Tuesday, August 23, 2016

Living by Bread Alone


Jeemol Koruth Verghese has been spreading the joys of home-made bread
in Kochi 

Photos by Albin Mathew 

By Shevlin Sebastian

Rasheeda Begum, 30, felt depressed. She had asked permission from her conservative Muslim in-laws to attend a one-day baking class, at Kochi, conducted by Jeemol Koruth Verghese, but they said no. Her husband lives and works in West Asia.

Rasheeda threw several tantrums, and stopped having her meals. Finally, the family relented. But when she arrived at Kochi, from Guruvayur, 93 kms away, the mother-of-two was accompanied by two male relatives, who sat on the stairs, outside the door of Eva's Healthy Bakes, throughout the day, providing security for her.

In the end, it turned out well for Rasheeda. “She is a natural talent,” says Jeemol, 34. “Rasheeda picked up the techniques very quickly. And now she is baking all types of bread and has become a star in her locality. It has given a boost to her self-confidence.”

Jeemol's baking classes are growing in popularity in Kochi. “In a way, you can say, I am a 'bread activist',” she says, with a smile. “I want to make people eat home-made bread. It is so much more tasty.”

What Jeemol does not mention is that mass-baked bread has a lot of preservatives in it, so that it lasts a long time. The ingredients include gluten, palmolein, potassium sorbate, calcium propionate and sodium bezonate.

A home-made loaf, which consists of unbleached organic flour and sugar, yeast, water, milk, oil, salt and egg, has a much shorter shelf-life,” says Jeemol. “The bread will go bad within two to three days. But if its refrigerated, it can last a week. To eat it, you just need to steam it.”

Among the many types that Jeemol makes, they include whole wheat bread, baguettes, organic semolina, cibatta, rosemary and braided breads, Olive Herbed Foccacia and the Jewish Challah.

The Challah is a traditional Jewish bread, which is eaten on the Sabbath,” she says. “It is made with honey, olive oil, eggs, but has less sugar.”

But the most popular bread is the foccacia, from Italy. This is made of yeast, olive oil, thyme, herbs like rosemary or basil, black olives and caramalised onions. “Many of my students have never heard of this bread,” she says. “But when they take it home, the families love it. My children also like it a lot.”

Her classes are attended by women, who range in age from 16 to 65. And
most of the participants are happy. Deepa Vijay says, “I attended Jeemol's class, without anyone's knowledge, and the next weekend I baked a yummy loaf and surprised my family, who always considered me as zilch in the kitchen. Now I realise that the step-by-step process of making bread is a stress-buster for my marketing job.”

Asked the secret to making a good bread, Jeemol says, “You need to make it with passion. I feel such a deep sense of satisfaction when the bread rises in the oven. I love the brown crust and the delicious smell. When I make bread at home, thanks to the aroma, it does not take long for my neighbours to know it. So, I always give them a few loaves.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)

Saturday, August 20, 2016

Usha Uthup to sing in honour of Mother Teresa at Rome


Photos: Usha Uthup; a younger Usha sharing the stage with Mother Teresa at Kolkata

Shevlin Sebastian

Whenever singer Usha Uthup would perform, during the functions of the Kolkata-based Missionaries of Charity, singing classic hymns like 'Amazing Grace’ and ‘Abide with me’ she would also sing the 1970s hit pop song, 'Beautiful Sunday'. “Mother Teresa liked it a lot,” says Usha.

Thoughts of Mother Teresa are suffusing Usha's mind, as the former's canonisation, on September 4, at the Vatican, looms closer. Thanks to a special invitation from the Missionaries of Charity, as well as the Vatican, Usha will be attending, along with her son Sunny. Incidentally, Usha had been at St Peter’s Square, on October 19, 2003, to attend the beatification ceremony of the nun. While there she also received a personal blessing from Pope John Paul 11.

Meanwhile, on the evening of September 3, Usha will be singing at a function, at Rome, which will be honouring the life of Mother Teresa.

When Mother Teresa died [on September 5, 1997], I wrote a song called 'The Poorest of the Poor',” she says. “This song was sung throughout the four days her body was kept for public viewing, at Loreto House, Kolkata.”

