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When Sitaram Kattel and Kunjana Ghimire announced their plans to build an international-standard cricket stadium back in 2018, they were showered with plaudits from near and far. Then the blueprint for the “Lord Buddha International Stadium” to be built in Bharatpur Metropolitan City, Chitwan, was made public. Nepalis, wherever they lived, vowed to help the quest of the actor duo popular in Nepali television as Dhurmus and Suntali respectively. 

After the 2015 earthquakes, the comedian duo had formed the Dhurmus-Suntali Foundation to help with relief efforts. With the help of generous Nepalis, mostly living or working abroad, Dhurmus-Suntali came to the aid of thousands of people and built model communities to rehabilitate those that had lost their homes to the quakes. The public support and success that characterized their previous effort was what prompted the duo to undertake the Rs 3-billion stadium project. 

“Since the day we announced the stadium, we have received overwhelming support from Nepalis all over the world. With their contribution and govern­ment support, we will complete the project in record time,” Kattel had said in an interview with ApEx back in April 2018. “Before, we were working for small communities. Now this project is for the pride of the whole country and we believe every Nepali will take part enthusiastically,” Ghimire had added.

The project had an auspicious start. Almost Rs 700 million was pledged during a maha yagya held in January 2020 to raise funds for the stadium. But till now, only around 15-20 percent of the pledged amount has come through. With almost 30 percent of infrastructure completed and nearly Rs 500 million already spent, the project has hit a brick wall as donations have dried up. Outstanding dues are worth almost Rs 140 million. 

The Bharatpur Metroplitan City allocated around 34 acres for the stadium which is to be handed over to it after completion. Initially planned for 40,000 spectator, stadium capacity was later brought down to 25,000. Once completed, the stadium will be compliant with the International Cricket Council standards and be able to host international matches. It will also double as a sports village with facilities for other sports like football, volleyball, basketball, badminton, taekwondo, swimming and fitness center. 

Only a couple of years after the project’s start, the initial rosy picture painted by Dhurmus-Suntali has been shrouded in skepticism and controversy. First, there was a land issue with the locals of Bharatpur as the locals accused the stadium of not leaving enough space for roads and disrupted construction. 

The land dispute was quickly resolved but what followed was something the whole world was unprepared for. The Covid-19 pandemic made 2020 one of the longest years for mankind and brought many countries to an economic standstill. The same pandemic brought disaster to the stadium as well. With people losing their jobs and bearing losses, the project run entirely on donations stopped getting funds. Construction continued even during the pandemic and lockdowns but payment for the work stopped, with debt accumulating to alarming levels.

Hopes and doubts

On a Mechi-Mahakali tour from mid-March, Dhurmus-Suntali are confident they will complete the stadium despite the controversies and financial crunch. In recent times, the couple has been under fire, criticized for indulging in an ambitious project which will not contribute to the national economy.

Kattel, aka Dhurmus, however believes that a sports stadium is almost as important as hospitals or schools for a developing country. ApEx could get hold of him on the phone only after much difficulty because of his busy tour schedule. “We were devastated when we stopped getting donations and were criticized for our efforts,” Kattel says. “At this point, we cannot think about other alternate projects. We will look to build schools and hospitals, as some people want us to, only when the stadium, on which we have invested so much of our time and energy, is complete.”

Despite being at the receiving end of harsh criticism on social media, including abuses and threats, the Mechi-Mahakali tour organized to collect funds and people’s opinions, has thus far been successful, Kattel informs. Confirming the debt of around Rs 140 million, Kattel is hopeful of collecting enough funds to settle the debt and complete the project.

Actor/producer Anurag Kunwar, a colleague and also a close associate of the Dhurmus-Suntali duo, emphasizes the importance of sports for national development and how the foundation’s initiatives will serve future sportspersons and the country as a whole.

“Sports are a part of life and I admire what Dhurmus-Suntali are doing in the country for the cause,” says Kunwar, who had previously contributed and also helped raised donations for the Dhurmus-Suntali Foundation’s reconstruction projects. “I will also help them with the stadium as soon as I am done with some of my other commitments.”

Another colleague and close friend from the acting fraternity, Nirmal Sharma, says he wholeheartedly supports the stadium. “I donated to the foundation when they were doing the Musahar community settlement project and also to the mahayagya for the cricket stadium,” Sharma informs.

Sharma has in the past been vocal about his support for the foundation as well as the stadium. But in recent times, following controversies and criticisms, he has had to distance himself. “I still hope the foundation completes the project and gives us an international stadium,” Sharma says. “At the same time, I hope there will be full transparency and accountability.”

