knew so well. Which after a long time, I now see in Anurag Kashyap, who operates in a language that is more fortunate. 

Sophistication is a curse on mankind, imposed by people who are too jealous of men being themselves. Dev D, Oye lucky lucky Oye, Slumdog Millionaire welcome loud, crass and over-the-top depictions of life into the basket of appreciatable cinema. Restraint and silence are replaced with energy and kitsch. Old fundas of realism in cinema that stretched the ‘thought for the day’ on your school boards to snail paced renditions of unattractive looking people enacting bodily functions like eating and sleeping to painfully long durations, with absolutely no background score, has thankfully been thrown out of the window. Tacky camerawork that masquerade as natural lighting have faded out. Stories on poverty are no longer supported with budgets that are similar. And dialogues that deserve seetis have percolated down to non-starry films. Thankfully, art cinema has progressed beyond serving these self obsessed audiences who take great pride and pleasure being amidst boredom.

Whatever you may call them- multiplex cinema, new age cinema, alternative cinema, parallel cinema or offbeat cinema or any other term, this too shall pass, and there will no longer be the great divide that separates films that are watched and films that need to be watched. The new brigade knows that the audience is there to be entertained, and not to support someone’s mission of picking up a national award. It’s relieving to know that you no more have to be subjected to subjects devoid of entertainment.  

It seems like Indian Cinema never had it better. 

Chandni chowk to china

Wow!! Finally here is a movie where you can take your two year old toddler along and chase him with a cerelac bowl in the aisle. Where you can speak non-stop on the cellphone without anyone complaining. You can suddenly whistle and it wont be out of turn, because nobody knows when is the right time to do so. You can actually go through the entire list of snacks at the cafeteria, and the guy behind won’t make a fuss.

It’s like watching a rerun of a 0-0 football match where you already know that noone is going to score anyway.

The director has put together a series of jokes of different varieties, so that you might end up liking at least some of them.

Let’s begin with the story.

Akshay kumar works as a vegetable cutter in a dhaba at Chandni Chowk .

Akshay Kumar is mistaken as a reincarnation of a chinese warrior.

Akshay kumar lands in China.

Deepika Padukone is an Indian who wants to go to china. She has a twin sister who is a chinese working for a goon who has murdered her mom and she doesn’t know that and she ends up chasing akshay kumar because he is suppose to be a warrior and then something something something……and mithun lands up and gets angry and something something something. Some singing, some dancing and romance and jumping on china wall and some kung fu hustle……..Kailash kher sings sidhu sidhu sidhu…ranvir runs around in a crazy hairdo…..and your popcorn spills and the baby beside screams and you get an sms and you respond and mithun dies.


Akshay takes training in a special kung fu that combines his roti making skills and vegetable cutting skills and something something something.
The experience of watching this movie is unexplainable. Writing a blog on it is more like a challenge.

When it comes to judging movies, I have the lowest standards in the universe. I’ve enjoyed movies so horrible that it could make people doubt my character, personality and judgement.

But this movie takes a new skill to appreciate it.

A fan of Rajni said this when someone asked him just after he saw Sivaji.

Interviewer: “How was the story?”

Fan “We’ll worry about that after the seventh viewing.”

Unfortunately, unlike Rajni, Akshay is not in a stage where he can do anything without questions popping up in your mind.

It’s not our inability to suspend disbelief.

This movie is suspension of anything that your brain questions innocently. Where you have to suspend things like why is there no continuity? Why is there no story? Why did this scene jump all of a sudden? Why is he here? Why is this happening? Who is this dude? What is he doing? What happened to that chap? Why is this Chinese speaking hindi?

Questions that are more than what a paranoid client would ask at a
disastrous PPM.

At least when I watched it, there was not a single moment in the film where the audience roared with laughter in chorus. It was I liked one joke. The person beside me liked the next. It’s like a bundle of jokes hurled at you and you decide when you want to laugh depending on upto what level you are willing to expose your stupidity.

Moreover the silly jokes force you to not take them sillily, because they are shot so well. It’s like packaging Pacman into Playstation. When Goundamani kicks Senthil you laugh. But if the same were to happen with hi-tech special effects, you are left cold.

The first 20 minutes of the film actually define that it’s a ‘leave your brains home’ comedy. But then they are spoilt by some emotional scenes that are shot with such sincerity and performances that it leaves you confused as to how to exactly react to it.

The fights in the movie are pathetic. They build you up till you are on the edge of your seat and just when it’s about to start, it looks like the stunt director went on leave.

And it also seems like that after cutting flight tickets for the entire crew to China, the production ran out of money for local travel. The only location that you get to see is the Great wall of china.

Deepika Padukone is best thing to happen to this film. She looks fab in her Chinese avtaar. Her make-up artist and costume designer deserve an Oscar for that.

