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Seldom do movies celebrate fatherhood. At least not in a way where the loving, compassionate, sacrificing, vulnerable and frail side of a father is portrayed on the big screen without glamorizing the stereotypical ‘manliness’ of screen dads. “Appa” is a movie dedicated to all the fathers. By the end credits, the audience agrees that the common perception of fathers is grossly wrong.

Written and directed by Darjeeling-based filmmaker Anmol Gurung, “Appa” has Kollywood’s own Daya Hang Rai playing ‘Birkhey driver’ and ‘appa’ (father) to Siddartha (Siddhant Raj Tamang). Birkhey, a happy-go-lucky driver who ferries tourists around the treacherous Siliguri-Darjeeling road, causes a fatal accident one day, partly because he is drunk. The accident kills a whole family of Bengali tourists with only Sid and Birkhey surviving the crash. Ridden by guilt and with natural protective instincts, Birkhey gets close to Sid, who in turn starts calling him ‘appa’. What follows in their lives is what “Appa” is all about.

The plot is simple and organic, so is the casting and the production. Rai as the loveable Birkhey finally makes an impact he had initially achieved in “Loot” (2012). After a string of movies that had him in repetitive and forgettable roles, Appa provides his fans a breath of fresh air. Birkhey, despite his drinking habits, is an affable chap, someone you’d love to know in real life. Rai has put so much life into the character that you feel every bit of emotion with him.

Also commendable in their roles are the youngsters Lama and Allona Kabo Lepcha as “Kavya,” his high school love interest. The couple look cute together and the best part is that they do not overdo the romantic bits. The innocence around ‘first love’ is rather sweetly maintained. Legendary filmmaker/actor Tulsi Ghimire also makes a comeback on the silver screen as a catholic priest/teacher with suiting dignity. Albeit in a supporting role, Aruna Karki as the friendly “anggie” (auntie, in local dialect)—a Sherpa woman who runs an eatery on the highway—is another kind-hearted, caring and immediately likeable character you’d want to meet for real. She’s a veteran and that’s how veterans should act. (Pun intended post-Dal Bhat Tarkari and Kumva Karan.)  

The best thing about Appa is that the young filmmakers from Darjeeling manage what most seasoned producers and directors in Nepal fail to—capture the essence of their location as well as of the local dialect. The cinematography is amazing and proves why Darjeeling is called the ‘Queen of the Hills.’ But more admirable is the characters in the film internalizing the ‘Daarj lingo’, which is quite popular even in Nepal for its unique diction and embedded humor.

The hills of Darjeeling resonate with music and director Gurung, who also takes credit for the film’s soundtracks along with Saikat Dev, has been able to capture the musicality that nature has given them. The songs in Appa are beautiful and the background score just fitting.

The film is evidently a low-budget production but Gurung has done a commendable job of holding together the screenplay for 1h 40m. The second half does get irritatingly Bollywoodish and at times lacks creativity, but all the good things about the film make up for these minor lapses.

Who should watch it?

Daya Hang Rai’s fans who have never lost their faith in him since “Loot” will definitely be proud of his role in “Appa”. Also, this is a family entertainer with an important message. It’s thus for everybody.

Rating: 3 stars

Genre: Family/Drama

Run time: 1 hr 40 mins

Director: Anmol Gurung

Actors: Daya Hang Rai, Allona Kabo Lepcha, Siddhant Raj Tamang, Tulsi Ghimire, Aruna Karki

Those of us who came of age in the 1990s and 2000s will never forget the unmitigated thrill of popping Orange Balls, those round orange sweets in transparent wrappers with yellow letters. The memories still make us drool. Sujal Foods has now stopped making these delicious delights, spelling an end of an era when the sweet Orange Balls and their close cousins sweet-and-sour Rimjhim Balls (also known as Black Balls) were the undoubted kings of the Nepali sweet market. Cheap too, as four could be had for a rupee. (APEX recently hit the streets in search of these candies but in vain.) There is a Facebook group, with more than 10,000 followers, dedicated to these two candies. People still post on Facebook and Reddit querying about their origin, recipe, and writing their personal stories. We bring to you some old fans of these candies and their incredible memories.

