NEW ZEALAND pulled off a remarkable one-run win over England on Tuesday (28) as lionhearted paceman Neil Wagner's heroics saw the hosts become just the fourth side in test history to win a match after being asked to follow on.
Wagner took four wickets and two crucial catches at Wellington's Basin Reserve, where the hosts recorded only the second one-run victory in test cricket following West Indies' famous 1993 win in Adelaide.
New Zealand had Wagner to thank for one of the most dramatic outcomes ever seen in the game as he came back from a trouncing by England's batsmen to take the last wicket of James Anderson at the end of a manic day five.
Having set England 258 to win, New Zealand's hopes had faded after lunch as Joe Root (95) and captain Ben Stokes (33) produced a 121-run stand to cut the deficit to 57 runs with five wickets in hand on a sunny Tuesday afternoon.
Then came Wagner, who had bled more than eight runs an over in the third innings when England romped to a 267-run win in the series-opener at Mount Maunganui.
He had both Root and Stokes out slogging in Wellington then nervelessly held catches in the deep to help remove Stuart Broad (11) and wicketkeeper Ben Foakes for 35.
Foakes's wicket left tailenders Jack Leach and Anderson needing seven runs for victory, and Anderson smacked a boundary off Wagner to trim the target to two runs.
Wagner came again and had Anderson caught down the leg side for four to trigger jubilation among his team mates and the home fans in the crowd.
"It's a special one this and we'll celebrate it well," said Wagner, who finished with 4-62 in the fourth innings.
"It's an amazing achievement and obviously everybody contributed, so hats off to everyone. That's what this team's about, just keep playing.
"We keep loving to fight for each other."
With the two-match series ending 1-1, the hosts preserved their unbeaten record at home dating back to 2017.
They also handed England only their second defeat in 12 tests since Stokes and head coach Brendon 'Baz' McCullum unleashed the team's attacking 'Bazball' revolution last year.
Over the home summer, England chased down fourth-innings targets above 250 in three successive tests to whitewash New Zealand. And they will wonder how this one got away from them.
"That game as a whole, in terms of what test cricket's about, was just incredible," said Stokes.
"Wags (Wagner) came on and blew the game open for them. Sometimes things don't happen the way you want them to but it was a good one, wasn't it?"
England resumed on 48 for one in the morning, then lost four wickets in a hurry to be 80 for five, with Root running out a scoreless Harry Brook in a moment of madness.
But the former skipper shrugged off the mistake and threatened another century after his unbeaten 153 in the first innings.
England pushed past 200 but the momentum shifted again as Stokes threw the bat at a Wagner bouncer and top-edged to square leg where a running Tom Latham took the catch.
An unlikely aggressor through his 113-ball knock, Root also paid for attacking Wagner, sending a miscued pull to Michael Bracewell at midwicket.
Broad tried to slog his team over the line but ramped Matt Henry straight to Wagner at third man to be out for 11.
Foakes and Leach carried England to within seven runs but Foakes pulled captain Tim Southee to fine leg where a scrambling Wagner took a low catch on his knees, leaving the tailenders exposed.
Kane Williamson was named Man of the Match having scored a brilliant 132 in the second innings when the hosts dug deep to put on 483 and defy Stokes for enforcing the follow-on.
Stokes said he had no regrets about making the Black Caps bat again.
"Other teams are allowed to play better than us and New Zealand have played better than us this week."
England's outstanding rookie Harry Brook was named Man of the Series after 186 in the first innings and twin half-centuries at Mount Maunganui.
The last time a team won after following on was in 2001 when India beat Australia by 171 runs at Eden Gardens.
"Only a handful of sides have been asked to follow on and come back to win so I think it's a pretty special one," said Southee.
"I guess to be on the back foot after two days and the character being shown in the last three days ... has been very impressive."
(Reuters)
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After revolutionising trucking, Zeus now targets global growth
Jan 10, 2025
FROM two friends meeting in a boarding school in the UK, to being named in the Forbes 30 Under 30 list, Jai Kanwar and Clemente Theotokis have had a meteoric rise in the logistics sector.
When they created Zeus Labs (Zeus) in 2019, their plan was to modernise one of the most traditional sectors of the global economy – transport and logistics.
The company has gone on to become one of Europe’s fastest-growing logistics technology companies, helping businesses take control of their supply chains and drive efficiencies in logistics management.
In an interview with Eastern Eye, Kanwar recalled how while living together during their time at university, he and Theotokis mapped out a plan on how they would use technology to modernise an industry.
“We have tech all around us in our daily lives – you want a car, you want food, you use technology. We were looking at industries that didn’t necessarily have technology, but could use it and we came quite quickly across the trucking industry,” Kanwar said.
