*Latest in Amitabh News* Options

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http://www.indianexpress.com/news/big-b-al...r-udaan/649365/

Big B all praises for 'Udaan'

Bollywood megastar Amitabh Bachchan has lauded Vikramaditya Motwane's mature direction and the performances by the actors in 'Udaan'.

The 67-year-old actor, who watched the film in a private screening on Monday, found it deserving of the praises it has already garnered from the audience.

"I found that the film deserved the accolades it was getting. Vikramaditya Motwane, a school mate of Abhishek has directed this film. A young man who had come some years ago to me with a marvelous script, has directed this venture of his with the maturity that one does not expect to see from one on his debut venture," Bachchan wrote on his blog.

"Apart from the novelty of the presentation of the film, the matter that stands out is the performances from each and every artist. Nothing seems rehearsed and deliberate. It is just a simple exercise in not doing anything in front of the camera," he added.

'Udaan', released on July 16, is a story of a teenage boy played by newcomer Rajat Barmecha, who returns from boarding school after eight years to a life with his authoritarian father played by actor Ronit Roy.

The film was officially selected to compete in the 'Un Certain Regarde (A Certain Look) category at the 2010 Cannes Film Festival.

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http://www.deccanchronicle.com/sports/big-...-tournament-562

Big B to endorse ESPN for T20 tournament

July 22nd, 2010


Mumbai, Jul 22: Megastar Amitabh Bachchan has been signed up to endorse sports channel ESPN for the upcoming Champions League T20 tournament to be held in South Africa, in September.

"I have been signed on to endorse ESPN for the Champions League Cricket T20 tournament to be held in South Africa in September. And because of paucity of time we had to shoot all the promotional films and stills for print and short seconders for TV and ? dub it by the evening in order that they are able to release the publicity soon," the 67-year-old actor wrote on his blog.

"Thankfully it has all gone off well and I have just completed the dub for what we shot in the morning. But the rush and the speed with which it all had to be done was some kind of a marvel," he added.

[Spencer]

Big B on decade No 5

Mayank Shekhar, Hindustan Times

Mumbai, July 30, 2010

There are perhaps two key reasons to account for Amitabh Bachchan’s unparalleled record as the longest serving leading man in the history of Indian films. Besides of course an obvious ‘actorial’ talent and a rare presence that is relatable at once to the contemporary and old, the urban and Middle India.

One, he came in as that rare beacon of professionalism at a time Mumbai’s film industry was held ransom to heroes’ whims, and their laid back arrogance. He was to become, quite instantly in the mid ’70s, a producer’s delight. Most filmmakers still consider him “addictive” to work with. You could set time to Bachchan’s scheduled entry into a film set or any function. If the two didn’t match, it was said, it may be your watch running late — not Bachchan.

But equally significant is that in spite of about 200 films for a filmography, stint on television as daily show host, countless brand endorsements, quite a few biographies, personal blog updated daily, tweets by the minute, thousands of press interviews (this being the nth); by design or otherwise, Bachchan has somehow still managed to remain an impenetrable public figure.

I’ve met no one who can truly (or rightly) claim to know him much beyond his public self, which is largely humble to a fault. Or lately aggressive, in response to the media, in particular.

Some could call him, for the same reasons, a frustrating interviewee, careful with every dot and cross, while you’re left to read between lines. Yet, the mystique around his persona somehow still endures. He never quite ducks a chance to redefine or play around with his own screen image either. It’s been 41 years since his film debut. He remains just as hungry a performer. He still canvases for roles, he says: “I’m still insecure about my work, talent, and what future holds for me.” Really, some precious lesson there!

You’re on your fifth decade as a leading man of films. In that span, while mainstream movies have changed, so has India. By association you’ve been an active participant in the latter process as well. What do you find has really changed about this country over the years, and that gets reflected in its mass culture (or commercial movies) as well.
In one word: liberalisation. Liberalisation of the economy drew this country out from the clutches of ‘license raj’. With economic boom came opportunity. The middle class became richer. If the figure of 350 million is correct, then it represents the entire population of USA. The euphoric rush to catch up (with the West) was reminiscent of, ironically, the Gold Rush of America in its early years of discovery.

The rich became richer. The poor went further down. Political attempts are being made to bridge that gap. One wishes for its success. But the lure of better financial profiles drew many an interior and small town inhabitant to the metros to enhance living conditions.

A national cinema
Cinema the world over has reflected the state of the nation. Purists will scoff at this assumption, but I have my arguments. Study the cinema of the ‘40s and ‘50s and even the ‘60s. There was ‘thehrao’ in the substance being projected. Characters took time to express feelings and written lines. There was space and time to listen to elegance of the written word, lyricism of poetry in songs, and musical notes. There was emphasis on that trolley shot that moved within that slow, quiet space of time. There was ‘time’ for it. Today there is no time. Speed has become the password for normalcy. Your window on the laptop, if not open within a nano second of the depression of a key, will result in a change of the machine. Your weeklong wait for a booked international call to New York through an operator is completed within seconds by your own hands, driving in some remote region of the country. Where are dacoits and Thakurs?

TV shows and films release simultaneously the world over. Your TV is virtually free. You go to the theatre to see the latest film expecting it to outdo what you may have just seen for free at home, lounging on your bedroom sofa. The ticket price, travel, popcorn for that evening could bill up to Rs 2,500 – 3,000: annual earning for some of the poor in the country.

To match the finesse and technology of the West, the Indian filmmaker is pumping in large money, and wants to recover it in the first week. This is possible only in the (affluent) metros. The B and C centres do not matter to him so much. I have on occasion heard prominent filmmakers express disinterest in the collections of their film from UP and Bihar, because those are not regions they expect will bring back their investments. Metros, overseas and ‘satellite’ (television rights) done, huge grosses collected: time to head to the Marriott to party on the Monday of the very first week!

In the ‘70s and ‘80s, we waited for silver, golden and platinum weeks to register, before the order for trophies could be made!

Issues have gone through a metamorphosis as well. Where have the dacoit and the ‘Thakur’ films gone. Where is the story of the untouchable and deprived classes, glorification of the minority and secular-balance that our Constitution promulgates? Where has all the action gone — the defiance and standing up against deprecated values and systems? You get to see more of it on the Parliament Channel, inside the august houses of peoples’ representatives! Escape from TV…

With horrors of terrorism and street violence screened before us every second of 400 TV channels’ ‘Breaking News’, we really do not want to spend Rs 2,500 to see it enacted by our popular and leading stars of the world of illusion. With all due respect, others are doing it better. And it’s live! So escapism rules. We were accused of this term throughout our career of 35-40 years. Now we are ‘escaping’ from the rigours of reality TV to whet our appetite with laughter, romance and frivolous deliberations: “I don’t want to wrack my brains, trying to solve problems and issues that trouble society. If I feel strongly about it, I have my own voice now. I’ll Tweet!” says the common man.

