Friday, February 8, 2013

DILEMNA OF DREAM

Chapter 1
The movie was hanging like a Damocle’s sword over his head. He felt betwixt the devil and the sea. He had to complete it. He didn’t have the money to do that. As the producer of the movie he felt himself futile, unable to accentuate cost cutting measures to complete the movie and gain the distributor rights, something which would leave him with a nuance, a slight profit on his investment. Srivastav had always wanted to do a big budget movie. The cast comprising of the reigning star in the industry Amal kapoor, the queen bee, Natasha alias, unprecedented in her beauty and her skills to mesmerize the audience, and Sharath sexena, the only encumbrance in Amal Kapoor’s lunge to the top position in the industry. A love triangle between the three with the twists and turns, impossible to predict for the ordinary cine goers, songs, exotic locations all that tailors for a big budget movie .A dream that Srivastav had  nourished ever since he had donned the tag as producer. But, the lacuna between the dream and reality was huge, too huge for him to bear.
After signing all the stars on board, with the script being revised an umpteenth time to suit to their tastes and travesty, the shooting (film) began and so did the penance on srivastav.  The disobliging chemistry between the artists with their alter ego gave the first blow to him. Their refusal to share the screen space, an animus, they preach, owing it to their die -hard fans, compounded his misery. The Lead heroine’s overbooking and tight schedules also did profound damage to his treasury. But the biggest blow came from a mere junior artiste, his discountenance in the film due to the pressure from the lead star in the film Sharath .Due to his features resembling the junior artist, Sharath gave a notice to all producers to drop him from their movies and any hesitance he challenged would be met with serious repercussions in the industry, Saxena, sharetah’s father, being a man with powerful connections in the industry was quite capable to keep his son’s word. But A.K (Amal kapoor in short and addressed by his Die- hard fans) found it amusing to call him up in all his movies, explicitly for the action oriented ones. The junior artist would then be his subject of quarry by taking his blows much to the his amusement.  Even in his wildest dreams, Srivastav couldn’t have imagined that an ordinary junior artist would be an indeliberate bone of contention in his ambition to complete a big budget movie.
After a series of discussions, with Srivastav running between the camps of A.K and Sharath, it was agreed to drop the junior artist from the movie. Pawan was immediately given a notice to leave the camp. As he was censured, Srivastav noticed the tears in his eyes that probably would have been born out of his frustration in being barred from the industry by one, and simultaneously getting beaten up by the other just to regale latter’s ego. But Srivastav never expected Pawan leaving the location by inflicting a big blow on his wobbling financial state.  
A paramount part of the movie was to be made in a specially designed film set resembling a European locality. This was done to mitigate the cost that would surmount had, three major stars moved to Europe. The three actors would not make just 3 persons but a locality in its miniature version comprising of their secretaries, make-up artists, dining supervisor, chef (!!!!) and Srivastav virtually would had to turn upside down his exchequer to meet this cost. But much to the dismay of Srivastav, the cost of the set turned out to be a nuance away from the original cost had they moved to Europe. In a fit of rage, the very night he was shown the exit, Pawan lit fire on the set, an overheating leading to short circuit, and made his egress out of the location. Srivastav considered it as the last nail on the coffin. 
 Chapter 2
The loss inflicted was severe for Srivastav. There was not substantial evidence to prove Pawan’s involvement in the disaster; had there been, it would have been his last day on earth. Sharmili thought. In their twenty years of married life, she had never see her husband, Srivastav as tensed as he was for the past 3 months, right from the first day the shooting began.
“Relax dear, why we can’t try for some financial help from other producers. Not every people would be unwilling to help” Sharmili tried to console.
Srivastav remained quiescent. He was in no mood take any console from anyone other than any prodigious offer to meet his losses and complete his film.
“Tomorrow, I am going to Mumbai. I will meet some financers and try to sort things out. “ Srivastav kept his head low to avoid his wife’s dubious look. “If anybody from the executive production team is here, tell them I would call them back in a week’s time.” Sharmili felt sad. Six months back, when her husband had unveiled the plan for a big budget film, her mind had said that her husband was only ready for the small fishes and a big fish was no-where in his plenary. But she did not deter her husband’s enthusiasm and his chance to make his dream a reality. For she believed hat dreams are the first doors shown by god to success although one had to put in the best shot for the door to open. Taking a deep breath inside and easing her mind of the tension surmounting them, she wished all luck to her husband in his endeavor; at least this is what she could do in this situation.
 Chapter 3
 Srivastav had switched off his mobile intentionally. Apart from the irritating calls by the film correspondents, the secretaries of the various artists also kept disturbing him to rehash their roles and inquire about his stalled production. He didn’t take his driver to Mumbai. He was already feeling tired and bereft of ideas after all his appointments had failed to suffice. After three days wandering in Mumbai for the first time, on his way back home in the bus,  he was searching his mind for answers how to confront his wife’s inquiries , and now that his children would be there too. He felt a pain in his chest and a discomfort with the pain being tenacious and moving from the center to the left. Sitting near the window seat of the bus, he closed his eyes and for a moment he saw his disfigured set coming back to normal with all the small European style huts of the set lighting up. He could see his lead artists sing and dance along the makeshift stream that was flowing in front of the huts. He couldn’t breathe for a moment as he desperately tried to call out his wife’s name to a passenger in front of him but in vain.
Chapter 4
Sharmili had tried the hundredth time to get her husband on phone. It was almost three days he had gone and she wanted to pass him this information that would make him the happiest man on earth. She didn’t know how her husband even did not mention about this to her during the past four months, since the shooting had begun. It seems that her husband had a good fore-vision and knowledge about the activities that a producer had to be reminiscent of before partaking in such big projects. She always believed that it was dreams that lead a man’s destiny and now she added one more to her adage. If dreams are the stepping stones for a man to reach his destiny, one will have to come out of the dreams to hold to the destiny. Sharmili tried one more time to reach him but met with no success. With that she took a black briefcase that was right under her watchful eyes all these days, and kept it inside the cupboard, took her keys tied to her belly and locked it.


