‘Modi’s win will see India’s soul lost to a dark politics,’ says ‘The Guardian’ editorial
Prime Minister Narendra Modi’s victory in the national elections will see India’s soul “lost to a dark politics”, and this is bad news for the country and the world, British newspaper The Guardian said in an editorial on Thursday. The editorial said Modi had threatened “independent India’s most precious facet: a functioning multi-party democracy”.
The newspaper’s criticism of Modi noted that he is a “divisive figure” but “undoubtedly a charismatic campaigner”, who “deployed with terrible effect false claims and partisan facts”. The Congress and the Nehru–Gandhi family, meanwhile, will have to “seriously rethink” how to defeat him, the editorial said.
The editorial said the Hindu nationalism movement that Modi is part of is changing India for the worse, with its focus on upper-caste Hindus, pro-corporate economic growth, cultural conservatism, “intensified” misogyny, and a “firm grip on the instruments of state power”.
The article made remarks about Indian Muslims being “political orphans”, their declining seat share in Parliament, and how Hindutva views them as second-class citizens. It said Modi had recklessly taken India and Pakistan close to war earlier this year.
But Modi’s victory, despite a “spluttering economy”, should perhaps not be surprising, the editorial said, citing a 2017 survey that showed that India had the greatest support for autocratic rule.
About the Bharatiya Janata Party, the newspaper said the party “pays lip service to reducing the yawning inequalities that disfigure India”, and the role of caste and religious conflict in India’s party system suits the outfit. The Opposition, meanwhile, needs to run a “distinctive campaign on an egalitarian platform”, and replace identity-based fights with “political competition over how to benefit all Indians”, the editorial said. “That will require an Opposition in India far savvier and more in touch with the country’s poor than exists today,” it said.
Pankaj Mishra in The New York Times
In an article for The New York Times, journalist and author Pankaj Mishranoted how Modi’s “raw wisdom” had made India suffer for five years, proving him to be “dangerously incompetent”. He wrote about threats to minorities and lower-caste Hindus, as well as dissenting journalists and women. Mishra said that during Modi’s rule, India had witnessed a “savage assault on not just democratic institutions and rational discourse but also ordinary human decency”.
In the article titled “How Narendra Modi Seduced India With Envy and Hate”, Mishra wrote that voters had chosen overwhelmingly to “prolong this nightmare”. “The sources of Mr. Modi’s impregnable charisma seem more mysterious when you consider that he failed completely to realize his central promises of the 2014 election: jobs and national security,” Mishra said.
The writer also said that corporate-owned media had “fervently built up Modi as India’s saviour”.“Since 2014, Mr. Modi’s near-novelistic ability to create irresistible fictions has been steadily enhanced by India’s troll-dominated social media as well as cravenly sycophantic newspapers and television channels,” said the author of the book Age of Anger. He added that the Opposition was right to suggest that the Election Commission had been “shamelessly partisan”.
Mishra said Modi had exploited the “long dormant rage” against India’s “self-perpetuating post-colonial rulers”, noting how previous governments had left “no possibility of dialogue with a metropolitan ruling class of...Godlike aloofness, which had cruelly stranded us in history while itself moving serenely toward convergence with the prosperous West”.
Meanwhile, satirical website The Onion also had a take on Modi’s huge victory. The Onion put up a photo of Modi accompanied with the headline, “India Continues Surge Towards Status as First-world Nation by Reelecting Racist Right-wing Authoritarian”.
courtesy: scroll.in
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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.
