Youth Smoke Due to Family Influence!

Youth Smoke Due to Family Influence!Image

Several young people take to smoking since one of their parents also smokes. Family influences their smoking habits. They imitate their parents and feel it is alright to smoke since their parents do so. This has been highlighted in World Health Organization (WHO) study, which further states that these young people have a casual approach towards smoking.


Family plays a major role in determining the behavior patterns of children. Even teenagers often do what their parents do. They justify their actions. Smoking is no exception to this. If parents smoke, then their offspring would also like to smoke. Parents may find it difficult to check this tendency. Let us throw more light on this trend.


Why Youth Take to Smoking Under Family Influence?

  • Young people like to imitate their parents. They are role models for them. Whatever the parent does is okay for them. If they smoke, then they feel it is alright for them to do so
  • Most teenage smokers come from families where at least one parent smokes
  • The young mind is conditioned by family influence and these youngsters develop a casual attitude towards smoking
  • Children of parents who smoke, may die of cancer in later life
  • One needs to encourage more of smoke-free adults to prevent cancer among children in later life
  • Such children have more toxins in their body as compared to children coming from non-smoking families
  • Teenagers like to feel they are also “adults” and can smoke
  • Even if the older siblings smoke, then the younger ones also tend to do the same thing. They justify their actions by pointing a finger at the older siblings or at parents who smoke
  • Youth, who belong to families that smoke, have easier access to cigarettes
  • In such families, where smoking is prevalent, it is difficult to prevent the youth in the family from smoking. If attempts are made to do so, then the youth tend to find more excuses to smoke, and will definitely develop the habit

Young people smoke because their parents do so or an older sibling in the family does. Parents, who themselves smoke, cannot prevent their children from smoking. They have to set an example themselves before preventing their children from doing a particular thing. They have to stop smoking in order to ensure that their children do not do so.

A research was done by people at University of Oklahoma Health Sciences Center in 1999 where they found that family members could influences smoking habits in youth.

– Posted on in IN QUIT SMOKING / BY  / ON JULY 8, 2011 AT 6:52 PM /



Best of O S H O

Sayings of O S H O, which has Magnificent Impact on me….


In countries where breast-feeding has stopped, more smoking will automatically be there. That’s why the West smokes more than the East — because no mother is ready to give her breast to the child because the shape is lost. So in the West smoking is increasing more and more; even small children are smoking.


“I am less interested in your chain-smoking; I am more interested in your habit. Any habit that becomes a force, a dominating force over you, is a sin. One should live more in freedom. One should be able to do things not according to habits but according to the situations.”


You cannot stop smoking directly because it has many related things, implications. You are tense, and if you stop smoking you will start something else and the other may be more harmful. Don’t go on escaping problems, face them. The problem is that you are tense, so the goal should be how to be non-tense, not, smoking or not smoking. Meditate. Relax your tensions without any object into the sky, allow catharsis to happen. When you are non-tense these things will become absurd, foolish, and they will drop. Food will change, your styles of living will change.”


Smoking is unhealthy, unhygienic, but not a sin. It becomes a sin only if you are doing it unconsciously — it is not smoking that makes it a sin but unconsciousness. Let me emphasize the fact. You can do your prayer every day unconsciously; then your prayer is a sin. You can become addicted to your prayer. If you miss the prayer one day, the whole day you will feel something is wrong, something is missing, some gap. It is the same with smoking or with drinking; there is no difference in it. Your prayer has become a mechanical habit; it has become a master over you. It bosses you; you are just a servant, a slave to it. If you don’t do it, it forces you to do it.”


Every person is carrying such a mysterious being but the being is closed to you. Every person can become the door for the divine, any ordinary person is extraordinary. Just behind the surface the mysterious is hidden, but you need a key to open it. And that key is moment-to-moment alert response. Not reaction –response. Reaction is always dead; you do something because he has done something. Response is totally different.