Kanwar, 26, said their initial research involved driving around the UK and cold walking into the offices of large trucking companies. “We would just knock on the door and say, ‘can we ask you some questions?’” he said.
“We’d see desktops and laptops, so there was technology in the offices. However, quite a lot of these trucking companies were still working off a blackboard with chalk and map with pins in it to decide which truck is going where, what customer they’re picking up from, and when they’re even doing the jobs.“That was really the inflection point for us, where we decided this is a space where we can really make some change from a tech perspective.”
Kanwar and Theotokis identified a need for innovative technology to transform the movement of freight by enhancing efficiency, minimising costs and reducing environmental impact.
They felt the logistics industry was ‘lagging from a digitisation perspective’.
The company’s early work stemmed from data that showed that 30 per cent of European trucks run empty on a day-today basis, which is the equivalent of one million trucks running completely empty across Europe every day.
Their first product, Freight Connect, launched in August 2020, offers a matching platform where Zeus works with large manufacturers such as Procter and Gamble or Decathlon and matches them to truckers signed up on to the platform.
It allowed small trucking companies to take on contracts with large manufacturers, boosting business opportunities.
“The trucking industry is dominated by companies with fewer than five trucks. These are family owned-businesses. For them, getting access to work with very large businesses and that too with recurring revenue, is unheard of,” said Kanwar.
“Our focus was on getting large contracts from manufacturers and then essentially passing them on to the trucker.”
From supporting truckers with Freight Connect, Zeus launched their second product, Freight Command, with a focus on manufactures.
Zeus is among Europe’s fastest-growing logistics technology companies
“We were able to not only identify a lot of pain points that manufacturers face, but also identify and build relationships with the right stakeholders within those businesses, in order to approach them for our second platform,” said Kanwar.
“Freight Command is a way for large manufacturers to manage all of their suppliers in one place. If, for example, I am Procter and Gamble, I’m working with at least 100 different suppliers per year, and being able to house them in one place (digital platform) is much more efficient in actually being able to track and distribute your freight.”
“A lot of large manufacturers have many systems in place, and what Zeus does is we almost plug in to their existing tech stack to make sure that all of their systems talk to each other.
“There’s a big issue in the manufacturer space when it comes to siloed systems, a lot of systems don’t talk to each other, and the data is skewed, to some extent. That is something we are very focused on tackling, at the moment.” Zeus currently operational in around 15 countries and the company has completed more than 20,000 full truckload (FTL) shipments, to date.
In February 2024, the company secured a large contract with public thirdparty logisitics provider, Wincanton, which acquired exclusive UK and Ireland software rights for Freight Connect and Freight Command.
The year was topped off with Kanwar and Theotokis being named in the Forbes 30 Under 30 Europe Class of 2024 in the Manufacturing and Industry category.
“That was amazing for us, it was a huge honour,” said Kanwar.
“It’s opened so many doors for us, we’ve met so many new people by being named in the 30 Under 30.”
Kanwar’s plan is to now take Zeus to a global market.
“We have been looking into the Middle East, as well as India, where we have closed a few customers already,” he said.
Kanwar was born in Miami, spent his childhood in New Delhi before moving to London where he attended Charterhouse school, King’s College and was a student at the London School of Economics.
He has knowledge of the Indian market, thanks to his family business – Apollo Tyres. “My family come from a tyre manufacturing background – it’s actually now into the third generation of tyre manufacturer in India,” said Kanwar.
“I have grown up with that business mindset and these heroes in my life – my father and my grandfather – I’ve always looked up to them and learned from them.
“That’s one of the main reasons why I wanted to start a business and almost prove to everybody that I also have that business mind.”
Kanwar said his family was supportive of his plans. “Everybody’s proud, to some extent, about me exploring and learning how to run a business.”
“I will never be satisfied until I have reached whatever goal I have in my head, when it comes to Zeus. My goal in life is not only to make my family proud, but to make myself proud and I have to take that responsibility on my own.”
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'UK not able to reap benefits of multiculturalism because of prejudiced thinking'
Sarwar Alam
08 June 2023
Singh and Carter were empathic leaders as well as great humanists’
Dinesh Sharma
Jan 10, 2025
THE world lost two remarkable leaders last month – the 13th prime minister of India, Dr Manmohan Singh, (September 26, 1932-December 26, 2024).and the 39th president of the US, Jimmy Carter (October 1, 1924-December 29, 2024).
