Drama & Suspense in New York – the Bollywood movie

Drama & Suspense in New York
– the Bollywood movie

Raj S. Rangarajan

Its almost Hollywood – it has dramatic action and suspense, a mild love element and fear: its a Aditya Chopra production of the movie, New York and directed by Kabir Khan who earlier made Kabul Express. There is a refreshing candor to the film shot entirely in America though one could detect Bollywood effects.

The film picks up speed from the get-go with Omar (Neil Nitin Mukesh, Johnny Gaddaar) being picked up in a busy street. A scheme designed by Roshan (Irrfan Khan, a FBI sleuth) and his boss to entice Omar to fess up regarding his former college buddy Samir’s (John Abraham) alleged involvement in terrorism, seems to go nowhere.


Flashback to collegial days: happy scenes of students – Samir, Maya (Katrina Kaif, Namastey London) and Omar in a carefree, cheerful environment make for pleasant takes. Omar’s love interest shows up later but generally the almost 3-hour film is fast-moving and one is surprised when interval is announced.

“If I had watched the movie in India I would have found no fault, but since I live in the U.S. now I noticed minor shortcomings such as Liberty State Park being shown in New York (actually its in New Jersey) and I was happily surprised that Katrina, a Hong-Kong born, half-Kashmiri actress of British origin, who reportedly dubbed her own lines, appeared articulate and confident while delivering her lines.” This from pharmaceutical researcher, Anjana Nair, an avid aficionada of Hindi, English and Malayalam movies, whom I met outside the cinema hall. Thirty-plus V. Ranjith, who runs a wine shop in New York said, “Katrina was really friendly and hot and I liked the film.”

Director Kabir Khan seems to have digested thoroughly the 9/11 Report made public in July 2004 by Commission Chairman and former New Jersey governor, Thomas Kean. Kabir’s cues for New York are uncanny, a tribute to his sense of cinema though some stock shots were predictable. He has handled controversial subjects such as racial profiling, torture, water-boarding with panache and professional zeal.

One could not but be reminded of Hollywood movie, Rendition where Anwar played by Omar Metwally, (Munich), gets picked up, and is never told why he is arrested. Anwar, an Egyptian-born engineer is married to Reese Witherspoon and the lady boss who runs the “rendition” program for the American administration is Meryl Streep. Anwar is moved from America to a North African country, but in New York, Samir is tortured at home. Like in Rendition, the makers of New York appear to be earnest about the film’s objectives.

Based partly on “racial profiling” the movie tries to tread new territory though the basic premise presupposes an emotional decision, i.e., why a person is picked up based on name, looks and stereotypes. Howsoever much authorities try to make racial profiling a science it is still a nascent art and the subject is very much a pawn to human frailties. While the viewer may not agree with some of the decisions taken by law enforcement, the movie attempts to honestly represent many aspects of what could happen if one is accidentally on the wrong side of the law.

The title of the movie – New York – should help box office sales in North America even if the storyline were not about terrorism. Like a true FBI sleuth, Irrfan Khan, occasionally gives the impression that he is on the side of the alleged terrorist and in a rare moment, discloses that though married to an Italian he doesn’t favor pasta. One is almost lulled to believe that we are watching a Hollywood drama when suddenly Irrfan’s crisp but accented dialogue jars one to reality.

A scene showing Samir with his sidekicks plotting in the dead of night was straight out of Bollywood. However, some high-rise, chopper and street shots of Manhattan and Philadelphia seemed real. Even Samir scaling the tall down-town building to place his detonating device was creative, and kudos to the skilful camera crew and the editing desk.

High drama and tension grip the final scene with Omar, Roshan and Maya trying to negotiate on behalf of Samir, and how it all ends is an interesting lesson in crisis management. For a comparatively new entrant to the celluloid world, Neil has done a commendable job. John Abraham has come a long way from Viruddh to Dostana to New York and Katrina has matured responsibly in her craft.

Finally, one often wonders why FBI guys in every movie – specially the men – have to yell. Is it because they are trying to drown their own fears or is it an outward manifestation of lack of confidence when confronting a potential gun-wielder.

_____________________________
[Raj S. Rangarajan is a New York based freelance writer. He covers trend stories on art, reviews books and films for media based in New York, Toronto, Republic of Korea and India.]

