Bal Gangadhar Tilak born Keshav Gangadhar Tilak was an activist and politician of India. The great writer Marathi Bal Gangadhar Tilak, in contemporary India considered a founding father of the nation, if not the ultimate fighter in the struggle for freedom, second only to that effect Gandhi enough to be described as unlike their elders' political opponents by the honorific Lokmanya, meaning popular, letter accompanied by the support of the world, was born in Ratnagiri (Maharashtra) in 1856 from his father Gangadhar Pant, which in turn descended from the oldest two brothers, Ramachandra Tilak.
Even more of Gandhi, who was coming from a family of merchants Vaishnava to Bhagavadgītā but with mentality akin to the Jains (the parents were Jains), as taught by the Keer, BG was raised according to the canons of Hindu Shaivite type, ie Brahman devoted to the strict ritual practices and holds observances of worship of his ancestors. He founded two newspapers: one, in the vernacular, (the Kesari) and the other in English (the Mahratta), performing in both an active action of anti-British propaganda.
L.Bianco argues that the political position of Tilak was diversified not only in relation to that of Gandhi, but also with respect to the ideology of the moderate countryman [Gopal Krishna Gokhale] (1866-1915), a reformist modernist although caste Brahmin like older comrade. Gokhale fact believed that India should learn gradually by colonists art of self-government. While Tilak, follower dell'antislamico Arya Samaj , was promoting a kind of politically on Indian nationalism. That's why the revered historical figure of Shivaji.
For their extreme ideas the political Marathi was imprisoned in 1908 however and served in prison about six years. After the liberation, in 1914 and supported with enthusiasm by the great German scholar Friedrich Max Müller , Tilak was greeted triumphantly by Congress. However irreconcilable religious and social differences between Hindus and Muslims, were slowly leading India in those positions opposing policies that later, after the proclamation of independence on August 15, 1947, led the Indian nation on the brink of civil war. With the consequent division of the Deccan between the two opposing religious factions.
He died in 1920. Tilak did not live to see the disastrous consequences of its policy extremist. However, with today's judgment and it is rightly considered even more of MK Gandhi (1869-1948) the father of the struggle of India, particularly the most linked to the Hindu traditionalism, for their liberation from the British Empire. He teaches us the best biographer of N., D.Keer, Lokamanya who was the creator of the Indian National Congress and one architects of India today. Political beliefs he professed also had vast repercussions on Indian Independence Movement and, more generally, on Asian Freedom Movement.
You can not, however, reduce the importance of this thinker simply the role of militant anti-British, on the historical level, disregarding the valuable contributions of this figure on an intellectual level. Although, as pointed out by Russian historians, Tilak - which was not at all an admirer of Lenin, even from the side opposite policy - had conceived and organized an armed uprising against British colonial rule.
But this judgment is clearly restrictive, since the A. - A Hindu disinclined toward the modern world, perhaps that technologies disliked by the West - has been praised and cited mainly for his most famous works by orientalists influential both in the spiritual (see eg. The cit. Of Rene Guenon in formes et traditionnelles cycles cosmiques, Paris 1970) that in the academic field such as the distinguished American scholar Stella Kramrisch (see. eg. The Presence of Shiva , Princeton 1981). For precise placement of Tilak part of Indian culture and the world of his time analyzing the Prem. prof. Del Ponte of Orion ; about a synthesis instead of political positions of the A., with a different approach to the problem, see. the Encyclopedia Britannica, sv [Bal Gangadhar Tilak].
Within studies Vedic the first important work of Tilak, written in 1893, was The Orion or Researches into the Antiquity of the Vedas. The fundamental work of Tilak, The Arctic Home in the Vedas , came out in 1903, although already prepared five years ago. In 1971, in Poona, it was re-published a new edition of the book. In 1925 it was published in Pune an incomplete set of items, and Vedic Chronology Vedanga Jyotisha was published posthumously by Tilak Bros.
Gita Rahasya (Sri Bhagavadgītā-rahasya or Karma-Yoga-Sastra), the work of the maturity on the esotericism of B.Gita, is preceded by a long preface by the author (56 pages) and contains an Index terminological expressions. The work was drafted originally in Marathi , the language of Maharashtra; with the contribution of S.Sukthankar, on the occasion of the fifteenth anniversary of the death of Tilak, it was quickly translated and published posthumously in English, according to the express will of the author.