We are all mourning their loss in our hearts and minds. Certainly, those of us who still see the world through John Lennon’s rose-coloured glasses will know this marks the end of an era in global politics. Imagine all the people; /Livin’ life in peace; /You may say I’m a dreamer; / But I’m not the only one; /I hope someday you’ll join us;/ And the world will be as one (Imagine, John Lennon, 1971) Both Singh and Carter were authentic leaders and great humanists. While Carter was left of Singh in policy, they were both liberals – Singh was a centrist technocrat with policies that uplifted the poor. They were good and decent human beings, because they upheld a view of human nature that is essentially good, civil, and always thinking of others even in the middle of bitter political rivalries, qualities we need in leaders today as our world seems increasingly fractious, self-absorbed and devolving. Experts claim authentic leadership is driven by:
1. Purpose: Authentic leaders rely on purpose and vision to achieve longterm goals.
2. Discipline: Strong work ethic for management and the team.
3. Empathy: Heart and compassion.
4. Transparency: Incorruptibility. To be clear, Carter and Singh were no martyrs or saints, but they had sagacity and vision. They seemed high on human personality traits, such as:
■ Introspection (a high score means you are self-aware, reflective, and emotionally engaged);
■ Agreeableness (a high score means you are kind, sympathetic, affectionate, and you are likely to engage in prosocial behavior and volunteerism; and
■ Conscientiousness (a high score means you are hardworking, ambitious, energetic, persevering, and like to plan things in advance).
These traits made them effective and empathic leaders, maybe not the best of the communicators to their public.
Their humble origins accounted for their humility in public service. Singh rose from the Punjabi plains – the wheat capital of India – before the Partition that created India and Pakistan. He witnessed the scourge of political violence and poverty at the end of colonialism, when, at the age of 15, his family relocated from what is now Pakistan and settled in Amritsar, Punjab.
Singh lost his mother at a young age, which (I have written elsewhere) is a key driver of innovative leadership. Similar to (former US president) Barack Obama, his daadi (paternal grandmother) raised him. Like (US ex-president) Abraham Lincoln, he studied under candlelight during his school days, as his village had not yet been electrified. Singh married Gursharan Kaur in 1958 and they have three daughters – Upinder (a historian at Ashoka University), Daman (an independent author) and Amrit (a civil rights attorney at ACLU [American Civil Liberties Union]).
Carter was a son of a peanut farmer from the plains of Georgia, who grew up during the Great Depression and under the brutal Jim Crow laws that continued to divide American society well after the Emancipation Declaration.
He was the first American president born in a proper hospital. He grew up with poor African-American children who were part of hired help on the farmland, and his mother was often absent, because she worked long hours.
Scarcity and suffering are great character builders – adversity turned Carter into a man of faith, and Singh into a man of economics. Both were brilliant students as young men, and joined government service as young adults, which shaped their global identity.
As finance minister and later as prime minister, Singh became a transformative technocrat who changed India-US relations by structuring two major paradigm shifts – India’s economic liberalisation in 1991 and the India-US civil nuclear agreement in 2005.
He was part of the ‘silent generation’ shaped by his education at Cambridge and Oxford. His policies may have moved a billion people out of poverty, and created the Indian middle class, the engine of economic growth of the third-largest economy in the world.
Singh told Mark Tully that two professors shaped his intellect (Joan Robinson and Nicholas Kaldor): “Robinson propounded the left-wing interpretation of [John Maynard] Keynes, maintaining that the state has to play more of a role if you really want to combine development with social equity.
Kaldor influenced me even more – I found him pragmatic, scintillating, stimulating. Joan Robinson was a great admirer of what was going on in China, but Kaldor used Keynesian analysis to demonstrate that capitalism could be made to work.”
In addition to his many political achievements, Singh was known for his humility and dearth of speech. I met him as a young graduate student at the Delhi School of Economics (1994), when he was the finance minister under prime minister PV Narasimha Rao, while I was researching Indian villages at the outskirts of Delhi . He wore his signature starched, white kurta with a light blue turban, and his greyish Sikh beard. I shook his hand and shared stories.
He previously served as a professor before heading the Reserve Bank of India. Singh is credited for jettisoning the Nehruvian legacy of Fabian socialism.
While Singh became prime minister during the Obama years, his authentic leadership style had much in common with president Carter. For their purposeful visions, strong values, and transparency, they may not have been the most brutal of politicians. Yet, their personalities grew larger in the rearview of history and acquired a humanistic persona.
President Carter was part of the greatest generation, sandwiched between the two world wars, that saved millions of lives. He contributed hugely to eliminating guinea worm disease in Africa, saved the first nuclear meltdown as a naval physicist off the coast of Canada, and amended the clean air act to ban CFCs that depletes the ozone layer. Banning CFC was a big deal at the time, but nobody may have even noticed. Just like his solar panels on the roof of the White House were immediately removed, because he was granted only one term. But Carter’s impact only grew in his post presidency as he went on to win the Nobel Peace Prize for his humanitarian work.