Chapter 5
“Hello, Mr Amal Kapoor. It is me Srivastav. I am sorry I couldn’t talk with you all these days. This is my new Mobile number. We will resume the shooting. I have received some amount of money and would like to complete the shooting. The set will be ready in two week’s time. All your additional days lost will be compensated.  We need to discuss some scenes. So kindly come to my guest house located in the south west of Bandra. Please. Ohk I will wait” The phone went off.
“Hello Mr Sharath Saxenajii. It is me Srivastav. I am sorry I couldn’t talk with you all these days. This is my new mobile number. We will resume the shooting. The set will be ready in two week’s time I will alter the climax to fit you the replete hero tag. All your additional days lost will be compensated. So please come to my guest house located in the south west of Bandra. Ohk I will wait” The phone went off.
 Chapter 6
Time and punctuality are no words for a star thought Amal kapoor. In his ten years of showbiz industry, being the most successful actor in the industry, he knew how to make the people wait for him. Not just his fans waiting to have a glimpse of him during the premiere, but big producers ready to spend days for an appointment with him. But he wanted Srivatav’s movie to resume and release in the theatres although at some time of shooting he wanted it stalled. Nothing miraculous in the script but at the end it is he who walks away with the heroine leaving Sharath effusive. Sharath might walk away with the film fare award but definitely, the cheers of the audience shall be with him. As his driver moved into the front yard of the guest house, he found Saxena’s car parked before him that really irked him for he expected a one-on-one conversation with the maker.
  Sharath did hear the sound of the car approaching. He expected it to be Srivastav for he had just phoned him a few moments back and told him to be comfortable in the guest house. He was so happy to hear that climax shall be changed suiting to his interest. He had signed this movie not because of the magnanimity in the script but the encounter scene with A.K was designed with his masculinity out powering latter’s. But A.K walking away with the heroine, and already questions on who shall be Natasha’s choice did really made him go for a second thought into the script. However, this was compromised when A.K agreed to remove his look alike from the film. But, seeing A.K there in the guest house was an indication that the situation was still the same.
“ I saw the reviews of your movie Aag. It didn’t reach the 200 crore club like my previous films” A.K said.“ Crowd appeal does not merely come from big muscles”.
Sharath smiled. “People are also fed up with love stories. Two heroines, one hero, villain heroine’s dad blah blah.. The same old wine in new bottle.  The crowd would gag you one day if you start portraying such pusillanimous characters who have no other ambitions in life other than love”.              
Ever since their last confrontation together in a Media sponsored debate on remuneration of super stars, A.K never had a chance to subdue his imperium in the industry over Sharath. Absence of media and the unexpected presence of Sharath precipitated his contentious skills that he did not notice an old cringed figure all of a sudden, from inside, whisk away to the entrance door to lock it, unobtrusively. The squabbling between the stars continued when all the lights had gone, impairing their visibility. Oblivion in his face and frustration due to the debate, Sharath decided to walk out of the room. As he tried to push the knob down, he understood it was locked. A.K seemed weltered and it was his turn to make a try, but in vain. Both of them looked each other. It was clear from their brazen look; they were inconspicuous of the fact that they were deceived with the false pretension of script modification and compensation to be locked up in a room. 
 Chapter 7
“Do'nt try to open it. It is of no use” A precocious sound diverted their attention. 
 The voice came from around the corner of the room.
“Who is this “ A.K inquired when from the corner appeared an old man with a shaggy beard, with a bend on his back. He was carrying a candle. For a moment, both the stars stood terror stricken at the figure that resembled a ghost. 
For a moment, A.K and Sharath relinquished their rivalry by coming closer to each other, although out of fright, while the subject o f their fear moved the candle to his face .It was coherent, that the person standing in front of them was not Srivastav neither a dead soul.
“What do you want. You don’t know who we are, our power, social status” Sharath started in a timorous tone.
“ I want my son. Give him to me?” the old man replied monotonously.
“ What son..Let’s not waste our time here. I will call the police”  A.K took out his mobile to dial when a raucous sound of  gunshot ran through his ears.
“If you try to call anyone, I will shoot you down. Don’t test my skills Amal Kapoor. This is not your flimsy film” Pointing a gun at both, the old figure flashed a curt smile.
“ What is our connection with your son”  Sharath was getting impatient. 
“ You don’t know him. How could you not know my son” the old man started weeping. “ He came to this city with dreams and aspiration on becoming a successful actor. But he didn’t know what was in store for him” tears rolled down with occasional whimpers as the old man had stopped his narration. All of a sudden he laughed, with the sheepish grin of a sporty undergraduate who has ‘lost' his term paper yet again.
“ Tell me now. You don’t know him. Both of you, purportedly, removed him out of your movie”
For a moment, the entire events were countermanded in the minds of Sharath and A.K.  It was clear the subject of their conversation was the very junior artist, who had to bear the brunt of being Sharath’s replica in the industry.  The old man nudged his gun and pointed at sharath.
“ The last time he called me was to narrate his horrendous experience working in this film and erstwhile like his previous endeavors, a bleak future lay ahead in his hopes for being a successful actor. I haven’t spoken to him after that. Now, you have to tell me where my son is”
“ How should we know where your son is” stammered A.K
“Because one of you destroyed the set, to halt the movie and on witnessing it killed my son”
A tainted expression of disbelief was visible on their faces for the old man noticed the dissimilarity in its intensities.
“ What are you talking about. One of us destroyed the set?” Exclaimed Sharath.
“ Yes. I want to know what happened the night my son went missing” the rejoinder being two gun shots that seemed to miss them by a hairsbreadth distance. Behind their back they could feel the bullets hit on the wall with a smack.   
“Yes speak it out or else both of you will face the consequences” the old man rumbled as he pulled up the gun closer
AK decided to message his driver from his mobile for help but much to his consternation, he found out that there was no signal range. Fully aware that the man infront of him was prepared, Sharath decided to move stealthily to the window across the room, banking on the old man’s age to get through. On attempting, he heard a strange sound of some machine, and with that he was pulled up entangled in a net from the ground. The net lifted him similar to a tiger being ensnared by the hunters and the strange sound came to halt. It took some time for both to reckon the situation for the net had come from oblivion, and for the first time Sharath felt a little creepy in the old man’s approach. A.k could not understand what was happening around him and he started trembling. He did not move and to him it seemed a situation in one of his army oriented movies when the director had told him that he had to move cautiously to make the audience feel the presence of mines in the area. He felt the old man has gone completely crazy and he would not be surprised to hear the building had been equipped with explosives.
“Speak up or else” saying this the old man lifted his flame up for a few minutes when suddenly a gush of water had hit A.K from the side, from the front , which blinded him for a minute. The water was directed towards sharath too. But suddenly, the water gushing stopped and sharath who was trapped in the net was immediately brought down with a bang. After an ensuing silence, the water gushing started and sharath was drawn up again. Then the old man blew up the candle. Suddenly there was a sound of growling seemingly that of the dogs. Alleviating their concerns, it was the dogs barking and the sound got louder.
“ I will feed you to my dogs now” the old man , who was not visible for A.K. Now the water gushing stopped, the barking sound increased when A.K tripped over a piece of furniture while moving in the darkness. As he tried to pull together from the fall, he saw a dog coming over to him with its mouth wide open. Immediately he jumped up and shouted out loud
“It was I who burnt the set”. A.K cried out loud. It seemed to him the impending danger was too much for him to bear. But as soon as A.K had finished saying that, the sounds had ceased. “But I didn’t kill your son”.
“You dog. Why did you do that” It was sharath from the top. “You did that on purpose to spoil my prospects of this year’s film fare award” sharath howled from the top.
“ You made me do it.” A.K turned his attention from Sharath to the darkness around him unable to trace the old man. But he held back his tongue as though he spoke out something that might expose himself.
“ You are lying” Sharath could not believe what he just heard for he was the reason why A.K had burnt the set. “ How could I be. You are the one who always delayed the shooting”
“A.K if you don’t speak up, my dogs will do the rest” the old man’s voice seemed shimmering.  
 “He was daily sleeping with Natasha. I didn’t want this to continue . The only idea that came to my mind was to terminate the shooting of the film. I asked my men to bring the set down” A.k was shivering while the words came out of his mouth.
“You were jealous” Sharath interrupted from the top. “You tried to woo her in your previous films too. But couldn’t. What useless are you A.K. Call yourself the romantic hero but a mere good for nothing piece of shit. Can’t even get woo your very own co-actress?”
“ Shut up” it seemed that Sharath had hit his ego. “She used you to feed her pleasures. You are nothing more than a b-rated porn actor which I think in the entire industry you are the most capable of”. 
“ What about you. Check your own history. Havent you made an actress pregnant. Once when you knew that your career was at stake, you made her do an abortion. After that slowly you destroyed her career by forcefully using the producers to put her away from their movies.” Sharath was choking with rage when he finished his words.   
Suddenly, the lights had come. The old man was clapping his hands. A.K noticed a dobberman tied to a pole. The old man then took a movie camera from a fixed stand in the corner, switched it off.  He then slowly removed his wig. With widespread amazement on his faces, the total disbelief at seeing something inconceivable, there in front of A.K stood the very junior artist, who was presumed to be dead a few minutes ago.
“Thanks. Thanks for all”. Pawan was laughing out loud

Chapter 8
It almost takes 2 hours more to reach pune by bus than a taxi. With all the money he had, he could have called a taxi to reach Pune; but Pawan did not want to. He liked bus journeys a lot ever since his engineering hey days. After coming out from the college earning a bachelor’s degree from a reputed engineering university, he decided to turn to acting as profession. He had always dreamt of making it big in the film industry with fans and admiration hovering him. But a degree is worthless in the film industry, what it matters was lineage and luck with talents being slipped to the last position. Many a friends had told him he resembled one of the bankable stars in the industry Sharath and just because of that he had a few die hard girl friends in his college. But he never knew that his resemblance would turn out to be an encumbrance in his ambition. Sharath, an actor whom he admired, ensured that he did not receive any call sheet from his list of producers, while A.K used him in his movies to nourish his ego. When he received a call to act in a Sharath movie, he did agree for this film just to have a meeting with the star himself and clear out the wrong perceptions about him. But it didn’t turn out to be as he expected. When he was asked to leave the set, he had gone that night to meet Sharath. But he had seen sharath go into the room of Natasha and when was about to leave, saw A.K walk out from the quarters frustrated. Then he had come to know that the set was destroyed and the shooting had been stalled. He also came to know from his friends that the whole crew had believed that it was he who destroyed the set. Hearing about Srivastav’s dreary situation, he decided to help him out; but at the same time he wanted to prove his acting skills in front of the two reigning stars, who had left him paraplegic and pushed him to the brink of extinction in the industry.
With his engineering skills he decided to fabricate a set in a house, situated remotely, that seemed best to fit the circumstance. He set up woofers to produce the sound of dogs. He held with him an infra red activated radio system, whereby he could modulate the volume of the woofer to make feel that the dogs are approaching ephemerally. He brought a mobile phone jammer to to prevent cellular phones from receiving signals. He then rent on some motors and sensors and decided to use his engineering knowledge to work the situation out. He ensured that if one of them makes an attempt to escape, a proximity sensor was activated, which would in turn initiate a motor. The motor would the pull two ropes he had tied to its crank with a pulley. The ropes will lift a net which he attached to a carpet lying on the floor.  He used another sensor to start a motor to jet water from the two corners of the room onto them by drawing water from the well with pipes. This sensor he attached to the roof in such a manner that when he raised the candle, the smoke from the candle would activate the sensor which would make the motor run with the help of a switch contact. He brought a fake gun with striking resemblance to the original, and he set a micro controller on it and when he presses the button, a laser light would be generated from the controller along with the sound of the gun shot. The laser light shall be acknowledged by a receiver chip placed in the micro controller, kept on opposite side of the room, which would a generate short circuit current that is able to break the fuse. This was how he managed to create a gunshot effect in front of them and behind their back and thus was successful in scaring them to an extent.
Pawan was however scared of one thing.  A power cut would make all his attempts futile, hence he took the necessary precaution to get to the electricity office nearby and bribed the concerned with the false notion of a film shooting in the house, and hence an un-interruption of power to the house. But when for a short while, the power had gone, he felt that it was the end of his plan. Sharath entangled in the net had come down, the water gushing son A.K stopped but in a few minutes much to the delight of Pawan, the electricity was resumed and so all the activities.
  He rented a night vision camera that could capture the actions in the night. He practiced his part with utmost perfection since any misdemeanor on his character would end up all his plans fruitless. All his actions were intended to make the actors reveal the truth on what happened that fateful night. The word of mouth of shooting in their locality ensured him the gathering he needed so that he could black mail the money them or else deliver the captured video to the people, waiting outside to catch a glimpse of the stars. He needed to repay the producer for the loss and moreover, truncating a small amount on the expenses incurred for renting all the items including the house and the loan he had taken from his friend, he proselytized the total amount the artists had to pay him for this truth to remain insular from the outside world. 
An impish smile occupied his face not at the money he had amassed in this game neither that he would be returning the money to Srivastav to avoid any untoward incidents, but at his own acting ingenuity, posing as the old man in search of his son. He was sufficed at the expressions of the actors when he had removed his wig and make up from his face. He knew that his ambition had come to a dead end and that he would never make it to the cinema again for he did hand over the camera to them, in front of the crowd just to be on the safe side, and made his way out leaving them frustrated and odious. But Pawan was contented at this profanity. For the money he had gained was the price for his prowess. But he did feel uncanny; the way both the stars were looking at him after coming out of the guest house together. The exchange of money was done inside when both the two stars had given errands to their drivers to fetch the money from their secretaries. Amassing it in a briefcase, they handed it over to him with a daunting look that did raise jingles in his heart. Pawan kept the briefcase close to his heart as the winds from the ghats welcomed him to its territory. 