Love is not a relationship between two persons. It is a state of mind within yourself. If you are loving, you are loving to everybody — not only to persons, but to things as well. Love moves from you to objects also. Even when you are alone, when no one is there, you are loving. It is just like breathing. If I take an oath that I will breathe only when I am with you, only death can follow. Breathing is not relationship; it is not tied to any relationship. And for the etheric body, love is just like breathing. It is its breath.”


“We will have a more beautiful world if all women — and women are half of the world — are allowed to grow their talents, their genius. It is not a question at all… nobody is higher, nobody is lower. Women are women, men are men; they have differences, but differences don’t make anybody higher or lower. Their differences create their attraction.”


“Ordinarily we think sex makes people loving — sex can never make people loving. In fact, it is sexuality that prevents love from growing — because it is the same energy that has to become love. It is being destroyed in sex. To become love, the same energy has to move to the heart centre.”


“This pain is not to make you sad, remember. That’s where people go on missing….This pain is just to make you more alert–because people become alert only when the arrow goes deep into their heart and wounds them. Otherwise they don’t become alert. When life is easy, comfortable, convenient, who cares? Who bothers to become alert? When a friend dies, there is a possibility. When your woman leaves you alone–those dark nights, you are lonely. You have loved that woman so much and you have staked all, and then suddenly one day she is gone. Crying in your loneliness, those are the occasions when, if you use them, you can become aware. The arrow is hurting: it can be used. The pain is not to make you miserable, the pain is to make you more aware! And when you are aware, misery disappears.”

                                                          –  from Take it Easy, Volume 2 Chapter 12

Since my first encounter with ’em..!

Here are some of the Scenes, Dialogues and Quotes from some of my All-Time Favouriate Classic Movies, which held me mesmerized since my first encounter with ’em..!

Just wanted to share with y’all..

  • I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it.”

                                     – TERRY MALLOY (Marlon Brando) in On the Waterfront (1954)


An iconic scene in the film, where Terry Malloy (Marlon Brando) reminds his elder brother, Charley (Rod Steiger) that had it not been for the fixed fight, Terry’s career would have bloomed.

#3 on AFI’s 100 Years… 100 Movie Quotes


  • My name is Maximus Decimus Meridius, Commander of the armies of the North, General of the Felix legions, loyal servant to the true Emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next.”
                                                                – MAXIMUS (Russell Crowe) in Gladiator (2000)Image

  • And one day, not long from now, my looks will go. They will discover I can’t act, and I will become some sad middle-aged woman who looks a bit like someone who was famous for a while.
                                                  – ANNA SCOTT (Julia Roberts) in Notting Hill (1999) Image

    *Though i haven’t watched this movie, but loved this scene i happened to watch on YOUTUBE (mentiones as Best scenes of ‘Notting Hill‘). My brother’s a huge fan of Julia Roberts and often expressed his desire of wacthing this movie, so it was out of my curiosity to catch some scenes, while doing a random search on the internet.


  • Gentlemen, you can’t fight in here. This is the War Room!
                                    – PRESIDENT MUFFLEY (Peter Sellers) in Dr. Strangelove (1964) Image #64 on AFI’s 100 Years… 100 Movie Quotes

    Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, commonly known as the former name, is a 1964 British-American black comedy film which satirizes the nuclear scare.
    It was directed, produced, and co-written by Stanley Kubrick Image

    Some G Y A N i’ld like to share with y’all about this great Film-Maker –
    For the movie Barry Lyndon (1975), Kubrick obtained lenses developed by Zeiss for NASA in order to film scenes under natural candlelight Image   

       and for The Shining (1980 – *ing Jack Nicholson) was among the first feature films to make use of a Steadicam for stabilized and fluid tracking shots. Image                            He made movies such as Paths of Glory (1957)                                     Image       

Lolita (1962)


A Clockwork Orange (1971) 


Most of Kubrick’s films were nominated for either Oscars, Golden Globes or BAFTAs, and were later acclaimed as being Masterpieces.


