Kadwa Sach !!!

क्या आप जानते है इंडिया का वह स्थान जहाँ सबसे सस्ता भोजन उपलब्ध है ? ............

चाय = 1 रूपया प्रति चाय

सूप = 5.50 रुपये

दाल = 1.50 रूपया

शाकाहारी थाली (जिसमे दाल, सब्जी 4 चपाती चावल/पुलाव, दही, सलाद ) = 12.50 रुपये

मांसाहारी थाली = 22 रुपये

दही चावल = 11 रुपये

शाकाहारी पुलाव = 8 रुपये

चिकेन बिरयानी = 34 रुपये

फिश कर्री और चावल = 13 रुपये

राजमा चावल = 7 रुपये

टमाटर चावल = 7 रुपये

फिश करी = 17 रुपये

चिकन करी = 20 .50 रुपये

चिकन मसाला = 24 .50 रुपये

बटर चिकन = 27 रुपये

चपाती = 1 रूपया प्रति चपाती

एक पलते चावल = 2 रुपये

डोसा = 4 रुपये

खीर = 5.50 रुपये प्रति कटोरी

फ्रूट केक = 9 .50 रुपये

फ्रूट सलाद = 7 रुपये

यह वास्तविक मूल्य सूची है

ऊपर बताई गई सारी मदें " गरीब लोगों "केवल और केवल के लिए है जो कि भारत के संसद की केन्टीन में ही उपलब्ध है. और इन गरीब लोगों की तनख्वाह 80,000 रुपये प्रति माह है ............... इसके अलावा इन्हें बोनस के रूप में भारी से भारी घोटाले करके अरबों - खरबों रुपये हडपने की खुल्ली छूट है ...............

और ये सारा का सारा पैसा पब्लिक की जेब से जाता है जिसे हम और आप टैक्स के रूप में चुकाते है...

Review-Dil Toh Baccha Hai Ji

Story: Naren (Ajay Devgn), Abhay (Emraan Hashmi) and Milind (Omi Vaidya) need to add some spark to their love life. They may be roomies but the three of them have diametrically opposed love stories. Naren's lost his heart to his twenty-something secretarial intern (Shazahn) despite being a divorcee on the wrong side of forty.

Abhay is happy to play toy boy to rich and bored housewife, Tisca Chopra until he meets her free-spirited daughter, Shruti Haasan, while Milind Kelkar is willing to do anything for wannabe actor, Shraddha Das, even if it means spending his life's savings for a shrewd climber. Will the three guys live happily ever after?

Movie Review: Madhur Bhandarkar tries to change tracks. He attempts a switch-over from serious, hard-hitting cinema that chooses to expose the underbelly of society to a light-hearted look at the affairs of the heart. Does he succeed? Well, partially so. For Dil To Baccha Hai Ji may have its heart in the right place but the tone is a bit tenuous and the comedy only intermittently breezy.

Each of the three love tracks have their pros and cons. The highpoint of Ajay Devgn's romance is Ajay Devgn of course. The actor does look visibly uncomfortable with all that talk of virginity and when-did-you-lose-it business and actually brings out the guffaws when he breaks into a '70s ballad at a yuppie party. Emraan's dil dosti story stands out for its gleeful dirty rotten scoundrel act and for the sheer dignity that Tisca Chopra adds to the predator woman cameo. With Omi Vaidya, you know what's there to smile about: the guy's boyish innocence and his never-say-die zeal which, as in 3 Idiots, is totally misplaced again. The girls too comfortably slip into their respective shoes, playing heartbreakers to the hilt. While Shazahn is bubbly and sweet, Shruti is cold and calculating, Shraddha is outrageously exploitative and Tisca is mature and moody.

So where's the glitch? First, the love tangle gets repetitive; the length is a bit too long; the humour missing in many places and the Madhur make-over as a comedy maestro somewhat half-hearted. Nevertheless, there's enough mood and attitude in the film to make for a pleasant viewing. And there's Mohit Chauhan too. Check out his melodious ditty, Abhi kuch dino se, which forms the leitmotif of the film. Very hummable.