Transparency issues

An actor who has in the past supported the stadium now shares her skepticism. “If you ask me, this is an impractical project,” she says, requesting anonymity. “Initially I was curious about what the constructors were doing in the name of patriotism. Now I think transparency and monopoly are issues that need to be resolved.”

The situation is a complex one for the fraternity, especially for the ones who in the past openly supported the project. The actor emphasizes the need for practical arguments rather than emotional dialogues. There has been no technical valuation of the project and investments, she says, adding that “this project either needs to be stopped or handed over to the government.”

Consultant civil engineer and educator Ramesh Subedi also questions the stadium’s viability. “At the risk of sounding anti-development, I have to tell you that most development projects in Nepal are undertaken on a whim,” says Subedi. “There is no proper feasibility study.”

The same applies to the stadium, Subedi believes. This is a mega-project by Nepali standards and to launch a project of this magnitude, its developers should make a scientific calculation of its usability and return on investment. “We do not know how many matches a year will be played here. Or at least how many matches should be played per year to bring it to optimal use. Do you really need a 25,000-capacity stadium? Did we really need to invest so much?” Subedi asks. He also criticizes the foundation for collecting the meagre earnings of migrant workers and rural folks by making an emotional appeal.

The role of Bharatpur Metropolitan City 

The Bharatpur Metropolitan City, one of the most affluent metropolitans in the country, allotted land for the stadium under the initiative of its mayor Renu Dahal. The city also organized the mahayagya and raised around Rs 120 million. Besides, Bharatpur metropolitan office this year allocated Rs 80 million for the project while its employees donated a month’s salary each. (The stadium is to be handed over to the city after completion.)

Now that the project seems to be in limbo, mayor Dahal says Bharatpur is ready to take over construction if the foundation can’t complete it. She also refutes all allegations against the city office: “If someone thinks there is a discrepancy, they can take us to court and jail us.” In strong words, Dahal also warns those in the media “spreading baseless rumors against the stadium”.

Bharatpur, dubbed ‘the medical city’ for its many hospitals and medical schools, is already at par with other developed cities in the country. “At present, more than anything else, we need an international stadium. How can we be a metropolitan city without one?” Dahal asks.

Not just cricket

Rubina Chhetry, captain of the Nepali women’s national cricket team, is irked by the negativity surrounding stadium construction. An international standard stadium is important for Nepal if only to its ODI nation category, Chhetry says. At the time the Dhurmus-Suntali Foundation announced the stadium, there were no such initiatives.

“I am not only a cricketer but also a sportsperson and I know the value of a well-equipped stadium,” she adds. “This stadium will benefit not only cricket but also other major sports played in the country.” 

Chhetry, who has played international matches abroad, feels something is amiss when she plays at home. The government has its hands full with multiple things. Thus there is nothing wrong with a private organization taking the initiative to build a national stadium, Chhetry says. “How are they who are building the stadium for the country rather than for their own benefit to be blamed?”

What I actually wanted to watch this was week on Netflix was the BBC One production “The Serpent” based on notorious serial killer Charles Sobhraj. But as it is a TV series and I was pressed for time, I couldn’t indulge. Moreover, Randeep Hooda’s portrayal of Shobraj in the 2015 film “Main Aur Charles” has spoilt me for any other impersonations of the world-famous criminal.

So in my search for what’s new this week, I stumbled upon Irul (“Darkness”), an Indian Malayalam-language mystery thriller. In its trailer, the film gave out a dark, gothic vibe befitting its name. But the movie itself turned out be a sloppily written whodunit that tells you who’s done it even before the climax and then you don’t know why you’re watching the movie anymore. Still, we recommend you give “Irul” around 90 minutes of your time because some elements in it definitely deserve attention.

Irul features only three characters in its entire length. Alex Parayil (Soubin Shahir), a writer with an unbalanced temperament takes his workaholic lawyer girlfriend Archana Pillai (Darshana Rajendran) on a weekend retreat. They are driving to a ‘mystery’ destination on a rainy night when their car breaks down in a deserted place. Not carrying mobile phones as part of their tech-detox plans, the couple is forced to take refuge in the first house they see.

In the house, they are welcomed by its eccentric owner Unni (Fahadh Faasil). He tells the couple he never carries a mobile phone and the house’s landline is broken due to rain. Unni also offers Alex and Archana to stay overnight, which the couple agree to. Then, later in the night, when the trio sit down for a conversation, Unni starts talking about Alex’s novel “Irul” and accuses him of being the serial killer, the book’s protagonist. Alex refutes the claim and instead accuses Unni of being a thief and murderer. As the argument gets heated, both men furnish ‘evidences’ to show the other as the killer while Archana has to make a potentially life-threatening decision.

