Elvis Presley

Between March 24, 1958, when they join the U.S. Army and the March 5, 1960, when he graduated with the rank of sergeant, Elvis Presley had to stay away from movie screens. Were not complete two years of silence, for his label RCA Victor conveniently spaced knew the material they had been recorded before his military service, including no fewer than a dozen items in the Top 40. But several factors had led to the entertainer to believe that the end of his career as a musical idol of the masses had come to an end. There were only two years of relative retreat, right in its heyday, but also saw the confluence of various personal circumstances such as the death of his beloved mother Gladys, or know that would eventually become his wife, PriscillaIn Germany, where he was stationed (in fact I could not like their fans) or professionals, such as the emergence of new musical figures ready to seize his throne (Bobby Darin, Frankie Avalon, Fabian, Ricky Nelson or Pat BooneAll with just barely distinguished career in film.)


On his return to America, his label was quick to put it in the recording studio to provide their eager fans with new material to compensate for the long absence of the star, besides returning to provide the necessary media exposure to oil unstoppable commercial equipment. Appearances TV and new films were some of the steps in this direction. His first film in two years, "GI Blues" became a huge commercial success, further enhanced by the magnetic presence of the King in uniform. His manager, Colonel Parker, and the owner of his movie contract, the veteran producer Hal B. Wallis, preferring to bet on single vehicle roll safe, modest budget, to the glory of the star, but Elvis insisted on demanding more demanding roles as an actor. So his next two films would be on loan and material that appeared to augur all types of commercial and critical congratulations. "Flaming Star", a Western antiépico on the status of mixed race, and "unruly," a melodrama written by none other than Clifford Odets. However, the box office ruled in favor of Parker and Wallis, and the relative commercial failure of both proposals set about two dozen Elvis movies inconsequential in colorful scenes such as Acapulco, Hawaii or Las Vegas, surrounded by starlets, And most times non-existent substance.


The project "Flaming Star" had a few years rolling studies. Initially thought of names of the caliber of Marlon Brando and Frank Sinatra, or directors like Michael Curtiz or screenwriter Nunnally Johnson finally to bring to the big screen the novel Flaming Lance by Clair Huffaker (novelist and screenwriter closely connected to the movies West during the 60's, with popular titles such as "Rio Conchos", "The Comancheros" or "100 Rifles"). After falling into the hands of specialist notable genre films, Don Siegel and starring Elvis already, 20th Century Fox surrounded himself with an outstanding cast of popular faces: Steve Forrest (the then-popular Hondo Harrelson television), the beautiful Barbara Eden (about to become another icon on the small screen, the beautiful genius Jeannie) And veteran of the caliber of Dolores del Rio, John McIntire, and a large budget and excellent technicians. Embodying the mestizo Pacer Burton, Presley returned to leave notes of what might have become if their paths have been others. This is not just another of those titles designed to splendor and glory of the star, and shows that in the right hands, Elvis could have been a remarkable performer.


"Flaming Star" is projected on Monday March 28th at 19:30 pm in the ICCAT. As always in original version with subtitles and free admission. After the screening, the usual conversation where we will try to delve into aspects of the movie itself or the career of Elvis. All are invited. Long live the king!

Black and White Cinema

Movies like "Sunset Boulevard" and "Barton Fink" helped us imagine what life was like the writers in the Hollywood of big studios. Knowing that the film was made much money (and overly so fast), it was normal posh writers sell their soul to the devil in exchange for the glare of tinsel. Sacrificing the integrity of his previous literary commitment in favor of accepting the suggestions from the offices they were doing. At the end of the day, no matter how grown they were, they entered through the door of the study, were not just another brick in the wall, another link in the chain.


One of these writers was Daniel Mainwaring, a Californian who while working as a journalist for San Francisco Chronicle a novel published in 1932 considered at the time as "too proletarian", entitled "One Against the Earth." Perhaps the allegations were received that he "invited" to change not only the "tone" of his writings, but even his name. He adopted the pseudonym Geoffrey Homes and opted for something less committed and easier to sell: crime and mystery. In this area was managed with considerable wealth during five years, enough time for that siren launched from a small production company called Pine Productions (a kind of branch specialized in series B Paramount). Mainwaring's first job in Hollywood was the screenplay for "No hands on the clock" (1941), the first step in a career that lasted well into the 60 and that, like many others, was hampered by its inclusion in blacklists. In this photo, he is seen smiling next to Bogart, someone who could not spoil the race witch hunters, unlike what happened with Mainwaring.


