Kesari Veer Movie Review: Grand in scope, but struggles with storytelling

: Based on true events, the film tells the historical tale of Hamirji Gohil (Sooraj Pancholi), a warrior who valiantly stood against an army of the Tughlaq Empire to defend Saurashtra's Somnath Temple.: Director Prince Dhiman's historical drama is an addition to the slew of movies that bring to light the story of an unsung hero, capturing a lesser-known chapter of India's rich past. The first Jyotirling, Somnath, is believed to have been destroyed 17 times by various invaders and rulers. This film revisits one such episode, when the dreaded marauder of the Tughlaq Empire, Zafar Khan (Vivek Anand Oberoi), attacked the temple to plunder its gold. Hamirji Gohil, the prince of Arthila, vowed to protect the temple and fought the battle with unwavering courage.A parallel track follows the fierce Shiv-worshipping Bhil community, led by their king, Vegda (Suniel Shetty). Part of the narrative focuses on how Hamir mobilises his troops and the Bhils to confront the formidable enemy. While the battle to protect the temple remains central, Kanubhai Chauhan's story and Shitiz Srivastava's screenplay take several detours before reaching the climax. The romantic arc between Hamir and Rajal (Akanksha Sharma) plays out at random intervals, detracting from the movie's main narrative. Song and dance sequences further disrupt the flow. Hamir's interaction with the Bhil community—where he grows closer to Rajal and bonds with the villagers—also stretches the runtime and slows the film's pacing.The film's treatment—with Vikas Joshi's cinematography and action choreography by Kevin Kumar and Anand Shetty—leans heavily into stylised realism, hyper-real action aesthetics, speed ramping, and other visual techniques typical of war and battle epics. While overdoing these elements, the film also features gimmicky animation and VFX, which become glaring in scenes like Rajal protecting a lioness from poachers, cannons obliterating a forest during the climactic war, and many others.Though the film states that certain elements have been dramatised, it often stretches believability too far, such as a beheaded Hamirji continuing to fight in an extended sequence or Vegda balancing a monumental Shiv Ling on two lances to prevent it from falling to the ground. There are several inconsistencies, like Hamir and Rajal's elaborate wedding sequence right before the battle, and Zafar's army inexplicably appearing in implausibly large numbers. While the climactic battle is visually appealing, its excessive length dilutes the overall impact.Sooraj Pancholi handles action sequences well in an otherwise passable performance. Suniel Shetty, as the Shiv-bhakt Bhil leader, delivers a grounded performance, though his look feels unconvincing. Debutant Akanksha Sharma looks ethereal on screen but remains visibly raw in her craft. Vivek Oberoi as the ruthless Zafar Khan often slips into theatrics.Despite a few flashes of visual appeal,falters due to inconsistencies, length, uneven storytelling, and overdramatisation. This lesser-known tale of an unsung hero had a promising premise, but the lack of narrative conviction prevents it from taking a flight.

