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Account of the production of Shalimar, a feature film in Hindi and English.
Shalimar the Clown is a masterpiece from one of our greatest writers, a dazzling novel that brings together the fiercest passions of the heart and the gravest conflicts of our time into an astonishingly powerful, all-encompassing story. Max Ophuls’ memorable life ends violently in Los Angeles in 1993 when he is murdered by his Muslim driver Noman Sher Noman, also known as Shalimar the Clown. At first the crime seems to be politically motivated—Ophuls was previously ambassador to India, and later US counterterrorism chief—but it is much more. Ophuls is a giant, an architect of the modern world: a Resistance hero and best-selling author, brilliant economist and clandestine US intelligence official. But it is as Ambassador to India that the seeds of his demise are planted, thanks to another of his great roles—irresistible lover. Visiting the Kashmiri village of Pachigam, Ophuls lures an impossibly beautiful dancer, the ambitious (and willing) Boonyi Kaul, away from her husband, and installs her as his mistress in Delhi. But their affair cannot be kept secret, and when Boonyi returns home, disgraced and obese, it seems that all she has waiting for her is the inevitable revenge of her husband: Noman Sher Noman, Shalimar the Clown. He was an acrobat and tightrope walker in their village’s traditional theatrical troupe; but soon Shalimar is trained as a militant in Kashmir’s increasingly brutal insurrection, and eventually becomes a terrorist with a global remit and a deeply personal mission of vengeance. In this stunningly rich book everything is connected, and everyone is a part of everyone else. A powerful love story, intensely political and historically informed, Shalimar the Clown is also profoundly human, an involving story of people’s lives, desires and crises, as well as—in typical Rushdie fashion—a magical tale where the dead speak and the future can be foreseen.
A message is received from a Terran Ship which was lost over a decade ago. The ship and the message provoke reactions and the travel to where that ship is to encounter the events reported are the adventure.
Keith Partridge has been one of the world's leading adventure cameramen for two decades. The BAFTA winning Touching The Void, Beckoning Silence and Human Planet are just some of the films that have taken him to the ends of the earth. If some astonishing location has amazed you on television, or you have watched a climber, or explorer, in some outrageous position, the chances are that Keith Partridge was there with his camera. From the caves of Papua New Guinea to the summit of Mount Everest, no location has been too dangerous, no environment too wild, for his daring and consummate artistry. In this lavishly illustrated and beautifully designed volume Keith Partridge tells his story, describes the challenges and discusses the daring adventurers he has shared with personalities such as Steve Backshall, Joe Simpson, and Stephen Venables.
In January 2005 Tony Ashenden sat down after lunch and ... disappeared. When he reappeared 20 minutes later his entire world had changed. During the next nine months a series of extraordinary experiences led him to question his sanity and the very meaning of life. Tales of Bellerophon -On the Banks of the Shalimar is the tale of one man's soul journey, a perilous adventure into unknown worlds beyond our form and time; in which he struggles both to understand these experiences and to reconcile his own identity with the different person he becomes. How events of childhood and youth are revealed for their true meaning and life's purpose expands beyond comprehension. Are we one or many? How did Man evolve? These and other fundamental questions are answered in this life changing account. This book is a revelation of human nature beyond the grave, of a continuity that sobers the most expectant and will shock those secure in their belief that death is the end.
The Hindi film industry, among the most prolific in the world, has delighted audiences for decades with its colourful, exquisite and sometimes startling costumes. But are costumes more than just a source of pleasure? This book, the first in-depth exploration of Hindi film costume, contends that they are a unique source of knowledge about issues ranging from Indian taste and fashion to questions of identity, gender and work. Anthropological and film studies approaches combine to analyze costume as the outcome of production processes and as a cinematic device for conveying meaning. Chapters lead from the places where costume is planned and executed to explorations of characterization, the actor body, spectacles of fashion, to the imagining of historical or fantasy worlds through dress, to the power of stardom to launch clothing styles into the public domain. As well as charting the course of film costume as it parallels important trends in cultural history, the book considers the future of Hindi film costume, in the context of new strains of filmmaking that stress unvarnished realism. Fashioning Bollywood will appeal to students and scholars of Indian culture, anthropology and fashion, as well as anyone who has seen and enjoyed Hindi films.
Gyaneshwar Purgaus was becoming increasingly disillusioned with his job as a nurse when he decided to do the unthinkable: hitchhike from England to India. It took courage and determination to give up everything and venture into the unknown, but once he gave up his job, there was no turning back. He set out with his girlfriend, Alison, in 1982, and quickly discovered that hitchhiking is a great way to travel on the cheap. Some places were easy to get a ride-others were much harder. Once, he had to wait nine hours. He learned to observe comings and goings, the ways people behave, their ways of life, and much more during these waiting spells. He also learned to control his emotions. Join the author as he learns the do's and don'ts of hitchhiking as he travels across Scandinavia, Europe, the Middle East, and Asia before getting to India-meeting interesting characters, some not-so-nice people, getting arrested at gunpoint, and seeing glorious sights along the way.
A tall, yellow-haired young European traveller calling himself “Mogor dell’Amore,” the Mughal of Love, arrives at the court of the real Grand Mughal, the Emperor Akbar, with a tale to tell that begins to obsess the whole imperial capital. The stranger claims to be the child of a lost Mughal princess, the youngest sister of Akbar’s grandfather Babar: Qara Köz, ‘Lady Black Eyes’, a great beauty believed to possess powers of enchantment and sorcery, who is taken captive first by an Uzbeg warlord, then by the Shah of Persia, and finally becomes the lover of a certain Argalia, a Florentine soldier of fortune, commander of the armies of the Ottoman Sultan. When Argalia returns home with his Mughal mistress the city is mesmerised by her presence, and much trouble ensues. The Enchantress of Florence is a love story and a mystery – the story of a woman attempting to command her own destiny in a man’s world. It brings together two cities that barely know each other – the hedonistic Mughal capital, in which the brilliant emperor wrestles daily with questions of belief, desire and the treachery of sons, and the equally sensual Florentine world of powerful courtesans, humanist philosophy and inhuman torture, where Argalia’s boyhood friend ‘il Machia’ – Niccolò Machiavelli – is learning, the hard way, about the true brutality of power. These two worlds, so far apart, turn out to be uncannily alike, and the enchantments of women hold sway over them both. But is Mogor’s story true? And if so, then what happened to the lost princess? And if he’s a liar, must he die?