Between 1941 and 1946 he wrote a considerable number of novels and screenplays of variable quality. One day, tired of writing detective stories in which everything is focused on whodunitDecided to turn around and published a more ambitious work, "Build My Gallows High", a novel next year, with a couple of adjustments made by the same Mainwaring, Frank Fenton and the great James M. Cain, became the screenplay for "Out of the Past" (1947), directed by Jacques Tourneur and almost unanimously regarded as one of the best works of black film of all time. Produced for RKO by Warren Duff, "the Past" tells the story of an ex-detective retired and runs a gas station in a small town. Bring a quiet and simple life, dividing his time between fishing and his girlfriend. One day he receives a visit from an old acquaintance who tells him that the boss wants to see it. It is clear that no one can escape his past.

Starring Robert Mitchum, Jane Greer, Kirk Douglas and Rhonda Fleming, this movie is showing on Wednesday 16 February at 19:00 in Cultural Sphere of the English Court (Mesa y Lopez, 15, 7 th floor). The screening, free and VOSE, give way to a conference and cultural practice in this forum.

Elizabeth Taylor

Elizabeth Taylor and her seven husbands

"Every time I fell in love, got married. My principles forbid me just having adventures" and thought Elizabeth Taylor, The Hollywood legend who had seven different husbands and married eight times.

The American star who promised eternal love eight times, one of their husbands was Richard Burton, whom he married twice, and died on Wednesday aged 79, was very material to the chronicle of the show, hungry for scandal, with his troubled love life.

Taylot was 18 when she married, on 16 May 1950, with Nicholas Hilton Jr., heir to the hotel. A few months later divorced to marry, 21 February 1952, with British actor Michael Wilding, 19 years her senior. They had two children: Michael Jr. and Christopher. They divorced in 1956.

Free again, Liz, the beautiful violet-eyed actress married the rich producer Michael Todd. They had a daughter, Elizabeth Frances, in August 1957, seven months after a tragic plane crash killed Todd in New Mexico (center-south).

In 1959 Liz was converted to Judaism to marry her fourth husband, singer Eddie Fisher, who had just left his wife Debbie Reynolds. On May 12, 1959, the day of the wedding in Las Vegas, actress predicted "a honeymoon 30 or 40 years." But divorce occurred five years later, on March 5, 1964.

Ten days later, she married Richard Burton, who entered his life during the filming of "Cleopatra" (1963). Shot him seven films, including the acclaimed "Who's Afraid of Virginia Woolf?" (Who's Afraid of Virginia Woolf?, 1966), which earned him an Oscar for best actress.

After stormy and dramatic reconciliations breaks (they divorced in 1974, remarried in October 1975 and divorced again in July 1976), the passionate pair entered a part of the legend of "the terrible lovers."

On December 4, 1976 film diva married for the seventh time, with Virginia Republican Sen. John Warner, who was divorced in December 1982.

And in 1991 stunned the world when she married for the eighth time, now her husband was Larry Fortensky, a construction worker, 40 years her junior, whom he met in rehab. They parted amicably after three years. It was his eighth and last marriage.

Rajnikanth blockbuster Robot

Robo  is a 2010 Telugu science fiction film co-written and directed by Shankar. The film features Rajnikanth in dual roles, as a science professor and a superintelligent android robot. Aishwarya Rai and Danny Denzongpa play other lead roles while Santhanam, Karunas, Kalabhavan Mani, Devadarshini, and Cochin Haneefa play supporting roles. After nearly a decade of pre-production work, the film was shot in two years since 2008. Rajni kanth Robo Produced by Kalanidhi Maran, it is known for being the most expensive Asian film ever made. Rajni kanth Telugu new movie Robo  also made the largest worldwide opening for an Indian film, upon release. Music was composed by A. R. Rahman while cinematography was handled by R. Rathnavelu.


Rajini kanth Robo  film’s story revolves around a scientist’s struggle to control his creation, an android robot whose processor was upgraded to give it the ability to comprehend and generate human emotions, from further sociological mishaps. After setting its eyes upon a beautiful woman, the robot develops love for her, who also happens to be the love interest of the scientist, which creates a conflict between the two. Rajinikant Robo released worldwide on 1 October 2010.


