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From the New York Times to the Times of India and beyond, Akshay Kumar’s latest movie Tees Maar Khan has been brutally torn apart by movie critics.

Here’s what a sample of critics had to rant against Tees Maar Khan:

* Reuters

[O]ne of the year’s most awaited and hyped films has turned out to be a dud of the highest order.

* Rediff

TMK, scripted by Khan’s husband Shirish Kunder, is like that tasteless, dull chewing gum that you feel like throwing away as soon as you take the first bite. With each bite, the film tastes worse.

* DNA

Tees Maar Khan is a classic example of a cluttered film in which a hodgepodge of characters incoherently jabbers ludicrous dialogues building up an odd plot that just refuses to make any sense at any point of time.

* Times of India

All the characters end up as mere caricatures and completely fail to build up an emotional quotient in the film….But eventually, fun needs a foundation too and spoofs need some substance to carry them through. TMK has colour, humour, pace but nothing does seem to fall in place in terms of plot and character connect.

* New York Times

Ms. Khan, who is also a choreographer, has a bright pop sensibility and a determination to keep things light. But here, saddled with a slapdash, not-clever-enough script by Shirish Kunder (her husband), she can’t pull a magical movie out of her hat. Nor can she make her stars as winning as they need to be. Mr. Kumar and Katrina Kaif mug and dance and work hard, but they’re not called upon to play characters so much as shtick figures, and the cartoonish world they inhabit isn’t appealing or buoyant enough to carry the day.

* SearchIndia.com

Insufferable trash.

* Economic Times

The dialogues written by Shirish Kunder and Ashmith Kunder in synchronized stanzas try too hard to be funny but fall flat at most instances and are repeated too often without much repeat value….Tees Maar Khan doesn’t even guarantee thirty good laughs in its three hour runtime.

* NDTV

Tees Maar Khan, adapted from After the Fox, by writers Shrish and Ashmit Kunder, is disappointingly limp and insistently low IQ….In Tees Maar Khan, everyone is overacting as though life depends on it. There is a lot of screaming, grimacing and heaving.

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The fickleness of the women I love is only equaled by the infernal constancy of the women who love me.
- George Bernard Shaw, in The Philanderer act 2 (1893) cited in Yale Book of Quotations, p.702

George Bernard Shaw wrote/said a lot of cute things in a long life. The above is one of our favorites.

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When even Bollywood’s Angry Young Man of yore Amitabh Bachchan starts donning a wig, it’s time for all intellectuals to set aside their trivial preoccupations and start addressing one of the big questions of our age:

Do men feel effeminate, ball-less without their hair?

Mind you, we’re only talking here of hair on the head. ;)

Do even superstars like Amitabh Bachchan and Salman Khan experience a scary sense of emasculation, an embarrassing loss of virility as their hair starts to get loose of the tight embrace of their follicles.

In an effort to get a better sense of wigs and their history, we consulted our current vade mecum An Uncommon History of Common Things by Bethanne Patrick and John Thompson, published by National Geographic and available in most U.S. county libraries.

Old Hair on New Heads
Wigs have been covering human heads for over 5,000 years.

Ancient Egyptians were known to wear wigs as early as 3,000 B.C.

Tis’ no surprise that these eccentric Egyptians, who were not averse to marrying their brothers, sisters and mothers, would also make the wig fashionable.

Perhaps, the Egyptians were the first great Bohemians of our world. What say you, schmucks?

In ancient Egypt, wig-wearing was not restricted to men. Women took to them too.

Wigs in that distant era were made of human hair, wool, palm fiber and flax, all tightly wound together by beeswax.

Romans were also said to be fond of blond wigs and turned these hairpieces into a rage in the first century B.C.

Religion, the perennial joy-killers and given its penchant to stamp out all things pleasurable, tried its best to curb the hairy passion of mortals.

The Roman Catholic Church waged an extended battle to ‘excommunicate’ wigs but achieved only temporary success before wigs reared their heads again in France and England after the Reformation.

Amitabh Bachchan is hardly the first well-known figure to shove his pate under a wig.

History is replete with instances of famous personalities who took a fancy to wigs.

Paintings and books tell the unmistakable story.

In sporting a wig, Amitabh Bachchan joins a list of famous (and some notorious) historical personalities like Caligula, Messalina, Queen Elizabeth, Isaac Newton, Dewang Mehta et al who were known to wear wigs.