Here is a sample of the lyrics:

'You filled their hearts with love and peace,
Oh Mother, Mother Teresa,
You loved and gave them reason to live,
You gave your life for the poor,
For the poorest of the poor.'

They depended on you, Mother Teresa
To see them through all their sorrows,
They depended on you, from the slums to the dying,
To live their todays and their tomorrows.’

At the Rome function, Usha will be singing this song as well as a Bengali song.

It will be an act of affection by Usha. Because she had known Mother Teresa for 47 years. “I became close to her because of her charismatic personality,” says Usha. “She was kind, merciful, and had a nice sense of humour. She also had unbelievable inner strength. What I liked was that she did not preach religion. In fact, she only talked about the brotherhood of man.”

And the Mother would offer advice to Usha, as she went through the ups and downs of her life. “She would also tell me, 'My child, bring a smile to everybody's face, with your singing,'” says Usha.

For the singer, Mother Teresa was already a saint when she was alive. “But this canonisation is so huge,” says Usha. “Where does it happen in our lifetime? To walk, talk, sit with somebody, have a cup of coffee, and, later, see her canonised! How many people are fortunate to see something like that? I am so grateful to God for this.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Friday, August 19, 2016

A Paradise In The Middle Of Nowhere


The Quiet island resort, near a branch of the Periyar river, Kerala, radiates silence, tranquility and natural beauty

Photos of the resort by Ratheesh Sundaram

By Shevlin Sebastian

At the village of Paniely Poru, 55 kms from Kochi, a bus is waiting for me. It has the words, ‘The Quiet’, painted on its sides. On a cloudy May afternoon, driver Manish Varghese sets off on a winding, narrow, mud-baked road through the Malayatoor forest. On both sides there are rubber, jackfruit, mahogany and teak trees. The ceaseless buzz of crickets can be heard.

On good days, you can see elephants, wild boar, peacocks, and rabbits,” says Manish, as he navigates the bus over a smooth rock surface, which is part of the road.  

After five kilometres of a bumpy ride, we reach the edge of a branch of the Periyar river. There, two young men, Sanjay and Vijay, are waiting on their boat. Soon, we are going down the river. Both use bamboo poles to guide the boat. There is a gentle ‘slap-slap’ sound, as the water hits the sides. The greenery on the banks dazzles the eye. Slowly, the all-round silence begins to seep into me. The constant buzz of thoughts slows down.  

After a while, the boat stops at an island. I step off and climb a series of steps to reach 'The Quiet – By The River'.  

At the top stands Anil Kurian, the managing director of the Paniely Poru Hotels and Resorts Pvt. Ltd. “Welcome to paradise,” he says.

At first glance, apart from a grassy lawn, with plants and coconut trees, and an infinity swimming pool, you can see stone and wooden cottages with sloping roofs.

Anil leads me to a wooden cottage. The rooms are dark, cosy and pleasant. And there is a story behind the wood. For a long time, a family in the town of Cherthala had wanted to sell the 130-year-old wooden frame of their ancestral house. But no matter how much they tried, they could not do so. “In fact, their great-grandfather had made a prediction: since the house had been originally on an island, it would only go to another island,” says Anil. “And that was what happened. We bought it, dismantled the frames and set it up again on our island.”

When the resort was set up two years ago, Anil noticed a lot of old stones lying on the property. So he decided to use it to make the stone cottages. And inside each room, there is a mantelpiece made of the same stones. “It has a cooling effect,” says Anil. The bed, table and chairs are made of teak wood. And when you step outside, there is a small verandah, with low wooden armchairs. It is a relaxing setting. “You are in the middle of nowhere,” says Adela Drgova from Prague.

Indeed, one is. At one side of the resort, there is a cove, which is shielded by trees, and has a mini waterfall. “It is a natural jacuzzi,” says Anil. “Guests are encouraged to sit below the waterfall, to enjoy a shower. Most of the visitors spend hours in the water. In fact, we have put up floodlights, so that they can use it in the night also.”