Aishwarya Rai and Danny Denzongpa play other lead roles while Santhanam, Karunas, Kalabhavan Mani, Devadarshini, and Cochin Haneefa play supporting roles. Upon release, it also made the largest worldwide opening for a Tamil film. The film’s background score and soundtrack was composed by A. R. Rahman, which released as an album on 31 July 2010. Cinematography was handled by R. Rathnavelu.


Robo telugu movie features Rajinikanth  in dual roles, as a science professor and a superintelligent android robot. The film revolves around a scientist’s struggle to control his creation, an android robot whose processor was upgraded to give it the ability to comprehend and generate human emotions, from further sociological mishaps. After setting its eyes upon a beautiful woman, the robot develops love for her, who also happens to be the love interest of the scientist, which creates a conflict between the two. Rajnikant Robo movie released worldwide on 1 October 2010.


This new flick Robo  features Rajinikant and Aishwarya Rai in the lead roles with Academy Award-winning film composer A. R. Rahman working on background score and soundtrack. Rajini kant’s Robo  Telugu movie produced by Kalanidhi Maran, the film is expected to be a multiple-record breaker: Rajni’s ‘Yantram’ is currently being made on the highest ever film budget in Indian cinema while it is also expected to make the largest film release ever. ‘Yanthram’ expected to be released worldwide on September 3, 2010 along with its dubbed versions: Robot in Hindi and Robot in Telugu. Rajnikant’s Yantram release will follow the film’s soundtrack release, which is set to be held in Kuala Lumpur on July 31, 2010.


The movie cuts to chase directly, opening with Rajni working in a laboratory on a robot and gets on with business.

The Good news: The film more than makes up for it with the mother of all Indian movie climaxes, where Rajni is King Kong, he is the Incredible Hulk, he is Iron Man, he is a Transformer, and he is the Anaconda. He is everything you have seen in special effects laden Hollywood flicks. Heck, in one scene, pinned to giant magnet with his arms stretched, he even does a menacing Hannibal Lecter lunge.

Neatly bookended between these two scenes is Rajnikanth's biggest ever movie.

When regular hits became the norm, Rajni recalibrated his own benchmark for stardom with Baasha in 1996. In the 14 years since, directors have tried everything to make Rajni bigger than he already was. There was Baasha itself, where he had his greatest backstory unraveled after much intrigue. There was Padaiyappa, which pitted him against the most memorable lady villain in Tamil cinema. And then there was Sivaji, where he comes back from the dead. There was nothing more to be done, or so we thought.

Then comes a movie like Robot, where Rajni is the hero, villain, comedian and a multitude of henchmen. He even appears in drag in a song. Muthalvan/Nayak was said to be the greatest Rajnikanth movie in which he did not act in. Shankar rectifies that in Robot, which is the greatest yet for star and director. This is the first time in many years that a director has brought something to the table that enhances a Rajni movie. Along with it, he also proves that if you want to make a Rs 150 crore film, he is the go-to man.

The movie is not so much science fiction as much as it is about finding the right excuse to enable Rajni do what he usually does, and make it look plausible.

Dr Vaseegaran (Rajni) creates a humanoid robot, Chitti, (also Rajni) after 10 years of labour, during which he has hardly has any time for his parents or girlfriend Sana (Aishwarya Rai Bachchan [ Images ]). Attempting to plant emotions into the robot backfires as the robot takes a liking for Sana, at which point the good doctor decides to destroy it. In steps the evil scientist Dr Bhora (Danny Denzongpa [ Images ]) who not only resurrects Chitti but also turns him into a killing machine.

The film's first set piece takes some time coming, but is well worth the wait. From then on it is relentless action, culminating in a climax that will be hard to better for some time to come.

It is so much of a Rajni show that even regular characters that usually get some screen space like parents (we see them in two scenes), friends (Karunas and Santanam are completely overshadowed by Rajni even in the comedy scenes), heroine (every director in the past decade has tried in vain to pair Rajni and Ash, but she still does not have much to do) and villain (a powerful actor like Danny hardly registers his presence) are marginalised.

But in what little screen time they get together, what these two stars share is an easy camaraderie more than any great chemistry. It works in this case.