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Time of India

6 days ago

• Time of India

10 classic traditional art forms to brighten your walls, and shelves

Inviting Indian artwork into your home adds stories, history, and a splash of color to your day-to-day life. Most Indian folk painters have learned their skill from family and neighbors, not art schools, so each piece carries the weight of community memory. Tired of too many ads? go ad free now Their work springs straight from daily ritual, festival, and custom, turning humble moments into lasting images. Because the styles vary so widely, a single mural or scroll can shift a plain room into something lively, while remaining able to sit quietly beside minimalist furniture. Indian handwork, by its very nature, carries small variations that remind us a real person made the piece, and that slight imperfection is often the most welcoming detail in a modern space. Bhil painting , Madhubani painting , and more, art forms you can use in your home decor: The short list that follows gives you fresh ways to add cultural flavor and personal spirit throughout your rooms. Aipan Art (Uttarakhand) : This age-old craft, rooted in Hindu, Jain, and Buddhist lore, features patterns pulled straight from hills, rivers, and communal beliefs. You will find those white, rice-flour motifs framing Puja corners or welcoming guests at the front door. It holds deep cultural and religious significance, adorning floors and walls of Puja rooms and home entrances. Assamese Miniature Painting (Assam) : Known for delicate scenes painted on tiny blocks of ivory, wood, or thick paper, this style captures entire stories inside a palm-sized border. The Indian art stream splits into four clear styles-Sattriya, Gadgya, Darrangi, and Tai. Bhil painting (Madhya Pradesh) : Bright, tiny dots like corn kernels cover plain space, telling prayers and village tales. It is characterized by vibrant, multihued dots on plain backgrounds, symbolizing stories, prayers, and traditions. Tired of too many ads? go ad free now Bhojpuri painting (Uttar Pradesh) : Legend says its roots run deeper than King Ashoka, weaving wisdom from ancient Magadha. With roots tied to ancient Indian culture, this art form flourished in the Magadha region, a hub of learning and Buddhist scholarship. Cheriyal scroll painting (Telangana) : Colourful scenes drape from Khadi cloth, often lifting moments from the Ramayana or features vibrant, hand-painted narratives and showcases Indian mythology and traditions Chittara art (Karnataka) : Sharp, repeating lines mark weddings and rituals, mirroring the village's ties to land and sky. These drawings embody the community's socio-cultural dynamics and connection to nature. Chitrakathi painting (Maharashtra) : It combines storytelling and visual aids, where artists narrate mythological tales like Ramyana and Mahabharata through paintings. Warli painting : These paintings, traditionally created on walls, often feature scenes of dancing, hunting, farming, and ceremonies, using natural pigments like rice paste and mud. Kolam floor art (Tamil Nadu) : It features intricate geometrical line drawings made with rice flour or powder on clean floors. The designs created symbolizes prosperity and welcome deities and creatures into home. Kolams blend craft, faith, and a lasting bond with the rhythms of nature. Madhubani Art : It is known for its vibrant colors, intricate geometric patterns, and depictions of mythological figures, natural elements, and social scenes. Also read|

India.com

15-06-2025

• India.com

Discover The Surprising Origins Of Ahmedabad City's Name!