An example of the many contributions of Tilak most immediate is given in Article political speech, translated by LP Mishra in Anthology of Indian literature, published by Fabbri, Milano 1971.The police officer Amit Kumar (Ajay Devgan) is appointed as the new superintendent of the (fictional) Tejpur district in Bihar. There on the Ganges begins Kumar immediately clean up. He discovered that the half lives of the Corps favors the wealthy Sadhu Yadav (Mohan Joshi), who terrorizes his son Sundar (Yashpal Sharma) the area. Kumar's attempts to bring the criminals behind bars, ends in frustration especially because he is betrayed by his own people again and again. But Kumar is not on.
The issue of corruption in the police force is certainly not new, but director Prakash Jha, the last the family drama Rahul turned, but otherwise is known for socially engaged thriller, driving the narrative forward with a lot of energy, so that you, the déjà vus soon forget. Especially the first half is a stunner. Ajay Devgan dominates every scene, the music presses forward the plot, ballast in the form of songs and love there is no. It is rather that of a cop working for the corrupt head honcho, the other for the local crime boss, and yet another on their own - or not at all.
The police come in "Gangaajal" not well off. And it is once brought halfway up to speed, they responded to the violence with counter-violence. This cycle is excellently worked out. For film center we identify with hardly anyone more even Ajay Devgan's role is diffuse. He still remains the pillar of strength. After halftime "Gangaajal" but falls apart easily. The villains begin to react foreseeable, two useless songs and scenes in Amit's home pull the film on excessive length.
Gracy Singh is completely wasted as the wife of Amit and the finale is far-fetched. What was so carefully built up at the beginning and an equally committed as engrossing thriller to grow would, ends conventionally. Too bad, because Gangaajal is certainly worth seeing if only because of the actors especially Ajay Devgan, the uncompromising hardness, and the aspect that police violence is not always tolerated. This is not a Sunny Deol movie, where state power is accepted as necessary funds. Here the cops come off morally or legally. Finally, the message is slightly diluted, but director Jha clarifies: In this web of corruption, violence and misrule is hardly a hand clean.
Balraj Kapoor (Amitabh Bachchan) and his wife Shobhna (Hema Malini) form an easy and happy couple especially their son Avinash (Salman Khan) has just returned to India after seven years in the United States, an event that festival. He soon falls in love with the beautiful Malvika Talwar ( Rani Mukherjee ), and she is quick to agree to marry him, to the chagrin of Varma Rajat (John Abraham), his best friend, secretly in love with her a long time.
The paternal uncle Avinash, Balwant (Om Puri) is also unhappy with this hasty marriage that does not respect the tradition to him. All this does not prevent Millie to live happily with Avinash, to whom she gave a son soon. One day, however, misfortune befalls the family.
This summary of the beginning of the film, which may seem unconventional, is in fact in the first half, for this old melodrama, directed by Ravi Chopra sixties and produced by her father, the patriarch of Bollywood while BR Chopra, needs almost an hour and a half to present the many characters and the links between them or between them, a classic long exposure, interspersed of course beautiful songs neat, which is found in masala traditional family as Family Indian or Mohabbatein, relatively speaking.
Like the latter, in fact, it takes half the movie for a dramatic turn (this can be a rebound as a simple revelation) comes raise or, as here, completely messing up the emotional stakes of work, the heightened emotion of course being the main engine of this screenplay highly codified genre cinema. For Baabul , it is thus essential if we are to talk about the real subject of the film and its (relative) originality, to say a little more about the famous central coup de theater that does all the interest the feature film, and its consequences in the second act of the film (ie, allergic to any SPOILER should perhaps stop reading here if they have not yet seen the film).
The misfortune happens is simple: the character played by Salman Khan, who shared the lead role with Rani Mukherjee far, is stupidly killed in an accident. Rani then resolves to a widow's life, his only concern being to raise his son but to his amazement, her parents ask her to remarry.
Here then is the real subject of the film, the remarriage of widows. For if the cruel dilemma faced heroine (she is condemned to remain a widow until her death, is in its interest, or can it or should it be allowed to remarry?) does not even arise, or at least much more anecdotal in a Western movie, his mere presence and extreme seriousness with which it is treated prove that it is still a taboo in some traditional Hindus. While this may reassure some, but the body of Ravi Chopra is still less intransigent here, for example, than that of a more conservative as director Suraj R. Barjatya in Vivah, who seemed to know in advance the answer to the moral issue arose that his characters, even as his previous film, the beautiful Baghban , pardon or unwinding without concession.