In retrospect, it is hard to imagine who else could have done this movie, and -- forget doing it so well -- merely even pulled it off. There are things in this movie that Rajni the villain does to Rajni the hero, which had any other actor done, would have seen theatres going up in flames.

In the end, this movie is as much about special effects as it is about Rajni. Overall, they may not be Avatar good, but they will definitely hold their own when compared with regular Hollywood action movies. And remember, while a Matrix cost $200 million, this was made for $30 million. But the effects are by a distance the best we have seen in Indian cinema.

On the flip side, there are enough bloopers for the movie to deserve its own section in our series. It is a tad too long, and the music is not exactly A R Rahman's [ Images ] best work. But these things seem to have been deliberately overlooked. The intent is clear from the beginning: To make a Rajni showcase like no other. By pitting him versus himself, Shankar has found just the right way to make Rajni just that much more larger than life.

While it is a given that we all like good vs evil, there is a visceral pleasure when both look the same -- like Rajni. There are places you root for the deviant robot to triumph over its creator. As he lusts after Sana and bays for his creator's blood, Rajni channelises some of his best badass acts from the past, chiefly Alex Pandian in Moondru Mugam.

Do Dooni Chaar

Rishi Kapoor and Neetu Singh are Bollywood's all-time favourite on-screen and off-screen couple. After almost 20 years, they are coming together for Disney's Do Dooni Chaar. Sreya Basu in conversation with the actors at the launch of the First Look of their film in Mumbai.

Rishi-Neetu re-defined romance in Hindi films in the '70s. Are you all set to re-create the same magic in Do Dooni Chaar?
Rishi: Those days were fun. In those films, Khullam khulla we (Neetu and I) proposed to each other, danced around the trees, did all sorts of childish things. But after 30 years, we are now talking about sanskar (moral values) and aadarsh (principles). While everyone calculates do aur do paanch, we are that jodi who is more concerned about bringing up our children as good human beings so that they know two multiplied by two makes four, not five.

What took Neetu so long to comeback in films (she did a cameo in Luv Aaj Kal in 2009)?
Rishi: I will answer you why Neetu is back in films after 30 years. This film takes our on-screen love story a step forward. Only haasi mazak (having fun) ya thumka lagane se (dancing crazily) a pair doesn't become a successful couple on-screen. It was essential for Neetu and I to come back together on celluloid and show how the Khel Khel Mein love has matured in these 30 years.

What was the first thing you realized when faced each other in front of the camera?
Rishi: We have grown old. (Laughs)
Neetu: Well, I don't want to praise him (Rishi). I started working in films at a very young age. At that time I didn't realize what a great actor he is! Now, while shooting for Do Dooni Chaar, I realized the actor in him.
Can you associate your real selves with that of the Duggals in Do Dooni Chaar?
Neetu: Absolutely. In Do Dooni Chaar we are playing a middle-class couple, who has two kids. The family dreams of owning a car. In real life too, I consider myself as middle-class. Today's middle-class housewife is like Mother India…she manages so many things.
Rishi: I had great fun doing this film. Throughout my career I had the image of a lover boy, songster…I always had a glamourous image. From there to playing a Punjabi middle-class teacher is really a new experience for me. Also, this character shows how to handle speed breakers in life with courage and honesty. In my life also, I had to overcome a number of speed breakers.
Your film is releasing almost the same time when Ranbir's Anjaana Anjaani hits the theatres. So, you two are all set to give a tough competition to him?
Rishi: All I can say is, this is the era of Ranbir Kapoor. And his parents are daring to compete with him. (Laughs)
Neetu, everyone sees a young, 'choco boyish' Rishi Kapoor in Ranbir. What do you have to say?
Neetu: If Ranbir is north, my husband is south. They are of totally different nature. I don't think Ranbir has even one thing that resembles my husband, except the voice. 

Debt 2010 Free Movies Watch

John Madden, director of "Shakespeare in Love", signed by the studios to realize thirller Miramax "The Debt".
Inspired by the Israeli production "HaHov" film is set in the '60s and follows the story of a group of Mossad agents to track of a Nazi criminal. He manages to escape and returns attention to them after 30 years, after which agencies now retired, return to start to work for a new trial.

Apart from "Shakespeare in Love," which won an Oscar, Madden's portfolio also learn productions such as "Mrs. Brown" and "Captain Correlli mandolin was."