It is one of the preeminent cities of India's Gujarat state, renowned for its rich culture, and houses astonishing monuments, making it a notable place in the Indian timeline. Its markets, architecture, and city life all come together to describe why Ahmedabad is considered as a first-rate metropolis. Despite all the chatter, have you thought why it was named Ahmedabad? The backbone of this city name is pretty impressive alongside the city's past, a mythic tail alongside the vision of a mighty ruler. From the Legend to a Metropolis Ahmedabad is believed to date back to the 14th century when it was under the Muzaffarid domain sculpted by a branch of the India Sultanate. Ahmed pathed the way for his empire through Shahi Hoag, deepening through to the Masjid that prominently displays his mighty stature. Although, brace yourself… the origins encircle a monarch, and tend to the beliefs of the native people. In ancient times, the region was the market town of Ashaval, along the Sabarmati River. This site is believed to date back to the 11th century. The town itself was rather small in size and primarily home to the Bhil tribe. Eventually, this modest settlement was transformed into a grand city by Sultan Ahmed Shah I. Ahmed Shah I And The Rabbit Legend The transformation of Ashaval along with Sultan Ahmed Shah 1 is intertwined with something astonishing. The Sultan was on a hunting trek along the banks of the Sabarmati River when he came across a rabbit. Instead of fleeing, as a rabbit normally would, it decided to pummel the Sultan's dog. Sultan Ahmed was deeply captivated with this show of bravery which resulted in him marking that place for his new capital. Sultan believed that such a small and timid creature exhibiting such audacity could only be found in a strong and prosperous kingdom like his. It may not be accurate in its entirety, but the story behind the rabbit has turned to folklore which has melded into the culture of Ahmedabad. A rabbit is also used as a concept to signify the spirit and resilience of the city. Ahmed Shah I Came Up With The Name 'Ahmedabad' In 1411, Sultan Ahmed Shah I served as the ruler of Gujarat and started constructing the city to make it his capital. He also renamed the city to 'Ahmedabad' just like most rulers loved doing. The term 'Ahmedabad' directly translates to 'City Of Ahmed' with 'Ahmed' referring to the Sultan and 'abad' meaning city in Persian. Ahmedabad to this date, serves as a grand city that substantiates the power of Ahmed Shah I. He founded the Bhadra Fort as a royal fortress along with the Jama Masjid, a Persian styled monument built with sandstone and yellowish white stones. Additionally, Ahmed Shah I constructed boundless epitomes of architecture in addition to magnificently planned the entire city. It was incorporated with wide roads, thriving commerce, and a highly developed water system making it the most advanced city of the country at that time. Significant Developments in World History Ahmedabad prospered as a trade center, a city of culture, and a learning focal point got things done under Sultan Ahmed Shah I and his successors. Its unique position on the banks of the Sabarmati River was a Shank of commerce, drawing traders and merchants from the nooks of India and other countries. The city earned great fame for its fine cotton textiles and its other exports, especially the cotton fabrics that reached far-off countries. The livelihood of the city's residents was elevated even more when the Mughals took control in the 16th century. The Mughals built some of the most renowned landmarks in the city such as the Si di Saiyyed mosque, known for its carved stone latticework windows or 'Jalis' which further beautified the architectural contours of the city. in the spelling of the Name The word 'Ahmedabad' has been changed gradually over the years. During the period of British colonialism, the name was recorded as 'Ahmedabad' or 'Ahmadabad' in most of the official papers. In 2001 the name of the city was changed officially to 'Amdavad' in the Gujarati language. Nonetheless, 'Ahmedabad' remains the most preferred name amongst people over the world. Ahmedabad Now Ahmedabad Today, It has always been a city that balances modernity with its historical importance. In addition to its world-class architecture, the city has also been recognised for its urban planning making it a UNESCO World Heritage City. Ahmedabad is also an economic and cultural centre of the country, famous for its multi-specialty fairs and festivals like the International Kite Festival and Navratri. The origin of the name, Ahmedabad, displays the spirit of the city to self-renew itself over the ages. Its story is one of transforming from a small settlement to a flourishing metropolis and embodies the vision, courage, and resilience witnessed in the city for over six hundred years. The city is known for its rich history, culture, and development, and whether you refer to it as Amdavad or Ahmedabad, the memories associated with the name will stay.

