Om Puri –  From Ardhsatya to Hera Pheri – His Memorable Roles.

Om Puri – From Ardhsatya to Hera Pheri – His Memorable Roles.

Shivangi Shrivastava

Shivangi Shrivastava

Bhopali studying in Bangalore. Crazy at heart! Guest Blogger at Scriptors.
Shivangi Shrivastava

Today, Indian cinema has lost one of the finest actors in the industry. He was a director’s actor, he had no comfort zone, and he had the caliber to make every zone a comfortable and natural one for him.
From being a student at the national school of drama to the Padma Shri award winner his journey in Bollywood is filled with different characters, genres and great acting. He proved that ultimately acting skills are the most important thing in the industry and there is no replacement for it.
Comedy, antagonist, lover, father, ardent and youngster you name it and he has done all kind of roles giving us the best movies ever.
Here, are some of his favorite’s characters on screen.

Anant Walenkar – ArdhSatya


The potrayal of a helpless but honest Police Inspector fighting against the fragile system and his own demons, makes this movie a Master Class for the Actors. That cry in the end can make you feel sink.

Ahuja- Jaane Bhi do Yaaro

The drunk contractor from the classic cult comedy movie, his acting skills and comedy timings and the Punjabi accent added charm to the movie.

Abu Miyan- Mirch masala

The person, who stood against the British raj and society to protect the dignity of a woman. He played the role of a much older person and justified it to every bit.

Durgaprasad Bharadwaj- Chachi 420

We all loved this funny wannabe detective, who despite his all failed attempts wanted to solve the mystery of Chachi.

Sanathan- Maachis

a victim of communal and political violence who has taken up a different way now to restore basic civil rights and dignity of common people in the country. He was intense at the same time emotional in the movie. This was one of his best performances in Bollywood.

Khadak Singh- Hera Pheri

He can be zealous on screen but humor is his right hand’s work. We all loved how this Sardar will always come after Shyam and every time will return empty hand, his dialogue delivery made this movie a fun ride for us.

Bagheera- Jungle book

He just gave his voice for Bagheera. But, it was not like any other dubbing, he made it more special for us because of the love and warmth he had in the voice.
These few memorable characters just show how versatile he was as an actor and indeed Indian cinema has lost a veteran actor today.

Ishq Aaha – A play that will bring the legends alive!

Ishq Aaha – A play that will bring the legends alive!

Saurabh Bharat
Peak in:

Saurabh Bharat

Dentist turned Radio Jockey turned Social Activist turned New York Film Academy Graduate. Passion for telling stories in all possible forms. Writer and Editor.
Saurabh Bharat
Peak in:

“Sahiban, life’s as temporal as a dream. But those who die for love are remembered. Laila, Sassi, and Heer are now revered. Let’s pray before God to give our love a pleasant end” – Hafiz Barkhurdar

Love stories – they last a few hours, months or years. But we’re here to tell you to love stories that have been retold for centuries (and will probably be heard by your great-great-grand children too!)

We’re not talking Romeo-Juliet here, but our very own, desi love stories of Heer-Ranjha, Mirza-Sahiban, Sassi-Punnu and Sohni-Mahiwal – all in Ishq Aaha! All with a mazedaar twist.

This foot tapping musical will tickle your heart, tease your senses and make you wonder – what does love really mean?

So if you are feeling fed up from the cinema that is not making any sense and if you are a theater lover, just do not miss this play, loaded with emotions, romance, music, the drama, and tears. All the ingredients that makes it a standout.

Book your tickets –

Writers –Purva Naresh, Amotish Nagpal, Raghav Dutt, Gagan Dev Riar
Director – Gagan Dev Riar & Sukant Goel
Cast : Mansi Multani/Priyanka Sethiya, Ajitesh Gupta, Avantika Ganguly, Dhruv Lohumi, Neha Singh/Divya Unny, Lokesh Rai/Nitin Bhardwaj, Vipin Hero/ Rohit Das, Trisha Kale/ Niketa Saraf, Karan Desai/Krish Bhardwaj, Mallika Singh/Pranita Pandurangi

7 Contemporary Quotes about Love, Life and Vulnerabilities

Baljeet Randhawa

Baljeet Randhawa

Writer from Bhopal. Theatre Director and Co- Founder of Dream Stage Theatre along with Scriptors. Shy Actor performs rarely.
Baljeet Randhawa

Time has changed; and with that the dating scenario, definitions of love, relationships everything else too have changed.