Other activities include trekking, visiting a vegetable farm, and a one-hour boat ride at night. “We use a torch to light up the water,” says Anil. “Sometimes, large fishes come to the surface, and we can see them because of their glinting eyes. Manish, who is a local, is an expert at spearing fishes and lobsters.”

Once the catch is brought ashore, the chef CJ Mathew sets up a barbeque on the shore. The fish is cooked and consumed immediately. “Guests are also provided fishing rods, so that they can catch some fish on their own,” says Anil.

Apart from the fish, The Quiet provides local Kerala food. “This includes jackfruit, rice and sambar, beans and spinach,” says Mathew. “We make it with very little spices, to suit the foreign palate.” Interestingly, the resort grows most of these items, as well as the spices, like black pepper, on the island. “So there are no pesticides in the food we provide,” says a smiling Mathew.

Apart from Westerners, there are guests from other parts of India, apart from local corporates, who avail of day-packages on weekdays. But the surprise is that there are regular visitors from the Arab countries. “They love to come during the monsoon season,” says Anil. “When you live in a desert area, the rain is always a miracle.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)

Thursday, August 18, 2016

A Poet's Viewpoint


Author TV Varkey has written a novel through the eyes of Kerala's famed poet Changampuzha Krishna Pillai

Photos: TV Varkey by Melton Antony; Changampuzha Krishna Pillai 

By Shevlin Sebastian

A few years ago, author TV Varkey read the biography of Changampuzha Krishna Pillai written by noted art critic MK Sanu. “It was a good and unbiased narration,” says Varkey. “Changampuzha came across as a complex but interesting person.”

Varkey had been a fan, right from his teenage years. “I love the poems 'Ramanan' and 'Vaazhakkula',” he says.

One day, sometime ago, Varkey felt a desire to write a novel in the voice of Changampuzha. So, he did research, read several books on the poet, apart from articles in magazines and newspapers. Then he sat down to write.

Two years later, the end result has appeared: a 327 page novel, called 'The Poet', which has just been published by Partridge Press, Singapore.

What is unusual is that, instead of writing in Malayalam, like his previous 12 novels and two short-story collections, Varkey has opted for English. Asked why, he says, “English has a worldwide acceptance. If I write in Malayalam, it will reach a small audience. Only a thousand copies will be printed.”

In Malayalam literature, he says, the critics have hailed only about half-a-dozen writers: O V Vijayan, M Mukundan, Paul Zacharia, Kakkanadan, Punathil Kunjabdulla, and Sethu. “They don't pay any attention to the others,” says Varkey. “Many have suffered because of this neglect.”

Changampuzha had also suffered a lot during his life, but it was a different type of pain. When he was nine years old, one evening, he came home, at Edapally, bleeding, after a fight with a friend. His shocked mother beat him with a stick. “That was a turning point,” says Varkey. “Changampuzha adored her. He never expected that his mother would hit him. He went to the back of the house and brooded for many hours.”

But his life changed when he discovered his poetic talent. “Changampuzha became a different person,” says Varkey. “He was able to touch the common man's heart with his poems on love and nature.”

However, like most great artistes, his personal life was in tatters. Apart from being an alcoholic, he was also an insatiable womaniser. “He was tall and handsome and knew how to seduce women,” says Varkey.

Changampuzha probably took after his own father. One day, his dad took Changampuzha along, as he went to his mistress's house. He went inside and made love to her, while the boy stayed outside.

Like his father, Changampuzha also never looked after his family, which consisted of his wife, mother, grandmother, and three children. “Whatever money he earned, he would spend it on drink,” says Varkey. “Nevertheless, he kept on writing.” Eventually, he published several books of poetry, while another two belong to the non-fiction category.

His turning point happened when he returned to Kerala following a stint as a clerk in the Military Accountant's Office at Pune and Kochi. Suffering from rheumatism, he was treated at a hospital near the Naval Base, at Kochi, where he met Dr. Arvind Nair (name changed).