My Name is Khan and “I am not a Terrorist.”

Raj S. Rangarajan

A regular Bollywood film with a 9/11 flavor thrown in – My Name is Khan – will perhaps be more popular in North America than in India. After that fateful day in 2001, more movies seem to sell better here. Remember New York starring John Abraham and Katrina Kaif and Kurbaan 2009 with Saif Ali Khan and Kareena Kapoor, to name merely two.

While screening of the film ran into problems last month in Mumbai following boycotts, it has virtually been running to packed cinema houses in North America over weekends. According to Gitesh Pandya, who monitors all film billings for Hollywood and Bollywood movies, 17 days following release, this was Shah Rukh Khan’s top-grossing film in North America with total sales of $3,636,000 that surpassed SRK's old record of $3,597,372 for 2007's Om Shanti Om. It continues to play in 119 theaters across the U.S. and Canada in its third week of screening. This is reportedly Karan Johar’s biggest film ever.

Shah Rukh Khan (Rizvan Khan) and Kajol Devgan (Mandira Rathore) are the main characters in Khan and their chemistry on the screen is a subject of many a speculative, albeit favorable story in the film press, and that aspect is just one of the reasons why director Karan Johar had no hesitation in casting this pair.

As a child Rizvan (SRK) suffers from Asperger Syndrome, a kind of autism disorder that makes the patient behave clumsily sometimes in social interactions. In Khan, Rizvan tends to repeat his behavior patterns just as Raymond (Dustin Hoffman) constantly did in the 1988 Hollywood hit movie, Rain Main, that also starred Tom Cruise.

A story of love between a man and a woman and of that between mother and son – something many a Hindi-movie fan can relate to – is the basic theme that writers, Shibani Bathija and Karan Johar (who is also the director) have captured admirably. Rizvan, who happens to be a Muslim woos Mandira who happens to be a Hindu in spite of handicaps in his life. She is a single mother with a son.

After their mother’s passing in India, Rizvan’s younger brother, portrayed by Jimmy Shergill invites Rizvan to move to San Francisco. When Rizvan wants to marry Mandira who runs a successful hairdressing outfit, Jimmy’s character objects but never explains why. The story faces its major twist when Mandira’s son is beaten up in a playground by boys of Caucasian origin. Motives are attributed to the incident since the post-9/11 scenario in America is an easy excuse.

No investigation is conducted by anyone and soon the boy’s death is a closed chapter for the authorities. But, not for Mandira who has been personally affected. The racial profiling mindset in the movie is telling in that when Mandira declares, if my son’s name was Rathore – not Khan – he would have been alive. In a sense that reality is constantly faced and thought of by residents in North America though perhaps not articulated in public for obvious reasons.

People who constantly experience overt discrimination in some degree or other can relate to this movie directly. Each parent and child in North America has his or her own defence mechanism to deal with such real-life situations and this movie drives close to home. After all its just a movie is the normal rationalization of mature adults.

In another scene, in a mosque some Muslims are seen praying and plotting. In a dramatic exchange when the Muslim doctor who preaches revenge against white folk in the confines of a place of worship, Rizvan boldly lays out his understanding of what the Prophet really said and meant.

In small measure, that verbal exchange in the movie epitomizes conflicts one sees in schools, colleges or in communities in North America and perhaps in other countries as well. One is often concerned about how to behave in a social situation – whether at a movie, among friends and peers or even on a playground. What is politically correct these days?

In the movie, however, one cannot judge whether the incident was racially-motivated or whether it was the effect of a smaller boy – a South Asian kid – taking on a bigger boy, who happened to be Caucasian.

Traditional Southern hospitality gets a shot in the arm when a black family welcomes in to their fold a drifting Rizvan who is temporarily confused and lost after his wife throws him out. To prove himself, he single-handedly helps a community suffering in a flood (though he is sometimes spaced out) and attempts to win back his beau.

While Rizvan Khan is constantly muttering that he is not a terrorist but wants to meet the American president it is never explained why he wishes to meet the leader. Is it because his mother had inculcated in him a desire to do so? Or is it because Mandira, in a fit of pique, challenges him to do so.

