There was a time when June meant copious rains. Lakes, rivers, and reservoirs would over-flow and politicians would take the opportunity to offer prayers to these water bodies. Called as offering of bagina, politicians used the occasion to get publicity in the media. This state-sponsored ritual has significance as it is a form of thanksgiving to the rain gods for their bounty which would help farmers’ carry out their agricultural operations smoothly, resulting in the overall economic prosperity.
What is going on now on the river fronts stands in stark contrast. This time, the state is sponsoring a ceremony to immerse the ashes of the Covid victims. Revenue Minister R Ashok who oversaw the arrangements for this ceremony recently on the banks of the river Cauvery claimed that he considered it his privilege to do this traditional post-cremation ceremony as it is a belief that when the ashes of the dead, preserved in small clay pots, are immersed in the flowing waters, the souls of the deceased attain their liberation. The cultural significance of the belief apart, the minister’s exuberance over his participation in an event of this nature is absurd. The government instead of lamenting the fact that a situation like this has arisen, primarily because of its own multiple failures, seems to be considering it as an achievement that it could organize the event.
As thousands of people fell victim to the dreaded Covid-19 pandemic in the absence of immediate medical attention, the relatives were too scared to perform the last rites of the victims or in some cases, they did not have the resources to do this. Instead of taking pride in the fact that the government could sponsor the ritual in which the unclaimed ashes of victims were duly released into the river, the government should have used the occasion to introspect over its all-round failures which had led to the death of so many people during the pandemic.
Earlier, ministers of this government had taken pride in the fact that they were able to put up temporary cremation grounds and to provide refreshments to those who brought bodies of their near and dear for cremation. This was when the existing crematoria in many parts of the state could not cope with the pressure of steady flow of bodies. Here again, the ministers instead of owning up the responsibility for the death of so many people, which is a direct consequence of gross inadequacy of health infrastructure, used the occasion as a publicity event. Nothing could expose the government’s insensitivity more than this.
Ever since the pandemic started playing havoc, local administration, various social organizations, and even individual volunteers have been disposing off hundreds of bodies, which remained unclaimed. Now, suddenly the minister sprang up to organize this post-cremation ritual and to publicize the event in the media. Generally, these rituals vary widely across castes and communities, and nobody demanded that the state should sponsor a standardized ceremony. Organizing events of this sort is not the primary responsibility of the government. This was obviously a ploy to divert the public attention from the failures of the government, which led to so many deaths in the first place. Second, the government also failed to take action against people who were capitalizing on the people’s misery by allotting hospital beds and life-saving medicines in black market.
More importantly, it is ironical that the state, which has been organizing caste-based vaccination camps privileging priestly classes over Dalits for administering Covid-19 vaccine, is now organizing post-cremation rituals for the dead according to Brahminical traditions disregarding the diverse social traditions that the people followed for this ceremony. The state deputy chief minister’s justification for caste-based vaccine camps, a gross discriminatory practice amidst a humanitarian crisis, was even more disconcerting. ‘Don’t priests have a right to get vaccinated?’ he asked in response to the criticisms. Of course, the priests have the rights but so do others. The question is why should people belonging to one caste be prioritized over others in the administration of vaccine? At least now, the Revenue Minister, who was so keen on organizing the ceremony for mass immersion of the ashes of Covid victims in accordance with Vedic Brahminical traditions, should take up the responsibility of arranging free vaccination for the less fortunate castes and communities.
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Shah Rukh Khan, Kajol unveil ‘DDLJ’ sculpture at London’s Leicester Square
London (PTI): Bollywood stars Shah Rukh Khan and Kajol huddled under an umbrella on a rainy Thursday in London to unveil their bronze likeness from an iconic ‘Dilwale Dulhania Le Jayenge’ scene.
The sculpture of the duo joins Leicester Square’s ‘Scenes in the Square’ trail depicting memorable shots from some of the world’s most famous films, with ‘DDLJ’ marking a Bollywood first and the 30th anniversary of the 1995 box-office hit. It is in this popular London square that SRK as Raj and Kajol as Simran first cross paths unknowingly.