The doctor brought him home and provided treatment. Arvind's wife, Radhika, was a beautiful woman, and an avid fan of Changampuzha. They began an affair in secret. And when Changampuzha went to Chennai, to study law, they would write letters to each other. Soon, the family came to know. At Chennai, two sons of Arvind confronted Changampuzha and gave him a severe thrashing. Later, this led to the rise of tuberculosis, and, death, at an early death of 37.

Nevertheless, Changampuzha had packed more in his short life than many others who have lived long,” says Varkey.

Yes, indeed. The novel reveals the messy but soaring life of a creative genius. 

(The New Indian Express, Kochi and Thiruvananthapuram) 

Wednesday, August 17, 2016

First Time With Legends


COLUMN: LOCATION DIARY

Unni Mukundan talks about his experiences in the films, ‘Janatha Garage’, ‘Avarude Ravukal’ and ‘Mallu Singh’

Photos: Unni Mukundan in 'Mallu Singh' 
 
By Shevlin Sebastian 
 
When actor Unni Mukundan appeared on the sets of the Telugu film, ‘Janatha Garage’, at Hyderabad, recently, he felt nervous. This was the first time that he was going to share screen place with superstar Mohanlal. Unni was playing the son, to Mohanlal, who is a shady character.

I remembered the fantastic work that he has done, and the superstar image that he has,” says Unni.

To increase his nervousness, the crew members told Unni that Mohanlal was doing his role exceptionally well. “And on that first day, I was given five paragraphs of dialogue in Telugu,” says Unni. “I was trying hard to memorise it.”

Nevertheless, Unni had a plan. During their shot, when Unni was supposed to get aggressive with Mohanlal, he decided he would take a threatening step forward, to increase the impact.  

But when the camera began to roll, Mohanlal gave such a fierce look that Unni felt frightened. “I felt I was being overpowered as an actor,” says Unni. “I don’t feel ashamed to say that I could not execute my plan.”

Nevertheless, after the conclusion of the scene, a gracious Mohanlal tapped him on the back and said, “Good job.”  

Unni also had an opportunity to share screen space with another legend: Nedumudi Venu.

This is for the yet-to-be-released ‘Avarude Ravukal’. Unni plays Siddharth, a happy-go-lucky character. “He is a popular guy in college, loves to play cricket, and is a big-time flirt,” says Unni.

For one scene, Unni sits on a white Bullet, wearing stylish sunglasses, his make-up making him look years younger, while behind him is Venu, who is unrecognizable, with a wig, and a red bandana across his forehead. Venu plays a mentor to Siddharth, as well as the characters played by Asif Ali and Vinay Forrt. 

The impromptu shoot, in the month of May, took place outside St. Teresa’s College, Kochi. Unni drove up and told a few girls, standing outside, “Hi, how are you? You look beautiful.” Venu also added a few comments. 

As the scene was getting shot, without the girls being aware of what was happening, one of them said, “Thank you.” Another said, “What?!!” And the third said, “Is that Unni Mukundan?” as the duo drove past.

Unni says, with a smile, “It was so much fun, and, that too, being allowed by the director [Shanil Mohammed] to flirt with girls. But this has been one of my most fulfilling roles.”

Unni also had fun during the shoot of ‘Mallu Singh’, which starred Manoj K Jayan, Kunchacko Boban and himself at Bandipur, Punjab, in December, 2011. The shoot lasted for two months. But after a month, the locals thought that Unni was a Punjabi guy who was doing a Malayalam film. “They would come and talk to me in Punjabi,” says Unni. “Because I knew Hindi, I would tell them that I am a Malayali, but they just would not believe me.”

