Intelligent Love

Caste, creed, family & financial status matter like never before. Search for the suitable boy has taken a new turn, finds Saurabh Malik. Read on...

HER heart does not part ways with her wits as she makes plans for sharing dreams with the guy of her “own community”, fervently, yet strategically. For, 20-something Neerja Batra knows investing emotions at the wrong place can only lead to long-term losses.

Right fellows, the university student simply believes in the concept of “selective affair”. Just in case you are wondering what it all means, ask any socio-psychologist and she will tell you all about it. “Selective affair in the Indian context is a term used to explain the act of entering into a relationship after considering all aspects of it — caste, creed, family and even financial status,” says city-based socio-psychologist Deepika Malhotra.

Elaborating, she says: “As most affairs do not culminate into marriages due to parental objections to differences in family status and even castes, girls have now become a bit more choosy, and alert... If you allow your heart to rule your thought process, you may find it incredible, but so many of them nowadays actually enter the world without end bargain with the guy they know it’s going to materialize with”.

Still having doubts about the veracity of her assertion? No problem, just take a look at Neerja’s cases. You may call her over-cautious or ruthlessly practical; the fact is that her beating-for-love-pangs-heart is where her mind is.

Well, knowingly or unknowingly she “wasted” good two or three years of her college life practically in solitude because she wanted to go around with a suitable boy — someone belonging to her own community. And the reason behind her action is not really hard to see. The youngling knows very well that her doctor-daddy will never allow an out-of-caste marriage.

A staunch believer in the concept of “prevention is better than cure”, Neerja herself says: “I saw my sister sob with her head buried in the pillow after dad affixed his stamp of disapproval on her plans of tying the knot with the boy of another caste. That very moment I decided that if I ever fall in love, it will be with someone from my own community… Now that I have found a Batra, I am pretty happy about it.”

Analysing all such cases, Malhotra adds: “In a way, the new trend of allowing intelligence to overrule sentiments before allowing emotions to get hold of you is both good and bad. It saves youngsters from suffering the pangs of separation in case their hearts are not allowed to beat as one. There’s no running away from houses and parents are left unhurt. But, at the same time, it amounts to reconciling with the fact that the society cannot change; and the divides of caste and creed will always remain”.

Well, fellows, right or wrong, there’s just one thing you can hope for — the new trend prevents the dejected youngsters from tying the knot of death.  

saurabh@tribunemail.com

Toying with heritage?
Parbina Rashid

One of the earliest low-cost buildings in the city is being renovated. As Tagore Theatre goes under the scalpel to get a modern & younger look, its creator and various artistes are not impressed. Will it be a jolt to Chandigarh’s bid to attain the status of a heritage city? Only time will tell

We are yet to see the new-look Tagore Theatre. But what we hear from those who are privy to the blueprint of the renovation plan, a lot of changes are on anvil in one of the city’s oldest, low-cost building, in an attempt to convert it into a state-of-the-art modern auditorium.

Considering that the city is quite happening when it comes to cultural functions, we definitely do need an auditorium that is bigger and modern. But at what cost? Are we ready to let go of the good old Tagore, which bears the signature of the likes of Pierre Jeanneret, the city’s first chief architect, and has become an integral part of our cultural fabric?

Sentiments run high as we talk about Tagore and its renovation. Most of all Aditya Prakash, the man who conceived it, executed it and nurtured it to its full form way back in 1958. “When I asked how could they change something which is one of the oldest original buildings of Le Corbusier’s City Beautiful, I was told the outer of the auditorium would not be touched. It is only the inside which will be converted to suit the need of the modern generation,” says Prakash. And his reply shows the anguish he is going through — “It’s like being told that my heart, lungs and kidneys will be taken out from my body, but my skin will remain intact.”

Tears rolled down his cheeks as he reminisces the day when Jeanneret had asked him to draw a plan for an auditorium at Sector 18, a plot that was originally assigned for a community centre. “Incidentally, both Jeanneret and me came out with our individual plans on the same day. But when he saw the rough sketch which was done in two inter-locking squares, he was impressed and withdrew him own plan immediately,” adds Prakash.