Just as your reflex action towards time has changed, so too the reaction time for cinema: film on release; get on to the Internet; read review; speak to a few friends… “Ok, avoid. Not going.” Six weeks later, browsing, come across same film on the idiot box… “Arre yaar! Achhchi film thi! (It was a good film!)”

This generation moves on
Marketing and promotional acts have introduced new business practices to get that first week’s full house, recover money, and move on. We remember even the interlude music of the songs from the ‘50s and ‘60s. We do not remember the songs of today’s films. Or maybe they do! Maybe the younger generations do! Maybe this generation registers what it chooses to, and moves on. Maybe we have gone irritably slow. This generation talks and thinks faster. My grandson of 8 teaches me how to install my BlackBerry and my iPad. Maybe I am the wrong person to be answering a question (on change). Who knows!

Is there a way you can succinctly describe the decades and what they’ve meant for India through its films – ‘70s, ‘80s, ‘90s, and the 2000s.
I’d be inadequate in generalising particular decades. But if you were to read between the lines, a fair assessment would be visible thus. The ‘70s were dominated by ‘anger’ against the system among the youth. The oppressive ‘Emergency’ stifled all that a free democracy had stood and fought for. A lone warrior or vigilante seemed to be the toast of the nation’s psyche. The good looking romantic hero was giving way to a tough demeanour: no-holds-barred leading man, who did not necessarily have to sing his way into the audiences’ hearts. Yes, the romantic (hero) was there too and he fared well alongside, but the other guy, the underdog, was getting admired more. This trend continued right up to the mid ‘80s and beginning of the ‘90s. Then liberalisation took over. Establishment, the wronged, the oppressed, seemed played out. The audience wanted to be happy, fall in love again, and not get drawn into mundane social ailments. From then on, youth, energy, beauty, laughter took over. The ethics and culture never left us. They shifted base, came closer to us in our drawing rooms through TV, where Ramayan, Mahabharat and the ‘saas-bahu’ socials dominated.

Want fun and romance and joy and excitement, and a stroll through the mall ending up with popcorn and soda? Get to the multiplex. Want your daily lesson in culture, epics, a good cry? Stick at home in front of the tele.

I think stars have been followed from time immemorial. But along with them in the earlier years, the makers, writers, composers were equally, if not greatly remembered. I believe stars are followed still. Perhaps the writer and maker and composer has somewhat been left behind as a fallout. There are exceptions, but few and far (between).

Are there instances where you felt a film of yours (from any decade) had made an impact on the viewer beyond what you may have obviously imagined, something that truly surprised you.
AmitabhOur only barometer is the box office. This may not quite be the desired standard for ‘impact’ but there it is. A box office success indicates the audience was impressed enough to see the film. It would not be incorrect to assume that ‘impression’ for ‘impact’. Tough argument, but one that the entire world has paid heed to. Masses are Gods, they are never wrong — in film, in politics, in any walk of life that demands public endorsement. Whether this is correct is debatable. Much like that oft repeated adage -‘Each country deserves the politician it elects!’

Having said that, I remember an incident that could perhaps funnily demonstrate ‘impact’. It was the late ‘70s or very early 80’s, driving home from work, I was stuck in a traffic jam near Andheri (traffic jams were a phenomena even then). After half an hour, restless drivers started to get out of their vehicles to see what the problem was. One such gentleman, having peered through my tinted glass window discovered that it was indeed ‘I’, sitting inside! I asked him what the problem was, which he described and then expounded with extreme sincerity — “Arre sir, aap yahan baithe hain! Aap bahar ja ke ek lafa mariye, sala abhi 2 sec mein traffic jam ok ho jaiyega! (Get out and whack them, the jam will clear up in two seconds!).” Role impact on audience?

A common observation made about current films mourns both the loss of language, and the dialogue itself. People can quote lines from films (even lyrics of songs) of back in the day, but none from the recent past….
As I said earlier (in response to the first question), speed, communication, issues – their relevance was different then, different now. Each generation thinks theirs was the best. This generation will look obsolete in a few years. Who knows! Count the number of editing cuts for a film of the ‘50’s; compare it with that of a film of 2010. The cuts will be three times more –100 then, 300 now. “Ok we got the point now move on, stop dwelling on it” –it’s the TV centric philosophy that teaches us that remaining with a visual for more than a couple of seconds is committing harakiri for a programme producer.

You’re yourself son of a famous writer. Are there any instances where you’ve made writing suggestions in a film: a scene, situation, dialogue, anything that you can recall from your movies.
Professionally I have never ever attempted to change a single comma, once the script is with me and I have signed on the dotted line. That is beyond my professional ethics. I had no reason to doubt, being in the company of such great writers as Hrishikesh Mukherjee, Khawaja Ahmed Abbas, Salim-Javed, Prakash Mehra, Kadar Khan, Prayag Raj, Shukla, Gulzar and many other renowned personalities. What they wrote remained final. What I get today also remains final — my professional conditions prevail.

But there have been two recent occasions when I have sought help in structuring a dialogue that I felt was most essential to the final outcome of a film. One was the final speech of Baghbaan and the other the final speech for Teen Patti. In both cases the respective directors first came up with the issue that they were somehow not entirely happy with the content. We sat down jointly to address it. For Baghbaan we went to the trusted and ever helpful Javed saheb (Javed Akhtar) and even though he does not enter into such intrusions unless he is writing an entire film, he did a personal favour and gave suggestions. The final outcome is a mix of his inputs, the official writer’s, and some stuff that I suggested. For Teen Patti too we had several discussions on the last speech and Leena Yadav (the director) and I sat for days working on the final outcome. Some suggestions of mine were incorporated.

Another common observation about our popular films relates to the changing architecture of the hero’s body. In the ‘70s, you were a lanky figure, sometimes even unkempt, who could flatten several at one go. Audiences didn’t question it. The hero now must necessarily go in for a super-fit body, six-pack abs, muscular biceps, shaven chest…. He could even take his shirt off. What does this culturally say about us?
I thank the Almighty that the audience never expected me to take my shirt off in my films, where valour and strength were to be exhibited. But seriously, in the films of yore or my time, strong situations were created through the story’s screenplay and dialogue. These were sufficient to project valour, strength, muscle, without actually showing them. Today’s stories do not require that kind of presentation.