Chapter 9
Sharmili was tensed as she kept trying the mobile to reach her husband. Earlier too when her husband had gone for some urgency, he never mentioned to her the improprieties of his journey; But on his return would be with her and dictate the ordeal he had gone through to make something possible. When there was a knock on the door, she had believed it to be her husband, which made her rush towards the door. On opening the door, with her empty eyes widening, she was surprised to see a young man, who resembled a film actor, standing in front of her with a black briefcase.
“Madam, I am from the insurance company” the man declared with a piquant smile. “There was an insurance claim from your husband Srivastav for his film set which got destroyed in the fire. After proper investigation, we had come to know that the set was burned by an electric failure unintentionally. So Mr. Srivastav had won his claim. Please take this money and sign on this paper”. With this the man advanced the briefcase to her and with a paper completely written by hand.
 Sharmili couldn’t control her ecstasy and she felt similar to the prisoner, who being falsely incarcerated, was suddenly being freed from the jail. She knew her husband was in dire need of money and determinedly her inner sense had taken the decision not to the sent this person away for another day when her husband was available. Unhesitatingly she grabbed the briefcase from the man, who smiled back at her exultation. In the midst of the enchantment, she didn’t bother to ask which company did the man represent and whether the actual person’s presence is required to acquire the insurance amount. All she thought at that moment was that god had heard her prayers. She signed the papers swiftly, as she watched the young man spot a charming smile, bid farewell and leave the house.  She took the brief case and placed it near the phone. She tried again to get her husband but his phone remained switched off. Dreams are definitely the gateway for success, a door that is to be pushed hard but once wide ajar would remain open throughout a life time.   Sharmili thought with a glee.
Tearing the paper signed by Sharmili and throwing it into a trash can, Pawan was bustling with excitement. Happy to see Mrs. Srivastav’s smile while collecting the briefcase from him, Pawan learned one good thing from this although berated but worthwhile experience. Dreams are to be tamed. One should dream of only what one shall be capable to reach.  Examples of all successful dreamers are truly lessons of life but countless dreamers who have failed have been in the dunk yard of history. Try to see dreams that can only be pursued and pursue it with full might. Pawan was smiling at this lesson of life because by the time he reaches home, there will be his appointment letter for recently concluded interview in his mail box. He was quite sure that he will do it one day.
END

Sunday, November 20, 2011

HIDE & SEEK- II

Amin, the eldest among the siblings who remained least bothered on his little sister’s egregious deeds on coming back from work ( Abu jaan and his two elder sons Amin and Rashid worked in their own garage), responded to the knock to find an incensed Mushtaq at the door steps. A disquieted look protruded from Abujaan, who immediately nodded to khadija (as was his disposition on the presence of a visitor). Rest of the house hold (Rashid & hayroon, the elder sister of aamina who was never felt in the house in spite of her presence) sashayed nonchalantly into the bedroom, with Amina making a quick egress, in order to fend off her father’s profound looks while Amin stayed back. It was normal of precocious nature of Amin for he preferred being with his father since childhood. Being the eldest among his siblings, he maintained the prestigious (according to him) elderly attitude with his brother and sisters, weaning away from their jejune games. Abu jaan preferred Amin at his side while making any decisions concerning their work in the garage and has now condigned him even in family related issues.
Khadija felt something erroneous in Abu jaan’s looks , the way he moved closer towards the visitor. From Mushtaq’s paraplegic expression, it seemed to her that with his corpulence figure, he was drowned in a boling pot covered at the top and had narrowly managed to come out alive. On his oddment, Khadija decided to catch their conversation but in spite of his yanked up mood, Mushtaq spoke furtively and the only words that she could understand was mob, burned…and kafirs ( an Arabic word for traitors) …..but the words were enough to ingest the situation. Oh..God..Kahdija muttered under her breath as she saw Abu jaan moving the curtain of the window in a wayward manner, resembling a warrior preparing himself to battle an advanced army by hiding behind the trees, his eyes insinuating his uneasiness.
Khadija had never heard him utter a scurrilous word in all their 18 years of married life together. His broad forehead, the broadness widening with age, and Heavy-lidded eyes always propelled her amorousness, since the day her eyes met his after the nikah (marriage ceremony- as of the yester generation when the bride actually sees her husband only after all the religious rituals are performed).As drips of tension started mounting him, Kahdija too felt uneasy and felt the need of being next to him, in order to soothe his now callous gaze.
Kahdija stood inside sharpening her ears to absorb their conversation, when a distant disheveled sound of hues and cries shifted her focus of attention. It was from outside. She was sure that Abu jaan, Mushtaq and Amin had picked it up too for a frayed look reflected in all their eyes. Khadija too felt scared.
This time Mushtaq did not keep his voice low and blurted out “They will not spare anyone, not even small children”.
Sentient of the onerous situaion , Abu jaan came near to Khadija, looked at her apologetically, and taking a deep breath inside as if of regaining strength, inquired “Where are the children”? Kahdija knew her soothing words would at this stage be ephemeral and aware of the sitaution, she felt it best to acknowledge her husband dexterously. She slowly panned her head in direction of their room and managed to evade her eyes from Abu Jaan’s callous look. Abu jaan moved towards the room.....
to be continued

Sunday, November 13, 2011

HIDE & SEEK

It was 5 in the afternoon. Ammina was not back. Her father and brothers would be home soon and they would disdain at the prospect of missing women folk in their house. Being her mother, Khadija would defer to her wailing requests in letting her play outside (in fact she did this time also) but she was ‘nt sure how Abujan, Amina’s father would react. As of her normal sangfroid character but not on that particular day, Khadija felt a lunge of discomfiture creeping inside her.

Amina was a very cheerful girl, 10 years of age and the youngest in her family. She had a plump face, pointed nose and curls moving down into her forehead. She had an attractive smile she intentionally pulls in whenever she finds herself at the receiving end particularly when she messes around with her siblings. Although she was the darling of her house, playing outside with the other children of the colony was not a hanging loose deal for her father. Khadija was ruminating on evading Abu Jaan’s inquiries, when on his return he finds his daughter not in the house, the door opened wide and much to her relief, Aamina rushed inside elated.
“Ammu (she affectinalety addresses Kahadija ammu), I won today”
For khadija,it seemed she had just topped her class and she had rushed in with the gold medal.
“They could not find me today also ammu. I only know that place”…

There she goes again. Khadija wondered. Aamina was talking about her game Hide and seek. Khadija had also played around with her friends during her childhood, but she never remembered narrating the whole lot of the incident to her mother after the game. Maybe there was lot of other house hold chores to be preoccupied in with, once she was back home in her childhood unlike Aamina who had to be in front of the books when her father and siblings were back. The only sort of relief Aamina enjoyed was sharing this pivotal information (at least for Aamina) with her. Khadija was smeared in her thoughts when Abu jaan had pushed open the door and from his sharp eyes, she understood that Abu jaan had overheard Amina’s victory claims.

“Aamina” he did not make it in a thunderous tone but there was the complacency that he did not like what was happening in the house.

Undraped, Khadija noticed the quick change of her expressions when she heard Abu Jaan’s sound. The expression seemed similar to her niece Binsiya’s during the kite festival a few months back , when she was about to gulp a cone ice cream, and to her dismay it slipped of her hand into the ground, resulting in an elated group laughter.

Aamina tried to lurk behind Khadija, albeit pouting her lips, lowering her eyes, raising her brows to invoke sympathy in spite of her iniquity when an intrusive knock on the door outside swiveled the thoughts of Abu jaan.
To be continued……

Wednesday, July 28, 2010

OFFICE SPECIAL

Plot: The story revolves around two persons, Jayaraj and Shankaran working in the same company. Jayaraj got promoted as the project Manager of the firm while Shankaran, a supervisor in the site, had his salary reduced. As the recession gets tough in U.A.E, Jayaraj finds it tough to cope with the new pressure bethrothed on him, while quite relaxed but hard working Shankaran survives the recession. As Jayaraj finds his family revolt against him , Shankaran is able to bring his family to U.A.E on a visit.
Jayaraj Stumbles upon SHankaran thrice in the movie, thus the scenes being crafted accordingly. The first time they bump into each other, Jayaraj had a promotion in his kit while Shankaran faced a cut back. WHiel the second time they ran into each other, Shankaran was recompensed for his site work while Jayaraj was chastised. The third time they meet in the market, when Shankaran had his family with him and was on a purchasing spree, Jayaraj strolling directionless and meaninglessly in the market.
The film ends with camra focussing on the TV kept inside the store featuring ASIA NET news as the director gives the viewers a implausible hope that the market is recovering.

OFFICE SPECIAL

Story, Screen Play, Direction- Shereen

Artists
Jayaraj
Shankaran
Raji
Maya
Manager
James
Biju Uncle
Thomas
Daughter Shankaran
Son Jayaraj
Daughter Jayaraj

Locations
Mott Office
Studio
Bachelor room
Family room
Road
Lift Area
Market Area
Party Hall
Site Area

Thanks for all

Scene- Market
Wide Area to Long shot Jayaraj in market

Scene- Studio
Windows Opacity Short Jayaraj
Zoom out Jayaraj Back in frame

Scene- Road
Tracking shot of car

Scene- Road
Tracking shot from interior of car

Scene- Studio
Medium close shot of Maya and daughter

Scene- Road
Medium close up shankaran
Zoom into News paper

Titles (chaos style)

Scene- Office area
Extreme wide shot of Area

Scene- Lift area
Master shot – People in front of lift

Scene- Lift area
Close up of Lift display coming down

Scene- Lift area
Hi angle shot- People going in lift

Scene- Lift area
Close up of Inside lift Switches

Scene- Lift Area
Over shoulder (of lift people) Full shot- Lift closing

Scene- Lift Area
Close up- Pressing switch

Scene- Lift Area
Full shot –opening lift and Jayaraj entering
Freeze Frame Shot Jayaraj