BOOK & AUTHORS

Book Name	Author
A bend in the river	V.S. Naipal
A brush with life	Satish Gujral
A House of Mr. Biswar	V.S. Naipal
A Million Mutinies Now	V.S. Naipal
A Passage to England	Nirad C.Chodhury
A Prisoner's Scrapbook	L.K. Advani
A River Sutra	Gita Mehra
A sense of time	H.S.Vatsyayan
A strange and subline address	Amit Chaudhary
A suitable boy	Vikram Seth
A village by the sea	Anita Desai
A voice for freedom	Nayantara Sehgal
Aansoo	Suryakant Tripathi Nirala
Afternoon Raag	Amit Chaudhari
Ageless Body, Timeless Mind	Deepak Chopra
Agni Veena	Kazi Nazrul Islam
Ain-i-Akbari	Abul Fazal
Amar Kosh	Amar Singh
An autobiography	Jawaharlal Nehru
An Equal Music	Vikram Seth
An Idealist View of life	Dr. S. Radhakrishan
Amrit Aur Vish	Amrit Lal Nagar
Anamika	Suryakant Tripathi Nirala
Anandmath	Bankim Chandra Chatterjee
Areas of Darkness	V.S. Naipal
Arthashastra	Lautilya
Ashtadhyayi	Panini
Autobiography of an Unknown India	Nirad C. Choudhury
Bandicoot Run	Manohar Malgonkar
Beginning of the Beginning	Bhagwan Shri Rajneesh
Between the Lines	Kuldip Nayyar
Beyond Modernisation, Beyond Self	Sisirkumar Ghose
Bhagvad Gita	Ved Vyas
Bharat Bharati	Maithilisharan Gupt
Bharat Durdasha	Bhartendu Harischandra
Border and Boundaries: women in India's Partition	Ritu Menon & Kamla Bhasin
Bharat Bharati	Maithili Saran Gupt
Breaking the Silence	Anees Jung
Bride and the Sahib and the other stories	Khushwant Singh
Broken Wings	Sarojini Naidu
Bubble, The	Mulk Raj Anand
Buddha Charitam	Ashwaghosh
By God's Decree	Kapil Dev
Chandalika	Rabindra Nath Tagore
Chandrakanta Santati	Devkinandan Khatri
Chemmen: Thakazhi	Sivasankara Pillai
Chitra	Rabindranath Tagore
Chitralekha	Bhagwati Charan Verma
Chitrangada	Rabindra Nath Tagore
Circle of Reason	Amitav Ghosh
Clear Light of Day	Anita Desai
Confessions of a Lower	Mulk Raj Anand
Confrontation with Pakistan	B. M. Kaul
Conquest of Self	Mahatma Ghandhi
Continent of Crime	Nirad C Chaudhary
Coolie	Mulk Raj Anand
Court Dancer	Rabindranath Tagore
Culture in the Vanity Bag	Nirad C Chaudhury
Days of My Years	H.P. Nanda
Daybhag	Jeemootwahan
Death of a City	Amrita Pritam
Devdas	Sharat Chandra Chatterjee
Discovery of India	Jawaharlal Nehru
Distant Drums	Manohar Malgonkar
Distint Neighbours: India	Kuldip Nayar
Divine Life	Swami Shivananda
Durgesh Nandini	Bankim Chandra Chatterjee
Dynamics of Social Change	Chandra Shekhar
Eight Lives	Rajmohan Gandhi
English August	Upamanyu Chatterjee
Essays on Gita	Sri Aurobindo Ghosh
Eternal Himalayas	Major H.P.S. Ahluwalia
Eternal India	Mrs Indira Gandhi
Faces of Everest	Major H.P.S. Ahluwalia
Foreign Policy of India	I.K. Gujral
Forty Nine Days	Amrita Pritam
From Rajpath to Lokpath	Vijaya Raje Scindia
Gaban	Munsi Premchand
Ganadevata	Tara Shankar Bandopadhyaya
Gardener	Rabindra Nath Tagore
Geet Govind	Jayadev
Ghasiram Kotwal	Vijay Tendulkar
Gitanjali	Rabindranath Tagore
Gita Rahasya	Bal Gangadhar Tilak
Glimpses of World History	Jawaharlal Nehru
Godan	Prem Chand
Golden Threshold	Sarojini Naidu
Gora	Rabindra Nath Tagore
Guide	R.K. Narayanan
Harsha Charita	Bana Bhatta
Harvest	Manjula Padmanabhan
Heir Apparent	Dr. Karan Singh
Himalayan Blunder	Brigadier J.P. Dalvi
Hind Swaraj	M.K. Gandhi
Hindu View of Life	Dr. S. Radhakrishan
Hinduism	Nirad C. Choudhury
History of India	Romila Thapar
Hullabaloo in a Guava Orchard	Kiran Desai
Humanyunama	Gulbadan Beghum
Hungary Stones	Rabindranath Tagore
I follow the Mahatma	K.M. Munshi
Idols	Sunil Gavaskar
India After Nehru	Kuldip Nayyar
India Divided	Rajendra Prasad
India Unbound	Gurcharan Das
India of Our Dreams	M.V. Kamath