Body-beautiful is part of a beautiful actor’s personality. Audiences like to see a shaped up human, not necessarily to smack someone, but merely to admire as asset. The famous statue of David by Michaelangelo that represents the perfect form for a male was made, I would presume, for just that reason — to appreciate the perfect male form, not to depict its value as an instrument for battle.

I also believe that audiences today desire to ‘see’ and not be discreet or quiet about this aspect. Maybe audiences of the past had wished or desired it too, but felt socially or morally indiscreet to talk about it publicly!

One cannot ignore the interest I am certain that must have been aroused in seeing Sunil Dutt saheb ‘bare-torsoed’ in Mother India, or that famous Dharam ji bare torso scene in Phool Aur Patthar when he approaches a sleeping Meena Kumari. Not to forget of course all of Dara Singh ji’s films and his immense muscular frame.

Most super fit bodies, six-pack abs, strong muscular biceps, shaven chests of today are not there to flatten several baddies. They are there more as Michaelangelo’s David — pictures of the perfect male form.

A facet also unique to our pop-culture is reference to leading men as ‘Shahenshah’, ‘Baadshah’, ‘King’… What exactly is this kingdom? Do you think these references come from a society’s feudal obsessions with monarchy, or idol-worshipping mythology?
All these glorious epithets that you speak of are the creations of the media. None of the artists actually believe in them, at least I don’t. Maybe the media is obsessed with feudal monarchies. You would be able to answer this better. Giving titles and constructing interesting headlines is one of media’s greatest accomplishments. It makes for good copy and attracts immediate attention, an attribute that I’d imagine any media conglomerate would employ. And no, I do not think it comes from a society’s idol-worshipping mythology syndrome. Though I must admit that mythology does incorporate itself in other forms in our social milieu.

Big BRam, Lakshman, Sita, Krishna, Arjun, Hanuman, Ganesh, Shiv have all been incorporated in our (film) names to individuals – Ram Prasad, Krishna Kumar, Sita Devi Verma, Arjun Singh, Hanuman Prasad, Ganesh Rao, Shiv Sharma …. We have not often heard of a Shahenshah Prasad!

An area where a hero’s contribution is uncontestable is in style and popular fads. Have always wanted to ask you this: Your longish hair, parted from the centre, side-burns meeting the ears in a unique triangle… Millions over generations have sported this haircut at some point. You’ve never quite changed yours. Where does it come from? Is there a story, given there were no professional stylists back in the day…
I never deliberately designed anything, it’s just something I discovered through trial and error and then went to my hairdresser Hakim and he did the needful. I never changed it because nothing else ever suited me according to my own assessment. My shape and my physical configurations are somewhat different from most others, and so I have remained with it, always strengthened by that story about the greatest American hero, John Wayne – He never got off his horse in any film throughout his career!* *

Your return as leading figure of pop-culture in the 2000s is often attributed to the television show Kaun Banega Crorepati. This is when you appeared in the grey goatee, and instead of fighting it, were seen to be embracing age as a badge of honour and gravitas. Would you consider this a conscious transition where most heroes before, faded out still romancing nubile women on screen.
I can only speak for myself, and yes this is what I felt suited me in the 2000 era and afterwards. I have stuck with it. I like it and that’s what matters. I do not mind the grey and neither do I mind disclosing my age because that is what it is. Manmohan Desai when criticised for making the same stories again and again on the lost and found brothers, would comment, “ Meri gaadi patri par achchi chal rahi hai. Mai apni gaadi ki patri kyun badloon? (My train’s on the right track. Why should I change the track?).”

As for romancing nubile women on screen, I have no choice. I must play roles commensurate with my age. There have been exceptions. KANK (Kabhi Alvida Na Kehna) had me playing a happy, fun-loving lothario; Nishabd was about a disturbing relationship. Ironically, the only time I have been kissed on screen, note, I have been kissed, not of my own desire, has been in two films that I did in my 60-plus years – Black and Nishabd!

‘I tried sabbatical once. It was a mistake’

Part II

What baffles the traveling Indian is the incredible reach of Hindi films across the world. The words Amitabh Bachchan greet him everywhere! It’s something that’s traditionally happened over years, without any marketing to support it.
It is astounding, in West Asia, Far East, Central Europe, East and North Africa, Nigeria, even down to South Africa… This reach has always been there, we’re only learning about it now. My second largest fan-base is actually from Israel!

The first time I went to Russia in the ‘80s, I was stunned by young girls at the airport, them learning Hindi to understand our films. With Russia of course (USSR then), we had a barter trade agreement, which never got accounted for in the film financials. This influence spread later into satellite countries of the Soviet. And we never really thought about these things back then. It’s only now, with systems in place, that we’ve begun to reap benefits of a market that always existed. People across the world have always been attracted to the content of our films.

This following appears quite bafflingly organic. What do you think attracts these people to our films?
When my dad was unwell, we often watched my films together. I’d ask him the same question. He’d say, “Poetic justice in three hours — something you and I don’t get in a lifetime!” Also I think they’re attracted to the importance of relationships that our films stress upon. It’s fast dissolving around them.

Another set that gathers around film personalities in particular are politicians, even bureaucrats, who like to link themselves to the world of glamour, as it were. What do you make of it?
Celebrities from the world of films and glamour are automated magnets for the masses. People collection, mob hysteria, crowds, attention… come naturally to them, wherever they go. Their profiles that cause this attention are created by their creativity, their products, their films, which the masses endorse.

Any element that can attract such phenomena is greatly valued by the politician. Numbers for a politician mean power, his strength, his following, his belief, and his votes in a democratic set-up to win elections. It is natural therefore that the politician will get attracted to such individuals. For the celebrity too, the association with power of governance is an asset he would love to possess. And why a celebrity, any individual would. There is therefore a natural coming together.

Numbers count and the presence of a celeb at events (rallies or public addresses) add to the hysteria. Whether or not it brings the votes is another matter. We see many examples of politicians deploying a celebrity for their election rallies. We have seen politicians realising the importance of their presence too.

Who can forget the well-documented incident of Pt Jawaharlal Nehru’s famous presence at (Mumbai’s) Chowpati for a rally and the audience, in the middle of the speech, getting attracted to Dilip Kumar, who was passing by! They left the rally and rushed towards him. The ever-gracious Pandit ji came down from his platform towards Dilip saheb to invite him up on to the podium, winning over hearts of millions!