The Hindu

15-06-2025

• The Hindu

How ‘Andor' is shaping the 21st century liberal mind

As a Star Wars fan, I've long been familiar with the strange, combustible ecosystem of its fandom. This is after all that notoriously wretched hive of scum and villainy where grown men in cosplay rail against the 'woke mind virus' they believe Disney smuggled into their decidedly unpolitical galaxy. But in the past few months, something remarkable has been happening. The conversation has veered off its usual course — past the endless gripes about Rey's lineage, past the tired Darth Jar Jar conspiracies and the incessant Filoni-worshipping — and landed somewhere far more charged. Suddenly, posts joking about subredditors ready to be 'tied to a missile and fired at Tel Aviv' started flooding my feed, and astonishingly, people weren't flinching. It's telling. For perhaps the first time, Star Wars seemed to be driven by something more urgent and tangible than nostalgia and merchandising. The idea of political awakening has rarely felt so freshly, almost violently, excavated from the franchise's marrow. And it's all because of Andor. In the month since Andor concluded its second season, the Star Wars spin-off has morphed into a radicalising force for disaffected liberals, post-left thinkers, and a whole generation of Reddit-warped digital revolutionaries. Tony Gilroy's cerebral slow-burn about fascism, imperialism, and the machinery of resistance has slipped the bounds of allegory and re-entered orbit as a cultural touchstone. The series feels so precisely timed that it makes a galaxy far, far away feel disturbingly proximate. In this moment of global exhaustion on political, ethical and ecological fronts, it was perhaps inevitable that Andor would become one of the most politically charged pieces of popular culture in years. But the series, it appears, has gone beyond, galvanising viewers who had until recently remained comfortably aloof from the language and logic of revolutionary struggle. Andor is the bitter pill in the sugarcoated saga of the franchise's space operatics. Of the many spin-offs Lucasfilm has produced in its Disney era, the series has emerged as a taut political thriller for a more mature audience. If George Lucas conceived Star Wars as an allegory for the Vietnam War and American imperialism, then Tony Gilroy strips it down to the bone to reveal the machinery beneath. Diego Luna's Cassian Andor is the titular reluctant hero conscripted by circumstance. His transformation from a disillusioned hustler to an ideologically hardened rebel charts a slow, tragic arithmetic of resistance. Gilroy's writing eschews the romanticism of lightsabers and chosen ones. Instead, it focuses on bureaucratic cruelty, resource extraction, media manipulation, and state-sanctioned terror, all rendered in disconcerting detail. The cartoonish villainy of the Empire from the Originals has now turned into an uncomfortably close reflection of the very real systems that valorise control over justice. In its sophomore season, much of the plot centres on the planet Ghorman, which the Empire has developed a particular interest in. With a visual language that evokes the Paris Commune, Tiananmen Square and the Gaza Strip, the season portrays imperial agents concocting the myth of the insurgent to justify genocidal force. The idea that a Disney series could tilt the political compass of its audience toward a kind of digital Maoism might sound absurd. And yet, scroll through Reddit, Instagram Reels, or Twitter posts from the last two months and a distinct shift in tone is undeniable. The r/Andor subreddit now fuels threads dense with mini-Marxist reading groups, complete with debates on resource imperialism, postcolonial analysis, the ethics of insurrection, and heated reflections on real-world repression. okay let's let them cook for a bit — A-100 gecs (@PinstripeBungle) June 5, 2025 As the genocide in Gaza rages and Los Angeles simmers with anti-immigration crackdowns, this freshly radicalised troup of internet rebels turn to the series for clarity. That it took a Star Wars show to radicalise a chronically online generation feels ridiculous, but as Emerson reminds us, fiction has a way of smuggling in truths. Remember that part in #Andor when all those reporters on Ghorman made it sound like the Ghormans were violent and the Empire HAD to send in soldiers to stop things from getting out of hand but in reality the soldiers WANTED things to get out of hand? Yea, that was crazy huh? — mktoon (@mktoon) June 9, 2025 Andor's dour framings of colonial occupation and the fragmented, often contradictory decisions required to resist it, seem to have spoken directly to a global audience watching democracy buckle under its contradictions. Viewers across the world have taken to the internet to project onto Andor their own experiences. But two particular moments in the global discourse have refracted this phenomenon into something unmistakably real. As the Israeli bombardment and successive blockade of essential services in Gaza has escalated into what international observers, UN rapporteurs, and many across civil society openly describe as a genocide, scenes from Andor resurfaced across social platforms. Clips from the show's depiction of state-sanctioned terror and ethnic cleansing during the infamous Ghorman Massacre, as well as Senator Mon Mothma's powerful speech calling a genocide for what it is, have been juxtaposed with footage from the Palestinian people under siege. For many viewers, the parallels have been far too