Writer Sunil Yadav sets up a perfect premise for a harrowing crime thriller. But in due course, the film dips in mysteriousness and thrill. There are certain moments that try to make a breakthrough, but debut director Naseef Yusuf Izuddin fails to make the best of them. The film fails to ignite the emotions its genre is supposed to.

But even as writing and direction are on the sloppier side, acting and cinematography of Irul maintain high watchability factor. All three actors, the only three actors actually, are brilliant in their respective roles. Male actors Fahadh Faasil and Soubin Shahir—who are known for their method acting and versatility in the Malayalam movie industry—take it upon themselves to save the film from disaster. In their respective roles as Unni and Alex, both potential serial killers, the actors are convincing enough to confuse the audience. There are multiple long shots in the film, one so long that the film appears like a theatrical production. Not many can pull off long shots as do the actors in Irul.

They justify the burden of expectations placed on them. But it’s Jomon T. John’s cinematography that shines through the brightest, making Irul a visually-compelling treat. The film has a dark tone with most of its proceedings happening inside a dimly-lit house. Jomon capitalizes on the opportunity to use some of the most unusual POVs, mirrors and shadows to create sinister visual effects. The lighting and camerawork put together emulate a neo-noir style which seems to be inspired a lot by Alfred Hitchcock’s milestone setting classic “Psycho” (1960).

Who should watch it?

Irul is a film made for crime, mystery, and thriller movie fans. Watching it, you will identify certain similarities with other movies of the genre you’ve watched and will probably also guess the suspense and the ending. But the acting and cinematography will most definitely make your time enjoyable.

Rating: 3 stars
Genre: Crime, thriller
Actors:  Fahadh Faasil and Soubin Shahir, Darshana Rajendran
Director: Naseef Yusuf Izuddin
Run time: 1hr 31mins

Netflix’s “New releases” section this week didn’t have many new films. Instead, most new releases were old Hollywood movies, some dating back almost two decades. So what do I do? I take Google’s help and come across something I’d strangely missed this year. The 2020 American movie “I Care a Lot” was released on Netflix in February 2021 and had somehow evaded my watchful eyes. So the black comedy written and directed by J Blakeson became my muse this weekend. 

Marla Grayson (Rosamund Pike) does social service in Massachusetts, US, taking guardianship of elders who cannot take care of themselves and are abandoned or ignored by their families. She then places them in elderly homes and also manages whatever funds they have. To the world, Marla is a kind-hearted social service entrepreneur. 

But all of this is a sham. She is actually a scammer who targets vulnerable elderly people, fabricates illnesses for them, and convinces courts to give her their guardianship. With the court orders, she locks up her old victims in a facility where they are heavily sedated and not allowed to contact anyone outside. Marla then usurps all their assets and savings. 

Marla is a successful con-woman with a booming business when she finds her new target— Jennifer Peterson (Dianne Wiest), a wealthy retiree with no family. With her partner-in-crime Dr. Karen Amos (Alicia Witt), Marla convinces the judge that Jennifer is suffering from dementia and takes over her custody, at the same time rummaging through her wealth. But things turn ugly for Marla soon as Jennifer, presumed to be a loner, turns out to have a son, Roman Lunyov (Peter Dinklage), a Russian mafia boss. Roman’s entry into the script causes havoc in Marla and her partner Fran’s (Eiza González) lives. The conflict that ensues constitutes the story of “I Care a Lot.”

The film centers on the idea of choosing your evils—the Devil or the deep blue sea? Initially, you may hate Marla for cheating the vulnerable elderly. She appears ruthless and spiteful. But when you follow her through the story and watch her encounters with Roman and his gang members, you might also empathize with her. Granted that Marla is malicious, but Roman is not a saint either and Jennifer has a closet full of skeletons too. “I Care a Lot” just paints the picture of the real world where there is more grey than black or white. 

J Blakeson’s writing and direction keep the film sharp and edgy throughout. It is hard enough to get the audience engaged in your story; it’s a different ballgame altogether to be able to play with their minds. And Blakeson does that in I Care a Lot. The constantly paced, up-tempo movie needs the audience to be active thinkers to get past it. It is not easy to choose sides. 