Showbiz figures also then become more susceptible to being vilified by the state, and political authorities: they can serve up as soft targets for publicity’s sake. Do you think political contacts then become important for protection from such occurrences or nuisances?
I would not like to believe that a politician or a bureaucrat would deliberately go out to ‘get at’ a celebrity, even though I myself have on occasion perhaps talked about it, only to discover later that it was not entirely correct. But yes, we are vulnerable.

A celebrity at fault makes big news and that comes with the territory — get accustomed to it. In a socialist, democratic republic, the rich and the famous will always be looked upon with suspicion. Have an accident on the road? Be prepared to be lynched by crowds. Reasons and legalese will come later.

I have come to understand certain basics of this business. If you have done wrong, NO one will be able to save you, irrespective of which high powered politician you may know. And if you have done NO wrong, nothing in the world will be able to touch you. There will be speculations, press headlines castigating you, negative talk, accusations…. Bear it, go to court, and clear the accusation. Because no amount of personal clarification is going to work. From Bofors to Barabanki, that is what I have done: got my legal clearance, and moved on.

Also, never defend (yourself) publicly or through media. They will never listen to your story or believe you. And most importantly, once cleared by the honourable courts, do not gloat over it. Remain quiet, and live your life. A very wise common man that I once made acquaintance with quite by accident advised me this, almost 30 years ago. I give the same advice to my children.

One of the pains of being an entertainer perhaps is no matter how sick you mentally or physically feel from within, or what’s going on in your personal or professional life, you still have to go out there, smile, talk to fans, give autographs, or perform to a paying public. Can that get to you after a while?
No, it has never gotten to me! I consider it my obligation to do so, and I like doing it. I write a blog, read through all responses everyday. I answer as well as I can. I tweet and I respond to as many as I can that follow me. I try. It is impossible to answer all, for many of them only show up after some weird computations on the site. I acknowledge fans on the street and attempt to give that photo opportunity or that autograph. Sometimes it is not possible to attend to each one of them. It would be a statistical nightmare. But if stationed at a location, the (autograph) books are brought to me, and I attend to them within the confines of my private room. For 28 years, every Sunday, crowds have gathered outside my residence in the evenings. If I am in town, I go out and meet them, wave, shake hands, give photographs. There are some situations however when I desist. I do not respond (to fans), for instance, when at a funeral. I do not give any (sound) bytes or meet press. I think it is inconsiderate and insensitive of the media to accost me on such occasions, or for me to talk about the moment. Also on set, in the middle of the concentration required for a shot, I discourage such actions.

Yes, as an entertainer you must expect that you will be asked to deliver irrespective of what your own personal conditions maybe. There may be a tragedy in your house, but you have a comic or song situation to enact – that will have to be contended with.

Did you at any point consider a more relaxed, retired, been-there-done-that life: gardening, grandchildren…. Do you consider it still?
I tried it once and took a sabbatical (in the early ‘90s). It was a mistake. I should never have done that. I would like to continue doing what I am doing as long as I can. I’m still insecure about my work, my talent, and what my future holds for me. I worry about what work I will get or not tomorrow. I still canvas for it, and seek opportunities that could enhance my creativity and position. My greatest relaxation is when I am on set. If you were to ask any other artiste this, they would say the same.

Yes, my grandchildren are the apples of my eye as are my family and children, and my wife. I take time out with them whenever I can, or they wish I can. And yes, I can say with a certain amount of pride that I tend my own garden in Prateeksha (bungalow in Juhu, Mumbai) among all the other things that I involve myself in today. And that it is perhaps the largest and most secured piece of green in the entire JVPD Scheme, where I reside!

Your mother, it may not be as widely known, was also an actor. She performed on stage, and in fact had thought of being in films herself. Did she in any way shape your earliest influences as a performer?
My mother encouraged me to do what I felt I wanted to. She was only too happy to see me wanting to pursue a career in films just as much as she was happy when I got my first job as an executive in Kolkata. She was a critic of my work and films, and always encouraged me to take interest in the arts and crafts. She would take me to art exhibitions, music festivals, stage performances and we would discuss many aspects of creativity in whatever we observed. Obviously the early influences remain ingrained in humans. I certainly gained from it.

What’s your earliest memory of being enchanted by a film?
Charlie Chaplin’s Limelight: It kept me awake for several nights, because of its music and pathos. Later, Guru Dutt’s Kaagaz ke Phool

If you were to deliver a 5-minute master class on acting, given a lifetime’s experience on the subject, what’s the one lesson you would certainly impart to your students?
The one lesson I would give would be to tell the student to learn the language of his creativity. If one is working in a Hindi film, learn the language. Once the comfort of speaking the language is achieved, it takes care of, in my opinion, 80 per cent of your performance. Learn the tone and graph of a language — the performance will come on its own.

And listen to your colleague in a shot in film as though you are hearing them for the first time, even though you may have rehearsed the lines a hundred times. That’s the quality of a good actor. I would judge an actor’s performance by these very simple yet effective guidelines.

And as a public figure who’s seen several ups and downs, and ups again, what’s the one personal life lesson you’d share for subsequent generations to benefit from.
A lesson I learnt from my father when still in school- Man ka ho toh achcha. Man ka na ho toh zyada achcha (If it goes your way, good. If not, even better).” Why zyada achcha (even better)? Because when man ka na ho, then it is the ‘man’ of the Almighty (When it doesn’t go you way, it goes the Almighty’s). And He/She will always think for your betterment. The will of the Almighty will always be the best for you. Which is why ‘zyada achcha’ (even better)!

And in life, never give up. Keep trying, even if you have to start from the bottom again.

Finally a question I’ve always wanted to ask: that exclamation of yours, Aayein, with a unique intonation at the end, is something all mimics pick up when they imitate Amitabh Bachchan! Where did you pick it up from?
It’s nothing unusual and neither is it a unique intonation. Everyone from my part of birthplace – UP, Bihar and the North – grow up with it as normal part of conversation. It’s colloquial, like any other Indian intonation. I do not see why so much is made of it. It’s just an expression that denotes so many impressions and expressions; like “What?” or “What!” or “Really!” or “Really?” or “Oh, I see!” or “What are you saying!” as in a confirmation, or “Do you agree?” as surprise… The examples are just endless!

http://www.hindustantimes.com/Big-B-on-dec...le1-579855.aspx

[Annihilator]

http://www.dnaindia.com/entertainment/repo...-league_1419827

Amitabh Bachchan pleased over association with Champions League

Published: Friday, Aug 6, 2010,


Bollywood actor Amitabh Bachchan on Friday expressed his happiness on being associated with the forthcoming Champions League Twenty20 tournament to be held in South Africa.