In happy scenes a fetching Kajol sparkles, but SRK tends to overact specially when he overdoes the autistic bit -- which is perhaps difficult -- specially since the movie is not about the disease but about relationships.

One is impressed with subtle nuances the director and cameramen have accomplished in terms of capturing emotions on the playing ground where a boy is beaten up mercilessly or after the emotional suffixes that help the boys confess. Niranjan Iyengar’s dialogue is pithy and cinematographer, Ravi K. Chandran has proven once again that he is a classy performer. Mostly shot in San Francisco, the 2-1/2 hour Fox Searchlight film moves fast and doesn’t follow any formula – a lofty tribute to director Karan.
_____________________________

[Raj S. Rangarajan is a New York based freelance writer. He covers trend stories on art, reviews books and films for media based in New York, Toronto, Republic of Korea and India.]

My Name is Khan and “I am not a Terrorist"

Raj S. Rangarajan

A regular Bollywood film with a 9/11 flavor thrown in – My Name is Khan – will perhaps be more popular in North America than in India. After that fateful day in 2001, more movies seem to sell better here. Remember New York starring John Abraham and Katrina Kaif and Kurbaan 2009 with Saif Ali Khan and Kareena Kapoor, to name merely two.

While screening of the film ran into problems last month in Mumbai following boycotts, it has virtually been running to packed cinema houses in North America over weekends. According to Gitesh Pandya, who monitors all film billings for Hollywood and Bollywood movies, 17 days following release, this was Shah Rukh Khan’s top-grossing film in North America with total sales of $3,636,000 that surpassed SRK's old record of $3,597,372 for 2007's Om Shanti Om. It continues to play in 119 theaters across the U.S. and Canada in its third week of screening. This is reportedly Karan Johar’s biggest film ever.

Shah Rukh Khan (Rizvan Khan) and Kajol Devgan (Mandira Rathore) are the main characters in Khan and their chemistry on the screen is a subject of many a speculative, albeit favorable story in the film press, and that aspect is just one of the reasons why director Karan Johar had no hesitation in casting this pair.

As a child Rizvan (SRK) suffers from Asperger Syndrome, a kind of autism disorder that makes the patient behave clumsily sometimes in social interactions. In Khan, Rizvan tends to repeat his behavior patterns just as Raymond (Dustin Hoffman) constantly did in the 1988 Hollywood hit movie, Rain Main, that also starred Tom Cruise.

A story of love between a man and a woman and of that between mother and son – something many a Hindi-movie fan can relate to – is the basic theme that writers, Shibani Bathija and Karan Johar (who is also the director) have captured admirably. Rizvan, who happens to be a Muslim woos Mandira who happens to be a Hindu in spite of handicaps in his life. She is a single mother with a son.

After their mother’s passing in India, Rizvan’s younger brother, portrayed by Jimmy Shergill invites Rizvan to move to San Francisco. When Rizvan wants to marry Mandira who runs a successful hairdressing outfit, Jimmy’s character objects but never explains why. The story faces its major twist when Mandira’s son is beaten up in a playground by boys of Caucasian origin. Motives are attributed to the incident since the post-9/11 scenario in America is an easy excuse.

No investigation is conducted by anyone and soon the boy’s death is a closed chapter for the authorities. But, not for Mandira who has been personally affected. The racial profiling mindset in the movie is telling in that when Mandira declares, if my son’s name was Rathore – not Khan – he would have been alive. In a sense that reality is constantly faced and thought of by residents in North America though perhaps not articulated in public for obvious reasons.

People who constantly experience overt discrimination in some degree or other can relate to this movie directly. Each parent and child in North America has his or her own defence mechanism to deal with such real-life situations and this movie drives close to home. After all its just a movie is the normal rationalization of mature adults.

In another scene, in a mosque some Muslims are seen praying and plotting. In a dramatic exchange when the Muslim doctor who preaches revenge against white folk in the confines of a place of worship, Rizvan boldly lays out his understanding of what the Prophet really said and meant.

In small measure, that verbal exchange in the movie epitomizes conflicts one sees in schools, colleges or in communities in North America and perhaps in other countries as well. One is often concerned about how to behave in a social situation – whether at a movie, among friends and peers or even on a playground. What is politically correct these days?