Carter is also known for Carterpuri, a village in Haryana his family visited (in 1978) and where his mother was a peacecorps volunteer in the 1960s (see related story, page 17). He was the third US president to visit India, after [Dwight D] Eisenhower and [Richard] Nixon, and continued the alignment between the two longstanding democracies:
In his address to India’s parliament in January 1978, he said, “For the remainder of this century and into the next, the democratic countries of the world will increasingly turn to each other for answers to our most pressing, common challenge – how our political and spiritual values can provide the basis for dealing with the social and economic strains to which they will unquestionably be subjected.”
One of my psychology professors used to say, ‘Americans will never elect a person like Mahatma Gandhi as a US president.’ Will Americans ever re-elect Jimmy Carter? Conversely, will Indians ever vote for a person like Singh again? Seems highly unlikely in the age of half-truths and misinformation.
Carter’s authentic leadership style seems to be from a bygone era – a Bible school teacher, peanut farmer, naval engineer and physicist, southern governor turned US president. Carter’s passing seems to mark the end of the American century, and his full century.
I never met president Carter, but I have an early memory of looking at his portrait at the US Consulate in New Delhi, through the thick looking glass, when as a young teenager I arrived for an immigration interview.
The year must have been 1976 or 1977, which marked America’s bicentennial celebrations, and the year that the Indian government instituted the Emergency. That’s the year that changed everything.
Dinesh Sharma is a director and chief research officer at Steam Works Studio, an edtech venture in Princeton, NJ, and a faculty member at Fordham University and NYU.
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Great movies that made a major impact in 2024
ASJAD NAZIR
Jan 10, 2025
FROM commercial blockbusters to indie gems and international festival favourites, 2024 offered a diverse array of films that entertained and resonated with audiences.
Featuring a strong south Asian presence, these movies explored various themes in multiple languages, showcasing the immense possibilities of cinema. Eastern Eye reflects on the year with a list of the 21 best films of 2024.
Manjummel Boys: The highest-grossing Malayalam movie of all time, this gripping tale is based on reallife events. It follows a group of friends venturing into restricted caves, where a rescue mission to save a friend who has fallen into a deep hole becomes a race against time. With tension, innovative storytelling, and a powerful portrayal of friendship, this surprise super hit captured hearts and broke records.
Manjummel Boys
Pushpa 2: The Rule:The record-breaking sequel ignited the box office upon its release. Allu Arjun shines as a notorious gangster on a meteoric rise to power, taking on politicians, law enforcement, and the criminal underworld. This visually stunning entertainer delivered a perfect blend of high drama, spectacular action, and catchy musical numbers. Its immense entertainment value made the lengthy runtime fly by, leaving audiences eagerly anticipating the inevitable part three.
The Queen of My Dreams:This Canadian film, released in cinemas in 2024 after a successful run on the international festival circuit, follows a Pakistani Canadian woman with a white girlfriend who embarks on a journey of self-discovery during an unexpected trip to Pakistan. Through flashbacks, the audience learns that her conservative mother was also rebellious in her youth. Amrit Kaur delivers a brilliant dual performance as the protagonist and the younger version of her mother. Writer/director Fawzia Mirza crafts a visually stunning mother-daughter story, exploring the commonalities between generations with rich symbolism and emotional depth.
The Queen of My Dreams
Amar Singh Chamkila:This Bollywood biopic, which premiered directly on Netflix, beautifully chronicles the lives of the late singing duo Amar Singh Chamkila and Amarjot Kaur. Diljit Dosanjh and Parineeti Chopra deliver outstanding performances as the Punjabi singers who rise rapidly to fame before meeting a tragic and mysterious end. Directed by Imtiaz Ali, the film combines clever narrative touches, surprising elements, and captivating music with an engaging setting, compelling characters, and remarkable performances to tell a deeply fascinating story.
Aadujeevitham – The Goat Life:This survival drama became the third-highest-grossing Malayalam movie in history upon its release. Based on actual events, the film follows an Indian migrant labourer forced into slavery in Saudi Arabia who makes a daring escape across a desert. Prithviraj Sukumaran delivers a remarkable performance as the resilient protagonist battling harsh conditions to return home. The powerful drama sheds light on the exploitation faced by migrant workers and underscores the strength of perseverance and the will to survive against all odds.
Aadujeevitham – The Goat Life
Merry Christmas:Maverick filmmaker Sriram Raghavan delivers another masterful, twist-laden tale set in the late 1980s. The story follows a grieving man (Vijay Sethupathi) who returns to Bombay and encounters a woman (Katrina Kaif) with a mute daughter. As their paths intertwine, unexpected revelations lead them into uncharted territory. Adapted from Frederic Dard’s classic novel Le Monte-Charge, this mystery thriller, made simultaneously in Hindi and Tamil, is a sensory feast with stellar performances, atmospheric music, surprising twists, and stunning cinematography.