"It is very exciting, just the time, the constraint of number of overs that you have to face, the fact that each player has to perform his very best from first ball, that's what builds the excitement," said Bachchan.

"I think that all of us agree that it has been very revolutionary, this change and I am so happy that I am associated with the game now. I wish all the three teams from India to perform and win," he added.

Former Indian skipper Saurav Ganguly, who was also present on the occasion, said it is a good opportunity for the upcoming players to be face to face with the best players in the world.

Ten cricket teams from across the world will be facing each other in the tournament.

The championship will start from September 10.

[Annihilator]

http://deshgujarat.com/2010/08/07/amitabh-...urism-ad-shoot/

Amitabh Bachchan to come to Dwarka for Gujarat Tourism ad shoot

Jamnagar, DeshGujarat, 7 August, 2010


If sources are to be believed, Bollywood super star and Gujarat Tourism brand ambassador legendary actor Amitabh Bachchan is coming back to Gujarat to shoot for Gujarat Tourism advertisement campaign.

Sources close to this development told DeshGujarat that, Big B will this time land at either Jamnagar or Mithapur airport on 16th August. His convoy will reach Dwarka on same day.

The locations for Bachchan’s ad shoot are identified. Illegal cabins, stalls of hawkers, road side carts are cleared in civic authority drive, at the places such as Gomati Ghat and Dhirubhai Ambani road in Dwarka, where shooting will be held possibly.

Bachchan had visited Dwarkadheesh Mandir lastly in November 2007 with his wife Jaya, son Abhishek Bachchan and Abhishek’s wife Aishwarya Ray Bachchan. This time too, if time and opportunity permit, Big B might bring his family to Dwarka.

Updates:

Bachchan will be visiting Porbandar, Dwarka and Ahmedabad. He will spend two days at each of these places, and will return to Mumbai on August 21.

At Porbandar, Big B will shoot at Kirti Mandir, Mahatma Gandhi’s birthplace, and beach where sand sculptures were erected recently. He will be staying at the Porbandar Circuit House. He will also shoot at Dwarka, Bet Dwarka and Nageshwar.

In Ahmedabad, shooting will be done at Gandhi Ashram and Lothal.

[Annihilator]

http://www.dnaindia.com/entertainment/inte...achchan_1420363

The audience loves Salman, says Amitabh Bachchan


How does it feel to be back on television, hosting a show you had left behind after the second season?
I feel very nostalgic. Other than the channel changes, most of the crew is the same with Siddharth Basu and his team. It’s good to be among familiar faces again.

The show is starting on your birthday. Does that make it special?
The exact date has yet to be announced. I believe the channel is considering the 11th. If that happens, then yes, it does become special. Birthdays are always special.

Salman Khan has taken over Bigg Boss as host after you. What would your message to him be?
The channel had told me that they would be going for someone like him. I am happy that they have taken Salman. I have seen him host his previous game show and he was most innovative and fun. I am certain he will be very good on this show as well. The audience loves him, as I am certain the inmates of the house will too.

Television seems to be occupying the forefront of your commitments. Is that a conscious decision?
No, it is not, but it is a facet of entertainment that artistes get involved in. I have never minded exploring fresh avenues. I think it’s a challenging format and a lot tougher… tougher because there are no set lines. Most of it is impromptu and on the spur of the moment. For people like me who are accustomed to pre-written dialogues, it then does become challenging.

You will also be taking time off to start Puri Jagannath’s film Bhuddha this year? Would you be able to accommodate both television and movies without feeling burdened?
Yes, I would be able to. It’s more a matter of scheduling than anything else. There will be gaps in the TV format for dates and that is when films could be accommodated.

What would the next film from your home production be?
There are a few projects that we are looking at. After the success of Paa, our production house is now being looked at with renewed interest. We would want that interest to continue.

[Spencer]

Outlook Magazine | Aug 16, 2010

opinion

Tavern Of The Soul: A Son Tiptoes In

Amitabh took a Paris audience on a celebration of his father’s Madhushala

Madhu Trehan

Sometimes a single event tells you everything about a person, and so it was, earlier this summer. Amitabh Bachchan recited his father Harivansh Rai Bachchan’s poetry at the Theatre des Champs-élysées, in Paris. Correction, he not only recited, he sang, he translated and told stories that set up the context of the poems. It is important to discern that he was not grandiose, not pompous and not contemptuous of the doubtful comprehension of the audience. He thought nothing of breaking a poem’s rhythm (sacrilege, I think) to translate it into English, with unselfconscious ease. He was clearly there to communicate, not to join ranks with connoisseurs to affirm his compatibility with them. Amitabh kept it simple. It was a simplicity that begs a hermeneutic process, because it is devoid of oversight with an abundance of circumspection. True art says the unsaid, and touches a tiny nerve that has been pinching in your subconscious. It takes the mundane, strips away cliche concepts and turns it into something extraordinary, making you wonder: how did I miss this? Harivansh Rai Bachchan’s poetry is that.

On the morning of his performance, on June 13, Amitabh was sharing a table with his wife, Jaya, and two ladies who were probably helping organise the show. He was wearing grey sweatpants and a sweatshirt, perhaps with sneakers. One of these ladies asked Amitabh, “What are you wearing for the performance?” Possibly bristling at the patronising question, the great actor answered, “I will go in what I am wearing now.” His wife Jaya chimed in, deadpan, “Yes, he will wear what he is in now.” That evening, as the show opened to applause, Amitabh walked on to the stage in an irreproachable black, knee-length achkan, and cream, softly-creased, well, it’s hard to call it a salwar or churidar pyjama or trousers. It could best be described as what Armani would do, if he were to make a pyjama/salwar. Why mention this? His attention to detail.

Amitabh broke instantly into Madhushala (The House of Wine), Harivansh Rai’s most famous poem, singing it not as someone who grew up with it but with the freshness of the first time. Madhushala is a poem of 135 quatrains and is considered an important work in the Chhayavaad literary movement of early 20th-century Hindi literature. Presumably aware of the prevalent attention span disorder, Amitabh judiciously edited and began his recitation with the 125th verse of the original Madhushala, and then recited nine more, but not in order.