That was just the beginning. With only Rs three lakh budget, Prakash had to adopt all the techniques in the book to make it a low-cost auditorium. He went for a brick structure, cut down on windows, but kept an outlet for artificial ventilations so that in case money was not enough for air-conditioning people sitting inside would not be suffocated. Not only did he study the physics of acoustics and come up with the idea of installing Helm-Horse Resonators — which were nothing but a string of potteries made by local kumhars for the sound effect — he also studied many plays and learnt about the master plans of all famous auditoriums of the world.

“That’s because we tried our best to cut down on consultancy fees for lighting and sound system. We befriended legends like Prithvi Raj Kapoor and when the theatre was completed sometime in 1960, got him to sit in the last row while I went on the stage and whispered. It was only when he said that my whispers were audible, I heaved a sign of relief.” Mission accomplished!

Now when there are talks that Tagore will be expanded to increase its capacity, Prakash fears that it would kill the very definition of a theatre. “A theatre is an intimate set up. The sound that an actor makes on stage should reach out to the people in the last row. And if they have to use amplifier for that, it is not a theatre.”

“True,” says theatre person G.S. Channi, who has also being opposing the drastic renovation of Tagore Theatre. “It was very well designed. Apart from that, it has been part of our cultural fabric, something people associate with. To change it entirely without taking the practitioner’s views into account is criminal and we all are quite upset about it.” And about the stiff wooden chairs Channi says, “The fact that those chairs were designed by Aditya Prakash is a thing to be proud of. Who needs recliners when you are watching a play? For that kind of luxury, one can always go to a multiplex.”

Agrees Neelam Mansingh, “Before they took up the decision to increase Tagore Theatre’s capacity, they should have at least consulted the artistes who are using it. As a theatre person I would prefer to perform in front of an audience of maximum 350 people, so that I can even communicate to the ones sitting in the last row. Tagore was meant for performing art; it’s not that we are going to have Madhuri Dixit nite or something of that kind every now and then. Why is a bigger auditorium required then.” “If the administration has money to spend, they could have converted the rehearsal space into an intimate theatre and built a cafeteria where artistes could meet,” she adds.

“True, with the kind of money they are spending on it, a new state-of-the-art auditorium could have been built,” says theatre person Kamal Tewari, who has been performing at Tagore since the beginning of his career. “I have seen so many legends like Prithvi Raj Kapoor, Balwant Gargi, Alkazi and Zul Bhimani performing on the stage that it had a nostalgic ring to it. It was a wrong decision on the part of the Engineering Department,” he adds.

Now, perhaps it is a little too late to find out who is to be blamed, but an important part of our cultural heritage has already been tampered with. Will it be a jolt to Chandigarh’s bid to attain the status of a “heritage city”… only time will tell. 

Dainty & Comfy
Purva Grover

She left you in awe each time she took on the stage and you adored her swirls and twirls. Simply graceful, her perfect delicate moves were courtesy a pair of pretty ballerinas. Now, so what, if you can’t master the moves, you can of course pick up these dainty, stylish and petite pairs for yourself. High on comfort, they are perfect for walking long distances and let you shop till you drop. Metallic colours, satin ribbons and fancy adornments, we bring to you a round up of what’s available on the city shelves.

Let’s begin with the fave and high-on-fashion pairs; in metallic tones like bronze, silver, gold or copper, these come with a big satin bow, the bigger the better. Round or pointed, covered or peep-toe, you can take your pick. And well, bows are not the only pretty adornments, there are butterflies, roses, buckles, crystals, sequins, buttons, frills and stones as well. Talk fabric, and there is leather, suede, velvet and canvas. And, its not just brown or black leather, but patent leather pairs in green, yellow, blues and reds. Smart wedge heel, small heel or flats, you can see broad buckles accessorising them.

If chic checks appeal you then pick up Burberry style check ballerinas from Shoe Box-8. Available in combinations of red, tan and black, they are priced at Rs 800 onwards. Or go sporty and stylish with canvas ballerinas available at the store for Rs 1,290 onwards. The quilted look-alike pairs here, are the ones that your granny would identify with. Team them with lace tights, straight fit denims and even skirts. And for the brand conscious denim ballerinas from Lee Cooper can be picked from Mochi-17.

Loved sporting animal print outfits or flaunting zebra striped designer bags? Well, match them with your ballerinas that animal prints abound them too. Take your pick from a leopard or the very popular croc print for Rs 900 onwards. Other popular prints include bright flowers and big polka dots in yellows, reds and blues. These can be picked from Polka-8. Delicate angelic pair in white net and lace too can be picked from here at Rs 1,195. At Chief-22, you can pick a ‘foldable’ (literally) pair for as less as Rs 490. In leather, these stretchable ballerinas come in vibrant hues like pinks, yellows, blues and more.