Elena Gurung, Video creator, 19
I and my cousins were very naughty when we were young. Just to make us sit down for a while, my grandmother used to ask us to draw. If the drawing was nice, she would give us 25 paisa each. It was a big deal for us then because we could get one Orange Ball for that money. When our grandma gave us money, all of 75 paisa, the three of us cousins would then run to the store. One of us would get a Black Ball and the other two would get an Orange Ball each. We would divide the spicy Black Ball into three pieces, eat it, and only then eat Orange Balls.

Sabin Karki, Dancer, 23
I still remember getting four Orange Balls for one rupee when I was little. One of my friends had brought like a bunch of Orange Balls to distribute in school on his birthday. I was amazed! He let everyone in the class take as many as we wanted. That day was amazing and remains a fond memory.

Saurav Chaudhary, Actor, 27
Four-for-One: Perhaps the best deal I could have gotten at “Maila uncle ko pasal” for those candies. I vividly remember my friends showing off their colored orange tongues. The funniest part was making ‘colas’ and orange juice out of those candies, which is the best juice I have ever had. I still wish we could get the same candies with same taste and the same type of friends with the same innocence.

Raj Shah, Sarwanam Theater Director, 32
An entire packet of Rimjhim Balls or Orange Balls used to cost Rs 14. We, as children, could not afford it. One candy used to cost Rs 0.25 but for Rs 14, we could get more in quantity. So, my friends and I used to form a group of 5-6 people and each of us would contribute Rs 3 for a packet of that candy. I think it was the cheapest and most famous candy of our generation. We used to take off its wrappers and put the candies in our pockets. Then we would secretly eat it during class hours.

Swoopna Suman, Singer, 23
I was in my hostel back then. One night, I saw a friend of mine take out some candies from his black box. He handed me almost half a packet of Lacto, Orange Balls and Black Balls. I ate them all, at once. Right before I fell asleep, I felt a light sting on my left cheek. The next morning, my left cheek was totally numb. Next thing I realized my left eyelid wouldn’t blink. I don’t know if it were those candies or my body, but I got half of my face paralyzed for the next 3 months.

Kristie Rai Potter, 28
Whoever made Orange Balls is a star. I think at least 60 percent of my childhood body was made out of Orange Balls, haha.

Pratik Dhakal, 26
I used to buy 30 Orange Balls at once and dissolve them in water to make orange juice. And believe me, it tasted great, just like orange juice. That was me when I was just five! Sweet memories, indeed.

Neeru Tharu, 18
Before Orange Balls were 25 paisa a pop and I now hear they are Re 1 per piece. Now this candy is difficult to find. Maybe it is still available at Bhatbhateni. [Ed: No it is not]

In the geopolitical competition between global powers, it is hard to differentiate democracies from dictatorships. The Americans, the supposed global torchbearers of democracy, have repeatedly intervened in other countries to remove democratic governments and install their own puppet rulers. In this they are no different to the totalitarian Soviet Union that in its heyday dotted the world with its own puppet communist regimes, or the modern-day China trying to ‘buy’ influence abroad. By the same token, nor is the democratic India’s desire to maintain its absolute hegemony in South Asia out of place.

This is the central thesis of ‘How They Rule the World: The 22 Secret Strategies of Global Power’, a new book by Pedro Baños, a Spanish army colonel and an ex-member of the EU’s counter-intelligence corps. With the help of his knowledge gained working for various security organizations, Baños says powerful democracies and dictatorships alike use one or many of the same 22 strategies to get a leg-up on their competitors. He argues that on the global stage there are basically two types of countries: “the dominant” and “the dominated”. The first group “exerts control on a regional or global scale” while the second group is “controlled… in various ways—militarily, economically, culturally or technologically”. As the big powers try to get even more powerful, to avoid being devoured by this rivalry, the comparably smaller powers have no option but to fall in behind one of the big powers, or to join an alliance of like-minded countries.

But what are the strategies the big powers use to remain ahead of the pack? They may use the strategy of deterrence (‘winning without fighting’) or the strategy of encirclement (‘outmaneuvering adversaries’). Or they may feign and conceal (‘mastering deception’) or sow seeds of discord (‘defeating enemy from within’). The bottom-line is that these powers have the military and economic strength to compel smaller powers to do their bidding.