This is not to say though that Baabul is a realistic movie characters to natural: on the contrary, they are mostly stereotypes, played by talented actors well distributed, certainly, but whose reactions sometimes seem artificial. This melodrama then, far from user finesse and unspoken to move, use thick strings like marine ropes, too demanding and will give spectators the impression of being held hostage by a device tears corkscrew ... However, although it is aware of the artifice of the film, one can easily opt for the more moderate criteria spectator Series B Bollywood and being manipulated by the skilled artisan what the director, between amused smile before scenes to really focus too much , and real emotion at the most successful sequences.
For the overall success of the film is primarily up to its actors: the first gay party, Salman is so for once rather charming; there is less funny in the movies where it really convenient self-Derison playing background map imbued playboy of person ( Lucky: No Time for Love, Jaanemann ), but his chemistry with Amitabh is really refreshing in complicity scenes between father and son close comedy, reminiscent of the relationship between Amitabh and Akshay Kumar in Waqt: The Race Against Time , a beautiful film released just last year. The typical way Bollywood Salman woos Rani Mukherjee, by posing for a modest man while he comes from a wealthy family, is also pleasant. However, the two true stars of the film are Rani and Amitabh Bachchan, two safe bets when it comes to make credible a simple and moving story very "first degree", which does not bother with half measures.
Against damage by the Amitabh-Hema Malini couple does not find the magic Baghban , in which the two aging actors interpreted, it is true (and rare in Bollywood), the leading roles. As for John Abraham, he has not the strength it will be a little later in a film like No Smoking , and his performance, forgettable, hardly goes beyond its image as a "hunk" . Finally, Om Puri, without being bad, seems forced rather intransigent in its role of uncle the director had even written the role originally for Amrish Puri , his cousin in life apparently, but he died in 2005. If it is known, moreover, that it is Kajol who was to embody the Character Rani Mukherjee another cousins, really, we begin to dream of what would have been Baabul with two fiery temperaments like that, perhaps simply the great film that it is not managed to become.
Despite some flaws, and if one is not too fussed about the psychological subtlety of the characters, Baabul is thus a fairly rich movie, funny and entertaining in its first part, and moving into the second, with a wide distribution, for the important roles as for the secondary. If you appreciate the beautiful old melodramas that take their time to better track and breaths the aspirations of their characters, we will pass a good time with this honest craftsman work coupled with a subject that takes a little marked trails of Hindi commercial cinema as Baghban Ravi Chopra of the same, which was even more successful.
Note that the director eventually occur Bhoothnath , again with Amitabh Bachchan in the role of patriarch, so to say, a film that, in addition to its fantastic character, also has the side "dramedy" Tying the last films Ravi Chopra.
Gangaajal 2 is a 2015 Indian Hindi action drama film directed by Prakash Jha with Ajay Devgan, Priyanka Chopra.
Priyanka was born in 1982 with her parents being Ashok and Madhu Chopra, both doctors in the Indian army. She has a brother, Siddharth, seven years younger. In June 2013 she lost his father, who was very close and who has dedicated a tattoo. Has won the international popularity by winning the title of Miss World 2000. She had previously been elected also Femina Miss India World. Curiously, the same year the countrymen Lara Dutta and Dia Mirza Handrich won titles respectively of Miss Universe and Miss Asia Pacific, creating a historic hat-trick for India.
Her debut film was the case in 2002 with the film Thamizhan. The following year, she made her debut in Bollywood with The Hero: Love Story of a Spy followed the film's success Andaaz, for which she won the Filmfare Best Female Debut Award.
In 2004, becomes the second woman to win the Filmfare Best Villain Award, receiving for her performance in Aitraaz. Chopra later will get even more commercial success with films like Mujhse Shaadi Karogi (2004), Krrish (2006) and Don - The Chase Begins Again.
Chopra also won the Filmfare Best Actress Award and a National Film Award for Best Actress for her performance in Fashion (2008), an award that has made her one of the most important contemporary actresses in Bollywood.
She has had even a music career and collaborations with will.i.am and Pitbull.
cameraman ganga tho rambabu