Madhushala is not to be taken literally; it is a poem about life itself. People often presumed that Harivansh Rai was an alcoholic because the poem ostensibly celebrates alcohol. To answer his critics, Harivansh Rai wrote an epilogue. Translated, it reads:

“I’m not unaware of wine but I have never touched alcohol in my life. I will not associate or disassociate myself with intoxication; life itself is an intoxicant, poetry also is an intoxicant and there are many other intoxicants. So to get rid of this perception that I was an alcoholic, I wrote another verse.”

And then, Amitabh recited: [Translated]

“I do not drink myself, but I make others drink wine. I don’t touch it myself, but I hand over a glass of wine to others, I have learnt this from great people, I don’t go myself but I make others go to the house of wine.”

Despite that, many critics continued to insist that Harivansh Rai was corrupting India’s youth, even complaining to Mahatma Gandhi. Gandhi called Harivansh Rai to Nagpur where he was attending a Congress Party conference and asked the young man to recite Madhushala. After hearing him, Gandhi pronounced that he saw nothing wrong with the poem. When the prudes persisted with their criticism, Harivansh Rai answered them with yet another humorous poem, from which Amitabh recited the following verse:

“I am a Kayastha and my ancestors had so much to drink, The blood in my veins, 75 per cent is alcohol, I have an ancestral right on the courtyard of the house of wine, Madhushala was sold by the hands of my grandfathers.”

Amitabh explained that during the rule of Prithviraj Chauhan, the poet Chand Bardai had written a humorous poem speculating about how members of various castes would rule, were they made rulers. The last line of the poem said a Kayastha ruler would always be drunk. This is the caste to which Harivansh Rai belonged, though he was not a believer in caste.

Purists may complain about Amitabh choosing not to sing the complete Madhushala and juggling the verses around, but would Harivansh Rai have objected? Unlikely. He was a man who introduced himself as, Mitti ka tan, masti ka man, kshan-bhar jivan—mera parichay (A body of clay, a mind full of playfulnes, a momentary life—that’s me).”

Amitabh also edited a bit, when he chose to say ‘mandir-masjid’, changing it from ‘masjid-mandir’. As well as exchanging “antim vastu na gangajal, haala (the last thing, not gangajal, but wine)” to “antim vastu na tulsi, haala”. For the third poem, Jeevan ki Aapadhapi Mein (In the Turmoil of Life), Amitabh focused the audience’s attention to the synesthetic technique, explaining how the choice of words would create the sound of the meaning.

Amitabh recounted that his father was once invited to a dear friend’s home. “As is normal, when friends get together, they used to ask him to recite his poetry. As would happen, my father recited Kya Karoon Samvedna Le Kar Tumhari. When my mother heard these lines, she could not control her tears and neither could my father. This poem brought my mother and my father together. And they decided to get married.”

While studying at Cambridge, Harivansh was taken by friends to a dancing hall, as they were called in those days. Obviously aloof and not connecting with what was on offer, he chose to focus instead on a statue of Buddha at the end of the hall. This provided the inspiration for his famous satirical poem, Buddha Aur Naachghar, in which the poet addresses Gautam Buddha. This poem Amitabh ended with a resounding finale with music that brought the audience to its feet, screaming and whistling.

Amitabh read 21 poems that evening, leaving out two in the programme. There is no way one can observe Amitabh and not see his pentimento. You see the Angry Young Man, his near-fatal injury, the song Rang Barse, his midlife career crisis, the downs and up of his company ABCL. Where others may have drowned in drink and nostalgia, he went to work on television and financial recovery and on to myriad characters he went on to play in the new genre films. Harivansh’s poetry has a place in Hindi literature and his son is now ensuring its renaissance.

Old-world journalists like myself will not succumb to becoming fans of anyone but one can admire talent. The next step usually is: who can it benefit the most, and how? As Amitabh’s performance progressed, a dream kept repeating itself. Why could Amitabh not perform in India, no, not for the literati, but for children in government schools? It is in a language that the young could easily connect to, at least in the North. In a child’s life, an ostensibly small experience can prove to be a metamorphosis. Unfortunately, I am part of the strongest caste system in India, the Hindi-English divide. I cannot write in Hindi well enough for this to be read by anyone who could be instrumental in opening up the minds of the children who need it the most. If all a child has seen is every attempt by her parent to improve her life being met with kicks meted out by the powerful, how can she (or he) imagine any other possibility? Usually, success is only achievable if there has been some ancestral, historical precedent and experience of it. Poetry (as well as films) can be a powerful tool to bring to our children the experience of struggle, and the transcending of it. Unless our children are given the tools to question and to dream, how can they possibly Be the Change? They need to know they are not alone in their struggles; to ignite their imagination; to fire their own possibilities; to see that not everything they experience is the way it has to remain. Harivansh Rai Bachchan’s poetry could do just that for them.

http://www.outlookindia.com/article.aspx?266537

[Coolie]

They were going to put up the english version of his father's works online...that is still good idea.

[Annihilator]

http://www.thehindu.com/arts/cinema/article572627.ece

Amitabh is my inspiration, says Rajini

He is god down south but for actor Rajinikanth, screen legend Amitabh Bachchan is a “role model”, “inspiration” and “guru“.

The music launch of the country’s costliest film ‘Robot’ saw two icons of the Indian film industry — Amitabh Bachchan and Rajinikanth — share the dais after over a decade.

The two shared screen space in ‘Hum’ in the early 90s and three years ago Rajinikanth had flown down to Mumbai for a private screening of his ‘Sivaji -- The Boss’ for the Bollywood megastar.

On the occasion, Rajinikanth said, “He (Amitabh) is my inspiration, role model and guru. I have always valued his advice while taking important decisions.”

“We have done films like ‘Andha Kanoon’, ‘Giraftar’, ’Hum’, and I can never forget the love, affection and care he showered on me,” he added.

Responding to Rajini’s comments, Bachchan said the southern superstar was a true son-of-the-soil.

“I had a long association with Rajini and value him as a friend and colleague. He is truly a son—of—the soil who is admired and loved by every Indian,” he said.

“I admire him because of his tender heart and humility. He is so grounded despite the adulation and fame he has enjoyed throughout his career. Given his humble beginning, Rajini is an example of every Indian. His simplicity, honesty, and down—to—the—earth nature has always impressed me,” he added.

The high profile event in Mumbai last night saw the presence of the entire Bachchan clan, including Jaya and Abhishek, along with several other filmmakers.