precise to be coincidental. what is the most sickening about this is that it's not even fiction. As soon as you open the news this is exactly what is happening in Gaza. #Andor is a brilliantly fictionalised reflection of our current reality. — Hannah (@skywalkrbxcky) May 8, 2025 To be clear, Andor is not about Gaza. It is neither a parable nor a direct allegory, at least not officially. But the manner in which Gilroy and his team of writers evoke the psychological texture of the paranoia, the fragmentation of solidarity, and the calculus of sacrifice of life under occupation, has created a cultural conduit through which people are making sense of horrors unfolding in real time. Posts reading 'Ghorman is Palestine' began circulating. One Reddit user wrote, 'Never have I felt more on the side of the Palestinian cause than after watching this. I understand resistance in a way that I never had before'. It's impossible not to see the parallels between the Imperial plan for Ghorman in Andor season 2 and what has been happening to the Palestinians in Gaza. — Matt K. (@MattJKoe) May 8, 2025 Meanwhile, as Southern California has become an unexpected epicenter of anti-immigration protests, Trump has unleashed the National Guard on protestors, branding them 'insurrectionists'. In just three days, federal agents raided shops and day-labour centers in broad daylight, kitted out like Call of Duty villains with drones, tear gas, unmarked vans; all to hunt undocumented workers guilty only of crossing borders drawn over their ancestors' land. This is the same thing. Stay safe, my friends — Punch It Chewie Press (@PunchitChewie77) June 8, 2025 Videos from LA circulated showing police evicting migrant families from public shelters, blocking access to water distribution points, and cordoning off aid stations under the pretext of 'order.' Soon, stills of protestors being tear-gassed collided online with excerpts from Nemik's The Trail of Political Consciousness. The final bequest of the doomed young Trotskyist is this revolutionary manifesto. 'Freedom is a pure idea,' he writes. 'It occurs spontaneously and without instruction.' His words now permeate every neo-communist twitter page or Instagram account like digital samizdat. Remember this: the imperial need for control is so desperate because it is so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear. Remember that. — major fartagaz | Andor Forever (@fartagaz) June 9, 2025 Across the internet, Star Wars fans began overlaying scenes of Andor with footage of National Guard crackdowns and ICE raids. Even symbols of the (Star Wars) Rebellion began sprouting up in solidarity, captioned, 'Los Angeles, you have friends everywhere.' Today, as tens of thousands filled the streets in the United States as a part of the 'No Kings' uprising against Trump's jingoist military parade in the capital, the iconography of rebellion was everywhere, with banners scrawled with 'I have friends everywhere' making their way across the country. Elsewhere, Californian State Secretary Alex Padilla's forcible removal and Governor Gavin Newsom's Palpatine-laced rebukes of Trump have fused into the Andor-fuelled consciousness of the chronically online. Clips of Padilla being dragged from a press conference in full view of cameras are being circulated alongside the uncanny echo of Ghorman Senator Dasi Oran's silencing in the series. It's getting scary how Andor is reflecting real life — Brooks | 🏳️‍🌈 (@brookstweetz) June 12, 2025 Meanwhile, Newsom's Palpatine parodies of Trump's Truth Social rants have weaponised the symbolism of Star Wars against its own American iteration of the Empire. A ONCE GREAT AMERICAN CITY HAS BEEN OCCUPIED! — Governor Newsom Press Office (@GovPressOffice) June 10, 2025 Outside the show, Andor has spurred a strange and telling shift in perception. Many of those who began watching the series for its impeccable production value and claims of 'peak Star Wars', have found themselves grappling with the banality of evil and the mechanisms of imperial propaganda that might be hitting a little too close to home for comfort. If there is something almost surreal about this convergence of pop fiction and real-world atrocity, it may lie in the friction between what Andor shows and what it withholds. What has made Andor's political afterlife different from that of earlier cultural moments is its sincerity. None of this feels ironic or decorative. The Maoist memeification is tongue-in-cheek, but the desire behind it is very real. The jokes about 'joining Hamas' after watching Andor feel inane, but aren't entirely facetious. At the very least, Andor has made political violence or armed resistance thinkable again. People are not simply pretending to be rebels. They are looking for models of survival, action, and integrity in an apathetic world that is collapsing around them. In this way, Andor didn't ignite the moment so much as give it a grammar. It gave the disillusioned a way to articulate something beyond despair. A franchise born of mythic messiahs has turned messiah-skeptic, embracing a new insurgent modernism that's finally ready to ask the only question that counts: What must be done? And the answer feels increasingly inexorable. One way out. Of course, one shouldn't overstate the case. Watching Andor does not a cadre make. It is still a piece of fiction, nestled within a media empire whose primary function is to generate profit. But Andor proves that even in the most commodified corners of culture, something meaningful, germane and subversive can take root.