In the movie, however, one cannot judge whether the incident was racially-motivated or whether it was the effect of a smaller boy – a South Asian kid – taking on a bigger boy, who happened to be Caucasian.

Traditional Southern hospitality gets a shot in the arm when a black family welcomes in to their fold a drifting Rizvan who is temporarily confused and lost after his wife throws him out. To prove himself, he single-handedly helps a community suffering in a flood (though he is sometimes spaced out) and attempts to win back his beau.

While Rizvan Khan is constantly muttering that he is not a terrorist but wants to meet the American president it is never explained why he wishes to meet the leader. Is it because his mother had inculcated in him a desire to do so? Or is it because Mandira, in a fit of pique, challenges him to do so.

In happy scenes a fetching Kajol sparkles, but SRK tends to overact specially when he overdoes the autistic bit -- which is perhaps difficult -- specially since the movie is not about the disease but about relationships.

One is impressed with subtle nuances the director and cameramen have accomplished in terms of capturing emotions on the playing ground where a boy is beaten up mercilessly or after the emotional suffixes that help the boys confess. Niranjan Iyengar’s dialogue is pithy and cinematographer, Ravi K. Chandran has proven once again that he is a classy performer. Mostly shot in San Francisco, the 2-1/2 hour Fox Searchlight film moves fast and doesn’t follow any formula – a lofty tribute to director Karan.
_____________________________

[Raj S. Rangarajan is a New York based freelance writer. He covers trend stories on art, reviews books and films for media based in New York, Toronto, Republic of Korea and India.]

Breezy Summer Comedy

Raj S. Rangarajan


Harleen Kaur (Brazilian model, Giselli Monteiro) and Jai Vardhan Singh (Saif)



(Photos Courtesy: Sulekha.com)

Straightaway, one notices this is going to be a Hindi film with English being thrown in regularly – a sign of the times and a staple now of many films from Bollywood. One didn’t need subtitles. It’s perhaps a consequence of many actors’ large fan following in North America. Also, Bollywood celebs are easily accessible here though we had the odd instance of Shahrukh Khan being detained and frisked at Liberty International (Newark) recently. Some called it a publicity stunt.

Literally speaking, Love Aaj Kal is about love nowadays and what it was in the days of yore. Light, sophisticated – sometimes strained and occasionally trivial – the film promotes male lead, Saif Ali Khan in a big way. Wonder if that’s because he was co-producer with Dinesh Vijan.


Deepika and Saif





Jai Vardhan Singh (Saif) and Meera (Deepika Padukone), a young, hip independent-minded couple is involved in a relationship without a commitment. But Jai, a practical guy wants to break up what would possibly be a fruitful relationship. Meera, who restores frescoes in New Delhi, agrees. Flash back: about 30 years. Here is Jai’s older friend, Veer Singh (Rishi Kapoor) from London in his resplendent turban, amazed at seeing Harleen Kaur (played by 20-year-old Brazilian model and Bollywood debutant, Giselli Monteiro), a mellow, conservative Punjabi girl.

Saif plays two roles in the movie: one has the young Jai and the other as a young Veer, both in somewhat comedic roles with success. He seems to carry a mischievous demeanor in his comedic roles that appeals to a younger audience. Director Imtiaz Ali has made yet another easy going film on the lines of his earlier success – Jab We Met (Kareena Kapoor and Shahid Kapoor).

Veer (Rishi Kapoor) travels by train from Punjab to Calcutta just to stand under her balcony (Romeo and Juliet, style – of an earlier era). Briefly put, Saif and Deepika are tired of the old ways of courting and want to check out the courting scene before committing. But old-fashioned Veer talks of love being a pure thing and says, one should not deal with it like some type of merchandise. The usual gap between generations. Interaction and dialogues between Jai and Veer constantly revolve round their differences in approaching the concept of love in this film of slightly over two hours. There’s a commendable effort at banter and easy repartee.

These days, the wooing happens across continents with modern social networks such as cell phones and emails, Face Book and Twitter, and one won’t be surprised if one sees soon a Hindi film revolving around the Twitter theme – just as we enjoyed the hit 1998 Hollywood movie, You’ve Got Mail starring Tom Hanks and Meg Ryan.

