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Yeah, yeah we’re talking about Vikram Pandit and Citigroup (of which Pandit is CEO).

Who else could it be when we refer to the greedy desi butcher, the bozo who fired tens of thousands while feeding like a pig at the trough. Vikram Pandit, of course.

This morning Shittygroup Citigroup announced full year 2009 results and as usual Vikram Pandit vomited all over the place.

Citigroup reported a loss of $1.6 billion (80 cents a share) for 2009. In the previous year, Citigroup lost $27.68 billion.

The fourth quarter 2009 net loss was $7.6 billion (33 cents per share), of which $6.2 billion was related to repaying the TARP loan to the U.S. government.

As we’ve said so many times, as long as the desi butcher Vikram Pandit – the moron actually boasts that firing 100,000 employees is ‘enormous progress’ in today’s press release – remains at the helm of the company, Citigroup has no future.

What are the odds that Vikram Pandit will still remain at the helm of Citigroup by the end of this year? Likely slim.

The man has been heading Citigroup for over two years and this is all he has to show for it – The hedge fund (Old Lane) that brought Vikram to Citigroup turned out to be a disaster, the man has butchered 100,000 employees, the fella tried to buy a new $50 million private jet and gorged like a pig on millions while presiding over billions in losses.

What a disgrace.

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Claims about the dourness of lesbianism have been overstated.

- Professor Terry Castle
Source: New York Times Magazine, Jan 18, 2010

;)

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Is this the first time we’re watching 24?

Maybe.

Who cares.

Right now, we’re watching Anil Kapoor oops President Omar Hassan, head of a Middle Eastern country, in the premiere of Season 8 of the TV series 24 on Fox.

Omar Hassan is in the U.S. for a crucial meeting with Madame President Allison Taylor.

And there’s a conspiracy afoot to derail the peace process.

Anil Kapoor has put in a decent performance. Thank God.

Imagine the humiliation to all desis here, if it had been the bozo Abhishek what’s-his-name playing President Hassan. We’d all have to wear a burkha tomorrow. Continue reading »

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A couple of days back, the mailman brought us the two-DVD set of Phantom India from Netflix.

Phantom what, you ask?

Of course, you schmucks will ask.

All ye morons who genuflect at the altar of Aamir Khan’s crappy film 3 Idiots or insist that Ajith’s Billa is the ne plus ultra of stylistic films what would y’all know about Phantom India.

Phantom India is a documentary from the French film-maker Louis Malle. The documentary is in French with English subtitles.

Produced in the late 1960s over several months, Phantom India gives us a peek into two sides of the Great Indian Story – Eternal India and Changing India.

Originally commissioned by France’s Foreign Affairs Ministry the documentary was later (in the early 1970s) aired by the BBC.

Apparently, the Indian government of the day was so incensed by Malle’s portrayal of the country that it demanded the BBC yank  the program off the air. When BBC showed  the middle finger to that stupid demand, the government of India is said to have banned the BBC from filming in India for many years.

We’ve watched about 90-minutes of the documentary so far and find it interesting.

Phantom India is not a showing the Taj Mahal or the Vidhana Soudha kind of documentary.

More like random vignettes on various facets of life in India in 1968. As Malle says in the early minutes of the documentary, these are:

images gathered without a script or preconceived concept, a film of our chance encounters.

Still Malle covers considerable ground that we’re tempted to describe the documentary as a microcosm of India in the late 1960s.

There’s a peek into the Tamil film industry (you can watch the filming of the famous Sivaji Ganeshan-Padmini film Thillana Mohanambal), absence of kissing in Indian movies, interviews with well-known personalities like Cho Ramaswamy, glimpses into the life of rural workers outside Delhi, the Kapaleeswarar temple chariot procession in Madras, a young Hema Malini performing the Bharata Natyam dance, a visit to Kalakshetra, Goa, anti-Hindi agitation, rant against bureaucracy, family planning campaigns, a street artiste in Mysore, meeting with hippies et al.

Hey, mind you all this is only from the 90-minutes we’ve watched so far.

We still have another 270-minutes to go.

Malle is neither condescending in his treatment of India nor is he overly in the everything-is-wonderful-in-India camp.

Au contraire, what you see is a candor and a kind of detachment that you quickly begin to respect, accompanied by occasional moments of humor.

Take for instance, Malle’s take on the film stars from their towering billboards:

We always wonder: In a country with such beautiful, delicate people why are most of the movie stars short, fat and thick-featured.

We like that. ;) Continue reading »

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(Recommended by SI Blog reader Guruprasad)

I pedaled as fast as I could, as if I were escaping from longing, from innocence, from her.

Time has passed and I’ve loved many women.

And as they’ve held me close and asked if I will remember them I’ve said, “Yes, I will remember you.”

But the only one I’ve never forgotten is the one who never asked – Malèna.

- Amoroso Renato in Malèna

Thus ends the Italian movie Malèna (2000).

And as the credits started rolling, we couldn’t but help but ponder this point – Is it possible to forget the traumatic humiliations and vicious beatings heaped on you – motivated largely out of jealousy for your fine looks and classy demeanor – and pretend as if it all never happened the next time you encounter your oppressors.

No, that goes against the grain of human nature.

And human beings are certainly not so forgiving. But Malèna director Giuseppe Tornatore would have you believe otherwise.

Or the attitude of the town-folk towards Malèna’s husband. This time, the director seems to go off completely in the other direction.

Strange, but we suppose these are what’s termed cinematic liberties.

Unrequited Love
Set in a small Italian town during World War II when Il Duce Benito Mussolini’s voice roared all across Italy via radio sets, the movie is a tale of unrequited lust or unrequited love or unrequited infatuation for Malèna – The woman (Monica Bellucci) with the most beautiful ass in Castelcuto and a face to match.

But this is not the lust, love or infatuation of a young lad or an older man besotted with the town beauty, although anyone with cojones in Castelcuto is obsessed with Malèna.

You see, our protagonist here is a mere kid (Giuseppe Sulfaro). Just 12 1/2 when the movie starts.

We see the entire movie through the young boy’s eyes, and as told years later. Here Malèna director Giuseppe Tornatore employs the same technique he did in his acclaimed Cinema Paradiso (1989), a stellar film that won the Oscar for Best Foreign Language Film. Continue reading »

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Who is the culprit?

Folks, Aayirathil Oruvan was supposed to debut on the East Coast today.

But now it’s completely disappeared from the showtimes for MovieShitty and some other theatres that we frequent.

Wonder what happened.

Did  the prints not arrive here on time?

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