Scene Lift Area
Close up- pressing Button

Scene- Lift area
Full shot of Jayaraj, lift closing

Scene- Studio
Zoom in Close up Jayaraj

Scene- Lift area
Mid shot - lift closing

Scene – Party Hall
Close up opening door

Scene- Party Hall
Tracking- Biju Uncle and Thomas
Pan and Zoom- Movement of Glass on tray
Pedalling Shot – lifting of glass
Mid shot-Jayaraj
Transition shot

Scene- Studio
Mid shot – Jayaraj

Scene- Lift Area
Low angle Close up Lift display

Scene- Lift area
Over the shoulder Shot- Lift Opening, people getting out

Scene- Lift area
Close up Button press

Scene- Lift area
Low angle Close up Lift display
Tilt – Raji
Two shot – Raji and Jayaraj
Shallow focus- Jayaraj

Scene- Lift area
Low angle Close –up Lift display

Scene- Studio
Hi angle Shot- Jayaraj

Scene- Lift area
Medium shot Slow motion- lift opening

Scene- Mott Office
Window opacity shot -Jayaraj approaching to frame

Scene- Mott office
Close up card to card holder

Scene- Mott Office
Slow pan to Medium shot James
Entering into frame shot Jayaraj
Tracking shot of Jayaraj to james
Dolly in to Hi angle shot (opening chart)

Scene- Mott Office
Medium Shot- Jayaraj, James
Dolly in Jayaraj

Scene- Mott Office
Full shot Jayaraj, James
Head on shot Jayaraj
Zoom in Notice board

Scene Mott Office
Close up Coffee
Pedalling shot
Close up Manager

Scene- Mott Office
Head room shot Shallow focus Manager
Rack focus Jayaraj
Shallow Focus Jayaraj

Scene- Mott Office
Head room Shot Manager

Scene- Mott Office
Dolly in Medium shot to Manager

Scene- Mott Office
Close up of Opening chart

Scene- Mott Office
Low angle Shot Manager, Jayaraj
Tilt Medium shot
Zoom in Shaking Hands

Scene- Mott Office
Zoom shaking hands
Fast Zoom out shaking hands colleagues

Scene- Mott Office
Overhead shot area office

Scene- Mott Office
Full shot of Jayaraj

Scene- Mott Office
Slow Pan Medium Close shot (Jayaraj back, Shankaran)

Scene- Mott Office
Overhead shot Jayaraj and Shankaran

Scene- Mott Office
Medium close shot Jayaraj

Scene- Mott Office
Medium close shot Shankaran

Scene- Mott Office
Master Shot of Jayaraj and Shankaran

Scene- Mott Office
Over the shoulder shot (shankaran) to Jayaraj

Scene- Mott Office
Medium shot Shankaran (Jayaraj back in frame)
Tracking Shot shankaran
Freeze Frame shot Shankaran

Scene- Mott Office
Dolly shot (in frame at end Shankaran)

Scene- Mott Office
Low angle shot from manager chair (In frame, manager and Shakaran)

Scene- Mott Office
Eye level Medium shot Manager

Scene- Mott Office
Master shot of Shakaran and Manager

Scene- Mott Office
Eyelevel Mid shot of Shankaran sitting
Zoom out Include Shakaran and Manager(back)

Scene- Mott Office
Head room shot of Manager

Scene- Mott Office
Hi angle shot Manager opening drawer

Scene- Mott Office
Shallow focus (Paper) Mid shot Shankaran

Scene- Mott Office
Overhead Scene of Paper transferring

Scene- Mott Office
Eyelevel Head room shot Shankaran reading

Scene- Mott Office
Close up Two Shot Eyelevel to manager (Shakaran with paper, Manager)

Scene- Mott Office
Tilt Close up Two shot (Shankaran getting up)

Scene- Mott Office
Hi angle Close up Two shot- (Shakanran, Manager)

Scene- Mott Office & Studio
Zoom Shankaran
Close up Thermometer
Zoom shankaran
Close up Thermometer

Scene- Party Hall
Close up Balloon bursting
Close up Tracking cake to Medium Shot Jayaraj, friends (Long Shot style)

Scene- Party Hall
Medium shot Happy b’day poster

Scene- Party Hall
Medium shot Jayaraj

Scene- Party Hall
Medium shot Raji and friends

Scene- Party Hall
Zoom out Raji and friends
Shallow focus Raji and Friends
Mid shot (Moving into frame) Jayaraj (Rack focus)
Tracking Jayaraj

Scene- Party Hall
Munich Shot (Dolly out- arc- over the shoulder)

Scene- Party Hall
Zoom in TV

Scene- Bachelor Room
Zoom out TV (to room)
Long tracking shot (person moving out of room) to Shankaran

Scene- Studio
DON style
Slow pan Maya and daughter

Scene- Bachelor Room
Close up Head room shot Shankaran

Scene- Site Area
Wide area shot of site (Priyan style)

Scene- Site Area
Dolly In (side of the bus to entrance)

Scene- Site Area
Hi angle shot of shankaran
Zoom in Helmet

Scene- Mott Office
Zoom out helmet to Jayaraj in office

Scene- Mott Office
Wide t0 Master shot Jayaraj alone in office

Scene- Mott Office
Low angle shot Jayarajan working on computer

Scene- Mott Office
Close up Computer

Scene- Family room
Departed shot (jayaraj sitting in room)
Shallow focus Jayaraj
Rack focus Raji on phone with friends
Flash cuts (daughter, son)
Shallow focus Jayaraj turning (sound of News)

Scene- Bachelor room
Medium shot Television
Shallow focus Glass and Hands

Scene- Bachelor room
Overhead shot area

Scene- Bachelor room
Low angle Shot of people sitting and standing
Zoom in Shankaran

Scene-Site Area
Zoom out Scene from Shankaran in site

Scene- Site Area
Slow pan Medium shot of People lifting the piece

Scene- Site Area
Slow Dolly to Shankaran
Zoom to Chart in hand of shakaran

Scene- Mott Office
Zoom out Office meeting scene

Scene- Mott Office
Medium Shot Slow motion of manager

Scene- Mott Office
Dolly to Medium close up Jayaraj
Pan Jayaraj to exit out of door

Scene- Site Area
Medium close up shot of Shankaran coming from door

Scene- Site Area
Dolly shot to Labourers.

Scene- Site Area
Slow Pan Hi angle Shot of Shakaran and labourers (back of room)

Scene- Site Area
Medium Close shot of Shankaran and exit room

Scene- Family room
Medium Close shot of Jayaraj entering room

Scene- Family room
Close up Watch

Scene Family room
Tilt Mid shot of Jayarajan

Scene- Family room
Medium shot of family

Scene - Family room
Low angle Tracking Shot Jayaraj

Scene- Family room
Hi angle shot of Raji
Hi angle Shot of Son
Hi angle shot daughter

Scene- Studio
Munich Shot Jayaraj

Scene- Studio
Medium shot of Cart

Scene- Studio
Overhead shot of area

Scene- Studio
Medium shot of cart
Zoom out to include Jayaraj back

Scene - Studio
Medium shot of Jayaraj moving to cart

Scene- Studio
Medium close up Raji

Scene - Studio
Head room shot Jayaraj

Scene- Studio
Hi angle shot Jayaraj

Scene- Studio
Close up Two shot (son, raji)

Scene- Studio
Medium close up Jayaraj

Scene- Studio
Over the shoulder shot (Jayaraj) dismissal Paper

Scene- Studio
Close up of Paper

Scene- Studio
Eyelevel Close up of Jayaraj

Scene- Studio
Pedestal shot
Low Angle Medium close up shot Manger

Scene- Studio
Hi angle shot Jayaraj

Scene- Studio
Low Angle Medium close up shot Manager

Scene- Family room
Medium shot Jayaraj waking up in dark

Scene- Family room
Overhead shot room


Scene- Family room
Medium shot Jayaraj

Scene - Family room
Close up Switch


Scene - Family room
Low angle
Shallow focus Light
Rack focus Jayaraj
Rack Focus Light

Scene- Bachelor Room
Close up Light ON

Scene- Bachelor Room
Hi angle Medium Close up shot Shakaran on bed

Scene- Studio
Head room Shot Shakaran (Maya, daughter entering frame)
Zoom out to scene in cart

Scene- Bachelor Room
Hi angle zoom shankaran on bed

Scene- Studio
Medium shot Shankaran, maya, daughter

Scene- Site area
Wide Area to Medium close shot Shankaran

Scene- Site area
Close up of Mobile phone

Scene- Site area
High angle Medium Close up of Shankaran

Scene- Site area
Tilt Medium close up Shot Shakaran

Scene- Site area
Close up of Mobile Phone pressing

Scene- Family room
Close up Mobile ringing

Scene- Family room
Zoom out (Jayaraj in frame and further Raji, children)

Scene- Family room
Head room shot Raji ,

Scene- Family room
Low angle shot (In frame: Jayaraj, raji )

Scene- Family room
Medium shot Jayaraj and children
Zoom In to Telelvision and finally getting off

Scene- Office area
Transition to Car window
Zoom out Jayaraj getting out of car

Scene- Office area
Extreme wide shot of Area

Scene- Lift area
Close up of Lift display coming down

Scene- Lift area
Medium shot- jayaraj waiting for Lift

Scene- Lift area
Close up of Lift display at ground

Scene- Lift area
Medium shot of Lift closing

Scene- Lift area
Close up- Pressing switch

Scene- Lift area
Full shot – Shankaran opening lift

Scene- Lift area
Medium Close shot- Shakaran and Jayaraj

Scene- Studio
Undershot of Shankaran and Jayaraj

Scene- Lift area
Low angle Close –up Lift display

Scene- Mott Office
Close up card of shankaran

Scene- Mott Office
Low Angle Medium close shot Jayaraj

Scene- Mott Office
Medium Shot Jayaraj and shankaran at door

Scene- Mott Office
Medium Shot Shankaran entering and Jayaraj following

Scene- Mott Office
Close Up Notice Board message

Scene- Mott Office
Slow Motion Tracking of Shankaran comin gout office

Scene- Mott Office
Overhead shot area

Scene- Mott Office
Slow Pan Medium Close shot (Shankaran back, Jayaraj)