In the end, Unni became friends with them. “They would bring fantastic food to the sets,” he says. “By the end of the shoot, they wanted me to marry a local girl and settle down in their state doing Punjabi films. I was offered a couple of films, since one of the prominent Punjabi actors, Shivendra Mahal, was playing my father in ‘Mallu Singh’. It was hilarious. I still have good support in Punjab.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)  

Tuesday, August 16, 2016

Uniting The Souls



The Santhigiri Ashram, at Thiruvananthapuram, which does not believe in caste, creed or religion, promotes inter-caste and inter-religious marriages 

Photos: (From left): VS Manjula, C. Jino Jose,  NR Dinakaran and Krishna Chithra. Pic by Kaviyoor Santhosh. Ashram Organizing Secretary Swami Gururethnam Jnana Thapaswi 
 
By Shevlin Sebastian
 
On a cloudy morning in June, C. Jino Jose, along with VS Manjula, enters the ‘Sahakarana Mandiram’ or the ‘Shrine of Togetherness’ at the Santhigiri Ashram in Thiruvananthapuram. This is a holy abode and is situated right next to the Lotus ‘Parnasala’ where the physical remains of the founder Navajyothisree Karunakara Guru (1927-1999) are kept. The couple stops in front of the abode’s altar. Then Jino and Manjula bow their heads. Later, they go to one side and bring back a tray, which contains fruits, two garlands, as well as a lighted lamp.
 
This is placed on a table in front of the altar. At one side, a few sanyasis chant verses from the Skanda Purana. “These verses urge the pair to have a good life, and to share the good and bad together, and to live a life as per the Guru's teachings,” says Ashram Organizing Secretary Swami Gururethnam Jnana Thapaswi.
 
After Jino and Manjula exchange garlands, in front of several saffron-clad sanyasis, they go to one side, where family members, relatives and friends, stand in a queue to throw flowers and chant the Guru Mantra.
 
After that, they are led back to the altar where more prayers are recited. “The marriage concludes in the presence of the Guru,” says long-time devotee Rajeev Devraj.
 
And thus, one more inter-caste marriage has been concluded at the ashram. While Jino, 28, is a Christian, Manjula, 24, is a Hindu. He had seen her when they were studying at the Mar Ivanios College at Thiruvananthapuram, both doing different degree courses. 

“I liked her character,” he says. “Manjula is sincere, simple and down-to-earth. Although we belong to different religions, we are similar in many ways. So I felt that religion will not be a problem. Manjula also said that she has no problem in accompanying me to church.”

Jino first received the permission of his own parents before he approached Manjula's father J. Velayudhan Chettiyar. “The Guru has taught us never to look at caste, creed or religion,” says Velayudhan. “All human beings are the same. I have lived in the ashram for forty years. Manjula has also spent all her life here.”
 
Velayudhan then approached the Guru Apparent, Janani Amritha Jnana Thapaswini, who, after meditation and prayer, gave the go-ahead. “Janani Amritha takes guidance from the guru, looks into the soul of the couple, and sees whether they are compatible,” says Swami Gururethnam.
 
Incidentally, there are two more marriages scheduled for that morning. Anil Kumar weds Asha, but both belong to the Nair caste. On the other hand, NR Dinakaran, who belongs to the Ezhava caste, gets married to Krishna Chithra, a Nair.
 
On an average there are 15-20 marriages conducted every month at the Ashram. “The majority are inter-caste and inter-religious ties,” says Swami Gururethnam. “It is not that all marriages work out well. Sometimes, problems arise. So, we encourage them to come to the ashram, pray to the Guru, and take our help to sort things out.”
 
Meanwhile, the ashram's overall aim is to reach a situation where nobody asks about one's caste or religion while fixing a marriage. “That has been the dream of Navajyothisree Karunakara Guru,” says Swami Gururethnam. “And we want to achieve it.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)

Thursday, August 11, 2016

Telling Jokes On The Set


COLUMN: LOCATION DIARY

Director B. Unnikrishnan talks about his experiences in the films, ‘Grandmaster’ and 'Pramani'

Photos: Director B. Unnikrishnan with Jagathy and Mohanlal on the sets of 'Grandmaster' ; photo of B. Unnikrishnan by Kaviyoor Santhosh 

By Shevlin Sebastian

Director B. Unnikrishnan was taken aback. On the set of his film, ‘Grandmaster’, at Kochi, on March 9, 2012, the final day of the shoot, veteran actor Jagathy Sreekumar told Unnikrishnan he wanted to dub his voice by using the rushes as a reference. “Usually, the dubbing is done after the first edit,” says Unnikrishnan. “But Jagathy told me he wanted to finish it.” And so it was done.