  • What do you mean, I’m funny?…You mean the way I talk? What?…Funny how? I mean, what’s funny about it?…I’m funny how, I mean, funny like I’m a clown? I amuse you? I make you laugh? I’m here to f–kin’ amuse you? What do you mean funny? Funny how? How am I funny?…No, no, I don’t know. You said. How do I know? You said I’m funny. How the f–k am I funny? What the f–k is so funny about me? Tell me. Tell me what’s funny…

                                                         – TOMMY DeVITO (Joe Pesci) in GoodFellas (1990) 


One of the best scenes from Scorsese‘s American crime film, GOODFELLAS, the charismatic Tommy De Vito exhibits the first traces of his quick-trigger, psychotic, pathological temper as he entertains other mobsters with hilarious tales of violence laced with four letter words. Henry Hill  chuckles at his jokester pal: “You’re a pisser. You’re really funny. You’re really funny.” The comedic scene (improvised by the actors) immediately turns sour and the tension mounts as a seemingly-aggravated Tommy persists in asking – in a cold-blooded, fearsome, and ambiguous tone.


  • “As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States.”

                                                               -Henry Hill (Ray Liotta) in GoodFellas (1990)


The Initial scene where Henry Hill (Ray Liotta) witnesses the enormity of the violence of his fellow gangsters and then as he slams the trunk shut, we see a simple zoom shot and then a freeze-frame holds on Henry’s face, as the main title credits play (with a blood-red title for the film). His autobiographical, defiant narration (in voice-over) confirms his choice of a lucrative, criminal lifestyle (that brings him from ‘rags to riches‘)


  • All the animals come out at night – whores, skunk pussies, buggers, queens, fairies, dopers, junkies. Sick, venal. Someday a real rain’ll come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take ’em to Harlem. I don’t care. Don’t make no difference to me. It does to some. Some won’t even take spooks. Don’t make no difference to me.”

                                              – Travis Bickle(Robert De Niro) in TAXI DRIVER (1976)


Travis disgusted by the world of urban decay and sleaziness that needs to be raged against and washed away, while driving the Cab.


  • I first saw her at Palantine Campaign headquarters at 63rd and Broadway. She was wearing a white dress. She appeared like an angel. Out of this filthy mess, she is alone. (Narrated from his diary in a cadence – the words are written in large capitals in a close-up) They…cannot…touch…her.”

                                                      – Travis Bickle (Robert De Niro) in TAXI DRIVER (1976)


When Travis observes Betsy (Cybill Shepherd) from afar, worships her and develops a crush on her, viewing her as an untouchable dream-girl ideal (she is a WASP-ish, angelic beauty in his fantasies).
Betsy appears, crossing over to her office’s entrance in slow motion. With Betsy, Herrmann’s bluesy theme music (not heard since the film’s beginning) returns and expands blissfully, introduced by a harp. Behind her in the frame, Martin Scorsese sits against a wall. As Betsy reaches the door, a dissolve brings a scroll over the words of Travis’ journal with Travis still reading them in voice-over.


  • I realize now how much she’s just like the others – cold and distant, and many people are like that. Women for sure. They’re like a union.

                                                            – Travis Bickle (Robert De Niro) in TAXI DRIVER (1976)


After being soured by the whole experience of his awkward date and aborted relationship with an upper-middle-class woman beyond his reach, he condemns her and begins his descent into isolation, psychosis (and armed violence)


  • Bonasera, Bonasera. What have I ever done to make you treat me so disrespectfully? If you’d come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if by chance an honest man like yourself should make enemies, then they would become my enemies. And then they would fear you.