Monkey Man:Dev Patel showcases his multifaceted talent as a writer, producer, director, and lead actor in this India-set action entertainer. Inspired by the John Wick style, the film follows a young man on a quest to avenge his mother’s murder. From participating in illegal underground fights to executing a calculated plan against a powerful crime lord, his fiery path to vengeance is filled with gripping action. With intense set pieces and a compelling narrative, this violent yet thrilling movie marks a bold new chapter in Dev Patel’s illustrious career.
Monkey Man
Monkey ManThis powerful drama, based on a true story, deeply resonated with audiences on the international film festival circuit. It follows a young Gujarati American in a long-term relationship with his Chinese American girlfriend, who is diagnosed with terminal cancer. As his family, friends, and loved ones come to terms with the diagnosis, he chooses to embrace life fully, leaving a lasting positive impact on those around him. Combining themes of family, true love, and friendship, this ultimately life-affirming film delivers a heartfelt exploration of resilience and the human spirit.
Paper Flowers
Stree 2: The smash-hit sequel Stree 2 shattered box office records to become the most successful Bollywood movie of 2024. The story picks up where the first film left off, with the small village confronting a new spooky threat and receiving help from a familiar yet unexpected source. Returning with the same charm, the engaging characters entertain audiences once again in a film that masterfully blends humour, horror, suspense, and surprises. Stellar performances from the cast, led by Rajkummar Rao and Shraddha Kapoor, add an extra layer.
Stree 2
Premalu:The Malayalam-language romantic comedy proved that major stars are not essential to achieve box office success. This resounding hit revolves around two young people with contrasting personalities who are unexpectedly drawn to one another. The film combines humour, emotional depth, clever dialogues, a picturesque setting, and likeable characters to deliver a heartfelt story filled with entertaining moments. Outstanding lead performances by Naslen K Gafoor and Mamitha Baiju further elevate this relatable and charming movie.
Premalu
Aavesham:This Malayalam mega-hit follows the story of three college students who enlist a gangster to help them take revenge on a bully, only to find themselves in over their heads. The film masterfully blends comedy, action, and satire, with a standout performance by acclaimed actor Fahadh Faasil. His portrayal of an eccentric and unpredictable gangster is simply brilliant and richly deserving of accolades. Supported by a strong cast, this entertaining action comedy is beautifully shot and skilfully weaves together multiple themes, making it a memorable cinematic experience.
Aavesham
Laapataa Ladies: India’s official entry for the 2025 Oscars revolves around a mix-up that occurs when a groom brings home the wrong bride. What follows is two brides in unexpected surroundings, which subsequently triggers a desperate search and a journey of self-discovery. The rural social satire uses realistic characters and a captivating setting to tell an engaging story infused with insightful social commentary, including on gender equality and the patriarchy. The multi-layered movie has clever touches and great comic moments.
Laapataa Ladies
Hanu-Man: The sleeper super hit Hanu-Man took Pan-Indian audiences by surprise with its refreshing take on the superhero genre, rooted in mythology and connected to Lord Hanuman. This Telugulanguage adventure tells the story of an underdog who unexpectedly gains superpowers, blending action, mythological elements, and humour in a way that resonated with audiences of all ages. Teja Sajja delivers a star-making performance as the heroic protagonist. With its stunning visuals and widespread acclaim, it’s no surprise that a sequel is already in the works.
Santosh:British Asian filmmaker Sandhya Suri makes an accomplished directorial debut with Santosh, a gripping crime drama that left a strong impression on the international festival circuit. Set in India, the story follows a widow who reluctantly takes on her late husband’s job as a police officer and becomes embroiled in a hard-hitting murder case. Suri expertly blends a police procedural with a thoughtful exploration of caste and communal divisions. Shahana Goswami delivers a phenomenal performance in this compelling drama that keeps viewers hooked from start to finish.
Santosh
Maharaja:The twist-laden Tamil action thriller Maharaja features a stellar performance by Vijay Sethupathi in his 50th film. Set across multiple time periods, the story follows a barber seeking vengeance for an unimaginable horror. The well-paced film captivates audiences with its intricate blend of suspense, psychological drama, and thought-provoking subtext. Its layered narrative, emotional depth, and ambiguity are masterfully revealed through a series of flashbacks and intriguing twists, making it a compelling cinematic experience.
