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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Mayank Shekhar's Review Patiala House
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<blockquote data-quote="spnadmin" data-source="post: 142073" data-attributes="member: 35"><p>Patiala House</p><p>Direction: Nikhil Advani</p><p>Cast: Akshay Kumar, Rishi Kapoor</p><p>Rating:** </p><p></p><p>To use popular journalese, the peg of this Patiala (House) story is British racism of the early '90s. This is around the time Indians and various other coloured minorities were targeted by white skinheads in</p><p>the increasingly multi-racial neighbourhoods in the UK.</p><p></p><p> A young sardar had stood out then as a Martin Luther King figure of sorts. He'd fought against goras, built a community around Sikhs. The film's set in South Hall, a London neighbourbood infinitely more popular than South Mumbai for locations in Hindi films (the euro is still valued at Rs 60-plus, the producers can do the math around movie ticket sales).</p><p></p><p>The said sardar, an old man, is South Hall's current 'sarpanch' (Rishi Kapoor — on a sensational second wind of his career, you can tell). He's a fanatic: Someone who wouldn't change his opinion, and won't change the topic. He hates the Brits, or the whites. Why he still chooses to live in the British capital, pay taxes to the Queen, the filmmakers don't deem fit to explain.</p><p></p><p>A prominent victim of this reverse-racism is the sardar's own son, who once gave up his cricketing dreams of bowling for England. The father wouldn't have it otherwise. He'd commit suicide, if his kid did anything, besides a sundry clerk's day-job at a corner-store.</p><p></p><p>The old man's own love for cricket is unquestionable. He loves the late Lala Amarnath. He watches every game that India plays at the local community centre. Was he ever to take the infamous British 'Tebbit's test' that checks on fan loyalties of British migrants when England plays a country of their origin, he'd fail it. He'd support India instead, for sure. He's clearly unopposed to sport or cricket itself.</p><p></p><p> For the love of Lala, it's hard to figure why this dad would entirely ignore his son's unbelievable bowling talent at such young age. Even the great Nasser Hussain remembers the mohalla boy's swingers from back in the day. Ship him off to Punjab for Ranji Trophy, if county or England cricket's such an issue, no?</p><p></p><p>No. Because that son's Akshay Kumar. This film wouldn't be made otherwise — if we began muddling ourselves up with issues like these. Neither would a quarter of Mumbai's film industry find a freelancer's job, if this indefatigable hero rolled out any less than five movies a year. If anything, this is one of the best of recent Akshay Kumar flicks, from a rapidly expanding annual inventory, of course. Tees Maar Khan, about a month ago, was his last.</p><p></p><p> This leading man is 34 by now, hasn't played any competitive cricket in 17 years, has merely practiced alone to an unguarded wicket. There's a God. He's also Sikh, and belongs to the England selection committee. He instantly finds this mid-aged fast bowler a place in the national T20 squad. The boy (which is what adults in cricket teams are supposed to be) immediately earns tabloid sobriquets — 'The Punjab Express' etc — first game onwards. The father doesn't know. Here's why.</p><p></p><p>Relatives and friends conspire to keep it from him. Front pages of his daily newspapers are changed everyday. Cable connections are switched off at the time of matches. And this is one colourful Yashraj-London-Ludhiana family from the '90s having a blast. They number over a dozen, rotate around a strict dad (Amrish Puri's unfortunately no more), everyone's incredibly Indian in their accent and manners, obsessed with group dances, and big fat weddings. It's all wonderfully joyous. It is.</p><p></p><p>So is the actor Anushka Sharma, the chirpy young thing, who plays the leading man's love-interest. She's easy on the eye, equally easygoing in her ways: something that's begun to delight her audiences lately (Band Baaja Baraat, Badmaash Company). Speaking of her love for life and movies, she says in the film, show me a picture where the hero has no back-story, and I'll show you a flop. Fair enough.</p><p></p><p>This picture of hers does have a back-story. Whether it matters at all, is the point. Or, maybe not. The Brit-Indian cricketing hero never faces the Indian team in the world cup either. A real conflict in a story can be avoided too. It's all good, this Patiala peg. Just chug de phatte! We're all about Bollywood and cricket 'n' all, innit?</p><p></p><p>I guess.</p><p></p><p><a href="http://www.hindustantimes.com/Mayank-Shekhar-s-review-Patiala-House/Article1-661330.aspx" target="_blank">http://www.hindustantimes.com/Mayank-Shekhar-s-review-Patiala-House/Article1-661330.aspx</a></p></blockquote><p></p>