Blakeson’s efforts are matched and surpassed by Rosamund Pike playing Marla (for which she also won the 2021 “Golden Globe Award for Best Actress—Motion Picture Comedy or Musical”). As a merciless scammer who has placated her conscience with twisted reasoning, Pike’s Marla is one of the strongest female characters we have seen lately. She is brilliant throughout and outshines Hollywood heavyweights like Peter Dinklage and Dianne Wiest. Not taking away anything from the two seasoned actors; it’s just that Pike’s character as well as her acting are just too strong for anyone to even come close. 

Who should watch it?

I Care a Lot is a declared dark comedy and a disguised action thriller. This means there’re many things to watch out for and enjoy for a wide range of audience. The film, at 1hr 58mins, might feel a bit lengthy for some (including this reviewer), but clever screenplay/direction and fantastic acting do not let you get bored easily. 

Rating: 4 stars
Genre: Comedy, drama
Director: J Blakeson
Actors: Rosamund Pike, Peter Dinklage, Dianne Wiest
Run time: 1hr 58min

The story behind “Anuprastha” is any high-schooler’s dream. A bunch of friends from different backgrounds meet at high school, their common musical interest bringing them close. Then they form a band to play for the school’s freshers, and that’s it. The band hits it off from the first gig itself and starts playing concerts. In a few years, it wins a huge music competition and in a few more, becomes of the most successful bands in the country. 

This is Anuprastha for you: a high-school band that started in 2004 and has since been a force to be reckoned with in the Nepali music scene. With its humble beginnings as a cover band that started in high school and then mostly played in the pub circuits of Thamel, the band won the first ever “Sprite Band Challenge 2008” which catapulted it to fame. 

The Sprite Band Challenge also gave the band a record deal, which resulted in the release of official music video of its popular song “Din” from its 2010 debut album “Anuprastha”.  The band, popular countrywide for live performances by then, released another album “What to do Kathmandu” in 2015.

As Anuprastha prepares to release its third album “Nepal Swarga Bhanda Thulo Cha” in the near future, it’s new music video for “Samjhera Malai” is already getting praises from new and old fans alike. The music video sets a benchmark in production quality. The rock ballad, which was originally included in the band’s debut album, has been rearranged and recorded and the music video has been made with cinematic visuals. 

“Now that we talk about it, everything sounds so smooth. But this has not been the case,” says Niran Shahi, the founding member and singer/guitarist of the band that has suffered many lineup changes in its almost 18 years of existence. “It’s one thing to form a band and play music in high school. Making this a profession is an entirely different ball game.”

With another founding member Govin Sunuwar (guitars) still with the band, Shahi now leads a young team of twenty-somethings—Manjil Raj Shrestha (drums), Laxman Dangol (bass) and Suresh Maharjan (percussions)—to complete the lineup of Anuprastha.

“It has taken us quite some time to bring back the stability in the band and now I think we are ready for bigger things to come our way,” Shahi says while in the middle of a Nepal tour promoting the band’s new music video. The band has survived highs and lows all these years, especially the pandemonium forced unto it by sudden departure of band members. Also, the band has felt its popularity decline in recent years. 

Shahi cites two main reasons behind the band not being able to consistently cash in on the success of its Sprit Band Challenge win. “Apart from lineup changes, we made the mistake of playing regularly at bars and pubs and also released low-cost, DIY music videos,” Shahi explains. “When a band plays regularly at bars and pubs, it loses audiences at bigger venues. Nobody would pay for tickets to watch you live when they get to see you for free every weekend.” So Anuprastha won’t be doing regular bar gigs from now. 

As for the music videos, Shahi says he has realized that after “Din”, which was produced by the organizers of the band challenge, Anuprastha made simpler music videos with local creators. This did not work in the band’s favor, Shahi feels. “Our audience probably expected more from us and we kind of disappointed them. After winning such a prestigious competition, we should have tried to live up to the audience’s expectations,” he says. So the band made no compromises in producing “Samjhera Malai,” which Niran feels has resurrected Anuprastha’s popularity to a large extent. 

Starting as teenagers and now in their 30s, a lot of things has changed for the band and its remaining founding members—Shahi and Sunuwar. With the changes in the lineup, the sounds have changed, which is a positive for the band, the current members believe. Also, with age, the band members’ responsibilities, commitments and financial burdens have increased. 

“We have been surviving through our music and that is exactly what we intend to do in the future,” Shahi says. No bar gigs means a loss of income but band members need not worry. At Shahi’s initiation, the ‘Anuprastha Music School’ is soon opening in Balaju, where the band members will be employed as teachers and mentors. 