“DDLJ was made with a pure heart. We wanted to tell a story about love, how it can bridge barriers and how the world would be a better place if it had a lot of love in it, and I think this is why 'DDLJ' has had a lasting impact for over 30 years now," said Khan.
“Personally, 'DDLJ' is part of my identity, and it is humbling to see film, and Kajol and me, receiving so much love since it was released,” he said.
He expressed his gratitude to the Heart of London Business Alliance, behind the cinematic trail at Leicester Square, for celebrating ‘DDLJ’ and “immortalising” its lead stars.
“Seeing ‘DDLJ’ become the first Indian film to be honoured in the iconic Scenes in the Square trail is an emotional moment and has brought back so many memories.
"I feel immense pride knowing the film has been embraced around the world, and I want to share this moment with the entire cast and crew of ‘DDLJ’, my friend and director Aditya Chopra and the Yash Raj Films family. This is a moment I will never forget,” added Khan.
Kajol, joined by her daughter Nysa and son Yug, posed with Khan in front of the statue as she braved the rain in a green saree.
“It’s incredible to see ‘Dilwale Dulhania Le Jayenge’ continue to receive so much love, even 30 years later. Watching the statue being unveiled in London felt like reliving a piece of our history - a story that has truly travelled across generations,” said Kajol.
“Seeing it find its rightful place in Leicester Square, a location of such enormous significance to ‘DDLJ’, makes this moment even more special. For the film to be honoured in this way in the UK – the first Indian film to receive such recognition – is something that will forever stay in the hearts and minds of all the ‘DDLJ’ fans across the world,” she said.
Their statue, captured in a dancing pose from the hit song ‘Mehndi Laga Ke Rakhna’, joins the likes of Harry Potter, Bridget Jones, Mary Poppins, and Batman in what is dubbed as an ever-growing celebration of movie magic in a square packed with multiplex cinema screens.
“When ‘Dilwale Dulhania Le Jayenge’, DDLJ, was released 30 years ago, the film became a defining moment for Indian cinema and changed the face of the industry, capturing the hearts of everyone who saw it all over the globe," said Akshaye Widhani, CEO of Yash Raj Films.
“We’re thrilled to be the first Indian film to be represented in ‘Scenes in the Square’. It also marks 30 years of DDLJ, a film that has spread love and joy globally, and shows the cultural impact it has had in UK.
“We are honoured that our superstars and our film are being recognised on the world stage alongside the Hollywood elite, from Gene Kelly to Laurel & Hardy to Harry Potter. This statue will be a great way to express the international appeal of Indian movies and build bridges amongst communities through cinema,” he said.
Since its release in 1995, ‘DDLJ’ has become the longest-running film in Hindi cinema history.
Ros Morgan, Chief Executive at Heart of London Business Alliance, said: “We’re proud to welcome global megastars Shah Rukh Khan and Kajol to our Scenes in the Square trail.
"Dilwale Dulhania Le Jayenge is a cinematic phenomenon that has shaped generations, and London’s first tribute to Indian cinema honours a story whose magic continues to captivate audiences worldwide.”
It is a particularly special year for the film, with a musical based on the romance playing to packed houses at Manchester’s Opera House earlier this year. Aditya Chopra reprised his role as director of the English language stage production, ‘Come Fall In Love – The DDLJ Musical’, which revolved around the love story of Simran and Roger.
The script was a nod to the original as it followed Simran as a young British Indian woman who finds herself engaged to a family friend in India in an arranged marriage. However, the plot thickens when she falls in love with a British man named Roger.
Bade Bade Deshon Mein, Aisi Chhoti Chhoti Baatein Hoti Rehti Hain, Senorita!
— Shah Rukh Khan (@iamsrk) December 4, 2025
Thrilled to unveil the bronze statue of Raj & Simran at London’s Leicester Square today, celebrating 30 years of Dilwale Dulhania Le Jayenge (DDLJ)!
Incredibly delighted that DDLJ is the first Indian… pic.twitter.com/8wjLToBGYc