Baños says every geopolitical decision, from forging alliances to declarations of war to imposing economic sanctions, has an ulterior motive. “Concepts such as ‘human rights’ may be referred to, but countries will always act out of self interest.” What is ‘good’ or ‘bad’ is highly subjective in international relations, he says, and wants us to know of how we are being systematically manipulated. The author’s end-goal, however utopian the idea, is to build an international order “that strives for and prioritizes human security over national security.”

It’s an interesting, breezy read for anyone interested in big power politics. But the book is also a little disorganized. The 22 strategies comprise just one of the four parts of the book and they don’t always mesh well with the other three parts, each of which analyzes this politics through its own framework. A useful primer on the subject though.

Q. How would you describe yourself in three words?

A. Emotional, observant, and a good listener.

Q. A Nepali actor you want to work opposite to?

A. Anmol KC.

Q. Who inspires you the most?

A. My mother.

Q. What is that one thing you enjoy the most about your profession?

A. Traveling.

Q. What is your superpower?

A. My family’s support.

Q. Your favorite getaway?

A. Greece.

Q. If you had only one day to live, what would you do?

A. Spend the whole day with my family.

Q. If you could wish for anything, what would it be?

A. To be able to read people’s minds.

Q. Which is the project you are proudest to be a part of so far?

A. Pashupati Prasad.

Q. If you were not in the entertainment industry, which industry would you be in?

A. Banking.

 To be honest, we were a little apprehensive about trying a restaurant in Ravibhawan, a place not at all known as an ‘eat out’ zone. But the Perfect Foodland at the Ravibhawan Height managed to prove us wrong with its terrific food, service and ambience. Perfect is a multi-cuisine restaurant housed in a two-storey modern building. The interiors are elegant, pleasing, and again perfect while you relish the food.

There are multiple seating arrangements, a separate family room to host small parties and surprisingly, also a small stage where local artists do acoustic sessions on weekends. Besides the chef’s specials, we wholeheart­edly recommend the whole fish. Oh my, the sauce on that dish is finger-licking good!

THE MENU

Chef’s Special:
- Chicken Ala Que
- Dragon Chicken
- Crispy Prawn
Opening hours: 7:30 am to 10 pm
Location: Ravibhawan
Cards: Accepted
Meal for 2: Rs 2,000
Reservations: 014672076

Ishan Pariyar’s painting exhibition “Reminiscences” at Siddhartha Art Gallery, Babarmahal, highlights the endurance of historical monuments in the fleeting materialistic world.

The exhibition brings together the paintings, each of which represents a certain deity and its everlasting property. Pariyar also decries our indifferent attitude towards the smuggled, damaged and stolen artifacts of great cultural and historical value.

The acrylic paintings have a boat as a common object to represent the voyage of life. Similarly, each artifact has been placed creatively to show its historical importance.

The exhibition will serve those with keen interest in history, culture, religion and a taste for authentic yet modern
artwork.

Each canvas consists of religious sculptures as its basis, supported by earthy materials like sand, pebbles, worn-out boats, waves and tides. Sketch representations of the paintings are also displayed. An added twist is that the entire oeuvre consists of subtle green and blue hues.

The exhibition ends on July 9

Nepali cable TV distributors are being disingenuous when they say end customers will be saddled with extra charges if the federal parliament passes a recently registered Advertisement Bill. The bill bars out-of-country paid TV channels from broadcasting foreign advertisements. As getting clean feed from paid international TV channels will cost them more, the cable operators argue, they will have no option but to pass on the added cost to their viewers. But then Nepali cable TV viewers are already paying high surcharges, which should more than make up for the puny increase in cable distributors’ costs.

With the passage of the bill, foreign ads on cable channels will be replaced by Nepali ones, to the benefit of many constituencies in the country. Nepali advertisers will be buoyant as all TV ads for foreign products will have to be made in Nepal. Nepali ads will also have more slots on international channels. The Nepali ad industry is projected to grow by at least 20 percent as a result. After all, why should foreign products get free advertisements on Nepali TV? Not only does it lead to a loss of market for Nepali advertisers, it also encourages Nepalis to pick foreign advertised products over domestic unadvertised ones, to the determent of the already struggling economy.

While the Nepali ad industry is still in its infancy, its revenues continue to shrink as more and more people move online for news and entertainment. The problem is that there isn’t much money in online advertising. At the same time, with the economy facing a severe liquidity crunch, Nepali producers and industries are cutting back on their advertisement budgets for newspapers and television. On the other hand, the multinationals operating in Nepal have not had to spend a single rupee as their ads are already transmitted through pay TV for free.