“Anuprastha and the song ‘Din’ is a legacy I carry over from my elder brother,” says Shahi. “After giving it the best of our youth, there is no backing out now. We are in this for the long haul and Anuprastha will continue to release new music for its audiences.”

Death in our part of the world is followed by a period of penance-like mourning for the rest of the family. In a typical Hindu family, the mourning starts from the day of cremation and lasts for 13 consecutive days whereby the bereaved family has to follow strict restrictions. This extended period of mourning, compared to other religions, makes funerals more somber for the Hindus.

Now imagine someone making a film on this. One would expect melancholy to reign. But the freshly released “Pagglait” on Netflix turns a gloomy affair into dark comedy, sometimes so hilarious that laughter is inevitable. No wonder the Hindi-language comedy-drama, written and directed by Umesh Bist, is being talked about so much on social media.

Sandhya Giri (Sanya Malhotra) is a young widow who is yet to come to terms with the death of her husband Astik. As the rest of the family is crying their hearts out on the day of his funeral, Sandhya can’t find herself shedding a tear. In the days to follow, while still within the 13-day mourning period, Sandhya is aloof about the proceedings around her. She is instead craving for potato chips, Pepsi and gol gappas, all off limits.

While her parents, in-laws and the rest of the family members are shocked at Sandhya’s indifference at her husband’s death, Sandhya also gets into a mental conflict when she finds a girl’s photograph in Astik’s cupboard. She gets obsessed about finding the truth behind what she thinks is an affair between the girl Aakanksha (Sayani Gupta) and Astik. Her conflict is further aggravated and involves the whole family when they discover that Astik has taken out a huge life insurance package with Sandhya as its only nominee.

The story of “Pagglait” is as colorful as its ensemble cast comprising of some of the most talented actors in Indian cinema. Ashutosh Rana as Astik’s father Shivendra Giri, Sheeba Chaddha as his mother Usha, Raghubir Yadav as his uncle Roshan Sethi, and Meghna Malik as auntie Tulika, are just some of the recognizable names in the long list of lively characters the film features. Just as its complete story cannot be narrated in the review, nor can all its impactful characters be named for the sake of brevity, which is a shame. An unending series of conflicts, large and small, as well as the impact each character has on screen makes Pagglait a thoroughly enjoyable movie.

But Pagglait also portrays a bitter truth about patriarchal societies. It questions the legitimacy of arranged marriages where strangers marry strangers, because their families think it’s right. Probably one reason why Sandhya doesn’t feel much pain at her husband’s loss. Pagglait also refuses to make its central character Sandhya a typical Indian woman burdened with expectations from her family. Instead, Sandhya is free-spirited and unorthodox, hence people calling her ‘pagglait’ (mad/crazy).

There are a number of issues that the filmmakers want to tackle with Pagglait. But in the 1h 54mins movie, sometimes we wish the makers had stuck to the core theme instead. Some conflicts seem to be taking the light away from the central idea. Had the entire cast not been at their best elements, the screenplay would have ruined the film’s entertainment quotient, and we are thankful that never happens. Also, the music by singer Arijit Singh in his debut as a musician is a bummer save for a few melodious moments.

Who should watch it?

Right from its opening shot, we know Pagglait is going to be an offbeat mainstream movie. In that belief, we are not disappointed. Yes, the movie has its shortcomings but nothing big enough to dampen its watchability. Pagglait is a breath of fresh air for everyone who enjoys good cinema. Specially recommended to people with a sense of humor.

Rating: 3.5 stars

Genre: Drama, comedy

Director: Umesh Bist

Actors: Sanya Malhotra, Ashutosh Rana, Raghubir Yadav

Run time: 1hr 54mins

This week, Kathmandu got to witness a rare musical subculture from eastern Nepal. A culture of brotherhood and camaraderie that bind followers with common love for music. Punk music and its various subgenres in this case. 

The musicians and audiences of Kathmandu, mostly aloof of what is happening in the eastern indie music scene, were initiated to the DIY culture brewing in the east. There, musicians are getting together to write original music, recording them and organizing gigs to support each other, without any outside interference. Where one can’t set the artist apart from the audience. Where any sort of income, if there is one, goes back into making and playing music. 

Retro Rocket from Itahari and Zero Brains from Dharan—who identify themselves as punk influenced indie-rock and emo-pop-punk respectively—are in Kathmandu, their first ever tour to the capital city. In a series of events that began at Beers and Cheers, Jhamsikhel, on March 20, the bands are taking over multiple venues in the city as part of the tour jointly supported by Kathmandu-based Noodle and Itahari-based KLM Records.