Imtiaz Ali and his team have worked diligently with deft camera angles in London, San Francisco, Delhi and Calcutta. Some of the shots are really breathtaking. Pritam Chakraborty’s music had a certain resonance that meshed somewhat harmoniously with the film’s youngish theme though editing by Aarti Bajaj was lacking in parts. Following Om Shanti Om, this was perhaps the first time that Deepika had to prove herself and in Love Aaj Kal she has taken her skill level up a notch creditably.

For the older generation and sentimental types, Love Aaj Kal would bring back memories of Cheeni Kum where an older Amitabh Bachchan, as a chef, had an appetizing interlude with talented Tabu. Ali has handled with aplomb the aspect of distance, longing for each other, the seeming apprehensions and confusions that evolve with today’s wide-ranging options, as also the compulsions that a long-distance relationship necessitates. Sometimes, young folks’ careers are the very reason for a breakup and two love-birds just cannot decide in time to make a success of a relationship.

Its perhaps just a trivial coincidence that both the leads – Saif Ali Khan (son of the cricketer, Nawab of Pataudi, Mansoor Ali Khan) and Deepika (daughter of Prakash Padukone) happen to be kids of accomplished international sportsmen from an earlier era. Admittedly, that has nothing to do with their acting.

While the ending didn’t surprise too many people, a cameo from an older Kapoor’s real-life-wife brought the “oohs” and “aahs” in loud decibel. You got to see the movie to see who it is.
_____________________________
[Raj S. Rangarajan is a New York based freelance writer. He covers trend stories on art, reviews books and films for media based in New York, Toronto, Republic of Korea and India.]

Mahishasura was Tyeb Mehta's Signature

"My happiest moments are spent with myself and my art." - Tyeb Mehta.

Accomplished artist and aspiring filmmaker, Tyeb Mehta, who died in July in Mumbai was known for his weakness for bulls and the Mahishasura legend that he created. Over the past few years Mehta's art had created world records in London and New York.

A self-effacing, self-made creator, Mehta's Celebration, an acrylic-on-canvas triptych (240 x 510 cms.), acquired iconic status in 2002 and three years later, his 1997 painting of the buffalo-demon - Mahishasura - being overpowered by goddess Durga, was bought for US$1.58 million, a record for any artist of Indian origin. Since then value for his pieces surpassed the one-million dollar mark twice. Completed in 1956, when he was hardly 31, his Trussed Bull was a forerunner of greater successes.

Born in Kapadvanj, Gujarat, Mehta who got his art diploma in 1952 from J.J. School of Art in Mumbai, said recently, "'I always wanted to be a film maker. I never thought I would become an artist." He was 84. He was a contemporary of well-known names such as Husain (born 1915), Raza (born 1922) and Souza (1924-2002) of the Progressive Arts Group that was founded around India's independence movement (1947) to voice upcoming artists' interests. The New York Times said, he was "the leading light of India's first post-colonial generation of Modernists."

A three-minute short made in Tamil - Koodal - written and directed by Mehta won him the Filmfare Critics' Award in 1970. He also wrote a script on Mahasweta Devi's novel 'Hazaar Chaurasi ki Maa' that was directed by film producer, Govind Nihalani.

Mehta's repertoire included "falling figures" that included the bull, deities, people - some in pain and others in sad contemplation - a reflection of his state of mind around that period. His tones were layered with expressions of intense melancholy blended with fine distinctive lines that helped substantiate but not clarify the overall manifestation.

India honored Mehta in 2007 with a Padma Bhushan and earlier he had picked up the Dayawati Modi Foundation Award for Art & Culture. In 2006, Mehta had said, "I have always been a loner and am still quite a bit of a recluse. My happiest moments are spent with myself and my art." Works from his varied oeuvre will be on sale next month in New York.

talktoretailplus@yahoo.com

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)

RAJ S. RANGARAJAN

Drama & Suspense in Bollywood movie, New York

Raj S. Rangarajan

Its almost Hollywood – it has dramatic action and suspense, a mild love element and fear: its a Aditya Chopra production of the movie, New York and directed by Kabir Khan who earlier made Kabul Express. There is a refreshing candor to the film shot entirely in America though one could detect Bollywood effects.