Director Shankar said his latest venture should not be seen as a Tamil, Telugu or Hindi film, but as an Indian movie as it brings together creative talent from all parts of the country as well as Hollywood.

‘Robot’ is an attempt from India to create a larger than life experience as seen in Hollywood films like ‘2012’, ’Terminator’ and ‘Spiderman’, he said.

“The story is about what happens when the robot mixes with human beings because he has learnt every thing except a man’s lies, jealousy, and betrayal,” Shankar said.

Producer Kalanithi Maran said the subject of ‘Robot’ was close to Shankar’s heart and Rajinikanth had put his heart and soul into the project.

Music director A. R. Rahman said Robot was a sci-fi movie with organic integration to Indian culture.

“A Tamil movie which will be liked by Hindi audience as we have worked hard on it,” he said.

[Annihilator]

http://deshgujarat.com/2010/08/15/amitabh-...urism-ad-shoot/

Amitabh Bachchan arriving today for week-long Gujarat ad shot

Ahmedabad, DeshGujarat, 16 August, 2010


Amitabh Bachchan will hand over the final print of first phase of Gujarat Tourism ad campaign featuring him as a Brand Ambassador of Gujarat Tourism to Gujarat chief minister Narendra Modi on Monday in Gandhinagar.

Brand ambassador of the state tourism, Amitabh Bachchan is arriving back to Gujarat, this time at Ahmedabad airport on Monday, 16 August morning. This will be yet another week-long visit to Gujarat for Bachchan which will include places like Ahmedabad, Porbandar and Dwarka where his shooting for phase two of Gujarat Tourism ad campaign is scheduled. The final product of advertisements would be released on TV, in the newspapers and in multiplexes outside Gujarat.

Bachchan would begin his phase two shooting at the Sabarmati Ashram of Ahmedabad on August 16. Bachchan will meet the Chief Minister on same day. He would then go to Lothal the next day and to Adalaj ni Vav then after. Both places are located near Ahmedabad. On August 18 and 19 he would be visiting Porbandar where Mahatma Gandhi was born. He will also go to Chowpatty of Porbander for shoot, where sand sculptures are to be made to showcase as tourism attraction. Bachchan will spend last two days at Shri Krishna’s kindgdome Dwarka, Bet Dwarka and also one of the twelve Jyotirlingas Shri Nageshwar Shiv Mandir, where Lord Shiva’s huge murthy is installed. Big B will then leave for Mumbai.

Bachchan’s third and final visit for propagating Gujarat tourism is likely to take place some time in November at Saputara, the only one hill station in Gujarat.

According to Gujarat Tourism Secretary Vipul Mitra(IAS), Bachchan has accepted Chief Minister Narendra Modi’s invitation to visit Kutch Rann Utsav 2010 in the Rann of Kutch, and VVIP AC tents for him and his family(Jaya, Abhishek and Aishwarya Bachchan) are already booked.

[Coolie]

The writer of the outlook piece, Madhu Trehan, is married to is a relative of Nikhil Nanda

[Annihilator]

http://www.bollywoodhungama.com/news/2010/...4461/index.html

Big B sings classical song for Aadesh Shrivastava

By Subhash K. Jha,

Amitabh BachchanBig B's indomitable energy is stuff that folk tales are made of. Before rushing off to Gujarat to promote tourism, the Big B quietly pulled off a new singing coup by rendering flawlessly a pure classical song. A first for the self-proclaimed amateur singer who has crooned everything, from love ballads to folk songs to children's ditties.

The song 'Dhara Gagan Chahe' was composed by Aadesh Shrivastava in Raga Basant, a complex intricate and high-pitched tune that Aadesh thought might be tough on the 67-year old actor.

"But he just sailed through it, after just a couple of rehearsals. This is his first pure raga-based song and I was apprehensive of what he would say. But he just took it up," says Aadesh.

After many hours of exhausting recording, the Big B still had the energy to rush home and return for a photo-shoot. He apparently told the composer, "Let me get into my coolest togs before we do the photo-shoot."

Says Aadesh, "His energy level is beyond inspiring. I must admit I made the Raga mass-friendly for Amitji just as I've done for Ranbir's song 'More Piya Mose' in Raajneeti. But still Raga Basant isn't easy for even seasoned classical vocalists."

Apparently, Ranbir Kapoor has begged off hastily when it was suggested that he sing 'More Piya Mose' in Raajneeti although the raga-driven composition had been toned down to the extent of being easy on the lips.

Finally, Aadesh had to sing the Ranbir track himself.

[Annihilator]

http://www.hindustantimes.com/Big-B-spins-...le1-588020.aspx


Big B spins charkha at Sabarmati Ashram

Bollywood icon Amitabh Bachchan walked barefoot and spun the charkha (spinning wheel) at Mahatma Gandhi's Sabarmati Ashram in Ahmedabad where he is shooting for the second phase of advertisements for Gujarat Tourism. The 67-year-old megastar felt that “serenity and peace descended” upon him and his


team as they entered the Ashram where Mahatma Gandhi lived and “from where was born the idea of his struggle for the freedom of our country - of sacrifice, non violence and resolve”.

A few scenes for the advertisement for Gujarat Tourism required him to walk around the region in a contemplative mood and he duly did so by removing his shoes.

Amitabh Charkha“I removed my shoes by the road and walked about barefoot, even though all others do not. It is not required that they do so but I could not somehow make myself to not go barefoot. The sanctity and the purity of the premises just prompted me to do it,” Bachchan posted on his blog.

He even spun the charkha.

“I sat with the lone figure of an inmate of the trust that runs the ashram as he spun the ‘charkha’ and produced the fibre for khadi. I tried my hand at it. It is a simple yet intricate procedure of weaving the thread and the extreme joy of having been so close to that most identifiable element of the Mahatma, overpowered all other thoughts,” added Big B, who is the brand ambassador for Gujarat.

[Annihilator]

http://deshgujarat.com/2010/08/17/doves-ch...ndhi-ashram-ad/

Doves, children and foreigners in Big B’s Gandhi Ashram ad



Amitabh Bachchan’s second day shooting at Ahmedabad’s Sabarmati Gandhi Ashram started early in the morning on Tuesday.

Big B arrived at Gandhi Ashram in the morning and spent some time for make up and dressing in his vanity van.

White doves, some children in white school dress and some foreigners were brought to the Ashram for the shooting.

Bachchan was initially dressed complete white in Khadi with shawl. But latter he was seen in gray trouser and sky blue shirt.