Scene- Mott Office
Overhead shot area

Scene- Mott Office
Medium close shot Shankaran

Scene- Mott Office
Medium close shot Jayaraj

Scene- Mott Office
Slow motion Medium Close shot of Jayraj backing and Shakaran comin
Slow motion Tracking Shankaran (front)

Scene- Mott Office
Slow motion Tracking Jayaraj (front)

Scene- Mott Office
Slow motion Tracking shankaran (front)

Scene- Mott Office
Slow motion Tracking Jayaraj (back)

Scene- Market
Wide Area to Long shot Jayaraj in market

Scene- Mott Office
Slow motion Tracking Jayaraj (back) opening the door at end

Scene (Coda Shot)- Market
Wide Area to master shot Jayaraj walking in market
Long shot Tracking Jayaraj
Zoom cut Medium shot Jayaraj

Scene- Market
Priyadarshan Shot of Maya and daughter moving to Jayaraj
Entering the frame Shankaran side ,

Scene- Market
Medium shot Shankaran and Jayaraj shaking

Scene- Market
Hi angle shot Maya and daughter

Scene- Market
Slow Medium Close shot of Shankaran and Jayaraj

Scene- Market
Medium shot Jayaraj and SHankaran walking by
Zoom in TV at shop
Masking Shot

Titles

Monday, July 26, 2010

FILM MAKING TIPS

MOVIES as reference
CITY OF GOD, GODFATHER 1, GODFATHER 2, AZHUTHA EZHUTHU-YUVA, SCHINDLER'S LIST , DARK KNIGHT, RAAVANA, AVATAAR, Mouna RAGAM, GANDHI , SHUTTER ISLAND, TAXI DRIVE, GHOST WRITER, ORU PATHIRA KOLAPATHAKAM, TITANIC, ONCE A THIEF, PULP FICTION , GLADIATOR, DEPARTED , BHRAMARAM, MUNICH, GOOD FELLAS, THE MASK, ORRUMINNAMINUNGINDE NURRUNGUVETTAM , ISHTAM , KITES, TWILIGHT, 2001- A SPACE ODYSSEY, DIL CHAHTHA HAI, BIG B, RED CHILLIES, MAZHAVIL KAVADI, SAVING PRIVATE RYAN, IN GHOSTHOUSE INN, PAYASHI RAJA, THE MATRIX, BOMBAY, HEY RAM, ROBIN HOOD, DON, OLIVER TWIST, MEMENTO, KAALA PANI, ANNIYAN, CASINO ROYAL, KABHI ALVIDA NA KEHNAA, NANDANAM,


SHOTS
&
SCENES

Extreme Wide Shot
CITY OF GOD , chasing the hen

Establishing Shot
Identify where the scene is taking place usually at the beginning

Long Shot
Shows where you are and what is going on
And entire figure with respect to surroundings
The Funeral Scene in GODFATHER 2

Full Shot
CITY OF GOD when all the thugs including Lil Dice are shown in the frame

Mid Shot or Medium Shot
Shows body language and allows to identify people (waist up)

Head room shot
Includes the background scene as in AZHUTHA EZHUTHU Surya sitting in Assembly

Master Shot
The geography of scene, proximity of actors to one another and objects in scene

Wide Area to Master Shot
Camera rotating from different view to Master shot

Close up to Master Shot
(Property or person)
Eg. SCHINDLER'S LIST walking with a flower pot

Medium Close Up
Till Chest, only the character, half way between the Medium shot and Close up

Medium Close Shot
Till Waist

Close up
Shows emotion

Choker Close up
To chin level

Property Close up
Close up on Property used as a Transition

Extreme close up
To focus on single attention or single facial feature

Close up Head room
CHaracter's Close up but the Back ground visible

Eye Level Shot
Taken with equal footing with the subject being filmed used in marriages

Low Angle Shot
To instill an awe, fear or typical emotion give more power to character as in DARK KNIGHT when joker comes out to shoot Batman from Truck. This is when the camera is positioned low on axis. Technical effects include to make the cars seem to go faster

High Angle Shot
Looking down on something, to make the character insignificant and small, weak like taking children. Used in GODZILLA

Overhead Shot
Used as establishing Shot for specific purposes like two people talking and to identify location.

Under Shot
The Shot is taken when the camera is directly benath the object suggesting extreme power or danger. In CITY OF GOD, shooting of football by Rocket's Brother

Stand- up Shot
A close up shot with Character sitting and camera taken while stand up
Used in RAAVANA, when Commissioner inquires the peopel on Beera

Sit- Down Shot
When the protagonist is sitting and other artists are standing the shot is taken with the eye level of protagonist as in AVATAAR when Sam wothington is on wheel chair and others are standing

Cut in Shot
Showing some part in detail like hand movement to show enthusiasm or Frustration as in watching some exciting horse races
Eg. Mouna RAGAM , revathi’s frustration shown by her hands

Cut away
Something or shots other than current As subject performs an action, some s of opposite actors are taken into account in order to make the shot more effective. Entering of Gandhi into the court in the movie GANDHI. The expression of the judge and people are taken in order to reduce the time for entry of Gandhi. It is a buffer between shots.

Two Shot
Showing two people emotions at a time on screen side by side

Close up Two shot
One persons close up on frame while the other person remains on back visible

Close up Property Two Shot
Focussing a property infront of the frame and the /artists behind. Or
Vice versa allowed
Used in RAAVANA, when Beera attacks the camp of Police at the end . The water can be seen shaking in the front while Beera on the back of the frame .

Three Shot
Three people included in frame. Used in IN HARIHAR NAGAR sequence

Style Three Shot
One persons’ back and other two people on either sides
Eg. SHUTTER ISLAND when Leonardo di caprio meets jail superintendent with friend


Introduction Shot
Used for introducing a character on frame with close ups of body pats, dolly camera and finally Mid close up Shot
Introduction of Sergeant in AVATAR

Pan Shot
Horizontal motion. Horizontal movement of a still camera . the purpose of following action and giving movement to a scene that would be static.

Swish Pan Shot
Moves the camera from one subject to another very quickly. In TAXI DRIVER, Nicolas Cage and his reflection on the mirror is swish Panned.

Slow Pan
For example, A woman sees something on her right and a horror expression comes. Slowly, Camera executes a slow pan to where she is looking in order to make a good shot and arouse viewer curiosity. Can be provide as a Thrill
Also used from objects to master shot

Pan Zoom
Panning and zooming to a particular object

Pan Property Shot
Panning a particular property or individuals or Close ups as in GHOST WRITER, the letter indicating the name of the CIA agent passing between hands towards the end of the movie.

Tracking Shot
Follows the subject or action at a constant distance . A Tracking Shot involves a camera follwoing a person or an object on a parallel tracks.

Reverse Angle Shot
Switches between two or more subjects in a dialogue scene. Used for conversations involving particiaption of many subjects.

Reverse Angle Style
In GHOST WRITER movie, the last accident scene is pictured by people’s expressions and sound rather than showing the accident.
In PATHIRA KOLAPATHAKAM, Mammotty's expression and sound of gun, with people's movements into the chamber is used to indicate the death of Haji at the closing credits of the movie.

Long Take
An uniterrupted shot lasting several minutes.
The Last scene in the movie TITANIC when Rose enters the cabin to join with Jack.
John Woo's ONCE A THIEF entry scene 0f Hero in the party

Long Take Tracking Shot
In PULP FICTION , Travolta entering the Pub with Uma Thurman

Tracking Two shot
King and daughter conversing and moving together in GLADIATOR

YUVA Tracking Shot
In the movie YUVA, Ajay devgan being tracked from back and the camera moving faster to front

Dolly ( or follow action )
The motion of camera along with object but dolly may not necessarily follow action. A mechanism in which the camera to be moved around the scene or location. Common in films. The entry of Jack Nicholson into the store in the movie DEPARTED at the beginning of the movie.

Trucking Shot
Motion of camera backwards when object is moving. a shot in which camera is mounted on a vehicle and moves while filming to front or behind the subject following movement.

Tilt
The camera moves up or down to follow moving obejct to reveal a scene or object in order to fit in a frame. Can be used as establishing Shot too.

Dutch Tilt
Tilting camera off to aside so shot is composed with the horizon at an angle. Used to portray psychological tension.
In BHRAMARAM, Mohanlal getting mad at the end of the movie when he shows the dead body of his family to others.

Tilt Mid shot
Tilting character to show tension as the statue in GLADIATOR while the king is being killedby his son

Angular Tilt
Used in CITY OF GOD when the hen is running and the people chase the hen from the top of a single storeybuilding to bottom

Point of View
To show what the character is looking Can also be used using hand held camera
POV Shots in MUNICH when they go to kill CIA protected terrorist.

Dolly in Zoom out
Taken by Dollying camera In while Zooming Out
The Hotel Scene in movie GOOD FELLAS

Dolly Out Zoom in
Taken by Dollying Camera Out while Zooming In
The entry of Cameroon Diaz and the expression fo Jim Carrey in THE MASK

Zoom Out
In ORRUMINNAMINUNGINDE NURRUNGUVETTAM movie song Poovenam, from bird in cage to three people Parvathi, Nedumudi venu, SHarada in frame

Zoom out Shallow Focus
In ISHTAM movie scene between dilip on phone and nedumudi venu behind the frame

Zoom in
denoting Close ups, Used as transition to another scene
In the movie KITES, the Zoomed visiting card of Casino is used as a transition scene to flash back

Dolly In to High angle shot

When subject is opening an book or packet, the camera is dollied and taken to a high angle shot in order to view what is subject looking
In AYUTHA EZHUTHU, Meera jasmine opening the parcel to take gun

Dolly out to High Angle shot (using crane)

In order to get a view of the artist with respect to surrounding. Used in Action movies.

Hi Dolly in
&
Hi dolly Out

From Overhead, camera moves down and Up . Used in TWILIGHT, while artists lie on the ground.

American Shot
Group of people gathered so all visible to camera. Used to show scenes whent he character goes unconsious and people agther around the artist.The frame shall include all the artists looking down on the actor.