Metaphoric Dick
While we now understand that wigs have a long history behind them, our reference book doesn’t explain why men took to them in a bigger way than women or why the popularity of wigs has endured for so long when fashion is so fickle.

Here’s where SI’s vaunted powers of reasoning and hypotheses come into play.

In SI’s hair-raising weltanschauung, lush hair on the head is the second phallic symbol of manhood, only more visible and more malleable to diverse forms of fashion than the Shiv-ling.

In the dominant Shiv-ling worldview, No hair on the head translates into No dick. ;)

Loss of hair often causes its victims to silently fume in impotent rage at the slights they perceive from the better hair-endowed on their manhood.

And endowment, as we all know, is the be-all and end-all for a man. ;)

Hence the resort to wigs and more costly forms of hair-restoration.

Trying to restore hair on the head through transplants and other high falutin techniques is the futile equivalent of responding to spam e-mails that come into our mailboxes every day – Expand to 13-inches, Size Matters, Be the Bigger Man et al.

Wigs are the best and proven technique of restoring the status quo ante onto a glabrous pate.

We suspect shrewd hairpiece makers also played more than a small part in turning head-hair into a symbol of potent manhood to support their livelihood.

In the hyper-visible world of movies with the eyes of a million fans on superstars like Amitabh Bachchan or Salman Khan, the pressure is even more intense to flaunt their virility, their studhood in the face of constant threats from an ever younger crop of challengers.

So when Amitabh Bachchan struts out in a wig, he’s in effect yelling out to his friends, enemies, countless fans and nay to the world – See, See, I’m still a stud. I can still get it up.

Of course, there’s the fashion aspect too.

A bald pate is a canvas only for a tattoo.

But hair on the head is receptive to the ever-changing diktats of fashion. You can wear it as a plait, as a tuft, part it in the middle or the sides, all of which you can’t do if you are bald or with hair on any other part of the body.

But at the end of the day, a wig is nothing but a metaphorical dick in a different shape, a way of telling the world that Yes, I too can get it up.

Sources:
* An Uncommon History of Common Things (published by National Geographic, Washington DC) by Bethanne Patrick and John Thompson.
* Media Reports
* Personal Observation

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Romance on the High Seas Review – Ulaga Madayan is a Shameless Thief

Say, who is the schmuck that allowed Ulaga Madayan a.k.a. Kamal Haasan to write the story, screenplay and dialogs for his latest embarrassment Manmadhan Ambu.

Must be that half-wit producer Udayanidhi Stalin who’s got a surfeit of money and a paucity of good sense.

Kamal Haasan may know a little bit of what they call the ‘acting thing’ but penning a story, screenplay and dialogs are beyond the lilliputian intelligence of this Ulaga Madayan (universal idiot).

Flaccid Story
Except for a few brief moments during the first half, Manmadhan Ambu is not remotely entertaining.

An apt analogy for Manmadhan Ambu is that Kamal Haasan managed to get a rare hard-on but couldn’t hold on to it beyond a few seconds and suffered premature release of the vital fluids before he could even unzip his pants. ;)

If you ask us, Kamal Haasan’s poorly penned story is the arch-villain of Manmadhan Ambu.

The second half particularly is so horribly unendurable that we wondered if we’d taken leave of our senses for sitting through the ceaseless deluge of nonsense.

The Nonsense
Kamal Haasan plays a private detective Major R.Mannar hired by a tycoon’s hyper-suspicious son Madan Gopal (Madhavan) to follow his fiancee Ambu (Trisha) to Europe to see if she’s having an affair.

The story plods on unhurriedly during the first half and to our surprise there was a twist that raised our expectations. But all hopes were dashed on the jagged rocks of utter incompetence and the tsunami of garbage that came up right after the interval.

It’s as if a troupe of gibbering monkeys were bent on wreaking their worst havoc. Continue reading »

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Manmadhan Ambu (Kamal Haasan, Trisha, Madhavan) suffered the ignominy of a shamefully poor opening at a key theater on the East Coast.

There were about 19 people for the opening 8:30PM show of Manmadhan Ambu at Anil Ambani’s Big Cinemas theater on Oak Tree Road in Edison, New Jersey (the lady at the counter told us the 7PM show had been canceled).

You can’t even blame the weather for the poor response because the weather was not bad in Central New Jersey today.

No snow. No cold wave. No rain.

Yet the crowds failed to turn up.

Bad tidings for Manmadhan Ambu?

Related Stories:
Manmadhan Ambu Review – Ulaga Madayan Stumbles Badly

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