Zero Brains

“This tour was made possible only because of the brotherhood we have back home,” says Veesma Khanal, 25, emphasizing again the spirit of friendship that the bands back in the east share. “KLM Records, which comprises of musicians and supporters, joins us like a family.” KLM Records, as we are told, is a record label based in Itahari that binds musicians from cities in the east. The bands there share ideas, gear and even musicians to keep the DIY spirit alive. The record label was most active during the lockdown, releasing multiple tracks from local bands in punk/rock/alternative genres.

Veesma, who has previously lived in Kathmandu for almost a decade, says he found his calling in music only when he went back home. “I couldn’t do much in Kathmandu. I did not find the inspiration here. Back in Itahari, I got together with like-minded musicians to form Retro Rockets in 2016.” The band now has enough materials to release an album with proper studio recording, unlike the few demos it currently has on its YouTube channel. Zero Brains was established in 2018 and has been composing original music ever since, and is also preparing for an album.

For alternative artists like Zero Brains and Retro Rocket, making music has not been as difficult as playing live. “Most bands there play popular covers at pubs and bars. These musicians and venues don’t hold much regard for bands like us,” Veesma adds. “They think we don’t meet their standards.” So the real struggle for the DIY scene in cities like Dharan, Itahari, Biratnagar, Damak and the like is finding a proper venue to play in. The community of punk rockers gets together to find venues and cover costs involved in organizing gigs, also selling artist merchandise to raise funds.

“The Kathmandu scene is much better. There are more people and more venues than back home,” says Dexter Maden, guitarist/vocalist of Zero Brains. It is the first ever visit to Kathmandu for the 22-year-old and possibly his first exposure to mainstream media. The shy youngster lets Veesma answer most questions, only adding bits and pieces. “In Kathmandu, we have been made to feel at home and are expecting a good turnout at all our gigs.”

But although there are seemingly more opportunities in Kathmandu for both the bands, the artists have no intention of coming and settling here. They will come here for shows, will also help more bands tour Kathmandu, but will not move here, unlike most musicians of other genres. “Everyone has to come to Kathmandu sooner or later in search of better prospects—jobs, quality of life, education opportunities,” Veesma says. “We want to stay home for as long as possible, with the family we have earned there and continue to support the music scene in the east.”

Retro Rocket are:

Veesma Khanal on vocals

Sahil Sen on guitars/backing vocals

Utsav Acharya on guitars/synth/keys

Suman Pariyar on bass/backing vocals

Lav Sherpa on drums

Zero Brains are:

Dexter Maden on vocals/rhythm guitars

Homang Maden on lead guitars/backing vocals

Pratap Taman on bass

Lav sherpa on drums

Upcoming shows for the bands:

March 26: Tranzit, Maitighar

March 27: Shisha Lounge and Bar, Thamel

March 29: The Village Café, Jhamsikhel

Netflix’s algorithm works rather strangely, its ‘new releases’ section sometimes featuring films that have been released almost a year ago on the OTT. Also, I’m beginning to doubt the legitimacy of its ‘Trending now’ list which throws in random movies and series to get the audience to watch something they’d probably skip otherwise.

Anyway, Netflix recently threw a 2007 Indian film in my profile, a film I knew about but never watched as the name didn’t appeal to me. But when I finally did go through the film that had been on ‘my list’ for a few weeks “Manorama Six Feet Under” turned out to be the exact kind of movie for which I have Netflix installed.

Inspired by the controversial Roman Polanski 1974 neo-noir classic “Chinatown”, Manorama Six Feet Under is an Indian thriller co-written and directed by Navdeep Singh. Not a commercial success back then, the film turns out to have a cult following, with most critics giving it positive reviews. Released in 2007 when Bollywood was testing the waters for realistic films that broke industry stereotypes (“Swami,” “Khoya Khoya Chand”, “Dharm”), Manorama falls squarely in the list of experimental Bollywood productions that were ahead of their time and served to create benchmarks for the future.

Satyaveer Singh Randhawa (Abhay Deol) is an aspiring writer whose debut novel Manorama has failed miserably. Having been implicated and suspended on bribery charges, the desolate engineer is living a dull life in dry Lakhot in Rajasthan with his wife Nimmi (Gul Panag) and a young son.