Maharaja
All We Imagine As Light: Winner of the Cannes Film Festival Grand Prix, All We Imagine As Light earned universal acclaim and captivated audiences on the international festival circuit before its cinema release. Writer/director Payal Kapadia presents a slow-burning drama about three nurses at different stages of their lives, grappling with survival in an overcrowded city while navigating the pressures of demanding jobs. A transformative trip unexpectedly offers them a moment of respite. With artistic cinematography, strong performances, and a rich emotional palette, the film is a masterful exploration of resilience and human connection.
All We Imagine As Light
The Glassworker: In a year when Pakistani cinema saw an unexpected dip, The Glassworker emerged as a standout achievement. As the country’s first hand-drawn animated feature, crafted in a striking anime style, this anti-war romantic drama tells the story of a pacifist glassworker who falls in love with an army colonel’s daughter. Set in a unique backdrop, the film delivers a relatable narrative filled with human emotions and a powerful anti-war message. This crowd-funded audience favourite was deservedly selected as Pakistan’s official entry for the 2025 Oscars in the Best International Feature Film category.
The Glassworker
Village Rockstars 2:The 2017 Assamese coming-ofage film Village Rockstars garnered multiple awards and was selected as India’s official entry for the 91st Academy Awards. Its acclaimed sequel, set years later, had its world premiere at the 2024 Busan International Film Festival, where it deservedly won best film. Writer, producer, and director Rima Das delivers another heartfelt drama, exploring the journey of a young individual caught between the pursuit of a musical dream and the harsh realities of rural life.
Kalki 2898 AD:Despite receiving mixed reviews, Kalki 2898 AD achieved massive box office success while offering Indian audiences a fresh cinematic experience. Starring Prabhas, Deepika Padukone, Amitabh Bachchan, and Disha Patani, this epic science fiction adventure is set in a post-apocalyptic world. Blending ancient events with an imagined future, the film delivers engaging characters, impressive special effects, and an intriguing cliffhanger that paves the way for a sequel. With the feel of a Hollywood blockbuster and the essence of Indian culture, it stands out as a unique addition to the sci-fi genre.
Kalki 2898 AD
Jhamkudi:Gujarati cinema continued its impressive momentum with Jhamkudi, a hit horror comedy that became the year’s most successful Gujarati film. The movie blends spooky scenes with laughout-loud moments and suspense. It follows a hapless group confronting an evil witch terrorising their village, delivering great comedy, unexpected twists, and a captivating setting. Marvellous performances from cast members, including Manasi Parekh and Viraj Ghelani, add to its charm. Despite minor plot holes, the film’s strong entertainment value ensures it remains a crowd-pleaser.
Jhamkudi
Unicorns: This critically acclaimed British romantic drama introduces one of the year’s most unique protagonists. The story follows a mechanic, recently separated from his female partner, who unexpectedly falls for a Muslim drag queen. Jason Patel delivers one of the standout performances of the year, portraying a character leading a double life as a glamorous female performer while hiding his truth from a conservative family. The cross-cultural romance between two individuals navigating their identities in a judgmental world resonated deeply with audiences.
Unicorns
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Shyam Benegal: The revolutionary who redefined Indian cinema
Sangeeta Datta
Jan 10, 2025
BENEGAL is considered the father of parallel, or new wave cinema in India. So central is his work to the movement that it forged an aesthetic of alternate or realistic Hindi cinema that reflected his socially conscious, yet deeply humanist mind.
In the 1970s, Benegal’s films revealed a world previously unseen, bringing stories of rural Indian reality to the forefront and heightening our awareness of class, caste, and gender politics – the winds of change sweeping across the nation. Here were characters in micro stories, but who represented much larger worlds where old feudal structures were collapsing and new, liberal ideals were growing.
Benegal made his first film Ankur (1974), based on the history of the Telangana movement (in south India) and the peasant revolt, in which a landlord’s son has an affair with a maid.
He shot on location in (then undivided) Andhra Pradesh state, cast Shabana Azmi – a fresh graduate from the Poona Film Institute – to play the central role of Lakshmi. There was a fresh pool of trained actors and technicians who became part of Benegal’s repertory. Naseeruddin Shah said the director cast him in Nishant (1975) at a time when the actor was being rejected by everyone else.
Girish Karnad, freshly returned from Oxford, stayed in Benegal’s home to write his scripts. He was cast as the urban doctor who tries to bring change and reform in the village in Manthan (1976). And we all recall Smita Patil’s smouldering performance in that film as the village girl who wants change, but is held back by patriarchal structures.
Benegal was on a roll and there were a host of actors – Amrish Puri, Om Puri, Anant Nag, Pankaj Kapoor and Neena Gupta – who were cast in these films.
While Benegal’s best films remain outstanding cinematic achievements, almost all his work is a vast cultural document – an insider’s view of the contemporary nation, its history, its heroes and underdogs, its women and outcasts.