It had been an enjoyable shoot. What Unnikrishnan like the most was the good-hearted teasing that took place between superstar Mohanlal and Jagathy.

And he gives an example. “Jagathy had a particular habit,” says Unnikrishnan. “After lunch, he would always take a nap for half an hour. Once, we were shooting at Cherai beach. And, immediately, after lunch, Jagathy went to sleep in a room at a nearby house. Mohanlal saw Jagathy sleeping through a window.”

The star then borrowed a phone and called up the production executive, Mani (name changed). He changed his voice and said, “I am calling from another location. I need to talk to Jagathy immediately.”

Since Jagathy does not keep a cell phone, Mani took his mobile, went into Jagathy's room, woke him up and said, “Sir, there is a call for you.”

When Jagathy took the phone, Mohanlal said, “Sir, can I tell you an interesting joke?” And they both burst out laughing.

There is a back story to this. Mohanlal was working with Jagathy in ‘Naran’ (2005), a film directed by Joshy. They were shooting late at night, somewhere in Tamil Nadu, when a tall and broad-shouldered man approached the duo and said, in Tamil, “Excuse me.”

Both of them thought he was an important person.

The man paused and said, “Can I tell you an interesting joke?”

They found it weird and ignored him.

Ever since that day, during the 'Grandmaster' shoot, whenever Jagathy would be resting between shots, Mohanlal would come up from behind and say, 'Can I tell you an interesting joke?’” says Unnikrishnan. “Even though Jagathy was always serious and sombre between takes, Mohanlal had the ability to make him laugh.”

On that last day, Jagathy approached Unnikrishnan and complimented him on the film. “Thereafter, he came for the pack-up party, which he usually never does. He then informed me that he would have to travel through the night to reach Kodagu (in Karnataka), where a shoot of Lenin Rajendran’s ‘Idavappathy' was taking place,” says Unnikrishnan.

Unfortunately, during the early hours of March 10, the vehicle hit a median on National Highway 17, at Tenhipalam, in Malappuram district. Jagathy suffered serious head injuries from which he has not completely recovered. “Looking back, if Jagathy had not done the dubbing, before he left, it would have been difficult for me to release the film,” says Unnikrishnan.

In another experience, on the set, 'Pramani' (2010), a young girl was appointed to play Fahadh Faasil's sister in the movie. “She was a bubbly and high-spirited girl,” says Unnikrishnan. “But all of us always treated her like a child.”

She interacted with everybody, except for Fahadh, who, true to his introvert nature, kept to himself. “She had acted with Mammooty in 'Palunku' [directed by Blessey],” says Unnikrishnan.

So, it did come as a complete surprise, when Unnikrishnan was invited to Fahadh's wedding reception, on August 21, 2014, at Thiruvananthapuram, and came to realise that the young girl on the 'Pramani' set had become Fahadh's wife.

"I jokingly reminded Nazriya [Nazim] that she first met Fahadh on the sets of my film,” says Unnikrishan. “She gave me a shy smile.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Wednesday, August 10, 2016

“Keep Your Ears Close To The Ground”


Says former RBI Governor Duvvuri Subbarao during a speech at the Centre for Public Policy Research at Kochi

By Shevlin Sebastian

In April, 2009, the Reserve Bank of India (RBI) was celebrating its Platinum Jubilee year. Duvvuri Subbarao, the then Governor of the RBI went to Chennai to take part in a Town Hall-style meeting, which was telecast nationally.

Around half an hour into the show, Subbarao decided to take a straw poll. He asked the 300 strong audience one question: “How many of you want the RBI to prioritise inflation over growth?”

About half the hands went up. Then he said, “How many of you want the RBI to prioritise growth over inflation? Again half the hands went up.

There was nothing dramatic about that,” says Subbarao. “But then it struck me, just by a visual impression of the hands which went up, that people who wanted to prioritise inflation over growth were the middle-aged and lower income people, who were hurt by inflation, and finding it difficult to balance the family budget.”