India Wins Freedom	Abdul Kalam Azad
India's Priceless Heritage	N.A. Palkhivala
Indian Philosophy	Dr. S. Radhakrishan
Indira Ghandi Returns	Khushwant Singh
Indira Gandhi: Badhate Kadam	Khushwant Singh
Inscrutable Americans	Anurag Mathur
Interpreter of Maladies	Jhumpa Lahiri
It's Always Possible	Kiran Bedi
Jai Somnath	K.M. Munshi
Jayadev	Geet Govind
Jhansi Ki Rani	Vrindavanlal Verma
Kadambari	Bana Bhatt
Kagaz Te Kanwas	Amrita Pritam
Kamasutra	S.H. Vatsyayan
Kanthapura	Raja Rao
Kapala Kundala	Bankim Chandra Chatterjee
Karmabhumi	Munsi Premchand
Kashmir: A Tale of Shame	Hari Jaisingh
Kashmr: A Tragedy of Errors Kayar	Thakazhi Sivasankara Pillai
Kitab-ul-Hind	Al-Beruni
Kitni Nawon Kitni Bar	S.H. Vatsyayan
Kulliyat	Ghalib
Kumar Sambhava	Kalidas
Kurukshetra	Ramdhari Singh Dinkar
Last Burden	Upamanyu Chatterjee
Life Divine	Sri Aurobindo Ghosh
Lipika	Rabindranath Tagore
Lost Child	Mulk Raj Anand
Mahabharta	Ved Vyas
Mahatma Gandhi and his Apolstles	Ved Mehta
Malgudi Days	R.K. Narayanan
Malti Madhav	Bhavabhuti
Meghdootam	Kalidasa
Mitakshara	Vigyaneshwar
Mrichhakatikam	Shudrak
My Days	R.K. Narayanan
My India	S. Nihal Singh
My Life and Times	V.V. Giri
My Music, My Life	Pt. Ravi Shankar
My Presidental Years	R. Venkatraman
My Truth	Indira Gandhi
Mudra Rakshas	Vishakhadatta
Natural History	Plini
New Dimensions of India's Foreign Policy	A.B. Vajpayee
Nisheeth	Uma Shankar Joshi
Operation Bluestar: The True Story	Lt. Gen K.S. Brar
Our Films, Their Films	Satyajit Ray
Padmavat	Malik Mohammed Jayasi
Painter of Signs	R.K. Narayan
Panchatantra	Vishnu Sharma
Parineeta	Sharat Chandra Chatterji
Past Forward	G.R. Narayanan
Pather Panchali	Bibhuti Bhushan
Plain Speaking	N. Chandrababu Naidu
Portrait of India	Ved Mehta
Post Office	Rabindranath Tagore
Prem Pachisi	Munsi Prem Chand
Prem Vatika	Raskhan
Rajatarangini	Kalhana
Ram Charita Manas	Tulsidas
Ramayana	Maharishi Valmiki
Raghuvamsa	Kalidas
Ranghbhommi	Munsi Premchand
Ratnavali	Harsha Vardhan
Ravi Paar (Across the River)	Gulzar
Red Earth and Pouring Rain	Vikram Chandra
Ritu Samhara	Kalidas
Saket	Maithili Sharan Gupta
Satya Karischandra	Bhartendu Harischandra
Sakharam Binder	Vijay Tendulkar
Secular Agenda	Arun Shourie
Seven Summers	Mulk Raj Anand
Shadow from Ladakh	Bhabani Bhattacharya
Shahnama	Firdausi
Shrikant	Sharat Chandra Chatterji
Snakes and Ladders: Essays on India	Gita Mehta
Social Change in Modern India	M.N. Srinivas
Sultry Days	Shobha De
Sunny Days	Sunil Gavaskar
Sursagar	Kabirdas
Swami and Friends	R.K. Narayanan
The Bride's Book of Beauty	Mulk Raj Anand
The Cat and Shakespeare	Raja Rao
The Company of Women	Khushwant Singh
The Critical Years: In Jail	Kuldip Nayyar
The Dark Room	R.K. Narayanan
The Degeneration of India	T.N. Seshan
The Glass Palace	Amitav Ghosh
The God of Small Things	Arundhati Roy
The Golden Gate	Vikram Seth
The Judgement	Kuldip Nayyar
The Men Who Killed Gandhi	Manohar Malgonkar
The Seven Spiritual Laws of Success	Deepak Chopra
The Songs of India	Sarojini Naidu
The Story of My Experiments with Truth	Mahatma Gandhi
The Strange and Subline Address	Amit Chaudhuri
The Sword and the Sickle	Mulk Raj Anand
The vendor of Sweets	R.K. Narayanan
The way of the Wizard	Deepak Chopra
Train to Pakistan	Khushwant Singh
Two Leaves and a Bud	Mulk Raj Anand
Untold Story	B. M. Kaul
Urvashi	Ramdhari Singh Dinkar
Visarjana	Rabindra Nath Tagore
Waiting for the Mahatma	R.K. Narayanan
Wake up India	Annie Besant
We, Indians	Khushwant Singh
Wreck, The	Rabindranath Tagore
Yama	Mahadevi Verma
Yashodhara	Maithili Sharan Gupt
Years of Pilgrimage	Dr. Raja Ramana