For me, Benegal’s finest film is Bhumika (1977), based on the autobiography of the Marathi actress, Hansa Wadkar. Those were early days of the women’s movement in India and there was a vigorous cultural search for women’s writing and validation of women’s voices. Bhumika, with the excellent Patil as protagonist, takes us through the early days of theatre and cinema in (then) Bombay and the complex, emotional turmoil in her personal journey.
While Benegal’s biopics are very linear in structure – in Bose: The Forgotten Hero (2003) and Mujib (2023), the director often experimented with storytelling types in his features. The delightful Suraj ka Satwan Ghoda (1992) employs the Rashomon technique to question the basis of truth and perspective.
By this time, I was teaching at St Xavier’s College, Bombay, and Shyam babu (as we fondly called him) would readily agree to visit as a guest lecturer for my film studies students.
We would also often meet at the Film Society screenings and talks.
At one such event, I did a presentation on Suraj Ka Satwan Ghoda and sat with Shyam babu for a discussion on the film. Editor Anil Dharker liked the paper and published it in the Sunday Times the following week. I wrote long essays on Benegal’s films for Cinema in India, which Khalid Mohamed edited for the National Film Development Corporation (NFDC).
Soon after, I was on a post-doctoral project at the University of Sussex. I was curating for the India 50 Conference and programmed Bhumika for the screening.
We invited Shyam babu to be a keynote speaker and his presentation was one of the highlights of the conference. He stayed on in our London home for a few days and we binged on films and Chinese food in the heart of Soho.
A scene from Ankur (1974)
When the British Film Institute (BFI) commissioned two books on Indian directors as part of the world directors series, I was asked to write the book on Benegal. With his extensive filmography, I travelled to Bombay and Pune to watch all the films, which included the fabulous documentary on Satyajit Ray. Shyam babu’s own archives are impeccably kept, and I found most of his films there.
Over cups of tea, we talked films in his office for three weeks. He said to me, “I don’t know if cinema can actually bring about change in society. But cinema can certainly be a vehicle for creating social awareness. I believe in egalitarianism and every person’s awareness of human rights. Through my films I can say, ‘Here is the world and here are the possibilities we have.’ It is difficult to define the purpose of my art… Eventually, it is to offer an insight into life, into experience, into a certain kind of emotive or cerebral area”.
The BFI book was launched in London by Karnad, an old friend and colleague of Shyam babu, who was then minister of culture at the Nehru Centre. The British Council organised a series of launch events in India – in Delhi, Bombay and [then] Calcutta.
In the past two decades, every trip to (now) Mumbai involved a meeting with Shyam babu in his Tardeo office. Over 50 years, his daily routine meant being at the office from 9am to 5pm, with a short lunch break at home. Even after he turned 90, he would be in his office regularly meeting people, taking calls, planning projects.
I travelled with the unit on several of his films. In Jaipur, Rajasthan, for Zubeidaa (2000), the shoot was at the Deegi Palace Hotel. A long table was laid out in the lawn and all the cast and crew assembled there for meals. This was a love story, but Shyam babu placed it in a historical context and gave it credibility.
During the filming for Bose: The Forgotten Hero, we were in Berlin working with a large number of German actors, including one who played Adolf Hitler in the film. During the pandemic, I saw him helming a 200-crew unit in Film City, filming the pivotal scenes of Mujib, an Indo-Bangladesh co-production. At 88, he paced up and down in the sun with a cap on his head, making sure things were on schedule, even as the sun went down in the western sky. Once the shoot was complete, his assistants gathered around him as they read the scenes for the next day.
It was amazing to see the strict disciplinarian at work, yet how kind and compassionate he was with every person he interacted with.
Earlier this year I was in his office, sipping chai and watching Mujib, his last film, a biopic on the Bangladesh liberation leader. He was happy talking to us, sharing stories, and excited about the film screening in London.
After a great deal of persuasion, we were able to send him home for lunch and rest. But, he was back within an hour, fussing about whether we had lunch, what we would like.
I am so glad that last summer we were able to do a digital tribute event for Shyam babu’s 50 years in cinema, partnered by BaithakUK and the London Indian Film Festival. We had director Adoor Gopalakrishnan, Bina Paul, Naseeruddin Shah, Shabana Azmi, Nandita Das, Nandita Puri, Ila Arun, his long-term writers Shama Zaidi, Atul Tiwari, composer Shantanu Moiitra and the Mujib star Arifin Shuvoo from Bangladesh.
With his typical humility, he said he wasn’t sure whether he deserved this honour, but then warmed up as each speaker came on screen and was finally excited as a child, declaring, “this calls for a party!”