He came out from Vinoba Bhave Kutir in the Ashram and gave some narration in the course of shooting.

At lunch time, Big B came back to hotel. He will be again at Ashram for shooting according to sources. Watch out DeshGujarat for further updates.

[Annihilator]

http://www.hindustantimes.com/Modi-release...le1-588405.aspx


Modi releases Bachchan's ad for Gujarat

Chief Minister Narendra Modi released three short advertisements promoting Gujarat tourism, featuring superstar Amitabh Bachchan, on Monday.

Bachchan was also present for the launch of the advertisements called ‘Khushboo Gujarat ki' (fragrance of Gujarat). The ads highlighted the
white desert of Kutch, the Gir sanctuary and the historic Somnath temple.
Big B had shot for the ads at various locations in Gujarat between May 28 and June 5.

Bachchan is currently on a five-day visit to the state and is shooting some more ad-films that promote Gujarat tourism.

[Spencer]

Big B, Gibbs and Ganguly in an ad

TNN, Aug 19, 2010, 12.00am IST

Andrew Symonds singing Bheege Honth Tere? You'll soon see him doing just that in the ad for the Airtel Champions League Twenty 20. Not only Symonds, Herschelle Gibbs will also be crooning a Hindi song in the commercial.

Amitabh Bachchan, the brand ambassador for the ACLT20, is also there in the soon-to-be-aired commercial as the sutradhar. The Big B, in the first promos, plays the man who tells the viewers how the tournament's going to be very interesting. "This is a continuation of the same theme," says Prasoon Joshi, the creative mind behind this ad.

This series will see Bachchan playing the man who sees Symonds, Gibbs and Sourav Ganguly, supporters of different teams, chilling out just before the tournament - Dada's in a spa, Symonds is in a bathtub playing with a plastic duck, while Gibbs is strumming a mandolin and crooning Aa Dekhein Zara ... Believing they are too chilled out, and so the josh, the challenge of the tourney will be lost, Bachchan tells viewers, "Aag toh lagani padegi bhaiyya".

He then ribs Ganguly, Symonds and Gibbs with his acerbic comments about the cricketing styles of their teams and players. Enraged, Gibbs breaks his guitar and Dada tears the pillow he's resting on, vowing to go for the kill. "Cricket lovers have never seen these players like this. We're sure this concept is going to register in the audiences' minds and endear the cricketers to them even more. We're talking about them being ambassadors for their respective teams," says Nirmal Dayani, marketing director, ESPN.

How was it acting with the cricketers? "They're all accomplished actors," says Big B. "They have cameras panned on them all the time on the field. Toh kitni badhiya acting karte hain kabhi kabhi," he laughs. The cricketers say, "We don't have to prove anything in acting, we don't have to set a bar. We do that in cricket. But we watched Mr Bachchan rehearse for his part - he'd go to a corner and do it all by himself, and it was fun," says Ganguly. Did they take tips from the legendary actor? "Arrey, what tips would they take from me, main khud unse tips le raha tha," says Bachchan.

http://timesofindia.indiatimes.com/enterta...how/6330496.cms

[Annihilator]

http://www.mumbaimirror.com/article/30/201...y-to-Salim.html

Amitabh says sorry to Salim

The actor apologized to the peeved screenwriter, who felt that Big B never acknowledged his ‘angry young man’ invention

The 35-year celebrations of Sholay came with a bitter aftertaste for Amitabh Bachchan when Salim Khan in an interview accused the star of never giving the writer his due. Getting into action pronto the veteran star deemed it important to clarify any miscommunication.


Salim Khan and Javed Akhtar had together written some of the biggest movie of Big B’s career charting the course to his stardom. Salim Khan remarked that the angry young man image of Big B was his creation - figments of which were gathered from his father’s career as a policeman.

He also remarked that he is willing to sort out differences but the actor does not see anything to sort out at all. To this Amitabh has responded, “Salim saheb is absolutely right.

It was he and Javed saheb who gave me Zanjeer and recommended me to Prakash Mehra and to so many other directors of the time – Manmohan Desai, Yash Chopra, Ramesh Sippy.

I have never ever failed to acknowledge this fact. Indeed in the early years of my career, when I was questioned what would happen to me if Salim-Javed were to stop writing for me, I had categorically stated that I would also stop and finish,” he says. “Their contribution has been immense in my film career and I will never stop accepting that.

I am extremely sorry if Salim saheb has felt otherwise. I wish to apologise to him and tell him that there has obviously been a miscommunication and that he should never feel that I have thought otherwise. He has been a respected senior for me and shall always remain one,” he adds.

Speaking of his legacy, inherited from the Salim-Javed era of filmmaking, and whether the younger generation matched up to his phenomenal success, the Big B added, “Films are not some kind of a kingdom where one looks for a successor.

Every artiste is big and important in their own world, especially the younger generation. I have admired them all.

They all have their distinct identities and are doing extremely well. No one should be bracketed as wanting to emulate someone. That is wrong. They must be left alone to set their own standards and marks,” adds the 67-year-old actor.

----------------------------------------------------------------------------------------------

Salim Khan needs to step off and fall back with all of this nonsense. There was no need for Amitabh to apologize because he has always given respect to the directors, producers, and co-stars that have aided him in his career. He is one of the very few who still does that.

[Annihilator]

http://www.glamsham.com/movies/scoops/10/s...ssue-091004.asp

Big B clarifies on Mumbai Metro issue


Amitabh Bachchan was involved in another controversy on his post about the Mumbai Metro. Here's is what the actor had to say in his clarification.

"Certain sections of the media, both electronic and print, have misinterpreted the writings on my blog (bigb.bidadda.com) and I wish to make a clarification. I shall be grateful if this submission is carried in your prestigious paper to clear the air.

Mumbai as a city has given my family and me a place in their hearts besides recognition and respect. My family and I have never, and at no point of time would ever, like to disregard the conveniences of my fellow Mumbaikars and the development being undertaken for a better future for the city and them.

My blog represents my heart and on the matter of the Metro it clearly says the 'general happiness' that it brings to 'commuters' and that 'the misery of crowded locals and the uncertainties of the three wheeler or the yellow black cab shall hopefully be greatly reduced'.

Indeed I have ended the piece by saying welcome 'fellow passengers'. By fellow passenger I include myself as one. My request to everyone who visits my blog is to read it in it's entirety rather than pick up words and fabricate stories which create an unnecessary sensation. I am proud to be a Mumbaikar and I welcome the changes which we are being seen in the city."

- Amitabh Bachchan