On the other hand, those who wanted growth were the young professionals in the 25-35 year group. “They were concerned about jobs, career prospects and had a longer time frame,” says Subbarao. “The message that I got was that there are different constituencies in our society who priories different things. So the question for the RBI was: how does it meet these conflicting priorities?”

Subbarao had come to Kochi to give the 12th Quarterly Lecture of the Centre for Public Policy Research. His topic was: ‘Who Moved my Interest Rate?” This was in reference to his fast-selling book of the same name published by Penguin. Outside the hall, the books were selling steadily. “Nationally, the book is doing very well,” says a smiling V. Madhu, the Kochi-based Sr. Sales Manager of Penguin.

Among the topics he spoke about was how he managed the global crisis of 2008-10, the monetary policy in 2010-12, and the exchange rate in 2013. He also spoke about the difficulties of the job. 

It is very tough for the RBI to predict market reaction,” he says. “Having said that, the effectiveness on any policy depends, to a large extent, on how the market responds.”    

It was an absorbing speech and kept the audience all attentive. His final piece of advice: keep your ears close to the ground. Just before he assumed the post of Governor, in 2008, he went to meet Prime Minister Manmohan Singh, a former Governor.

Singh told him, at the end of the meeting, “When you go to the RBI, you will run the risk of losing touch with what’s happening the country, through your preoccupation with the credit rate, inflation and interest rates, and money supply. Don’t get lost in the numbers. Always remember that there are real faces behind these numbers.”

Subbarao pauses and says, “I have always followed that advice.”  

(The New Indian Express, Kochi) 

Monday, August 08, 2016

An Eye For Letters


The Kozhikode-born graphic designer Sruthi Kainady talks about her experiences on working for the new logo of the Metropolitan Museum of Art in New York

Photos: Sruthi Kainadi by TP Sooraj; the new logo of the Metropolitan Museum of Art

By Shevlin Sebastian

Sruthi Kainady felt a little envious. Every day, she would go to work at the New York office of international brand consultant Wolff Olins (they had designed the logo for the 2012 Olympic Games at London), and she would watch as her colleagues would be working intensely on making a logo for the The Metropolitan Museum of Art (one of the world's finest museums, it has more than 20 lakh pieces of world art spanning 5000 years). Of course, she knew that she was just too new to be selected, just one month (July, 2014) after her graduation in graphic design from the Rhode Island School of Design (RISD).

But suddenly things changed. “One day, after going through several sketches, our creative director Lisa [Smith] asked the whole team to drop everything they were doing and contribute ideas,” says Sruthi.

The Museum wanted to become more accessible to its visitors, which averages six million annually from all over the world. “The team worked feverishly to visually articulate the Met’s key values,” says Sruthi.

She also worked on a few designs. Essentially, Sruthi created a sketch that connected all the letters, of the name, 'The Met', to suggest the museum's ability to connect cultures through art. The team appreciated this concept and developed it further. Thereafter, it was referred to the world-famous typographer Gareth Hague, who gave the finishing touches. ““You need an expert to refine it,” says Sruthi. “What Gareth did is what you see now.”

Yes, it is indeed amazing that the Kozhikode-born Sruthi played an important role in the logo's redesign. “I am so grateful that I got the chance to work with such a world-renowned group,” she says. “It helped me to gain valuable experience.”

Sruthi, 24, is the daughter of noted architect Tony Joseph, and Sonia, an interior designer. She says that her parents always encouraged her. “They did not force me to do anything,” says Sruthi. “They gave me the freedom to find out what I want to do.”

Right from the time, she was a child, Sruthi was obsessed with patterns, shapes and textiles. When the family would return from family trips, she would caption the photos with custom-drawn fonts. “What I do today isn’t all that different,” she says. “At that time I did not realise that there was an entire field that dealt with laying out information in a visual manner.”

Soon after her studies, in Pallikoodam, at Kottayam, till Class 10, then the Dubai American Academy, till Class 12, she went to the RISD.

Meanwhile, apart from the Met, while in RISD, for a class project, Sruthi did the logo design for the Retretti, an underground museum in Finland. “I also did the fonts for the Museum posters, applications and the web site,” she says.