Things change overnight when he gets a strange visitor at home—a middle-aged woman who identifies herself as Mrs. P. P. Rathore (Sarika), the wife of the local irrigation minister and former Maharaja P. P. Rathore (Kulbhushan Kharbanda). Mrs Rathore, who claims to be a fan of Satyaveer’s novel, requests him to spy on her husband, who she believes is having an affair.

Initially shocked at the strange request, Satyaveer reluctantly agrees to the woman’s plea in return for a decent sum of money. But in no time, the newly turned private detective finds himself in deep trouble. Satyaveer finds that the woman visiting him is not Mrs Rathore but Manorama, an activist who then suddenly dies by suicide, further complicating the plot for Satyaveer. Intrigued and intimidated at the same time, Satyaveer decides to find out the truth and gets in too deep in a series of mysteries.

Manorama is a slow burner. The events unfold at a grittily sluggish pace, but all that seems to be intentional. The writing and direction serve to divert audience attention from the fact that the film is based in a small and austere town in Rajasthan. The audience is too occupied following the central character of Satyaveer and his small successes and big failures.

This is where we also come to realize that Abhay Deol, as an actor, is criminally underrated in Bollywood. Maybe his belonging to Bollywood’s ‘macho men’ family created unwanted expectations that hindered his career. But he doesn’t lack talent and it is sad that the industry failed to make the best use of it. In Manorama, Deol is the driving force upon whom the whole film revolves. He plays Satyaveer with honesty and consistency throughout.

In a film that is evidently low-budget and doesn’t seem to invest much in creating appealing visuals, the cast, besides strong writing and direction, is the strength of Manorama. It also features the talented Vinay Pathak as Brijmohan, a cop and Satyaveer’s brother-in-law, and one of the early supporting roles played by the now famous Nawazuddin Siddiqui as Chhaila, a local goon.

Who should watch it?

If you haven’t watched Manorama Six Feet Under already, you have missed out on an important thriller movie. Even though the slow pace and length might not appeal to everyone, Manorama is not a film to missed by the lovers of suspense thrillers.

Rating: 3.5 stars

Genre: Crime, drama

Actors: Abhay Deol, Sarika, Vinay Pathak

Director: Navdeep Singh

Run time: 2h 17min

In April 2017, Kathmandu Valley was declared a ‘no horn’ zone. Traffic police fined vehicles honking unnecessarily, and even removed pressure horns on buses and trucks. The police also penalized bikers who modified their silencers to create loud sound. Within a few months, traffic noise was reduced significantly and valley streets became quieter and more disciplined.

But four years down the line, traffic noise is increasing again. Although there has been no recent research on the valley’s noise pollution level, the CBS’s Environment Statistics of Nepal 2019 shows that areas with heavy traffic, commercial areas, residential areas, and industrial areas inside Kathmandu valley all exceed their respective WHO noise pollution limits. Most places in the valley exceed the WHO limit of 70 decibels A (dBA) for ‘High Traffic Area’. For instance, the Balaju industrial area records a maximum of 78 dBA at day-time.

The WHO threshold for high noise pollution is 90 (dBA), after which the noise can cause serious harm to human health. But the harm can set in even at lower levels.

Research apart, the general public feels an increase in noise pollution. The ApEx office, at Teenkune, is exposed to deafening sounds of vehicles—specially buses and trucks—all day, every day.  

At Teenkune chowk, Surakshya Shrestha waits for her bus, visibly perplexed by the loud traffic noise. Originally from Dolakha, the recent high school graduate is in Kathmandu to pursue higher studies. “I came here to meet a friend and am waiting to take a bus back to my residence at Sukedhara,” Shrestha says. “As I wait, I see buses and microbuses compete to overtake each other and honking so loudly, and so often. I am not used to this.”

Public health professional Shashi Dev Shah is mainly concerned about the effects of noise pollution on students. “Prolonged noise exposure can have long term effects on our physical and mental health, and in Kathmandu we get exposed to them pretty young,” Shah says. “Most academic institutions here are located in the busiest areas, which might be a problem in the long run.”

Citing a report published in the International Journal of Recent Scientific Research in 2019, Shah says most students in the valley are exposed to noise pollution on a daily basis. The joint report of Raju Chauhan and Sijar Bhatta states that “along with the problems like air pollution, water pollution and solid waste, noise pollution is emerging as a threat to the inhabitants of Kathmandu Valley.”

The research shows over 90 percent educational institutions in Kathmandu Valley are in noisy areas that exceed both national and WHO noise thresholds. Institutions located in high traffic areas have highest noise exposures. The six-hour average noise level for educational institutions located in different zones are as follows: High Traffic (70.1 dBA),  Commercial (66.2 dBA),  Low Traffic (65.7 dBA), and Residential (56.3 dBA).