The chap from 36 chambers of Shaolin is the villain named Hojo. The previous sentence is all that I gathered about him in the entire film. I think the Chinese interpreter they engaged to co-ordinate between him and the director was playing pranks. The lines he speaks and the emotion attached are as mismatched as the audio and video of any Chinese movie.

Akshay Kumar is totally relatable. He represents the state of mind that the entire audience is going through, on screen. He’s perpetually confused as to what is happening.

Mithun was smart. He figured out that this film is going nowhere so decided to kill his character with about 10 minutes of screen presence.

Ranvir is superbly convincing in his role. A role that is designed to make absolutely no sense to the script.

Overall, it’s like any ‘Made in China’ maal. It’s got lots packed in it, but nothing works.

The only danger is that this review might actually end up making this film seem interestingly nonsensical.

So, go enjoy.

It’s only the terror that’ll bounce back

I have never been glued on to the television more than this. Thanks to Tata Sky, the channels are in order and I can flip through them without some sepia toned group dance or ads featuring dentists interrupting the flow. I’m now in a state of numbness having done that. I haven’t been relieved by any of my favorite shows, to divert me into newer emotions. Barkha, Arnab and Vasu are invading my dreams.

The new message I’ve gathered is ‘Enough is Enough’ and balls to resilience. I’m in agreement with that. And like any average viewer I’ve been pondering over ‘How not to take this shit anymore?’.

I’ve always thought that it would be great if we had a nice dictator, one dude we can look up to, maybe someone like ‘Akbar’ or ‘Ashoka’.

The truth is we don’t have one. Instead what we have is a complicated system of a massive flowchart that sums up the country’s civics. And a simple word to describe this incorrigible nonsense -Democracy.

And then we line up the most uneducated bumpkins to choose from. Shuffle them around in a manner where the draw of lots can pick specimens like Deve Gowda and others of similar calibre to rule a nation. Only to make sure that the stain on your index finger morphs into a scar on your fate.

“jaago re’……done…..I’m jaagofied.

Following the system seems simpler than deciphering it. I did go to the voting booths the previous time.

My question was “Having arrived here, who the fuck do I vote for?” The only info I had was the pink or yellow pamphlets with photoshopped images of the local stars in my area. A guy who had a Xerox shop that flopped. Another dude who had managed to assemble the largest crowd for the local orchestra during Ganesha. An ex-rowdy. A guy who was tired of running his pop’s milk booth. A newspaper agent, since he already has a distribution network for his pamphlets. And other powder puffed clean shaven characters.

What an idiot I am to think that I could choose the PM.

“Sorry dude! You should only be worrying about who’s going to call the road roller to fill the pot-holes in your street.” said the man at the booth.

The PM just gets decided through a complicated process that’s beyond mathematics, statistics, tarot, nostradamus or any other form of calculation or prediction.

I kept thinking “Shouldn’t it be the other way round. I choose the PM. The PM then decides who should take charge of filling pot-holes in my street. I don’t know this chap who promises to summon the road roller. I’d rather choose more famous figures who I’ve seen on National TV.”

A guy who just earned himself a transistor with batteries, shoved me aside, jammed the beeper on some symbol and walked away with lesser confusion.

I still kept looking at my sad choices. What a waste of all the Tata Tea I drank. I voted for the cricket bat, just because it looked like the modernest symbol of the lot.

Some Assamese must have rammed the beeper on some symbol of a bamboo basket. Some Bihari would have pointed guns at someone and made him vote for the white dove. Some Oriya in some drunken state must have pressed the earthen pot. These pots, bats and baskets are then aligned to some fruit. And swung in the direction of some human anatomy. Then some peculiar calculations are made. And Deve Gowda is declared the PM.

Why is everything as complex as an agency’s studio rate card?

Why do I have to choose between buffoons and buffaloes?

I don’t want my precious vote ending up in some sleep deprived fatso deciding my fate.

The civics of this country has mind-fucked me. Why don’t they make it as simple as this?

1. 1 hour is dedicated on national television to every party to put out their manifesto in simple terms. Something as simple and measurable as our school impositions “I will not talk in class. I will do my homework on time. I will not copy.’

2. There is one CEO to this party. If this party wins, he is the PM.

3. He also lists out the key members of their parties with their bio-datas.

4. The same manifesto is printed in the newspapers.

5. Read through all the manifestoes, pick your favourite one and proceed to the booth.

Any other form of campaigning should be banned.

Once the elected party comes to power, his performance will be reviewed and aired on national television on a fixed date. A fair jury of eminent people should review these results and decide if they need to continue or be sacked.

They bloody well make sure that none of their members ‘fuck up’, if they want their party to survive.
No opposition party cock or minority bull.

And then if an attack happens, we can blame ourselves or maybe bad luck.