These seven quotes about contemporary love and dating life by our fellow writer surely deserve a read.








For more, follow him on instagram – randhawabaljeet

A Cinema that is “As good as It gets”

A Cinema that is “As good as It gets”

Vishal Wagh
Stalk me

Vishal Wagh

Lazy Writer. Voracious Reader. Big time comedy and horror films fan. Love to chill and hate to chat. Still exploring.
Vishal Wagh
Stalk me

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An old cranky man reminiscent of ‘Ebenezer Scrooge’, with the characteristic side dish of misanthropy, misogyny, germophobia, and homophobia – the perfect eerie mishmash of human eccentricities, you would say, wouldn’t you? But this very same eerie mishmash was the luminary of the 70th Academy Awards. Wondering how? Let’s get the story straight.

Melvin Udall is a 60-year-old bestselling novelist from NYC. However, in his personal life he could possibly be perceived as the psycho-est person in the whole city – he has OCD, he avoids stepping on the sidewalk cracks, he avoids even the slightest passing brush-offs from the pedestrians, he is superstitious, eats breakfast in the same restaurant using his own use-n-throw plastic utensils, and he can react to a simple knock on the door by muttering angrily “Son-of-a-bitch, pansy assed stool-pusher”. The freaky thing is, the list doesn’t end.

The only thing that can still (although faintly) reflect his contact with his own humane self is probably the fact that he is much civil (and docile) toward Carol Connelly, the waitress in the restaurant. Also, Carol is perhaps the only person in NYC who can stomach his eccentricities.

Melvin’s gay and artist neighbor, Simon Bishop, is assaulted during a burglary and his agent intimidates Melvin into fostering Simon’s little dog, Verdell, until Simon is back on his foot. No brownie points for guessing Melvin isn’t comfortable with the ‘dog eared monkey’ or the ‘ugly smelly fuck’ loitering around his house. However, as the miracles do happen, Melvin inexplicably warms up to Verdell and becomes his lone companion for days to come.

Unfortunately (for Melvin), Verdell’s ‘fudge-packer’ parent is back on his foot and wants Verdell back. Melvin is unhappy, and so is Verdell, who is probably the second living being who has ‘warm’ feelings for Melvin. To make the grief caused by Verdell’s separation more severe, Carol decides to get a new job close to her house in Brooklyn to care for her severely asthmatic son, Spence.

This is too much for Melvin and he takes things in his hands – obviously such Melvins don’t consult with their Carols. Using his contacts Melvin arranges for Spence to receive the best treatment with all expenses paid and in return expects Carol to return to her old job so he can have his breakfast.

Disturbed with the assault and Verdell’s growing predisposition toward Melvin, Simon has lost his creative muse and is unable to make or sell art, which has effectively rendered him bankrupt. His agent advices him to borrow money from his parents in Baltimore – a trip that Melvin has to link up as the driver. To lessen the awkwardness Melvin invites Carol to tag along, and she reluctantly agrees.

The trip brings the three closer and the romantic sparks start to ignite between Melvin and Carol. However, it’s not so easy for Carol – because it’s Melvin. For example, on a romantic date Melvin refers to Carol’s dress as ‘house dress’ (not even knowing he insulted her) and Carol is forced to ‘demand’ a compliment from him. To settle the tension the writer in Melvin pays her a very thoughtful compliment by saying “You make me want to be a better man”. Enamored by his rare display of vulnerability Carol asks him why he brought her here and proceeds to unequivocally tell him that she will say yes to anything he says. Melvin, nervous with this rising romance between them, blurts out that he wasn’t comfortable leaving her at the hotel room with Simon thinking they might end up having sex – thereby BAMM’ing the whole romantic moment.