Mangala Devi Secondary School at Gaushala (101 dBA) was found to have the highest noise level of all education institutions, followed by Pashupati Multiple Campus in Chabahil (100.4 dBA) and Trichandra Campus at Ghantaghar (99.9dBA). The Tribhuvan University central campus at Kirtipur (22.4 dBA) recorded the lowest noise level.

“It is surprising that our academic institutions open and operate mostly in high traffic and commercial areas,” Shah says. “How can students concentrate in studies when they have to listen to loud horns and traffic noise all day?” Easier way to control noise is to restrict horns in the valley, Shah suggests.

Dr Leison Maharjan, ENT specialist at Patan Hospital, warns of the repercussions of prolonged exposure to noise pollution. “The effects of noise pollution, or loud noise, vary according to its intensity and duration,” Maharjan says, “Generally, for the human ear, noise level above 80dBA can be harmful. You can see noise as a toxin, the effects of which are in proportion to the intensity and duration of exposure.”

Giving example of a field visit to a hydropower project where most workers complained of hearing problems, Maharjan adds that noise pollution can cause many such occupational hazards. “The direct health effects are ear-related problems like tinnitus and hearing loss, which can be temporary or permanent,” Maharjan adds. “Noise pollution can also lead to anxiety, irritability, stress, poor concentration, mental fatigue, sleep disturbance, high blood pressure and cardiovascular diseases.”

ApEx contacted the Ministry of Health and Population to inquire about the problem. Its spokesperson, Dr Jageshwar Gautam, gave a nonchalant reply. With the same energy he displayed during the government’s televised coronavirus briefings, Gautam informed that the ministry does consider noise pollution in Kathmandu a problem and also sees vehicle horns as the major culprit. But then he says it is not for the ministry to solve the problem.

When asked why the ‘no-horn’ policy exists on paper but has been poorly implemented, Gautam replies, “You should put someone out on the street and have them report the honking. Sensitize people and other stakeholders. We are not a regulatory body, and this is out of our jurisdiction.”

The Metropolitan Traffic Police Division is more receptive of our queries. Its spokesperson SP Shyam Krishna Adhikari explains that right after the lockdown, there was a series of political protests and gatherings as well as VIP movements. That occupied the limited human resources of the traffic police.

“We understand that vehicle horns are a major source of noise pollution in the national capital,” Adhikari says. “We are already trying to dissuade motorists from blaring horns haphazardly and are starting an operation against honking starting this week. We will also be looking out for modified vehicles that cause loud noise”.

Street smarts

Sushila Dahal, 42, Housewife

We need peace and silence everywhere. And on the roads, we need to be extra careful. Honking disturbs and irritates people, which actually contributes to accidents.

Laxman Ghimire, 44, Teacher

I think reducing noise pollution will help cure many problems. These loud horns are making people short-tempered.

Binayak Bhattarai, 24, Student

I don’t think ‘no-horn’ refers to a total ban on honking. Reducing unnecessary noise should be the prime concern. Does anyone ever think of the traffic police’s mental health?

Kamal Karmacharya, 45, Microbus driver

I don’t get the idea of declaring the valley a ‘no-horn’ zone. You can’t apply it. Instead, restrict the rule to certain areas and make people follow it.

Sujita Koirala, 47, Credit cooperative officer

My office is located right beside a wide, straight road and there is no need to honk there. Traffic lights control the jam. Still, I listen to bellowing horns all the time. The commotion is so loud, we can’t even talk on the phone. People should themselves be aware of the disturbance they are causing.

Rohit Chaudhary, 22, Tootle/Pathao rider

I understand that blowing horns stresses people on the road but sometimes it becomes imperative to avoid accidents.

Sakar Lamsal, 31, Engineer

Nepalis sometimes behave like a herd of sheep. If one starts to bleat (honk), everyone follows, without a reason. It is a matter of common sense.

Kamala Karki, 28, Traffic constable

Blow horn only in emergency. Otherwise, it is illegal and we might penalize you.

Samundra Karki, 26, Engineering student

The extremist policy of ‘no-horn’ is absurd. The goal should be reducing horn-use, not its ban. Vehicles have horns for a reason.

Rabi Shrestha, 42, Taxi driver

People, mainly youth, walk carelessly on the streets, often with headphones on. This usually invites accidents. In these situations, honking can’t be avoided. But the ‘no horn’ policy can be partially applied.