Film Review- Dhobi Ghat

Film: ‘Dhobi Ghat’; Cast: Aamir Khan, Prateik Babbar, Monica Dogra, Kriti Malhotra; Director: Kiran Rao; Rating: **** 1/2
Every year literally hundreds of thousands throng to the city of dreams, Mumbai. To cover so many dreams in a small span of an-hour-and-a-half calls for some brilliant filmmaking. And watching ‘Dhobi Ghat’ will make you realise that there indeed have been very few debuts as stunning as this one.

‘Dhobi Ghat’ is the story of five characters – Yasmin (Kirti Malhotra), Arun (Aamir Khan), Shai (Monica Dogra), Munna (Prateik Babbar) and the city of Mumbai. After a one nightstand with Arun, who is a painter, Shai, an investment banker from America and an amature photographer obsesses over him, while her dhobi Munna pines for Shai.

Arun, meanwhile, discovers a few tapes in his flat from the previous tenant and,watching them, falls in love and find a muse in the woman who has made them – Yasmin. Each of the character is thus looking for something in one another, while the fifth character, Mumbai, simply stares blankly at them without comment or prejudice.

One of the best things about the film is its casting. Each of the actors complement the film, its director, and the city of Mumbai perfectly. Each is believable in his or her own garb. Prateik is bound to become the heartthrob of the generation, while Kirti Malhotra’s innocence has to be seen to be believed. Real life singer Monica brings out the uncertainty of her character beautifully.

The only one who is a little out of place, and hence the small sore point of the film is actor Aamir Khan. He begins shakily and is self conscious, unable as he is perhaps of shaking away two decades of Bollywood’s acting baggage. By the end of it though, he manages to get into the film’s rhythm and gives a believable performance.

It is hence not Kiran Rao’s luck that she got superstar husband Aamir to act in the film, but Aamir’s luck that he is in this film, which will go down in the history of cinema as one of the best character sketches of a city and its people. Very few people in the world have sketched any city with such tender love, care and affection. And to add to the lilting melody that is Mumbai in the film is composer Gustavo Santaolalla who gives a haunting background score.

Director Kiran Rao brilliantly manages to find a physical representation of Mumbai city, in the old woman who blankly stares at all the characters, but says nothing. The metaphor is simple but powerful – Mumbai is a dying, decaying city, but one that is definitely alive and watches over all.

And like the character of Arun who becomes a voyeur into the life of Yasmin, it is Kiran Rao that has played voyeur on the city of Mumbai.

Another good thing about the film is that nowhere does it slacken or lose pace. On the contrary, it unfolds almost like a mystery, like a rose bud, only to scintillate the senses in full bloom. It thus might become the low budget indie Indian film that will finally make money like big-budget Bollywood fare.

In the end though, that wouldn’t matter much to the audience who will find themselves somewhere in the film. Each one of the characters in the film is like Mumbai, and Mumbai is like each one of us who inhabit it.