After this there are more ups and downs (except there are only downs), but in the end Melvin discovers the secret of staying fairly humane and Carol discovers the adorable loving man (the reason why I am crazy about Melvin) behind the man as the world knows and… well, you know how it would end.

Nominated for seven Oscars, ‘As Good As It Gets’ ended up winning the two crown-awards – best actor and best actress.

Jack Nicholson, the actor proved yet time and again one of the most versatile and powerful actors of all generations, surprises us – not really, but still – with this ingeniously power-packed performance. His craft has brought forth the ‘horror of a human’ and still made us fall in love with him – something only the Jack Nicholsons of Hollywood can do. His captivating flair has shone through many films, such as The Shining, One Flew Over the Cuckoo’s Nest, Chinatown, Terms of Endearment, and many more. I have fallen in love with this actor many times, and I still think this is NOT just as good as it gets. It gets even better every time.

Helen Hunt, previously known only for the TV series ‘Mad About You’ and a disaster film ‘Twister’, emerged as a sensitive actress and later went on to star in many critically acclaimed films, such as ‘What Women Want’ and ‘Cast Away’. Her portrayal of the bent-under-hardships waitress who is confused about her feelings for this ‘weird’ man – whether to stay away from him or to appreciate the periodically evolving goodness in him – won audiences’ hearts too. Making your presence felt under the huge shadow of a mighty actor playing a mighty character is a difficult task and Helen played her part most dexterously.

Jack and Helen were awesome – no doubt – but there was someone else whose presence could never be missed. In fact this presence enhanced Jack and Helen’s performance. That another someone was the screenplay.

The screenplay, unambiguously one of the most well written screenplays, had many memorable dialogues. Mark Andrus and James L. Brooks, the later also being the director, wrote this film after employing that part of the brain that controls the sarcasm, quit wit, and dry humor. And the result! Oh, I am too short a human to talk about the greatness of this writing. Let the script talk for itself.

A woman (Melvin’s fan): How do you write women so well?

Melvin: I think of a man and I take away reason and accountability.

Melvin: People who talk in metaphors oughta shampoo my crotch.

Melvin: (Introducing Carol and Simon) Carol the waitress, Simon the fag.

Carol: When you first entered the restaurant, I thought you were handsome… and then, of course, you spoke.

Melvin: Where do they teach you to talk like this? In some Panama City “Sailor wanna hump-hump” bar, or is it getaway day and your last shot at his whiskey? Sell crazy someplace else; we’re all stocked up here.

Melvin: If it’s election night and you’re excited because some fudge-packer you dated has been elected the first queer President of the United States… and he’s going to put you up in Camp David and you just want to share the moment with someone… don’t knock… not on this door. Not for anything. Got me? Sweetheart?

The list is beautifully endless. The movie is such a feast of wit and quirkiness that your soul feels like you just had the most delicious meal that there could be – and trust me, there seldom are such lip-smacking feasts.

Karan Johar's Heartbreaking Cinema

Karan Johar's Heartbreaking Cinema

Mujeer Pasha

Mujeer Pasha

Mujeer Pasha is based out of Bangalore and writes everyday about everything that does not add value. He tells stories to people he meets in person and makes films occasionally (whenever a film festival is around).
Mujeer Pasha

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From romanticism to pessimism, Karan Johar’s cinematic expression of love has truly evolved. 18 years later his debut film, with 30 films under his name, this man is still fascinated by heartbreaks.
There is no denial that his films are about love- loving your classmates (KKHH, SOTY), loving your parents (K3G), loving your neighbor (KHNH), loving somebody else’s wife (KANK), loving America (MNIK), loving older married men (Bombay Talkies); but they are more about the heartbreaks. You do not see it this way? Read on.
Just before we celebrate his ultimate heartbreak film this Diwali, let us burst some hearts, just for the sake of fun.