Bird’s eye shot
War scenes are taken normally

Crane Shot
Overall view

Freeze Frame Shot
Acotrs freeze during a performance like walking
Or still shots as in CITY OF GOD when narrator introduces the Trio

Match cut
Matching the action, Linking ideas. A smooth Transition between scenes and elements of meaningful comparison between elements in both shots.
In 2001- A SPACE ODYSSEY, Caveman throws a stick up and changes to Satellite.
Two shots taken.. eg: a person with mobile phone ringing taken from distance and picking the phone taken closer to match the scene

Flash Cut
For example On a table 2 people are sitiing and in next shot, they are having cofee in their hands.
In movie RAAVANA, when police raid the forest to find beera, he escapes in a boat. The scene is taken in flash cuts.

Zoom Cut Shot
Zoom in cut
Zoom out cut

Zooming in and zooming out with BGM

Jump cut scene
Walking down stairs taking too much time, we can take jump cut scene

Straight Cut Shot
The abrupt transition between two shots is straight cut.

Sequence Shot
A sort of Long Take Scene

SnorriCam
It is a camera device ed in film that is rigged to body of actor, facing the actor directly, so when he walks, he does not appear to move, but everything around him does.
in DIL CHAHTHA HAI, this technique is used for Amir khan

Chest mount camera
Used in RAAVANA, when Beera rotates in a boat while having conversation with Aishwarya.

Hand Held Camera
To obtain the point of View shots to bring in originality used in SCHINDLER’s LIST especially in holocaust area.

Over the head conversation
Shot and conversation when the camera is placed over the head.

Over the shoulder conversation
The mosts standard shot and conversation when the camera is placed between the shouldrs and following the golden ule of 180

Angular Over the Shoulder conversation
In an angular manner, camera is placed over the shoulder

Over the body conversation
Usually when the character is sitting and the opposite actor standing , the camera shall be placed over the body of the opposite actor in order to obtain an eyelevel shot of the character sitting.

Face to Face
WHen two actors converse face to face in a frame.

Wipe Conversation
Used in BIG B as two actors Mammotty, Bala come together in the frame with a separator talking to each other but in different locations.

TWO Shot Conversation (zoom out shallow focus method)
RED CHILLIES Style, Mohanlal appearing in the frame and Biju menon in the frame

Panning Conversation
SCHINDLER’s LIST Conversation Actors talking in front of window and moving outside (Medium Close shot) with camera panning to ensure lively conversation

Swish Pan conversation
in AZHUTHA EYUTHU, Conversation among the crowd when Surya declares the candidate for election

Slow Arc conversation
Camera moving around the artist while conversing
USed in RAAVANA, when the starting of discusiion between three brothers after capturing Govinda

Slow Track conversation
Camera moving along with actor while conversing, typically used in investigation movies

Leadroom Conversation
Used in conversation giving more space in the frame when one actor talks to another.

Attenborough style conversation
A variety Dialogue conversation but in frame the opposite actor who is moving towards the subject presenting the dialogue in GANDHI

Manual Focus
Focussing but not with a depth of focus.

Deep Focus
Using large Depth of Field. In deep focus, foreground, middle ground, and back ground all are present.

Shallow Focus
Means focussing a subject, whether in background or foreground resulting in every thing else being thrown out of Focus. This is done to direct viewer's attention to something.

Rack Focus
To shift attention of viewer by changing focus from subject in the d to subject in the background. Also used when Focussing an object and later the subject

Depth of Field
Focussing a particular subject among a group while the others remain blur accompanied after Manual focussing

PAN Manual Focus
Used to Focus on particular characters from a group not visible clearly with the intention to show protagonist. In MAZHAVIL KAVADI, Jayaram points out to Innocent, sreeja.

Lead room shot
Giving space for car moving and thus lead lines . Used to show sport scenes too as there is afrequent movement.

Fast Forward Shot
Increasing the speed of duration of a frame. Accompanied by Dolly, Arc, trucking, tracking shots.
In movie GHOSTHOUSE INN, the starting scene when camera moves around the house and gate in order to invoke a horror feeling

Eco shot
Shot of echo type scene coming after the scene

Window opacity shot
The opacity of window is used to show expressions. In SAVING PRIVATE RYAN, when the body of son arrives to home, the window reflection is used to show mother's tears.

Water wave shot
Image reflection from water
used in PAYASHI RAJA,when heroine travels on acart in the song kunnathe poovinum, the scene starts form the reflection.

Mirror Shot
Using Mirror to show movements and expression as
in MUNICH, the informer travelling in car

Reflection Shot
Used for table glass reflection or any material reflection
in RED CHILLIES, when Mohanlal conversing, his reflection n table is used
MUNICH when hero goes to embassy to collect the money prior to mission.

Mosaic shot
For flash back

Transition Shot
Two video shots joined together is a transition shot
Eg. In SHERLOCK HOLMES movie, Watson getting up and the camera moving up to change the scene for long shot in a market.
In 2001- A SPACE ODYSSEY, Caveman throws a stick up and changes to Satellite.

Dialogue Transition Shot
Eg. In GANDHI, after Gandhi gets idea on civil disobedience on the beach then next scene changes to British officers starting dialogue on Salt as an indication to what gandhi's idea was. Here dialogus is used to link scenes.

Sound Transition Shot
In order to start the next scene provide sound to any item like opening book, moving of car. This should come after silence or slow music. In MUNICH, opening the book by the treasurer is used a s transition.

Property Transition
Linking property of one shot with the next scene

Swish Pan Transition with music
A sudden change of scene to a completely another location can be done by a swish Pan transition. n the movie GOLMAAL RETURNS, each scene is linked to next scene this sort of transition.

Light Transition
Heavy light used to show change of scene. used in AVATAR, in the beggiining when Sam worthington makes a narration and scene changes to his brother
In the closing scene of TITANIC, when the camera goes through ruined ship and suddenly changes original Titanic.

Establishing Shot Transition
Scenes starting with tilting or panning to Master Shot.

Dissolve Transition/ Wipe Transition /Fade Transition
In CITY OF GOD, Rocket and others going to school, and when a car passing through they turn big theryby going to college

Arc Transition
In CITY OF GOD, ROcket's memory goes back into his childhood from the present scenarion when he gets caught between police and Lil dice

Time TRANSITION
In RED CHILLIES, when Biju menon waits near bridge to kill Thilakan

Manual Focus Transition
In ORU NAAL VARUM, the scene starting from Manual focus of Program banner before the song in the auditorium

Comical Transition
Transition from one scene to another based on items or objects in the succeeding scene appearing in the concluding scene eg. In AtHITHI TUM KAB JAOGE

Trunk Shot
Shot from trunk of a car as in PULP FICTION
Also with properties similar to situations

Musical Shot
Certain scenes taken parallel by providing music
The drug taking scene in PULP FICTION, by Travolta usually Slow Motions and Extreme Close ups
In the movie MAZHAVIL KAVADI, Jayaram escaping with Sreeja to register for marriage

Blue Screening
Eg: Through keyhole and camera zooming eyes..
Eg. Editing technique in which person may be indifferent area but shot in another

Multi Take Shot
Different angles for the same shot
In RAVANA, Aishwarya falling from the branches into the riveer.

Look at -Field of view Shot
Eg.Harvey tuning to find Batman gone in DARK KNIGHT

Arc Shot
To move around object in circular motion- eg: Twentieth century fox logo
In CITY OF GOD, ROcket's memory goes back into his childhood from the present scenarion when he gets caught between police and Lil dice

Slow Arc Shot
To move around a character very slowly as in RAAVANAA, when the theree brother start discussion on releasign Govinda

Fast Arc Shot
As discussion between brothers get hotter in RAAVANA, the arc shot turns fast.

Head On Shot
When the action comes straight to the camera
The car falling down from the truck and coming over to the car at the back in KITES

Tail away shot
When the action moves away from camera
In DARK KNIGHT, Batman's Bike moving away from camera after crash.

Pedestal shot
To move vertically the camera as the object like picking up something.. But Not tilting
In SAVING PRIVATE RYAN, the introduction of Tom Hanks inside the vessel from his fingers.

Wipe Shot
One Scene progressively replaces another
In CITY OF GOD, Rocket and others going to school, and when a car passing through they turn big theryby going to college

Fade In and Fade Out
A Transition Shot device for moving one scene to another. A Fade Out is used to end scene.
Particularly used in GODFATHER 1, in order to show the change of scenes.

Dissolve Shots
A gradual transition in which one scene fades out and the other fades in. Usual for passage of time, flash black or a dream In RAAVANA , Aishwarya rai sitting on the steps , camera moving in and then Dissolving shot for Close up

Flip over scene
Used for Memory flashback

Dissolve Zoom Shots
Used to show distress or particular emotionIn RAAVANA , Aishwarya rai sitting on the steps , camera moving in and then Dissolving shot for Close up

Over the shoulder +Dolly
In GLADIATOR , the Emperor king speaking and his movement towards Maxiwell

Arc + dolly
In DEPARTED movie, Police commissioner speaking to Matt Damon about Capello

Moving into Frame style
Object in the frame when characters moving into the frame usually for introducing a character

Over the Shoulder + Hi angle
When a person looking down into well, in order to capture vision for the audience

Aside
Speaking directly to camera as Mohanlal in RAAVANA PRABHU

Coda
Wordless epilogue usually at end of filmIn ORRU MINNAMINUNGINTE NURUNGUVETTAM, scene at the end of movie as Nedumudi venu and Sharada become lonely

Masking
Point of view Shot through binoculars, keyholes etc.

Multi Masking
In RAAVAN , Police Commissioner making holes on photo with cigarrete and film shot through Holes

Motif
An element in a film , a symbol or pattern, a thematic element In NANDANAM , the idol of Sree Krishna being

Set Scene
A scene standing on its own,
eg. Bullet dodging scene in MATRIX

Sight Gag
Silent shot for comedy, in CID MOOSA when the artist falls of the building and is seen lying on the ground.