According to Hollywood Reporter, the production of the grip Matthew Vaughn, while Jane Goldman (Stardust) will be responsible for the scenario. So far, no information was provided on the distribution project.

Helen Mirren has just been signed to in John Madden's new film's star, the thriller "The Debt.

Mirren plays a former Mossad agent, together with two colleagues, not to fulfill their mission to capture a Nazi criminal. In an attempt to successfully lead the way in its mission, decide to cover up the three, what has happened and hope that this murderer is caught.

I must admit this is a new direction for Mirren career, choose this time for a small dose of action and adrenaline. Nothing is more beautiful than a lady, like Helen Mirren to take a more violent character, watching the big screen.

Frankly, to Mirren in the film, the distribution will be seen from a distance when you consider that the history of the two main female figures, called for the age 30-60 years. At this age there are not many actresses have the same grace and so have the audience.

The Debt begin filming next year, and is a co-production between Film Marv's Matthew Vaughn and Miramax. Vaughn takes over the script with Jane Goldman.

Peepli Live Movie Review 2010

Pipili is a small coastal town near Orissa is famous for its crafts sconce. The notional 'Budhia' played by Raghubir Yadav shares its name with Budhia Singh, the worlds youngest marathon runner from the Indian state of Orissa.

Peepli Live is a new Hindi movie, which is produced by Aamir Khan. Written and directed by Anusha Rizvi in his first experience as a director, the film stars Naya Theatre Company member Omkar Das Manikpuri as Raghubir Yadav, Shalini Vatsa Nawazuddin Siddiqui and Malaika Shenoy together with a number of newcomers. Peepli Live, distributed by UTV Motion Pictures, will be released August 13, 2010.

A satire on farmers 'suicides' and subsequent media and political response, Peepli Live competed in the Sundance Film Festival, the first film in India to achieve this endeavor. However, because of offensive language in the film, got a 'certificate of adult A' in India. The film was taken from German specialty distribution company Rapid Eye Movies for a special screening at the Berlin International Film Festival. Peepli Live reportedley has recovered it's cost is the first release. Live Peepli currently has a rating of 9.2 on IMDB.

CAST
* Omkar Das Manikpuri as Natha
* Raghubir Yadav as Budha
* Malaika Shenoy as Nandita Mallik
* Nawazuddin Siddiqui as Rakesh
* Shalini Vatsa as Dhaniya
* Zafar Farookh as Amma
* O. Vishal Kumar Deepak Sharma as
* Naseeruddin Shah as Minister of Agriculture


It 's a miracle that a script like' Peepli Live 'has been transformed into a movie and a commercial version. And 'certainly surprising that a mainstream film as Aamir Khan has decided to invest money in a film that puts the spotlight on serious issues like the plight of Indian farmers. And, of course, congratulations to the journalist-turned-director Anusha Rizvi Penning down for a story that focuses on rural India and its problems at a time when most Bollywood directors are busy lure audiences with comedies and dramas NRI mindlesss designers. According to one report, 200,000 farmers have ended their lives since 1997 and has said that rising debt is the main cause of suicide by farmers. Anusha's directorial debut follows this theme in 'Peepli Live' - albeit as a satire. The film is also a look at how the media and politicians use these tragedies for their TRP and votebanks respectively. The real problem is dying under their rat race. Located in a small village, the film follows the family situation of a farmer. Natha (Omkar Das) and Budhiya (Raghuvir Yadav) are brothers who had taken a loan against their land. Their only source of livelihood is put under the hammer when they fail to repay the money.

Trying to seek the help of a local politician, whose job is to serve the people. But he sent them away saying that the government gives compensation to the families of those farmers who commit suicide. Initially, the brothers ignored the suggestion, but Budiya Natha persuaded to sacrifice their lives for the good of the family.

It 's time of elections in the region and the owner of a local newspaper sends its reporters Rakesh (Nawazuddin Siddiqui) - who would not otherwise want to move from her comfort zone in search of stories - to the village. Rakesh learns of Natha decision to end his life and relationships it. The news created a sensation in political and before it can be brushed under the carpet, someone to lead the story Nandita Nath Malik (Malaika Shenoy), a journalist from the English Channel elite. Grab the opportunity and dashes off to the news Peepli TRP promising. Once the report has flashed a barrage of reporters arrived at the village and there began a media circus as every journalist sensationalise races at the problem.