[QUOTE="spnadmin, post: 142073, member: 35"] Patiala House Direction: Nikhil Advani Cast: Akshay Kumar, Rishi Kapoor Rating:** To use popular journalese, the peg of this Patiala (House) story is British racism of the early '90s. This is around the time Indians and various other coloured minorities were targeted by white skinheads in the increasingly multi-racial neighbourhoods in the UK. A young sardar had stood out then as a Martin Luther King figure of sorts. He'd fought against goras, built a community around Sikhs. The film's set in South Hall, a London neighbourbood infinitely more popular than South Mumbai for locations in Hindi films (the euro is still valued at Rs 60-plus, the producers can do the math around movie ticket sales). The said sardar, an old man, is South Hall's current 'sarpanch' (Rishi Kapoor — on a sensational second wind of his career, you can tell). He's a fanatic: Someone who wouldn't change his opinion, and won't change the topic. He hates the Brits, or the whites. Why he still chooses to live in the British capital, pay taxes to the Queen, the filmmakers don't deem fit to explain. A prominent victim of this reverse-racism is the sardar's own son, who once gave up his cricketing dreams of bowling for England. The father wouldn't have it otherwise. He'd commit suicide, if his kid did anything, besides a sundry clerk's day-job at a corner-store. The old man's own love for cricket is unquestionable. He loves the late Lala Amarnath. He watches every game that India plays at the local community centre. Was he ever to take the infamous British 'Tebbit's test' that checks on fan loyalties of British migrants when England plays a country of their origin, he'd fail it. He'd support India instead, for sure. He's clearly unopposed to sport or cricket itself. For the love of Lala, it's hard to figure why this dad would entirely ignore his son's unbelievable bowling talent at such young age. Even the great Nasser Hussain remembers the mohalla boy's swingers from back in the day. Ship him off to Punjab for Ranji Trophy, if county or England cricket's such an issue, no? No. Because that son's Akshay Kumar. This film wouldn't be made otherwise — if we began muddling ourselves up with issues like these. Neither would a quarter of Mumbai's film industry find a freelancer's job, if this indefatigable hero rolled out any less than five movies a year. If anything, this is one of the best of recent Akshay Kumar flicks, from a rapidly expanding annual inventory, of course. Tees Maar Khan, about a month ago, was his last. This leading man is 34 by now, hasn't played any competitive cricket in 17 years, has merely practiced alone to an unguarded wicket. There's a God. He's also Sikh, and belongs to the England selection committee. He instantly finds this mid-aged fast bowler a place in the national T20 squad. The boy (which is what adults in cricket teams are supposed to be) immediately earns tabloid sobriquets — 'The Punjab Express' etc — first game onwards. The father doesn't know. Here's why. Relatives and friends conspire to keep it from him. Front pages of his daily newspapers are changed everyday. Cable connections are switched off at the time of matches. And this is one colourful Yashraj-London-Ludhiana family from the '90s having a blast. They number over a dozen, rotate around a strict dad (Amrish Puri's unfortunately no more), everyone's incredibly Indian in their accent and manners, obsessed with group dances, and big fat weddings. It's all wonderfully joyous. It is. So is the actor Anushka Sharma, the chirpy young thing, who plays the leading man's love-interest. She's easy on the eye, equally easygoing in her ways: something that's begun to delight her audiences lately (Band Baaja Baraat, Badmaash Company). Speaking of her love for life and movies, she says in the film, show me a picture where the hero has no back-story, and I'll show you a flop. Fair enough. This picture of hers does have a back-story. Whether it matters at all, is the point. Or, maybe not. The Brit-Indian cricketing hero never faces the Indian team in the world cup either. A real conflict in a story can be avoided too. It's all good, this Patiala peg. Just chug de phatte! We're all about Bollywood and cricket 'n' all, innit? I guess. [url]http://www.hindustantimes.com/Mayank-Shekhar-s-review-Patiala-House/Article1-661330.aspx[/url] [/QUOTE]
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