                                        -Don Vito Corleone (Marlon Brando)– The Godfather 


An iconic scene (Best opening scene of a movie ever made) in the History of Cinema. where the funeral director Amerigo Bonasera (an Italian American) asks Don Vito Corleone for murderous revenge (instead of justice) for the threatened near-rape and brutal beating suffered by his daughter (To whom Vito Corleone‘s Wife is the GODMOTHER) by her non-Italian boyfriend and his friend. But he doesn’t ask with respect & neither does offer his friendship to the DON. This makes the DON angry and he speaks up.


Senator Geary (G. D. Spradlin) [Geary‘s character is reportedly based upon corrupt Nevada Senator Pat McCarren] is brought to the Tahoe Boathouse for a private meeting in Michael Corleone‘s (AL Pacino) new office and headquarters to speak about the gaming license on a new casino – part of the Corleone expansion plan in the state after moving westward from the East Coast. In their presence is forty-two year old Tom Hagen (Robert Duvall), Michael‘s trusted lawyer. Outside the picture window, celebrants play croquet on the lawn while corrupt deals are engineered inside.
Inside the office, Senator Geary turns sinister and corrupt. He speaks toughly, bluntly and “more frankly” about his real feelings for the Corleones in Nevada, insults Michael and his family personally, and tries to extort money from the cooly confident chieftain


  • Geary: The Corleone family has done very well here in Nevada. You own, or you control, two major hotels in Vegas, one in Reno. The licenses were grandfathered in so there was no problem with the Gaming Commission. Now, my sources tell me that you plan to make a move against the Tropigala. They tell me that within a week you’re gonna move Klingman out. That’s quite an expansion. However, it will leave you with one little technical problem. Ahh! – the license will still be in Klingman‘s name…Well, let’s cut out the bulls–t. I don’t want to spend any more time here than I have to. You can have the license – the price is $250,000, plus a monthly payment of five percent of the gross. Of all four hotels, Mr. Corleone.
    Michael: Now the price for the license is less than $20,000, am I right?
    Geary: That’s right.
    Michael: Now why would I ever consider paying more than that?
    Geary: Because I intend to squeeze you. I don’t like your kind of people. I don’t like to see you come out to this clean country in oily hair and dressed up in those silk suits, and try to pass yourselves off as decent Americans. I’ll do business with you but the fact is that I despise your masquerade, the dishonest way you pose yourself. Yourself and your whole fucking family.
    Michael: Senator, we’re both part of the same hypocrisy. But never think it applies to my family.

    Calmly, Michael rejects the “little games” of the Senator, refusing to pay even the $20,000 legal fee for the gaming license of the casino he will take over from Klingman:

    “My offer is this – ‘nothing’. Not even the fee for the gaming license, which I would appreciate if you would put up personally.”



This scene is from Francis Ford Coppola’s American crime epic The Godfather Part II (1974). The way Al Pacino & G. D. Spradlin delivered their dialouges and Created this ironical magic on-screen, really deserves a Standing Oviation, especially where Michael gives an indication to the senator through his eyes, that not to even think again of his family while talking bussines. It’s Extremely Mesmerizing, in its own way! 

Scent of a Woman: Men’s Testosterone Responses to Olfactory Ovulation Cues





Women around the world spend billions of dollars each year on exotic smelling perfumes and lotions in the hopes of attracting a mate. However, according to a new study in Psychological Science, a journal of the Association for Psychological Science, going “au natural” may be the best way to capture a potential mate’s attention.

    Smells are known to be critical to animal mating habits: Animal studies have shown that male testosterone levels are influenced by odor signals emitted by females, particularly when they are ovulating (that is, when they are the most fertile). Psychological scientists Saul L. Miller and Jon K. Maner from Florida State University wanted to see if a similar response occurs in humans. In two studies, women wore tee shirts for 3 nights during various phases of their menstrual cycles. Male volunteers smelled one of the tee shirts that had been worn by a female participant. In addition, some of the male volunteers smelled control tee shirts that had not been worn by anyone. Saliva samples for testosterone analysis were collected before and after the men smelled the shirts.

