PRECAUTIONS FOR DIWALI
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PRECAUTIONS FOR DIWALI
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Microsoft Corp launched a slimmer, revamped version of its Zune handheld music and video player on Tuesday as the software giant makes its latest attempt to compete with Apple Inc’s ubiquitous iPod.
The touch-screen Zune HD, which features a radio receiver and wi-fi, is priced just below Apple’s comparable iPod Touch in the hopes of grabbing market share as the US holiday shopping season nears.
The device, which goes on sale on Tuesday, has a claim of technical superiority over Apple’s iPods, with a state-of-the-art organic light emitting diode screen and ability to relay high definition video to a television.
But it will struggle to make an impact on the stylish iPod, which took the digital music player mainstream when launched in 2001 and now controls more than 70 per cent of the market.
The original Zune did not come onto the market until 2006.
Microsoft announced the pricing of the new models last month, pitching its black 16 gigabyte model at $219.99 and platinum 32 gigabyte version at $289.99.
Customized red, green and blue colors are also available. At the time, that was well below $399 Apple charged for the 32 gigabyte iPod Touch, but Apple has since cut prices and is now offering an updated version of the same memory size for $299.
Apple also now offers a 64 gigabyte Touch a video camera on its iPod Nano model.
There are no plans to add a camera to the Zune, marketing manager Brian Seitz said on Monday.
He also said there were no plans to create a Zune phone, which might rival Apple’s popular iPhone, despite recurring talk in the tech industry. He did, however, say that Zune’s capabilities could be added to other platforms, including Windows Mobile, suggesting that a smartphone with a Zune function may yet be realized.
Microsoft’s player is backed by the Zune Marketplace, which rivals Apple’s iTunes store, where users can stream, buy or rent music, videos and films.
The device features only a handful of applications, such as MSN weather and some video games, but it is planning to add applications featuring social networking sites Twitter and Facebook in November.
Unlike Apple, Microsoft does not have an open marketplace for application development, and is not charging for them.
Don’t blame the refrigerator for your steep power bills: an Australian consumer agency study has found that videogame consoles and plasma flat-screen TVs are major electricity guzzlers, even when left on stand-by.
The recent study by Choice said Sony Corp’s Playstation 3, closely followed by Microsoft’s Xbox 360 and plasma television sets, consumed the most power out of a list of 16 electronic devices tested, including laptops, stereo systems and DVD players.
“Our tests found that leaving a Playstation 3 on while not in use would cost almost… five times more than it would take to run a refrigerator for the same yearly period,” said the study which was published on Choice’s website www.choice.com.au.
“The plasma TV set was also a power hungry device, consuming over four times more power than a traditional analogue set. The average desktop computer was third on the list.”
The report advised consumers to switch off their electronic devices at the source, rather than just from the remote control, which puts them on power-consuming stand-by mode. “This saves on money, not to mention carbon emissions,” it added.
The wait is finally over! An Aamir Khan film is nothing short of an event. The supremely talented actor acts in one film a year and no two films are ever identical in terms of plotline.Ghajini, the Tamil version, has been a massive hit and so was its dubbed Telugu version. Will the Hindi adaptation live up to the humungous expectations? The hype is unmatched and you expect no less than a present-day masterpiece.
Now the good news: Ghajini demonstrates how strong film-making can enhance and elevate an already solid concept.
Ghajini is a revenge saga, one ingredient that has been the staple diet of Hindi films since time immemorial. It is a powerful film. It has the power to sweep you off your feet from the word ‘go’. It has a riveting story, which has been told with flourish by director A.R. Murugadoss. And, of course, it has a knockout performance by Aamir Khan.
The flaws? Running time [almost 3 hours]? Not at all! There’s so much happening in every scene and the screenplay is so gripping that you don’t feel the need to look at the auditorium ceiling or at your watch at brief intervals. You aren’t restless. As moviegoers, we’ve watched countless good versus evil fares over the years and although Ghajini belongs to the same family, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists-n-turns that you just can’t guess what would unfold next.
Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping — dissimilar from the original, but it’s an out of the world experience nonetheless.
To sum up, Ghajini is commercial Hindi cinema at its best. The film has ‘Hit’ written all over it. Let me put it this way: Cancel whatever you’re doing today and go watch Ghajini instead.
Aamir Khan is suffering from acute short-term memory loss set off by the violent murder of his girlfriend Asin. He’s got to work around this handicap, but with methodical and meticulous determination. Aamir etches a path of clues that lead him on his road.
To aid him in his quest, he carries around a sheaf of Polaroids and when he is really sure of a piece of information, he has it tattooed on his body, which stands in for the damaged part of his mind. His indelibly marked torso is the repository of his grief, his rage and his reason to go on living. Any more revelation would do gross injustice to the film and to its viewer.
First things first! Ghajini is not Memento. There’re minor similarities, butGhajini takes a completely different route to tell its story. Director A R Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present-day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart-breaking and exhilarating at the same time.
Hindi movies have often depicted people suffering from amnesia/memory loss, but Ghajini is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir’s portrayal of a man suffering from short-term memory loss.
Aamir hardly speaks. In fact, the leading lady [Asin] speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes Ghajini a memorable, never-seen-before experience.
Director A.R. Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it [refreshingly] differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There’s dum in every sequence. Even if the director has to depict violence, he doesn’t resort to blood-n-gore or knives-swords-pistols for effect.
A R Rahman’s music is top notch. At least three numbers have the unmistakable stamp of a genius — ‘Guzarish’, ‘Behka’ and ‘Kaise Mujhe’. Ravi Chandran’s cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. The Hindi moviegoers haven’t seen such scenes ever.
Aamir delivers his career-best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films.
A lot has been said and written about the Ghajini look — Aamir’s hairstyle and his dream physique. As far as his acting is concerned, he’s natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree. Without doubt, it’s a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can’t remember, is palpable. It’s not only the plot that carries Ghajini. It’s also the mood and the expression on Aamir’s face that makes Ghajini a treat.
Asin is fabulous. To share the screen space with an actor of the stature of Aamir Khan and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate.
On the whole, Ghajini is a winner all the way. The film will set new records and has the merits to emerge one of the biggest hits of all times. The weekend business should be historic, the Week 1 business should be unparalleled, the lifetime gross should be amongst the biggest of all times. In short, Ghajini has ‘Blockbuster’ written all over it.
Cast: Sanjay Dutt, Ritesh Deshmukh, Arshad Warsi, Javed Jaffrey
Direction: Indra Kumar
We’ve become so accustomed to vulgarity in the name of humour that we’ve forgotten to appreciate clean comedies. Which is why I want to roll out the carpet for this week’s new Bollywood release, Dhamaal, a genuinely funny, plot-driven family comedy directed by – surprise, surprise – the king of melodrama himself, Indra Kumar.
The film stars Ritesh Deshmukh, Arshad Warsi, Javed Jaffrey and Ashish Chaudhary as a bunch of unemployed, down-on-their-luck no-gooders who go in search of a ten-crore rupee treasure they learn about from a dying mob-boss.
As luck would have it, the secret of this hidden treasure also reaches the ears of a crooked cop, played by Sanjay Dutt. So now you’ve got five guys heading in the direction of this stacked-away money, each encountering oddballs along the way, each trying to reach the location before the others so he can claim the full amount himself.
What’s refreshing about Dhamaal is the fact that it doesn’t fall into any of the traps that recent hits in the comic genre – Partner and Heyy Babyy succumbed to – it’s not vulgar, it isn’t full of sexist jokes, the dialogues aren’t stupid, and you don’t feel like the gags are being stretched out endlessly.
Having said that, let’s not get too carried away and put either the director or the writers on a pedestal just yet, because Dhamaal is after all a rather blatant rip-off of the evergreen Hollywood hit, It’s A Mad Mad Mad Mad World.