The clean feed policy is a boon for all Nepali content creators. The quality of our advertisements will improve as more money enters the industry. Local products will be more competitive. The stagnant Nepali media will see a fresh inflow of cash. Cable operators have no case.

After a series of career speedbumps, Shahid Kapoor is back on the highway riding his Royal Enfield Classic in and as ‘Kabir Singh’. And fueling Shahid’s Enfield is Telugu director Sandeep Reddy Vanga, who has secured this Bollywood remake for his first and only film ‘Arjun Reddy’. The ‘A’ rated movie revolves around its lead, Kabir Singh (Shahid Kapoor), a medical surgeon who follows a very strict diet plan: two loaves of toxic male ego for breakfast, three slices of anger issues for lunch, and two shots of drug abuse for dinner. And Kabir Singh is a 172-minute outcome of that diet.

In essence, Kabir Singh is a fifth year medical school ‘Harami’ who doubles as a teacher for the Delhi Institute of Medical Sciences. The film tries to portray Kabir as a genius macho chick magnet. But he actually comes off as this shallow, deplorable ego maniac who’s got zero respect for others. After a rough altercation with the college dean, he decides to leave the college, until he meets Preeti (Kiara Advani), a first year student. Like a typical Bollywood Romeo, he falls in love at first glance and instantly decides, yes, decides, that Preeti is his, and his only.

He then threatens every boy in the college not to even lay an eye on her. I was taken back by the simplicity and cuteness of Preeti, maybe even remotely crushing, until she surrendered to the whims of Kabir Singh like an ‘obedient loyal wife’. She never speaks out—not even when he randomly kisses her in front of the school, not when he makes her skip classes or takes her out to dates or even when he forces her to live with him. But I guess at some point the Stockholm syndrome kicks in and they’re in love.

Yet soon, their romance takes a wrong turn when Preeti’s father rejects their romantic affair and stresses that Preeti must marry a Sikh. Kabir, obviously, cannot handle the rejection and pours his anger on Preeti, emphasizing how she’s nobody in front of him, and even slaps her—and yet she comes back to him. I do not know what is more disgusting: the character of Kabir Singh or the fact that Preeti gives in so easily to his plastic machismo? 

Kabir Singh then goes into a self-destructive spiral to cope with the heartbreak. From treating patients under the influence of chemical substances to pulling out a knife when a women changes her mind about having sex with him, Kabir brings out the demon in him. And that is pretty much the whole movie, the life of Kabir that follows his big heartbreak with Preeti.

I can’t help but appreciate Shahid Kapoor’s acting in this film. Kabir Singh is easily one of his best roles. Nobody else I can imagine could have carried it off better. Kiara didn’t really get to experiment much in terms of acting but she’s graceful when she needs to and persuasively emotional.

A Holi scene stood out for me. There’s a party at the college, and Preeti doesn’t show up, greatly worrying Kabir. “What are you saying? Who is that guy,”—someone has done something terrible to his girl—Kabir shouts on his phone as the camera pans to him on his Royal Enfield, furious, as people around watch in awe, riding towards the girls’ hostel as the movie’s best soundtrack is playing in the background. The cinematographer, actor and the sound director are in perfect symphony.

Kabir Singh, as a piece of cinema, is a solid entertainer. You will enjoy the ace acting of Kapoor, the melodious voice of Arijit Singh and the action sequences. The only problem with the movie is the blatant normalization and glorification of a ‘manly’ (actually sick) character like Kabir Singh. Movies like Kabir Singh should exist though; they stand a testament to the fact that our society is still full of people who idealize the Kabirs of this world. But ‘Kabir Singh’ does exactly one thing perfectly: it constantly reminds you of the original movie, frame to frame, dialogue to dialogue.

Who should watch it?

An ‘A’ rated film, it’s a no-no for children. For the rest, watch the movie, no problem. It is a solid entertainer. But pray, resist from glorifying the character of Kabir Singh as you get caught up in red-in-tooth-and-claw cinematic spectacle.

Kabir Singh

Run Time: 2h 52 m

Director: Sandeep Reddy Vanga

Genre: Action

Cast: Shahid Kapoor, Kiara Advani, Arjan Bajwa

3 stars