    Results revealed that men who smelled tee shirts of ovulating women subsequently had higher levels of testosterone than men who smelled tee shirts worn by non-ovulating women or men who smelled the control shirts. In addition, after smelling the shirts, the men rated the odors on pleasantness and rated the shirts worn by ovulating women as the most pleasant smelling.

     The authors note that “the present research is the first to provide direct evidence that olfactory cues to female ovulation influence biological responses in men.” In other words, this study suggests that testosterone levels may be responsive to smells indicating when a woman is fertile. The authors conclude that this biological response may promote mating-related behavior by males.

*The above story is reprinted from materials provided by Association for Psychological Science.

An Article posted on

Aashiqui2 – How it started…


We have this habit,  since our college days,  of planning to watch certain movies (of mutual interest) in advance of their release dates, like we constantly keep doing it before weeks, and sometimes months! I remember a friend of mine joined me at a BAR, after returing from office, and first thing he did was, put the headset of his i-pod into my ears and played this song ‘Sun raha hain na tu‘ (female version sung by Shreya Ghoshal) from ‘Aashiqui2‘.


I didn’t know that then. My reaction was ‘Neutral’ after listening the song, but my friend kept praisin’ it so much, as if Shreya has sung it for him (he’s a biggest fan of Shrey Ghoshal). But the next day i heard the same song almost everywhere i went, in Bars, Cars, evrywhere. I heard it people singing it all over. But it didnt have that much impact on my ears & mind, but i was reserved to experience something more intense than these people around me.



Everybody then, had this curiosity to know if the songs of this movie could manage to have the same cult status of the first installment of this movie,  ‘Aashiqui‘ released on 17aug,1990, the music of  ‘Aashiqui‘  in 90’s created history & has a cult following among almost everyone since it’s release. The film was a huge commercial success and one of the highest grossing films of 1990 mainly due to its music with the showings running to full houses. “Dheere Dheere Se”, ” Main Duniya Bhuladounga”, ” Ek Sanam Chahiye” and “Mera Dil Tere Liye” and “Tu Meri Zindagi Hai” were rages amongst the youth and general audience. 


Finaly the week of it’s release came and my friend was much excited, as a Kid frenziedly waits, few days before his birthday to come. Looking at his serious and intent mental state towards the movie, even i started developing an intrest for it. His every status on Facebook, every TWEET on TWITTER, every Blog comprised ‘Aashiqui2’, for that entire week.

I was doing night shift, a day before it’s release and grew almost equally fervent to watch the movie next morning. The first show was @9a.m. in the theatre in our town and it takes an hour for me to reach there from my office. I left office and rushed towards railway stn, didn’t even had a smoke and boarded a train by 7:30a.m. reached the theatre exactly @8:45a.m. It took an hour and 15mins, and my friend called me in every 10mins askin’me where have i reached? G O D !

The day was ‘Friday‘ the 26th – April, 2013. The weather was cool & breezy, so that it provoked me to light a cigarette. There wasn’t much que at the BoxOffice but this friend of mine was the first to take the tickets, as if it was goin’ to be HOUSEFULL. I could still  easily reminisce that moment, how he grew impatient and was killin’ time to enter the Dark Room. So.. here the security guard opened the door & we were the firsts to enter(shuffin’my half-smoked cigarette). I was quite annoyed but managed not to show it on my face, coz’i didn’t want his exhilaration to die-down. We perambulated in the DARK ROOM looking for our seats, by the time they played the theaterical trailers of upcoming movies, as we found our seats, the central board of film certification was displayed on the screen. And he was the first and the only person in the Hall who screamed and clapped, the guy sittin’ nxt to me gave us a strangge look but it didn’t even bother him or me at all, Now even my whole concentration was pointed towards the Movie, which was started now. 