His last words for the book were, “I’d like to go on making films. I don’t think I can do anything as well, I’m not even sure I do this well enough… India continues to inspire with a variety of different subjects to work on.
“I love doing films on the temperature of society and capture the transition of this amazingly diverse structure of our nation. But I need to be driven by the subject, to be completely possessed by it.”
We will miss Shyam babu, a giant filmmaker and an amazingly compassionate man. A teacher for life, someone who the late Om Puri constantly referred to as his “encyclopaedia” and many of his illustrious cast consider as a mentor.
But, we will celebrate the amazing storyteller, the prolific maker of 25 feature films, 40 documentaries, six television series including the legendary Bharat Ek Khoj and Samvidhan (The Constitution), the man of incisive historical sense and of deep empathy.
The best tribute is to celebrate his work and make the films accessible to the younger generation. In 2024 the Film Heritage Foundation has restored Manthan, and a mint copy has circulated in major film festivals, starting with Cannes in May 2023.
While watching the film at the Festival of 3 Continents in Nantes, France, a few weeks ago, I was elated to see a large number of young French film students in the hall. During the 50 years tribute to Shabana Azmi, several of Bengal films were shown. As we watched Mandi, with every scene the best screen talent appeared – Shabana Azmi, Naseeruddin Shah, Om Puri, Smita Patil, Neena Gupta, Pankaj Kapoor, Annu Kapoor, some in tiny cameos just because they wanted to be in a Benegal film.
What a revolution Shyam Benegal had ushered in Indian cinema. Hurrah to that.
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Facts about sarod maestro Amjad Ali Khan ahead of his London show
Eastern Eye
Jan 10, 2025
LEGENDARY musician Ustad Amjad Ali Khan has long been celebrated as the greatest and most influential sarod player in the world.
At 79, the Indian classical icon continues to captivate global audiences with his mastery. UK fans will have the privilege of witnessing his artistry on January 25 at the Royal Festival Hall in London, where he will perform alongside the London Philharmonic Orchestra.
Ahead of this grand concert, Eastern Eye shares fascinating insights into the life and career of the maestro.
Born on October 9, 1945, as Masoom Ali Khan to legendary sarod maestro Hafiz Ali Khan and Rahat Jahan, his name was later changed to Amjad by a holy man.
The youngest of seven children, he was born into a sixth generation of musicians, with a lineage tracing back to the inventors of the sarod.
Khan began studying music under his father, a revered court musician in Gwalior, and gave his first public performance at the age of six.
The naturally gifted musician performed in the USA as a teenager in 1963.
Ustad Amjad Ali Khan modernised sarod playing by introducing shorter compositions and new styles of playing, enabling the instrument to reach a wider and more diverse global audience.
In 1971, he became the first sarod player to perform at Carnegie Hall in New York, introducing Western audiences to the unique expressiveness of the instrument.
Ustad Amjad Ali Khan (1990), an Indian documentary film on the maestro directed by Gulzar, won the Filmfare Award for Best Documentary.
His sons, Amaan Ali Bangash and Ayaan Ali Bangash, are both world-class sarod players who regularly perform across the globe. They often deliver live shows together as a trio. Speaking of his sons, he said, “I am grateful to God that Amaan and Ayaan have been accepted by the world, and they are very committed, compassionate, kind human beings who work really hard.”
His numerous awards include the Indian government’s civilian honours – the Padma Shri (1975), Padma Bhushan (1991), and Padma Vibhushan (2001). He has also received honorary doctorates from several international universities.
After a failed first marriage, he fell in love with celebrated Bharatanatyam dancer Subhalakshmi Barooah. They maintained a long-distance relationship before marrying happily in 1976. In 1984, the US state of Massachusetts proclaimed April 20 as Amjad Ali Khan Day.
Ustad Amjad Ali Khan authored Master on Masters, a book that offers a glimpse into the lives of other great Indian musicians and the impact of Indian classical music.
He received a Grammy nomination for his 2009 album Ancient Sounds, a remarkable collaboration with Iraqi oud virtuoso Rahim AlHaj.
Ustad Amjad Ali Khan believes that music is a way to reach the divine and has likened the sarod to a conversation with God.
His ancestors are believed to have developed the sarod by adapting the Afghan rabab, a lute-like instrument, into its modern form.
He has performed in more than 40 countries and collaborated with renowned ensembles such as the Scottish Chamber Orchestra and the Britten Sinfonia.
In 2014, Ustad Amjad Ali Khan, along with his sons Ayaan and Amaan, performed the composition Raga for Peace at the Nobel Peace Prize concert.
An Evening With Amjad Ali Khan at Royal Festival Hall, Southbank Centre, Belvedere Road, London SE1 8XX on Saturday, January 25. www.southbankcent.
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