As anticipated, the political masters of Pakistan have finally directed its national cricket team to lift the boycott and play India on 15 February, 2026, as scheduled in Colombo . The Masters must've thought the money at stake is too lucrative to continue indulging in such kind of grumpy politics. Of course, they had imposed some pre-conditions that included making the 'handshake' a mandatory protocol, but the ICC looked the other way. So, the PCB takes it as protecting the 'spirit of cricket'. The Indian cricket board , the sponsors, the TV channels and millions of fans who do not necessarily mix patriotism with sports, if it's cricket in particular, must be deliriously ecstatic that all the revenues and hype and excitement shall be there for harvest thr oughout the ICC Men's T20 World Cup-2026 , co-hosted by India and Sri Lanka . Most of the Indians fans must also be ecstatic to have their heroes go on vanquishing the enemy neighbor and humiliating t...
Mani Kaul was one of the pioneering Indian filmmakers who contributed to the evolution of Parallel Cinema in India. Trained in the Film and Television Institute of India Pune, when Ritwik Ghatak was the chairman, Mani Kaul took cinema as an intricate method of expression. His Uski Roti (1969) was a revolution in Indian cinema bringing in an intellectual and intuitive approach to film-making (Filmfare critics award, 1971). Instead of obvious portrayal of emotions he made the audience study and understand every frame of his creations. If you are not attentive you may soon lose the thread of the narrative. Rooted to realism Mani Kaul could hardly differentiate between his masterful features and documentaries. He won his first National Award for his feature ‘ Duvidha’ in 1974 for Best Direction and won his second for his documentary ‘ Siddheswari’ in 1989 for Best Documentary. His musical masterpiece ‘Dhrupad’ (1982) showed his deep understanding of Indian music and rigorous training ...