From the very first scene where they showed the Green bottle of Whiskey, which R.J. – Rahul Jaykar (Aditya Roy Kapoor– male protagonist) sips from and the camera panning the glimpses of him till the end where Aarohi (Shradha Kapoor) and signs her name as “Aarohi Rahul Jaykar” in a fan’s handbook as a tribute to Rahul and her unsung desire to marry him. As rain starts falling, she watches the couple who took her autograph sharing a romantic moment under a jacket as she and Rahul had done when he was alive.



What made me so teary eyed was that I felt these two perspectives of love and human relations are absent in my life. I know this may sound like a selfish reaction to a story about other people, but I realized by the time the film ended that one of life’s simplest, yet most complicated emotions, is not really present in my life.
I saw the enamoured Rahul Jaykar(RJ) and the beautiful nature of Arohi as two juxtaposed types of love that when balanced, create the most wonderful of bonds.
My constant struggle with conscience, depression, and alcohol robs me of a lot of happiness and energy, and as a result, I don’t find myself in situations where I can create and enjoy the emotions of love in my life.


If I take this film literally, I suppose that I should go out looking for a girl in a completely different culture that does not place value on the material things that drive me to get up and work everyday.
In reality, however, I think that the aching loneliness I feel can be filled by any variety of love…the fact to the matter is that I am not in a relationship (and haven’t been for a long time) and therefore I have lost touch with this emotion.
Love is everything Rj & Aarohi portrayed it to be in this film, and in the end, the sadness I felt is the result of feeling a vast void in my heart where these feelings should be present.
In non-poetic terms, I need a girlfriend. More specifically, it doesn’t matter who she is as much as what we will come to feel and experience together: feelings that enlighten the heart, lift the soul, and bring happiness to the otherwise daily drudgery of life.


tHE Tryst With SATYA..

On 3rd July 1998 a phenomenon took place that changed the face of Indian Cinema forever, that phenomenon folks was Ram Gopal Varma’s hard-hitting underworld drama SATYA, a near star-less film which solely on the basis of Anurag Kashyap and Saurabh Shukla’s script blew the entire nation away rightly staking their claim in Bollywood History.

The message of SATYA comes across loud and clear- “CRIME NEVER PAYS” and while a number of movies in the past has presented the issue, Bollywood was still to be introduced to the underworld genre in the truest sense as with the exception of Vidhu Vinod Chopra’s flawless PARINDA (1989) a complete gangster film had never been presented before with such searing reality and slice-your-nerves brutality.

The movie revolves around Vidya (Ramu’s blue-eyed dream girl Urmila Mantondkar as deglamourized as you get yet still managing to look stunning) who is an unemployed singer who comes from a very poor family, living with her mom and disabled dad. During a rainy night, there is a power outage, and she seeks the assistance of a neigbor, Satya (a wooden Chakravarthy who manages to leave a vapourizing effect without actually doing much, but more on that later), who helps her out. Satya and Vidya become friendly. Things begin to change rapidly for Vidya, as she gets hired by a prominent music director, and develops her relationship with Satya, who she plans to marry soon. Satya tells her that he will be relocating for employment to Dubai, U.A.E., and will receive a hefty salary, which will assist them get settled after marriage. Her delight with this news turns to horror when the police enter her house to question her about Satya, who according to them is a hitman in a criminal gang, and who is wanted for 17 homicides, including that of the Commissioner Amod Shukla (Paresh Rawal). The truth of Satya’s true identity shatters Vidya who never wants to see him again. Despite the cops being hot on the trail of Satya, he makes it to Vidya’s apartment one final time, but is it too late?