Now, this dainty in baby pink with frill piping pair will remind you of the frocks your sported as a kid. Available at Regal-17 this pair is priced at Rs 750. Also, at the store are pairs in velvet. In shades of brown, they bear embroidered flower motifs and go well with both salwaar kameez and denims. At Drishti-17, there are velvet pairs with fur trimmings.

Want a sturdy yet dainty pair? Take your pick from flats in suede with fancy bows and net flowers from Shelly-8. And, if it’s the Cinderella glass slippers you long for then you can feel like a princess in transparent pairs with trimmings in gold, silver or red. These give an illusion of being flats, but have an inner elevation.

You couldn’t ask for more variety in style, patterns or colours. Go ahead and take your pick.

purva@tribunemail.com

The Master Stroke
Parbina Rashid

Maybe it’s high time we were reminded of what a treasure trove we are sitting on. Living in a city for so long, which occupied an important part in Corbusier’s life, we have practically been indifferent to the gem he gifted us. After all Le Corbusier had a major contribution in opening India up to modern architecture. So the exhibition Le Corbusier, from Marseilles to Chandigarh: 1945-1965, which was inaugurated at Fine Arts Museum, Panjab University, came as an eye opener — to witness the master plan of Chandigarh being drawn step by 
step, landmarks like the open hand, governor’s palace, high court building taking final shape — it’s like travelling back in time to be part of the making of Chandigarh.

Photos by Pradeep Tewari

The most awe-inspiring piece at the entrance of the venue comes in the form of a letter in Corbusier’s handwriting to Picasso, written way back in August 26, 1949. A friendly letter inviting him to Marseilles, makes us realise how much a part Corbusier was to the renaissance period of art as it was happening in France during those days.

It also helps us to look for similar traits in their style of painting.

An endeavour of the French Embassy in India, Allaince Francaise of Chandigarh, Foundation Le Corbusier and Chandigarh Administration, the exhibition acquaints us with his works — paintings, collages, enamels, drawings, sculptures, tapestries and plans, beginning with that of Marseilles, traveling through Zurich, Venice and ending up with Chandigarh. Also on display are a few buildings in Ahmedabad, which he designed in 1951 (Villa Sarabhai, Museum and Ahmedabad Mill Owner’s Association building.)

It is nice to see things in reverse — living in his buildings and then seeing them at their conceptual level. But what was new for most of us was his large collection of paintings — oil on canvas, enamel and black-and-white drawings.

His early works like the Bull series (oil on canvas in 1956) are executed in pure abstract in which colour, rather than form, predominates. His later works show a little shift in style — figures, though abstract, became as important as the vibrant colours he used. One can see that in his paintings like Orange and Blue Bull (enamel), Two Guitarist Women (collage on black paper), Totem (oil on canvas), which he painted between 1960 to ’64.

Then there are sculptures like Panurge II in wood, bearing his signature style of blocks and other geometric pattern and books written by him — My Work (1966), The Modulator (1950), Looking at City Planning (1947) and The Poem of the Right Angle (1955) completes the scene.

The exhibition comes as the conclusion of an important cycle of events — exhibitions and conferences — organised in numerous countries and devoted to both Le Corbusier’s work and the two modern capitals of the 20th century, Brasilia and Chandigarh. And a tribute comes from curator Jacques Sbrigilo, also an architect from Marseilles, who is here as one of the curators of the show.

“It was thanks to the Chandigarh commission that helped Corbusier realise a long-cherished dream, that of creating a complete city on a virgin terrain. So this exhibition here is a befitting tribute to the master architect on his 120th birth anniversary,” he says.

Words that would make any Chandigarhian proud!

On till December 22

Some for lucre, others out of interest, more and more city-based theatre artistes are switching over to costume designing
Spreading their wings
Parbina Rashid

That our theatre artistes cannot survive wholly on stage productions is common knowledge. So what do they do? They deviate their creative energies into ventures that can help spruce up their incomes.