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Anjali is left heartbroken(1) when Rahul and Tina become a couple. Soon, the universe pays Rahul back and he too has a heartbreak (2) when Tina dies (but she makes occasional visits, like on his wedding and all). Rahul has another heartbreak(3) when he finds out about Anjali’s to-be-happening-soon wedding. And Aman has the final heartbreak (4) of the film when he finds out that Anjali wants to be with Rahul instead.
This time Anjali is Rahul’s first & final choice, which means Naina must bear a heartbreak (5). Also, he marries without inviting his foster father, who in return of a heartbreak(6) cuts off all his ties with him. Rahul leaves the family and goes to London, leaving his mother heartbroken (8).
KAL HO NA HO – KHNH (2003)
Rohit loves Naina, who loves Aman but Aman loves all. While Rohit and Naina have heartbreaks (10), Aman has heart attacks. There are a few more itsy bitsy heartbreaks which we will ignore for this debate.


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This film has an average of one heartbreak per character. The maa, the baap, the beta, the bahu- everyone goes through it. Rhea wants to patch up with Dev but he leaves her heartbroken (11). Rishi’s love is not reciprocated by Maya, another heartbreak (12). Dev and Maya cannot stay together, 2 more (14). Dev’s mother and Uden Recept Online Rishi’s father find out about all the mess. While the former seems okay, the latter’s heartbreak (15) kills him.
This film has collective heartbreaks. It’s not fun to trivialize the real unfortunate tragedy, so we will skip this part. Let us take into account only two heartbreaks here- Zaheer’s, from his mother for loving his brother more & Mandira’s, from losing her son.
Dev seems already heartbroken (18) and we do not know why (can guess). Avinash is also heartbroken (19) and we know why (hint- family & acceptance). And Gayatri meets the much-needed heartbreak (20).


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This film has more denied heartbreaks than the obvious ones, both are a challenge to count. But you get my point, don’t you?
Karan Johar has always written and directed films about the hurt that people who chase love encounter, but his characters never give up on it.
Consciously or unknowingly, he has been hinting at the fact, which we understand quite late in our lives, that being loved is easy, loving is not. And love affairs mostly come with a heartbreak.
His Ae Dil Hai Mushkil is out, breaking and healing several hearts at a theater near you. Go catch it for all the excitements and disappointments it will leave you with. Kyunki… Ae Dil, satisfaction hai mushkil.
Befikre (FEARLESS) Attempt Seems Safe!

Befikre (FEARLESS) Attempt Seems Safe!

Mujeer Pasha

Mujeer Pasha

Mujeer Pasha is based out of Bangalore and writes everyday about everything that does not add value. He tells stories to people he meets in person and makes films occasionally (whenever a film festival is around).
Mujeer Pasha

Latest posts by Mujeer Pasha (see all)

A true sign of an absolute Bollywood movie is that it reminds you of other Bollywood movies. A Seen-before visual viagra tone, felt-before energy levels, a heard-before soundtrack and before this turns into a read-before review, I am going to end this ‘before’ series and change the track.

Aditya Chopra usually makes one film in five years. But this time, it took him 10 years to make his directorial comeback. His most honest & carefree film’s trailer is out, which looks like a pure mainstream film with characters who do not want to be mainstream. They are high on love and totally uninhibited about sex but don’t want to repeat the same relationship mistakes. Well, we can guess where this might lead to.

Wonder why they tell us the stories we know? Because we like to be told the same stories. Also, our lives aren’t much different. We all want the same things. Anyway, if this film turns out to explore the complexities of Vaani’s character, as it promises to do, then it will be worth our time and a few hundred bucks.

A month ago, YRF put out ‘Labon Ka Karobaar’ to tune us to Aditya’s treatment of the film. The trailer shows a lot of kissing, love making and taking off clothes with the utmost passion. Wonder what will happen to Aditya Chopra’s loyal family audience? In the last 10 years, I am sure they all have grown older, their kids might have got married or even divorced (Tauba Tauba!). It’s time we see kissing as love and not as sex, and what is wrong even if it is sex!

In the times when smart filmmakers are making biographies in order to make a different film, Aditya Chopra makes a true Yash Raj film giving us a refined version of the same message he told us in 1995- Go fall in love, but this time do it fearlessly.