 It would be an understatement to say that the script is the soul of SATYA. Kashyap and Shukla together weave a near immaculate macro-level view of Mumbai’s underworld. Part love story, part male-bonding, part brutal actioner and part nail-biting thriller SATYA is a film which is almost impossible to categorize in to a genre simply because the film is a sense a revolution that it CREATES the genre. Without a doubt SATYA changed the way directors made Indian films. Right from the lingo, style of direction, characters, milieu, setting and dialogues SATYA set the benchmark for what a gangster film should be like.

satya confrontation Akshay Shah Revisits an old friend…. SATYA (Hindi, 1998)

The screenplay is racy and keeps the perfect balance between the budding romance and graphic violence. Unlike American gangster movies from the 80s which SATYA and COMPANY (2002) remind me of somewhat, Varma’s movies are more philosophically ambitious and do something more difficult: they manage to be moral without moralizing. And differently than Coppola’s GODFATHER trilogy, where people seem born into a life of crime, Varma shows them becoming criminals and the results of the choices they’ve made. One of the biggest strengths of the film is the characters that it portrays, the everyday quality that Varma gives his gangsters, and the manner in which he depicts their “personal lives as truly an eye-opener and sets SATYA apart from anything else that has been done in the genre prior.

Even from the point of view of entertainment, SATYA is a riveting film which leaves the viewer hardly any space to breathe making it one of the most relentless thrillers of our time. Varma is too well aware of the essential ingredients needed in a Bollywood film hence manages to juxtapose comedy and romance in to the narrative. His flair for dark comedy and street-wise jokes is hilarious and eye-opening at the same time.

 Often I feel Ram Gopal Varma is a director who isnt aware of WHAT he’s actually making at the time, whether what he’s making is good or bad, classic or â disaster. Which clearly explains why the same man who made SATYA also made RGV KI AAG (2007)? SATYA came at a time when Ram Gopal Varma was still trying to make his impression on the Indian market. Though RANGEELA (1995) had left a significant impact, he still hadn’t delivered anything since. SATYA was a surprising turn too as it was closer to Varma’s debut film SHIVA (1989) in it’s realism than it was to his musical ode to love RANGEELA.

Whereas lots of reviews compare SATYA with Quentin Tarantino’s RESERVOIR DOGS (1992), it’s to my mind more influenced by Scorcese and De Palma : the very eighties and emphatic score, the virtuosity of the camera moves, the grotesque allure of the gangsters in the movie. And there’s of course the character of Satya, his low profile contrasting with other gangsters, the idea of the guy coming from nothing and making it big in a poor area of the city through crime, his very moving love story, the fight between moral conscience and desire to stay at the top. Yes, we’ve seen this before in gangsters movies but it’s been adapted to Indian reality, the movie showing the links between thugs and politics and cinema. And the theme of the police damned if they act damned if they do nothing is interesting too.


That Varma is a fan of Scorcese cannot be doubted, and the various bouts of conversations and interactions between the characters laced with pulpified violence is ample proof of that, India’s answer to GOODFELLAS (1990)? YES! But in another strange way this is a rather twisted and dark version of Raj Kapoor’s SHREE 420 (1955) which was also about a man who comes to Mumbai to strike it rich only to be sucked in by the city’s darker side to find redemption at the end.

That Varma followed this up with COMPANY later is ample proof that man is a bona-fide genius. Despite the failure of something like AAG, one shouldn’t forget that often a director is only as good as his script, and I’ve always felt Varma has always been best doing something original be it SATYA, COMPANY, KAUN (1999) or RANGEELA. Inspiration, now that’s another thing

 The performances in SATYA became an instant cult phenomenon as India cheered for its new  National Hero-Bhikhu Mhatre, a role model for the youth! This is perhaps the first performance in Indian cinema that made me draw an instant parallel to Late Amjad Khan Saab’s immortal performance in Ramesh Sippy’s SHOLAY (1975). The pure mass appeal, the spontaneity, the rugged naturalness, the animal-like ferocity and pure terror yet an ability to be instantly amiable and relate to the viewer as well. Bajpai delivers a performance that I hold in the highest of regards, and comes out trumps. When the movie was conceived, the role was written for Akshaye Khanna who wasn’t able to do the film, and by a pure stroke of luck Bajpai landed the role. To say Manoj Bajpai is born to act is an understatement, the man talks to the camera inhibited, confident and with naturalness each and every time he’s on-screen. From his violent outbursts to his rom-com with his wife this is a character that will always remain unforgettable simply because this is the kind of histrionics one expects actors like Pacino, De Niro and Bachchan to pull off not a rank newbie..  \

“Mumbai ka K I N G kaun? BHEEKHU MHATRE!”