Designing costumes for theatrical productions comes as the next best option for our city actors. After all, we have someone to inspire us — Dolly Ahluwalia — a gold medallist from the National School of Drama who is making it big in Bollywood. Her two national awards — one for costumes for Bandit Queen and the recent one for Omkara — are still talk of the town.

Another city-based couple — Surinder Sood and his wife Roopa — have been designing for stage productions since the past 15 years. “I started as an actor and director, but as it was not commercially viable to live on acting alone we felt the need to start our own costume business,” says Surinder.

Surinder, who wons Mayor School Mall-34, has supplied costumes for productions like V.V. Karanth’s Tasher Desh, Indian Theatre Department’s annual production Tughlak, Umesh Kant’s Ek Tha Gadha, to name a few. Roopa too has now hit the Bollywood scene, with her debut film Jab We Met.

Then there is Gick Grewal, who has been associated with Neelam Mansingh’s The Company for decades now. Besides acting, she used to assist Neelam in designing costumes for the cast. “When I felt confident enough, I started my little shop of costumes,” says Gick, whose shop in her Sector 21 residence is growing in size ever since.

“Initially we were catering for only bhangra and giddah groups but now we have costumes for almost everything — plays, music videos, light and sound shows, and fancy dress shows for school children,” she adds. Gick has even designed the dress Priyanka Chopra wore for the TVS Scooty ad and also for Gurdas Mann in Shaheed-e-Mohabbat.

And albeit these people have made a mark in the glamour industry, they still are dependent on city schools for their bread and butter. “There are not too many stage productions happening here. Even offers for films or music albums do not come by everyday. So for a steady income we have no other options but to depend on schools,” says Surinder.

The fact holds true for a majority of theatre groups in the city, as most of them are amateur outfits. With not too many corporate houses to sponsor their shows, they make do with whatever little resources in hand. “Dressing up a character requires a lot of detailed work. One needs to read the script and get into the skin of the character to dress him or her up. In that case it is difficult to depend on some outsider to fulfil that need. But for folk-based drama we do rent costumes from such suppliers,” says Umesh Kant, who runs a theatre group in the city.

Well, theatre may not be a lucrative avenue for our costume designers, but till our schools believe in outdoing one another with their lavish annual productions and people like George Pulinkala and Shyamak Davar continue with their annual trips to the city, costume designing houses will be doing brisk business!  

Rising Star
Ghazal is his forte
Surinder’s all for guru-shishya parampara
S.D. Sharma

The memory of a standing ovation by students at Benaras, the Mecca of music, still rejuvenates Surinder Khan, the winner of the inter-university title in ghazal singing for both 1999 and 2000.  Attributing his triumphant feat to the blessings of his parents, Surinder, who hails from sleepy Bhai Roopa village in Bhatinda, had never dreamt of making it to this level.

But with tutelage of Ustad Baqure Khan of Patiala Gharana and dedicated riyaz, Surinder has in fact inherited the family legacy of classical and folk music. He is presently learning the nuances of music from Ashok Chanchal while teaching youngsters at home and also at DAV College-10.

As a student, Surinder brought laurels for his school at Rampura Phul, winning state-level music competitions. He maintained this tradition of excellence by winning almost every contest in Punjabi University, inter-zonal competitions and also the national award in ghazal singing twice. After two of his Punjabi albums, Tenu chete kar ke (1993) and Akhiyan da jadu (2001), he scored music for another album Khwaab for Vicky Sandhu and Jogi with UK-based singer Meet Malkit.

Imbibing the singing style of Ghulam Ali Khan, he says maestros like Ghulam Ali Khan, Mehdi Hasan, Jagjit Singh and others have popularised ghazal worldwide, rather resurrected it with élan. “Despite the upsurge in film or private music albums with western influence, there are more takers for ghazal, classical or pure folk music and it is bound to stay,” he feels.

“And as a career in music depends on your talent, disciplined riyaz and sincere guidance, imparting music under the guru-shishya parampara can yield better results,” he concludes.

lifestyletribune@gmail.com

New releases
Star-studded show

Six visionary directors, ten spectacular stories, twenty-five actors and one feature film – Sanjay Gupta’s Dus Kahaniyaan promises a cinematic feast for movie buffs. The movie includes ten short films by directors such as Sanjay Gupta, Apoorva Lakhia, Hansal Mehta, Jasmeet Dhodi, Meghna Gulzar and Rohit Roy.