The film picks up speed from the get-go with Omar (Neil Nitin Mukesh, Johnny Gaddaar) being picked up in a busy street. A scheme designed by Roshan (Irrfan Khan, a FBI sleuth) and his boss to entice Omar to fess up regarding his former college buddy Samir’s (John Abraham) alleged involvement in terrorism, seems to go nowhere.

Flashback to collegial days: happy scenes of students – Samir, Maya (Katrina Kaif, Namastey London) and Omar in a carefree, cheerful environment make for pleasant takes. Omar’s love interest shows up later but generally the almost 3-hour film is fast-moving and one is surprised when 'interval' is announced.

“If I had watched the movie in India I would have found no fault, but since I live in the U.S. now I noticed minor shortcomings such as Liberty State Park being shown in New York (actually its in New Jersey) and I was happily surprised that Katrina, a Hong-Kong born, half-Kashmiri actress of British origin, who reportedly dubbed her own lines, appeared articulate and confident while delivering her lines.” This from pharmaceutical researcher, Anjana Nair, an avid aficionada of Hindi, English and Malayalam movies, whom I met outside the cinema hall. Thirty-plus V. Ranjith, who runs a wine shop in New York said, “Katrina was really friendly and hot and I liked the film.”

Director Kabir Khan seems to have digested thoroughly the 9/11 Report made public in July 2004 by Commission Chairman and former New Jersey governor, Thomas Kean. Kabir’s cues for New York are uncanny, a tribute to his sense of cinema though some stock shots were predictable. He has handled controversial subjects such as racial profiling, torture, water-boarding with panache and professional zeal.

One could not but be reminded of Hollywood movie, Rendition where Anwar played by Omar Metwally, (Munich), gets picked up, and is never told why he is arrested. Anwar, an Egyptian-born engineer is married to Reese Witherspoon and the lady boss who runs the “rendition” program for the American administration is Meryl Streep. Anwar is moved from America to a North African country, but in New York, Samir is tortured at home. Like in Rendition, the makers of New York appear to be earnest about the film’s objectives.

Based partly on “racial profiling” the movie tries to tread new territory though the basic premise presupposes an emotional decision, i.e., why a person is picked up based on name, looks and stereotypes. Howsoever much authorities try to make racial profiling a science it is still a nascent art and the subject is very much a pawn to human frailties. While the viewer may not agree with some of the decisions taken by law enforcement, the movie attempts to honestly represent many aspects of what could happen if one is accidentally on the wrong side of the law.

The title of the movie – New York – should help box office sales in North America even if the storyline were not about terrorism. Like a true FBI sleuth, Irrfan Khan, occasionally gives the impression that he is on the side of the alleged terrorist and in a rare moment, discloses that though married to an Italian he doesn’t favor pasta. One is almost lulled to believe that we are watching a Hollywood drama when suddenly Irrfan’s crisp but accented dialogue jars one to reality.

A scene showing Samir with his sidekicks plotting in the dead of night was straight out of Bollywood. However, some high-rise, chopper and street shots of Manhattan and Philadelphia seemed real. Even Samir scaling the tall downtown building to place his detonating device was creative, and kudos to the skilful camera crew and the editing desk.

High drama and tension grip the final scene with Omar, Roshan and Maya trying to negotiate on behalf of Samir, and how it all ends is an interesting lesson in crisis management. For a comparatively new entrant to the celluloid world, Neil has done a commendable job. John Abraham has come a long way from Viruddh to Dostana to New York and Katrina has matured responsibly in her craft.

Finally, one often wonders why FBI guys in every movie – specially the men – have to yell. Is it because they are trying to drown their own fears or is it an outward manifestation of lack of confidence when confronting a potential gun-wielder.

_____________________________
[Raj S. Rangarajan is a New York based freelance writer. He covers trend stories on art, reviews books and films for media based in New York, Toronto, Republic of Korea and India.]

Bharata Natyam & Bollywood with an Attitude: inDANCE’s show in New York, May 27, 2009

Community » Culture Features » 2009
DesiClub-South Asian Times, New York, May 27, 2009

Bharata Natyam & Bollywood with an Attitude: inDANCE’s show in New York

by Raj S. Rangarajan

It's dance with a difference, its "classical Bharata Natyam" with an attitude: its kicks and sidekicks, its shivers and sputters, its jives, jumps and jumpsuits, its tradition and a cerebral irreverence for the traditional.