 As much as I have a weakness for Chakravarthys character and everything he stands for, I dislike Chakravarthy’s performance equally. My first impression of Chakravarthy was so little that I instantly disregarded his performance completely blown away by Bajpai and Shukla. As the years went by, with countless re-watches the performance itself has also grown on me, and I realize why Chakravarthy acts like the un-dead. SATYA came from nowhere, we never find out what he used to do? Where he comes from? What his family did or where his parents are(though he does tell Vidya (Main ek anaath hoon)? But do we take his word for it? In the initial fight sequence with Bhikhu Mhatre we can easily tell Satya is a far more dangerous man whom even Bhikhu accepts readily knowing that he’s met his match. That gives somewhat of an indication that whatever SATYA has been through to make him this motionless Zombie is far worse than the world which he’s actually living in The moments when SATYA starts regaining his humanity and realizes that he in-fact does feat death are astonishing, and Chakravarthy in the one scene at the beach where he tells Bhikhu ‘kyun ke main oose shaadi karma chahta hoon’ speaks volumes of Chakravarthy’s talent. And the problem I have with 

satya and bikhu on beach Akshay Shah Revisits an old friend…. SATYA (Hindi, 1998)

Chakravarthy isn’t a new one, in some ways it’s similar to what I felt about Irrfan Khan in MAQBOOL (2003) and Ajay Devgan in OMKARA (2006).

 Urmila is an absolute knock-out. This was probably the first time I realized that Urmila can actually act, and she delivers such a natural performance. She proves in an instant that she’s an actress of worth, and her portrayal of Vidya, a symbol of everything that is true and beautiful in this world is unmatched. Her searching eyes often speak louder than any dialogue delivered.


Saurabh Shukla is a revelation, the roly-poly actor is such a bundle of talent, and whom usesh is physical traits to full effect. Shukla’s screen presence is scene-chewing, and he goes through a gamut of emotions with flawless precision. His chemistry with Bajpai is outstanding and their scenes together are priceless.


Shefali Shah as Mrs Bhikhu Mhatre was mind-blowing. The kind of chemistry she shares with Bhikhu was an eye-opener and it would be fair to say Mrs Shah LIVES her part and becomes the character. Just witness the restaurant or the scene where she slaps Bhikhu.

Govind Namdeo exudes fear as Bhau! This terrific actor holds his own. Makrand Deshpande as Advocate Chandrakant Mule and Jeeva as Jagga are natural to the core. Snhela Dhabhal as Chander is haunting. Aditya Srivastav as Inspector Khandilkar is stunning, and delivers a fearless performance. Paresh Rawal in a short cameo is a knockout as expected.

satya drinking song1 Akshay Shah Revisits an old friend…. SATYA (Hindi, 1998)


Varma has incorporated Vishal Bharadwaj’s beautiful songs as a part of the narrative by displaying them as a Broadway like stage-show. SAPNI ME MILTE HAI and GOLI MAARO have since then found a cult following, and the songs picturization remain an innovative piece of work. The soulful BAADALON SE and deeply romantic TU MERE PAAS BHI HAI are aptly fitted in to the proceedings.

Sandeep Chowta’s background music is quiet easily one of the finest background scores I’ve heard in my entire life. Moody, sombre, atmospheric and often a character in itself.

Technically the movie is a pinnacle of perfection in Indian cinema. Mazhar Kamran’s cinematography LIVES in each and every frames and breaths like a camera. Kamrans captures the gritty bylanes of Mumbai’s underbelly with an undefining passion.

“All in all SATYA remains an outright classic, and one I shall visit ever year like I’ve been doing since it’s release almost 10 years ago.”

S A L U D E!