What’s sad is that this terror will end, and make way to a more familiar one. The politicians who’ve been shooed away, will now resurface, seated on some talk show, all set to spew bullshit. They’ll refer to the copious notes they’ve been taking on every possible loophole in this operation, and begin their finger pointing game. Just when this game begins to gain some sanity, the dentist and his toothpaste who’ve been kept at bay will make their entry back again. And before you know what’s happening, the host will run out of time.

We’ll shuttle between the dozen news channels to understand the complexity of the system. And succumb mid-way, as decoding that trash is beyond the capacity of any human brain.

That’s the terror that refuses to leave.

Miss, can i pass recess?

The new buzzword is recession. I just love the sound of it. The whole world seems to be going berserk on this. I am more than willing to mourn on this subject….but will someone please explain to me who or what exactly is this recession? Who is this dude who declared that its now recession time?


Things seemed just fine. No fire. No flood. Nobody died. No earthquake. Nothing at all. And then suddenly, for no damn solid reason this thing just started.  It’s almost like there was this bored bloke in the stockmarket, who just felt having some fun. So he just walked in one morning and said ‘ok guys, enough is enough, from this minute onwards ….it’s recession’. And everybody clapped and spread the word like fire.recess

Like all other calamities, like the orissa flood or the tsunami, this one seems to be latest national cause of concern.

Suppose I were to create this mega ‘Save recession’ campaign to raise funds, at the end of it, who do I contribute all the cash I collect to save our country from this wretched disease?

Somehow anything and everything is connected to recession.

“Obama is the new president, the world is unstable and so is the economy. This recession is not going to end”….

“What is the necessity to spend so much money and send a satellite to the moon, when the entire country is going through recession?”

Like the client tells you that you shoot the commercial at half the cost….’sorry guys, it’s recession’. So you tell the producer ‘dude, dont you understand it’s recession’. And he tells his camera crew ‘shut the fuck up and shoot, it’s recession’ and the word just spreads.

“Papa lollipop’

“No beta, after recession’

I have come to the conclusion that ‘Recession’ is one big unstoppable rumour that people are more than willing to spread. For two reasons

1. You are happy deep inside, because finally people are getting poorer, and it’ll reach a stage when everyone is as poor as you.

2. Or it just sounds cool to be affected by the recession. You feel like a big industrialist who’s business is at stake, by participating in these discussions. ‘Ya I know…this is not the right time to invest….The market speculations are unpredictable. Money is locked in the wrong hands.”

Anything you say here makes sense, because anyway the whole discussion is based on nonsense.

I haven’t met a single chap who’s been able to explain this without me raising more questions. I am sure there must be some complicated fundas attached to this, that the white bearded reporters are desperately trying to explain in channels. I only wish they uncluttered their channels and made it more watchable. The tapes ticking below how now reached their chin, but the anchors and the viewers seem fine with it. Or worse still are the drab brown coloured newspapers. How does anyone feel like reading them? 

What’s worse is that I feel alone in this confusion. Everyone seems to have it sorted out in their heads, including the liftman, the man at the petrol pump and the autodrivers. But maybe have a little difficulty in expressing it? I wish the reasons were as simple as

“Someone ran away with all the money. So it’s recession till we catch the culprit.”

“No country is giving us loan because they need it themselves.”

“The big oil well dried up.’

“Just for variety, the prime minister thinks we need to observe recession for some time.”

Give me a damn reason. Even if it is stupid.

While all I have gathered that its basically a time when people are not supposed to be spending. 

They’ve just made me feel guilty about spending for no reason. Suddenly there was this panic that the banks are running dry. So people ran to the ATMs to withdraw all the cash and keep it at home. I felt left out in all this drama. I’d love to see a bank not able to shell out the peanuts I’ve stored with them. Imagine a bank being more broke than me.  

Everyone seems to be spending. So where is the fuck up? I see my colleagues downing expensive whiskies, more than ever before. They still wear new stuff and go partying in non-smoking pubs. Crap films like Fashion are running houseful. The prices haven’t gone down at my vegetable shop and neither has the attitude. Someone paid 6 crores to Salman to act in the unbearable ‘Hello’. Recession must have at least stopped that, if not anything else. 

pton107l3The ones who kept it alive are the Jet boys. For some time they made me believe that ‘Recession’ is here to stay. So, I went on time to office the next day. But Goyal and boys chickened out even before I started believing in it. 

Bloody liars. In the name of recession, they just tried a cheap stunt of getting the balance employees to work overtime, ha ha …..but it fired back.


I’ve concluded that this recession shit is as false as India Shining. A vague term that can accommodate any imagination, any definition and used mercilessly to take advantage of ignorant fools like me. 

A sentiment that people might share when they get their letters in April.



So before this boomerangs, I’m saying ‘The market is back and booming’.

i-refuse-to-particpate-in-a-recession-badge6Please spread the word.