Soft focus
Filter placed over the camera lens in order to show love scenes etc. eg. In BOMBAY , the love scene between Arvind Swamy and Manisha during the song.

Ghost Shot
Certain scenes where a character appears although physically not present in scene

Darkness Shot
Shot taken from darkness.
SCHINDLER’s LIST, the starting scene of lighting candle
In RAAVAN, opening room to inform the death of sister when Beera is inside on bed

Mani Ratnam Style
Using Natural scene available as Frame, adjusting actors accordingly
From equipments to Master scene or
From other sceneries to Master shot

Quentin Tarantino Style
Car exiting scene in PULP FICTION showing the name of the pub Travolta is heading to

DON style
Dialogue conversation while doing establishing shot before master shot
Used in SUPERMAN 1 movie in the Newspaper Office

PULP FICTION Style Shot
Dialogues with no people in frame, eg. Searching medical book by actor and only dialogues

Cartoon effect
Eg. In ATHITHI TUM KAB JAOGE the scene from cartoon is transformed to Ajay devgan

SHUTTER ISLAND Style
A typical establishing shot when the main object like ship comes visible from dew

Imaginative Shot
Eg. HEY RAM, the love making scene of kamalhassan and vasundhara
SHUTTER ISLAND - Dying of Di caprio’s wife inside the burnt house
RAAVAN, Aishwarya crying for help on island

SCHINDLER’S LIST Shot
Opening the box of moneyby the SS agent.

Crowd Shot
Taken in GANDHI when Gandhi leads the Dandi March. From the protagonist’s Medium Close Shot to Crane shot and then Long Shot of the crowd.

Thrill Shot
In GHOST WRITER Passing of paper with the name of the criminal using BGM
In GODFATHER 1, moving the bed sheet to find the head of horse with BGM

Narrative Style Shot
The scene being depicted when the narration is going on maybe else where as in GODFATHER 1 about Hagen describibng about narcotics dealer or
Starting scene of AVATAR when there is a story narration

DEPARTED Shot
Looking onto the computer to search details on Capello

Montage Shot
Techinque in film editing in which a series of shots are edited into sequence to condense space, time and information
News paper cuttings or pictures to tell history
eg. title in the movie CHAOS

NOTEBOOK Style Shot

Hero lying down and camera moving up and down and rotating

Speilberg Style Shot

Prime minister coming in frame after file is moved in MUNICH

MUNICH Style

Flashback of incident or any events parallel to present scene depicted throughout picture

MUNICH SHOT

Arc shot to Over the shoulder to see the area, colonel looking into the TV in The film MUNICH

PARALLEL SHOTS /Christopher Nolan Style

The DARK KNIGHT , a series of scnes, include Harvey caught, batman trying to catch, Joker escaping etc.. all done parallel

Flashback Style Shot

Used in BIG B for the mother saving children from boat

YUVA Shot

Shot taken from over the head upside down as in song between Vivek Oberoi , Kareena kapoor.

CASINO ROYAL Shot

James Bond opening his eyes in the hospital

ROBIN HOOD shot

Point of view of moving arrow

CITY OF GOD Shot

Using the part of a property to show emotions of a character as can be seen in a shot in the car when she finds her lover being shot

Typical shot used in ANNIYAN with hero’s point of view shot through hair

Used in IN GHOSTHOUSE INN, when Jagadeesh places chicken in the freezer.

CAR SHOTS

Front Car Shot, Back Shot , Two Car Shot

Friday, November 9, 2007

My Friend Kavitha-II

Was that a hallucination or was it faked up completely by Kavitha just to rattle me up? I was completely mystified at the incident and could not understand the enigma of that numbers. Was it a code that has to be scratched to get into the bottom of this? 1101. 1+1+0+1=3, was it that three times she had attempted to suicide but met with success only the third time. Or was it that the numbers contained something digital ingredient in it owing to the fact that Rita was an engineering student and so even her ghost would be quite aware of the technological innovations. 20 + 0 + 22 + 23= 13, Ajay might be her 13th romantic affair, and on losing him she was very depressed which persuaded her to commit suicide. I looked at Kavitha. Her eyes were completely on the numbers and she kept moving around the table, sometimes going close to it and then to the side. Then she bent down on her crotch as if ready to take a leap which resembled a lady Sherlock Holmes on action (as per the narrations of Arthur Conan Doyle). All of a sudden she snapped her neck back. Then she came over to me and in a megalomanical style, she said “Shereen, tomorrow we leave early to our college”.

Madurai, our destination, was 200 kms from kavitha’s locality and due to the long and tiresome journey; we preferred to go by train although she was adamant to use the bus. We started as soon as the first ray of the sun had hit the earth. She never uttered a single word throughout. Occasionally she coughed and then was fully preoccupied in her thoughts. I never asked her intentions or what she had deciphered from yesterday. Often she turned sepulchral. I felt quite relived when the train approached Madurai station for her silence was piercing through my nerves. I had already drained four packets of cigarette. We had hurriedly moved out of the station and picked an auto rickshaw that was parked in front. I was about to say our college name (that was quite enough for it being the most famous university in Madurai) but Kavitha caught hold of my hand.
“Sethuram Lodge”
I was surprised for she had said that in a preposterous manner. For a moment I thought she did not want to go to the college right away and would want to fresh up before she jumps into any of her friends. It was almost four in the evening and the lodge was just a few minutes drive from the station. While she was in her room, I would drop in for a hearty meal as I was feeling very hungry having survived on just cigarettes throughout the day.

Sethuram lodge was located in the centre of the market. There were mobile stalls with flowers and fruits neatly arranged on it. Jack fruits were cut open with flies swarming around it thus infiltrating the premises with a disgusting stench owing to the fact that the jackfruit season had just commenced in Kerala, the aroma of which was pulverising and the most comforting element for the people around. Ladies, with wide variety of resplendent flowers painstakingly arranged on their back, wore thin sari unveiling their blouse and their bare stomach, tightening the sari just below their immensely huge belly button, sat on the street on either side selling flowers and other house hold items, gently pulling up the sari to their thighs, whenever a male customer approaches them. The lodge was centred in between a audio library shop, that played devotional songs solemnising Madurai Meenakshi( the goddess of Madurai) throughout the day, and a vegetarian hotel, that naturally would be the biggest crowd puller in that area owing to the fact that Madurai residents always had a heavy appetite and were enormously food loving. Before the auto rickshaw had come to a halt, Kavitha jumped out of the vehicle and ran into the lodge. I felt perplexed at her actions but my eyes were all fixed on the menu card, written on a stand, placed in front of the hotel. The odour of food stiffened my nerves while I could not resist the force that pulled me to its doorway. All of a sudden Kavitha came running out of the lodge and I saw her huge eyes swaying rapidly.
“Shereen, come over quickly”
I slowly took our luggage and followed her as she ran through the steps. She had the key with her for I could hear the chinking sound while she ran. I did not have to climb much for I lost her when I had just managed to reach the first floor tracing her in front of a room, already placing the key in the key hole and moving it back and forth for she was least concentrating on it as her eyes were fixed on to the crest of the door. With a loud bang, she opened the door and went inside. I came in front of the door, kept the luggage down and looked up inquisitively wondering what was that her eyes were bulging out at. Suddenly, I felt a twinge in my heart as I saw the number written in bold italics on the steel plate. 1101.

For a moment, I grasped why my friend was in such a hurry and why was she concerned throughout the journey. Probably, this was the lodge where they had spent their time for the exams. But all these days gone, what was Rita was trying to confer on her friend Kavitha, regarding something suspicious concerned with the room. Kavitha was staring at the walls as I saw her move her eyes hurriedly as if she was hunting for something that she had kept in the room.
“Shereen, Listen. I know you might have understood that we had stayed here during our exams. On that day, our exams got over (since we belonged to different sections our practicals varied), we had reserved our tickets back home and was about to vacate the room. She said that she was waiting for Ajay and would join me in the station. I waited there in the lounge till morning only to return back and find her lying on the track”.
Tears rolled down from her eyes when she had finished with her words that left her mind pondering for a moment. I did not console her for I knew that tears remained the most soothing practise to ease your tensions (based on the old law of thermodynamics that energy has to be converted from one form to another). When one feels tensed, tears prove to be the best factor to diminish the repercussions of the mounting pressure. Suddenly, she stopped crying and took a deep breath inside, a technique she had always told me to follow so as to pull out from the mongering thoughts, at times when our mind dithers. I moved near to the window and pulled the curtain. The crowd, with the typical evening purchase syndrome, had started pouring in as the market drooled on approaching the final hours for the business transactions of the day. I opened the window. A sudden gush of wind streamed into the room that pushed me back with a sudden force and with great difficulty I pulled the window back that had unbolted widely and most surprisingly without a bang.
“What the hell is this wind and that too on the first floor?”
There was no response from Kavitha. I turned around. She was staring at something she had picked up from the floor. It was a few pieces of broken bangles that had accumulated near her legs. She was staring at it when the silence was ruptured by a knock on the door. As the intensity of knocking intensified, I went and opened the door.
“How can I help you?”
A rough hoarse voice greeted me at the door. An old bearded man, his hair uncombed and falling over to his eyes, with a crooked figure and long hands, small eyes, thick eyebrows stood at the entrance, the very sight of him would spoil a month’s appetite.
“I heard the door bell”
“No thanks, we would let you know and by the way no one rang”
“Not in my all this age, I have missed a waiter’s bell”. He replied with his eyes firmly fixed on Kavitha.
“Ok, It might have been a mistake may be this is your first” I just wanted to wind up the discussion.
“Mistakes in this age surely is a premonition for something evil”
I gave him a warm smile unable to grasp what he had just delivered and closed the door to turn back to Kavitha.
“These belonged to my Rita. She had brought me here to show me this. What does this mean?”
“May be she wanted you to keep those bangles as a reminiscence of her”. I spoke out bluntly.
“No. Rita’s pose in that photo, the broken bangles, she wants the world to know something”. After a brief pause, she brought her face close to mine and said in a very malleable tenor “Rita did not suicide. She was killed and that too my poor dear was strangled to death”.
I was petrified. For a moment my mind became completely blank. Her eyes refused to take leave from my face as her looks intensified my fear. I tried to evade her looks and moved my face to and fro expressing vivid range of emotions at what she had just arrived at. Subsequently, I took both my hands and gripped her on her shoulder.
“Kavitha, if this is what you think, we should immediately go and meet Ajay, for I am confident that he was here on that wretched night”.
“Yes and I want to ask him why did he do that for she loved him very much”.