Rakesh, who actually presented the story, becomes a mere puppet in the hands of Nandita and when he tries to tell her of the death of another farmer, refuses to report as you do not see it as a reminder of the TRP for the channel. The irony is that nobody - whether journalists or politicians - seek to know why Natha decides to commit suicide. In reality, nobody is interested in solving the problem because they have their own agendas.

'Peepli Live' is a satire that shows the reality behind the houses of media, politicians, bureaucrats and their apathetic approach to the problems. But the script is written in a way that makes the audience laugh. India offers itself as one of the fastest growing economies in the world, but the film shows the miserable condition of farmers who continue to end their lives after living in extreme poverty. A report says that the highest level of farmer suicides has been reported in Vidarbha, Maharashtra - reportedly, 4,000 farmer suicides per year. In recent times, the farmer suicides in Chhattisgarh have been hogging the spotlight and in Punjab.

The first time director Anusha has not only written a taut screenplay, but also carried the story effectively. It seems that the film is his attempt to enlighten the audience on the social dilemma that our country is facing and his experience as a journalist is clearly visible in his narrative. Actors - by Omkar Das, Raghuvir Shalini Vatsa and short tempered as a wife of Nath Dhania Malaika Shenoy and Vishal Sharma - are too bright. If Omkar Raghuvir and bring to light the plight of farmers, Shalini, a M. Phil from Jawaharlal Nehru University, should be applauded for his role with such ease and perfection. Malaika and Vishal fits the bill of English and Hindi respectively reporter channel. Anusha blends the miseries of farmers and subsequent reactions of politicians and media seamlessly into 'Peepli Live' and that makes it a must watch.real villages are so few and far between in Bollywood movies which I think is a bold move if a director decides to make a film about the problems of farmers' in the country.

But with rookie director Peepli Live Anusha Rizvi, who also wrote the story, gives a good story. Aamir Khan, film producer, said that the film is not about suicide of farmers' and he's right. The problem here is beyond farmers 'suicide'. The film tackles the growing gap between India and how it is shining over others. It 's also a tribute to hero Rizvi of Premchand Hori from' Godan ', whose fate remains unchanged even if the faces that represent the forces continue to change. The policy response and the media frenzy surrounding the suicide Natha to evoke much laughter, but the pathos of the story makes the film transmits its message successfully.

Peepli Live begins with the story of the farmer Natha simple mind (Omkar Das Manikpuri), who spoke to commit suicide of his brother Budha (Raghubir Yadav) when they lose their land to the bank after failing to repay its debt. Budha convinces his brother that their families will be eligible for government relief has many advantages for families of farmers who kill themselves. Their conversation is heard by a drunk local journalist, who writes a story in his newspaper. Soon the hunger for news of TRP channels within the story, because as a TV reporter says "the case to cover a live suicide comes once in a while." Natha impending death becomes a national obsession.

Natha is a new situation: every movement is monitored by cameras prying. Can not even go to the bathroom without the cameras following him. While the interviews beam channels and exclusive live with friends in the village Natha, nobody has the time to ask if he actually died. The film has big Bollywood star Aamir but who is behind the screen as a producer. Rizvi sought actors Habib Tanvir's Naya Theatre group Theatre and did a real job.

Actors such as Omkar Das Manikpuri (Natha), Raghuvir Yadav (Budha), Shalini Vatsa (wife Natha's Dhania), Farrukh Jaffar (mother Natha's), Malaika Shenoy (TV reporter), Vishal Sharma (TV reporter), Nowaz (a journalist from newspaper ) and Naseeruddin Shah in a small role as a shrewd politician, Salim Kidwai, I'm so comfortable in the skin of the character actor and character merge into one.

Raghubir puts on a show seasoned and Jaffar, who played the mother in the old Umrao Jaan Rekha is amazing how strong the mouth, the mother Beed smoking. Shenoy, Sharma and Nowaz are satirical representations of the pressures of journalism in India.Rizvi also brings in Badwai local villagers in the cabin and the roles are brilliant and authentic.

The legacy is represented by Habib Tanvir and his daughter Nageen passionate interpretation of the popular song Maati Ka Chola Chattisgarh. For those interested in fusion music, the film offers two numbers Indian Ocean Des Mera Zindagi Darte If I enjoy and applaud.