RISE N FALL

Starring: Sanjay Dutt & Suniel Shetty
Director: Sanjay Gupta

Through an internal conflict between an underworld don and his best friend, we witness a stylish game of friendship and betrayal in the Rise and Fall. Dus Kahaniyaan’s Rise and Fall is a story of two friends united as brothers and divided by power.

SEX ON THE BEACH

Starring: Dino Morea and Tarina Patel.
Director: Apoorva Lakhia.

Dino picks up a worn-out book on the beach and its character comes alive into a breathtaking woman. They have a great time. But then everything changes. Does this mystery woman have some surprises for Dino?

MATRIMONY

Starring: Arbaaz Khan, Mandira Bedi and Sudhanshu Pandey.
Director: Sanjay Gupta

Meet Mr and Mrs Sarin. They are a happily married couple. The devoted wife goes every Thursday to visit her ailing Aunt, or does she really? Is everything good in paradise? Is someone betraying someone?

LOVEDALE

Starring: Aftab Shivdasani, Neha Uberoi and Anupam Kher
Director: Jasmeet Dhodi

When Anuya met an old woman wearing a single earring in a train, little did she know that this chance meeting was about to change her life. ‘Lovedale’ is about fate, destiny and about one moment that changes a life forever.

GUBBARE

Starring: Nana Patekar, Rohit Roy and Anita Hassanandani.
Director: Sanjay Gupta.

After an argument with her husband in a bus, Anita sits next to an intriguing man holding 14 red balloons. Then unfolds a journey within a journey into this man’s past, unraveling the key to one of the most important lessons in life. What is the mystery behind these balloons?

RICE PLATE

Starring: Naseeruddin Shah and Shabana Azmi.
Director: Rohit Roy

When a hungry devout Hindu woman’s only meal is claimed by a Muslim man, what will she do? Will she snatch or share it? Will she defy her beliefs? Rice Plate promises an irresistible treat about the moments that bring us together

HIGH ON THE HIGHWAY

Starring: Jimmy Shergill, Mausmeh Makhija.
Director: Hansal Mehta.

The highway symbolised their companionship: Their unspoken love. But the highway’s unpredictable and volatile turns would radically change their lives. Does freedom has its boundaries? Does the recklessness of life have an end?

ZAHIR

Starring: Manoj Bajpai and Dia Mirza
Director: Sanjay Gupta.

A writer is driven to madness after he makes a startling discovery about the woman he loves. Is everything always as it seems? Does mystery lie underneath the surface of life?

POORANMASHI

Starring: Amrita Singh, Minissha Lamba and Parmeet Sethi.
Director: Meghna Gulzar

A doting mother’s only daughter is about to get married. She would do anything to make her happy. But an impulsive act of hers is about to lead their lives into drastic consequences.

STRANGERS IN THE NIGHT

Starring: Neha Dhupia, Mahesh Manjrekar.
Director: Sanjay Gupta

Every anniversary, they told each other a secret of theirs. This year, it is the wife’s turn. She begins narrating an interesting encounter with a stranger at the railway station waiting room. But then, are all secrets meant to be shared?

Showing at: KC, Batra

Khoya khoya Chand
From times of yore

Starring: Shiney Ahuja, Soha Ali Khan, Rajat Kapoor, Sushmita Mukherjee 
Director: Sudhir Mishra

The film is based on Sudhir Mishra ’s own experiences of the film industry and the stories he has heard about it. It is about two young people afloat in the film industry of the wild 1950s... the tumultuous love story of an actress Nikhat (Soha) and a writer-directer Zafar (Shiney), based in the wild and exhilarating era of the 1950s-60s – the Golden Age of the Hindi film industry. The flick is a tribute to those times and people, as well as an accolade to their inspirational lives.

A magical world, people with huge talents, inflated egos, beautiful and ugly individuals and the tantalizing lure of stardom. A world of glittering dreams and harsh realities – golden, yet cruel.

This world comes to life with an excellent ensemble of actors who in their varied roles create a colourful backdrop of the film industry – from awe-inspiring superstars and feisty studio-owners to fashionable divas with scandalous stories. This film has them all, and more.