The last time I heard about Ajay was that he was taken into custody the second time on a written statement from Kavitha’s father (well I later came to know that it was not of political pressure but Kavitha had provided some snaps of Rita and Ajay together). She was convinced that Ajay was cruel to Rita that day as Rita had no plans to suicide. Ajay’s father, a business tycoon, did use his political influence to bring his son out. After amassing all these details, including where Ajay was now confined in (he was in his dad’s guest house in Munnar), we decided to continue our pursuit in Munnar. After a hearty meal (the first food of that day although Kavitha ate very less), we started right away so that we could be there early before the dawdling population makes it into the streets. The mountainous ride, hair pins after every twenty minutes and red sign boards with a wide range of quotes on life and time intentionally displayed to inculcate vigilantness among the drivers but a few of it losing their resplendence with the years and the rest unable to be perused as a result of being a relaxation spot for the birds; the roads crawling through the mountains, the journey being quite bumpy at the curves, with a few locals ascending the bus with all their utensils and food materials maybe to last days in the mountains, it turned out to be a real hectic journey in spite of the striking and sumptuous scenario outside as the sun slowly started creeping out from its den. I sat looking outside at the stretched hills, huge rocks on the side of the road (beneath each hill) resembled gaol birds vying for freedom from the cell in which they remained captured; the mountain goats feeding on the tropical grass obtruding us on their survival skills and their meticulous adaptability to the local flora from their easiness to stride through the steepness of the hills, All had obtained a deluge of their creator on them, an insignia of their existence in this world as Kavitha kept her head on my shoulders; Both of us really unaware of the impending perils we would have to prevail over to unravel the mysteriousness of the polemical pose of Rita in that frame.

Munnar's mesmerising greenery, mountain scenery, calmness and cool refreshing air has always been a hub for the honeymooners and tourists throughout the year. The dawning rays in connivance with the morning breeze emanated a recipe of novelty in us, the fragrance invigorating the substance of mind already infiltrated with impugned, unsubstantial conjectures. The tea estates were a sumptuous feast to one’s eyes as the workers had already gathered to commence their routine work of plucking the tea leaves and dumping in their basket, tied around their waist. The small breeze rejuvenated the creatures around as the humming birds wafted to the rhythm of the breeze while the cats delivered their unremitting cries to rope in their much needed attention and the street dogs lay lazily on the roads with their eyes firmly fixed on the food stalls. All the spectacular scenario around bolstered our morale except a half naked fakir who sat on the pavement near the bus station exposing his hairy crotch, his huge black balls sagging and his thin long penis hanging down loosely spoiling the opulent talisman and the sketching of the true essence of Munnar. I turned around to Kavitha who was quite busy searching for an auto for she had the address written down on a piece of paper which she was unable to memorise owing to her anxiety and nervousness.

The estate which belonged to Ajay was small compared to the immensely huge estates others had over there. The gate was open so our auto drove into the mansion that covered almost two-third of the estate. There were neatly arranged flower pots with different varieties of flowers in it. The area around the mansion was atrophied either due to improperness on behalf of the proprietor or it reflected the sluggishness of the workers there. A kariveetti tree stood on to the left of the mansion on which sat a crow that gave us a reception with its callous shrieks that reminded me of the old folk tale about crows on their capability to notify the house folks at the arrival of some very particular guests. I could see a frustration curtailing Kavitha’s actions else she would have been quickly on her feet and made it onto the doorbell by now. She hindered and looked at me. I could reach her feelings for all this days and years with her, it was quite feasible for me to read her mind. I knew that she had a trouble facing Ajay. She had always told me that both Ajay and Rita were terribly in love and that nothing could come in between them. But Rita’s suicide had devoured her assurances for if Rita had any intentions to suicide, at least she would have dropped a hint on this to Kavitha, which was quite enough for Kavitha to placate her so that she returned back to her normalcy. But things had occurred abruptly even before Kavitha could do something. I knew she had a hesitation to meet Ajay after quite along time. I stepped in and pressed the doorbell, with Kavitha shrugging herself behind my back so as to avoid a direct eye contact with Ajay right at the door.

It transpired just as I expected. Ajay opened the door. He looked sullen and gloomy. He did not smile at us but his nonchalant composure indicated that he was expecting one of us some day. His eyes met Kavitha’s and for a second both were left in their thoughts.
“Kavi, won’t you talk with me?”
“I never expected this situation”
Both of them sunk their heads down and an ephemeral silence spilled out disturbed by the ubiquitous cries from the crow, which sat on the Karveetti tree outside, until I interrupted.
“Can we come inside Ajay or do you wish us to leave?”
Ajay opened the door wide and nodded us to come in. We entered a huge sitting room with divan beds in the centre, fully carpeted, an old grandfather clock on to the left, and a small vestibule with the portrait of a lady at the far right. With a sheer resemblance to Ajay, the lady portrayed could be easily identified as his mom for she had passed away quite a few years back when Ajay was just seven (I knew a lot about Ajay from Kavitha). There were a flight of steps on either side in order to get to the top. (I only could explain where my eyes reached, but a lot still remains to be narrated especially a fountain like object pumping air out probably with the help of a compressor, and leaf like patterns floating in the air due to the force of the pumped compressed air, the entire thing stood on the floor above and right were the steps halted). I was running my eyes around when Ajay interrupted with his nasal voice.
“Janaki, bring some cool drinks here”.
I was expecting a middle aged lady to emerge from inside carrying a tray with the drinks on it. But contrary to my expectation, a young lady appeared. She wore a traditional dress of blanket type cloth tied around her body exposing her bare shoulders. Although dark in complexion, she had a round chubby soft face with small soft eyes, thick black hair, long and pointed nose, plastic earrings and a small traditional sticker(Bhindi) on her forehead thus exhibiting her naturalness with panache. She never looked at us neither Ajay as her eyes were completely fixed on the tray .As she turned back after placing the tray on the stand, I was fascinated by her desi(local) mode of dressing. It was a single piece of cloth first rolled around her bottom and then the piece extended like a typical sari tied around her breasts making her abdomen slightly visible. The cloth although resembled a ruck sack but she was a delight to watch for the dressing ballooned her buttock, protruding it and the curve above it taking a fine bend, exhibiting her feminity quite libidinously. She was quite young probably around 19 or 20. I was quite conspicuous of her presence there for I could sniff signs of melancholy in her looks.

“Kavi” Ajay began after a brief pause making certain that no one’s around,
“Do you believe that I would do that to my Rita?”
Kavitha looked straight into his face with her big eyes bludgeoning at him.
“No Kavi, I cannot do that. Ever since I lost my mom, I always yearned for love in my life. I had started this relationship with intentions unbeknownst to you all. But she had capitulated my masquerade plunging me into a state of contrition at my past life and pulled me out from the pit of dilemmas that would have buried me alive had she not come into my life in time.”
Before he had completed tears streamed from his eyes and he burst out crying like a child, his mind kneeling way down to his emotions. I got up from the seat leaving him behind for self consolation, trying hard to divert my attention to a knick knack sound coming from the window the perpetrator being a crow tapping its beak on the window pane.
“I know you were there in the lodge to meet her” Kavitha continued not heeding to his whimper.” What did you do to her then”.
“Yes, I was there. But I was informed that both of you had vacated the lodge two hours ago and that you were already late for the train”.

“This bloody crow, shoo…”. The bawl came from outside which was followed by a loud banging of the door.
“Get me the gun, I wanna kill this fucking crow”. A young man, almost around the age of Ajay, with a long face and piercing eyes, pursed lips, with cropped hair entered the hall. He was rubbing his fingers on his arm as if sustained to some injuries, when he noticed some new faces in the room.
“Rohit, these are my colleague or rather my juniors Kavitha and Shereen”. Ajay introduced us audaciously.
“Oh my.. another case of astute romancing and escapade”. Rohit blurted out eyeing at us.
I felt shy at what Rohit had just delivered as I profoundly swayed my eyes over to Kavitha. She was looking down neither interested in the conversations nor in the guest who had just dropped in, her concentration completely drawn into her intimate friend’s dilapidated tale.
“No, No” Ajay interrupted. “This is something else, I will tell you and by the way guys, this is my intimate friend Rohit”.
“OK, guys not breaking up the matter. Carry on. I wanna wash my hand. The birds here are quite dangerous especially the crows”. He gave a pat on my shoulder, with his piercing eyes fixed on Kavitha, and went inside.
There was a brief pause for Rohit’s presence had indeed disturbed the privacy, Kavitha had wished for. She got up from her seat and looked straight into Ajay’s eyes, as if her looks pierced directly into his heart, such was the rigidness she vivified in her eyes.
“One last question Ajay”. She fettered from spilling out her emotional grievances.
“Who told you there that we had left quite early and the room was empty?”
Ajay began concentrating hard in order to figure out the person when she continued,
“Was it an old bearded man, with long hands and thick eyebrows, with a bent body shape?”
“Yes you are right. I still remember him, an ugly old man. But how did you know”
Kavitha was reticent. Without even turning back to him walked out of the room. I followed her waving my hand to Ajay as he stood transfixed at the door, quite confused seemingly unable to comprehend the character who was his lover’s most intimate friend. As we walked by, I could hear the obnoxious cries from a crow, and Rohit’s warning on the birds made me turn back and look over and over again, keeping my hand over my head, expecting a sudden attack as I saw Kavitha speeding herself strenuously submerged in her thoughts, slightly bothered on the notification and warning.

{To be continued}