In September, 2015, Sruthi was transferred to the Dubai office of Wolff Olins. While there, she has worked on a high-profile project for the government's transport department.

And she is clearly an asset to the company. Says Marie Succar, former design director at Wolff Olins, Dubai: “Sruthi always challenges the status quo. Her outlook on solving design problems is a curious, creative and logical one. What compliments Sruthi's talent is her personality. She is a sweet, open and transparent soul, which makes working with her a pure joy!'

On a mini-break, at her home town of Kozhikode, Sruthi will soon be moving to the London office of Wolff. “I am all excited about the future,” she says. 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Saturday, August 06, 2016

Still Going Strong


After 90 films, over 35 years, director Priyadarshan embarks on a new genre: the crime-thriller. The film, ‘Oppam’, is slated for a September 8 release

Photos: Director Priyadarshan with choreographer Kala Master; Mohanlal in 'Oppam' 
 
By Shevlin Sebastian
 
On the first day of the shoot of 'Oppam', (Together), a story of a blind lift attendant, at Kochi, in March, superstar Mohanlal told director Priyadarshan that he would not act like an usual blind man.
 
That meant Mohanlal would not blink and look upwards,” says Priyadarshan. “He wanted to act like a normal person.”
 
The director was not surprised. When the duo did research, in Chennai, at a blind school, they observed children, playing and running between the benches, as if they could see. “Those who are born blind are very smart,” says Priyadarshan. “Their sense of sound and direction are very good.”
 
He recalled a blind telephone operator, at the Marriot Hotel, in Chennai, who could remember 10,000 voices. “He walked like a normal man,” says Priyadarshan.  “Those who blink and search for things are people who became blind at a later stage in life.”
 
Priyadarshan decided to make the film, when Mohanlal told him the gist of a story written by newcomer Govindan Vijayan. “What intrigued me was this premise: a blind man sees a murder,” says Priyadarshan. The script has been written by him, but the theme, the murder-thriller, is a first for him.
 
Asked why he was embarking on a different genre, after 90 films, over 35 years, Priyadarshan says, “In the past I have made mistakes by trying to repeat what I have done before. People would tell me we need a film like ‘Poochakkoru Mookkuthi’ or ‘Kilukkam’. But when I tried to do that, it did not do well. Also, in my career, I have done period films like ‘Kaala Pani’, art films like ‘Kanchivaram’ (Tamil), and numerous romantic and slapstick comedies. So I thought, 'Why not try something new?'”
 
When asked about the new trends in Mollywood today, Priyadarshan says, “There are no trends. It has always been the same human emotions: love, hate, joy, sorrow and anxiety. The only thing that has changed is the way a film is made, because of technology. Also, life has become faster, and attitudes have changed. This change is being reflected in the films. Otherwise, it is the same old wine put in a new bottle.”
 
A skilled screenplay writer, he knows exactly what a good script needs. “Every scene should make the audience feel anxious to know what happens next,” says Priyadarshan. “Secondly, finish telling all the background information about the characters in the first reel itself. Never repeat things that you have shown once. Lastly, once you introduce a hook in the first scene, you should maintain it till the end.”
 
Incidentally, ‘Oppam’, which stars Mohanlal, Samuthirakani, Vimala Raman, Anusree, Nedumudi Venu and Mamukkoya, is slated to be released on September 8. Unlike most film-makers, Priyadarshan no longer feels an anxiety about the film’s fate at the box office.
 
During my first 50 films, I would feel this worry,” he says. “But it is no longer there. People say that ‘Midhunam’ is one of my best films. But when it was released it became a flop. A rejection by the audience does not mean that the film is not a good one. What I try to do is to go with my gut feeling and make the best film possible. And then hope for the best.”
 
Finally, when asked to give tips to youngsters about the way to have a long career, Priyadarshan is honest enough to say, “I have no advice. When I look back at my career, I just think how lucky I have been to survive so long. Many of my contemporaries are no longer on the scene. So, God has been very kind to me.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)