Set against the compelling magnetism of this addictive world is the story of Nikhat, a young girl who goes from being a fledgling extra, to a starlet to a great heroine, and Zafar, through whom we see the triumphs and travails of a writer-director of the 1950’s. The story of a volatile love that they can neither live with, nor without. And the story of the difficult and often heartbreaking choices they have to make... Even as the backdrop of this film is period, it remains modern in its narrative, characterisation and treatment.

Showing at: Fun Republic, Suraj, Nirman 

Little Interview
When Soha felt like a heroine...
Horse-riding, kathak & Urdu — Soha learnt it all

A brief stint with Citibank, part of a couple of American plays and then an entry into Bollywood, Soha Ali Khan first caught our attention with RDB. The young talented actor, looking beautiful and graceful in Sudhir Mishra’s Khoya Khoya Chand spoke to Life Style about the flick and why is it special to her. Next, she will be seen in another Sudhir Mishra flick titled Tera Kya Hoga Johny.

What is Khoya Khoya... about?

It’s a love story of an actress and a writer-director. Set in the backdrop of the film industry in 1950’s and 60’s, it’s a tribute to the filmmakers of that era.

Tell us about your role in the flick?

I play Nikhat, an ambitious, romantic and hard-working girl, who sticks to her principles. The bread earner of the family, she’s had a difficult childhood and leads a tough life.

Did any preparation go into playing the character?

It was very challenging and it took me quite some time to get into the skin of Nikhat. Jyoti Deb, helped me with my Urdu diction. I even spent a lot of time with Nandita Puri learning kathak. Also, I took riding and sword fighting lessons.

How was it shooting in Goa’s 400-year-old heritage house?

Oh, it was wonderful. I felt like a heroine, in the true sense, while shooting there.

What can we expect from the film?

It’s a period film, so the look is one thing that will strike you. The credit for the awesome artistic sets goes to the cinematographers. Also, there is some wonderful music. Overall, it’s a rich glossy flick.

So can we say Soha Soha Chand?

Well, the film is very important to me. The kind of focus, responsibility, and ownership I have over this film is what makes it special.

— Dharam Pal

SIDELANES
Past and future: Hits & misses
Joyshri Lobo

Frizzy, Negroid hair held back by a saffron cloth band. Slim, wheatish body, large almond-shaped; sad eyes. The whole mien was handsome, sensitive and tense. He wore a white dhoti, orange scarf and a cream coloured jacket. The brass lota on his arm was polished to a dull gold. Around his neck, various brightly hued malas held a pendant of the Mata — his source of inspiration and strength.

Me and my daughter-in-law (DIL) saw him walking down the road on a sunny Sunday morning. He offered to read our palms for Rs 10 each. We looked at each other and laughingly decided, “Why not?” It would be an interesting exercise in hits and misses.

As age comes before beauty, I was the first to face the young mendicant. I smiled and was immediately admonished: He said it was no joke. But there was no palm-reading, just an intense scrutiny of the face. He spoke in a very peculiar dialect and I often asked for a repeat. At one stage he cursed that I understood English, but not his kind of Hindi. He spoke in parables and told me the number of children I had; correctly defining their characters and global locations.

The young prophet described my daughters-in-law perfectly and warned me not to let the youngest son drive much, as an accident scare was looming large. A clairvoyant from Canada had corroborated this fact earlier in the year. He even told me that there was currently a hai or a malevolent force in my life, which would end with the new year. He assured that I would never hold a walking stick and would die a few years before my husband. I worshipped God but not a particular guru. As this is one of my closest secrets, my hair stood on their end!

By this time, the past and the future were being rapidly hurled at me and were so true. I had gooseflesh, which had nothing to do with the cold wind that blew. I decided I wanted no more and pushed my DIL forward.

The first thing he told her was that she had two names as an infant. DIL stoutly denied this, but at night whispered that she had also been called Bhanu (A fact she had forgotten) He told her she had lost three sisters, which was also true. He described her brother; the loss of her mother; her father today; her family life and Dhruv, our grandson. There was so much more and then it was time to end it all.

I offered him hundred rupees, which he refused saying he only wanted a cup of tea. We persuaded him to take the cash as well as tea.

Awed and silent, Charu and I sat down with the men in our lives to discuss what we had been told. Where had he learnt his art? How was it possible to read our faces? How had there been so many accuracies? Why did he not want money for the hour he had spent with us? It will be a long time before I forget the young sadhu and his predictions. India has so much to offer the world. I wonder if we realise and accept this?