What do you call that? Thinking outside the box? More than an explosion of talent, it was an evening that celebrated free expression and originality not to ignore the creative fluid energy that comes with being unrestrained, unshackled and unusual.

It was Toronto-based inDANCE troupe's debut in New York at Joyce Soho in downtown New York. Artistic director, Hari Krishnan, an accomplished dancer himself, who has performed in several parts of the world including the U.K., Toronto, Malaysia, Singapore and India, says, "the objective of the fun-filled event was to produce work that is bold and provocative, and in the process, presenting a differing dimension to South Indian dance."

It was a reiteration that if you can emotionally and metaphysically afford to take wings like a dove you can enjoy the thrill that awaits. But then you need to let yourself go. So, one would obviously ask: how really can one let oneself go on a warm Sunday afternoon when the ambience was friendly and the performers friendlier?

The answer: with an open mind and wild imagination and the notion that there's more to enjoying a dance or sequence than writing a review specially when performers are doing their best to experience and entertain. It is really amazing how much an open mind can accomplish. Initially I started writing notes: soon I realized it was not worth the effort: I got to write from my heart not to fill a column.

If you haven't seen Bharata Natyam (originated 400BCE - 200BCE in South India) earlier you may think this is weird, but then who defines weird? Titled "Box" dancers Nalin Bisnath and Julie Neuspiel faced off as hybrid entities with Julie decked in her traditional Bharata Natyam finery apropos a dancer and Nalin was in jeans. But, perhaps that's where Hari Krishnan's creative genius helped one understand the rhythmic syllable and the ambience of a nontraditional display. Hari did the voice and cymbals as a dance director would. Aaron Paige, a student of ethnomusicology at Wesleyan University and South Indian percussion played the mridangam (percussion instrument) with aplomb.

Bollywood hopscotch confused the audience at times: perhaps it was intentional. But then when free expression takes over one cannot ask a performer to control himself or herself. The viewer has to try to understand what Bollywood (read, Indian cinema) is all about. Being a whimsical take on today's retro-Bollywood, cinema verité entertainment and expression comprising vignettes from dancers Nalin Bisnath, Beth Despres, Hiroshi Miyamoto, Masumi Sato, Vinod Shankar and Emily Watts, the transition from "natyam" (choreographed dance) to Bollywood (fancy-free) was agreeable though questionable.

But in its New York Premiere "Owning Shadows" was a different cup of tea: it was an interpretation of the centuries-old Indian epic, the "Ramayana" where the exiled young prince, Rama spurns the advances of the ogress, Shurpanakha and instead is charmed by his demure wife and princess, Sita. Combining Balinese dance with a modern version of Bharata Natyam, Hiroshi Miyamoto and Emily Watts excelled effortlessly. A New York-based performer, Emily's versatility and credits that included ballet, vaudeville showed.

A rehearsal director for inDANCE since 2003 and performer with diverse styles, Hiroshi's act was a cinch.

Beth Despres, who has been trained in ballet and modern dance was fluid in "Inverse" as one would expect, and so were Hiroshi and Masumi Sato. Originally from Japan "accomplished performers" Hiroshi and Masumi brought new meaning to the art of stealth while being seemingly effortless in movement. Solo performer, Joshua Green, who is learning dance at NYU's Tisch School of the Arts, was eclectic and drew laughter when doing "Mea Culpa" in an exploitative, exotic exercise. The costume was original to say the least and one's concentration tended to waiver.

Choreography by Krishnan was exemplary all through but Shane Mongar's lighting left some questions unanswered about what was intended and what had to be concealed. Rex's costumes were original and one was hard-pressed to be a voyeur at some of the creations.

Soft-spoken but intense on stage, Krishnan's passion for the dance form is naturally fluid and seamless. Hari dances, choreographs, teaches both traditional Bharata Natyam and its more contemporary forms. A visiting professor at Wesleyan University in Connecticut, Hari holds a Master's Degree in Dance from York University, Toronto and a Master's in Religion and Philosophy from the University of Manitoba, Canada.