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Centenarian Satya Mohan Joshi has left valuable legacies that deserve recognition from the Nepali people. His life and contributions to Nepali society are well depicted in the recently published book ‘Shabda Bimbama Satyamohan’ was compiled and edited by senior journalist Gopi Krishna Dhungana. The book is divided into seven parts, each related to Joshi’s significant contributions and the legacies he left behind for the motherland. The first part, titled ‘Articles’, consists of 32 valedictory articles. Satya Mohan's own article recounts his visit to the remote Karnali zone, specifically the district headquarters of Jumla, where he faced challenges and triumphs. Born in 1920 in Lalitpur, Kathmandu Valley, Satya Mohan fearlessly ventured into the most remote areas of Nepal after completing his education. His own article takes the lead in this section. Other articles by scholars recognize him as a recipient of the Madan Prize and as a truth-seeking individual. He is portrayed as a multi-faceted personality, a distinguished scholar in various vernacular genres, and a legendary traveler with a postal stamp issued in his honor. The second part, titled ‘Editorial’, includes seven tributes from different daily newspapers. The first tribute from ‘Gorkhapatra’ laments the irreparable loss of Joshi to the nation, particularly in the fields of literature, language, and culture. The second tribute from ‘Kantipur’ praises Joshi for his tireless pursuit of knowledge in various subjects, including literature, culture, archaeology, and more, spanning eight decades. ‘Annapurna Post’ acknowledges Joshi as an innovator in literature, art, culture, history, archaeology, and expresses that his passing has created a void in research on these subjects. Similarly, ‘Nagarik’ recognizes Joshi as a curious mind, a three-time recipient of the Madan Puruskar, and says he was inquisitive in his book Jureli Darshan (the philosophy of the bulbul) and in Nagarjun’s principles in Buddhism throughout his life. ‘Rajadhani’ honors Joshi for his contributions to art and culture, and says it should be acknowledged continuously as his legacy. ‘Nepal Samacharpatra’ illustrates Joshi’s erudition and exclusive dedication to his motherland, transcending castes, cultures, and creeds, while accurately exploring Hinduism, Buddhism, Newa cultures, and other discoveries. Finally, news portal ‘eKagaj.com’ acknowledges Joshi’s exploration of remote areas of the country and his visits to China, where he taught Nepali language and culture, researched the history of currencies, and paid tribute to Araniko's talents. The third part consists of three interviews collected from different news sources. The first interview, from the ‘Shikshyak’ monthly, highlights Joshi’s response regarding the limited subjects for boys in school education during the Rana regime, while girls’ education was forbidden. Even during those days, Joshi studied and published a book on treasured sculptures, emphasizing the importance of cultural studies in Nepal. He asserted that education and culture are two sides of a coin for a nation’s development. The second interview delves into Joshi’s childhood experiences, including his inability to speak until the age of nine, his visit to Surya Binayak temple where he was left unattended so that he could scream out of fear, and the subsequent development of his speech. It also mentions his enrollment in a school in Lalitpur, which he left due to corporal punishment, and his eventual enrollment in Darbar School in Kathmandu, where he was influenced by Sanskrit literature and began his writing journey. In the third interview, Joshi talks about his experiences with earthquakes, his services, his visits to Karnali, and his contributions to the development of cultures, languages, and arts in Nepal. These three interviews serve as milestones in understanding the late Joshi and his accurate contributions to the nation. The fourth part, titled ‘Supplementary’, comprises 17 articles that highlight Joshi’s three-dimensional skills in literature, culture, and administration, with his cultural prowess being the most renowned. He is hailed as an immortal inspirer, a shining star of folk literature, and an ideal man who upheld truth, consciousness, and bliss. The fifth part, titled ‘News’, includes 14 articles that praise Joshi’s extensive works in various fields. It also mentions that his body was donated to a hospital for further studies by medical students. Similarly, it mentions that the Government of Nepal, along with the honorable President and Prime Minister, mourned Joshi’s demise. The ‘Poem’ section features three poets who express their sympathies through rhymes, while the final section, ‘Pictures,’ visually depicts the aforementioned words. In conclusion, by exploring the attributes of this legendary man, it becomes evident that he has left behind persuasive legacies for the Nepali people to carry on, illuminating the future of the nation. Joshi’s legacies can be succinctly divided into three interrelated aspects, which are deeply intertwined in his arduous works: (i) Cultural investigation, (ii) Development of literature, (iii) National and international travel. Joshi’s first legacy lies in his cultural investigations. As the first director of the Archeological and Cultural Department, he initiated investigations primarily within the country. Despite being born in the capital city, he extensively traveled to remote places such as Tanahun, Lamjung, and Sinja in Karnali, collecting folk songs and heritage. Wherever he went, he conducted research unhindered by political or local influences. His book ‘Hamro Lok Sanskriti’ (Our folk culture), the winner of the first Madan Puraskar, is about the folk songs of rural Nepal. Similarly, his work ‘Karnali Ko Lok Sanskriti’ (Karnali’s Folk Culture) explores western Nepal’s ethos. Joshi also visited China to teach Nepali language, literature, and culture at the Peking Broadcasting Institute, where he was celebrated as an innovative scholar. During his visit, he conducted research on Araniko, an eminent artist who had gone to Beijing and built the White Stupa, and compiled a book on him. Recognizing the importance of cultural identity in development, Joshi established the National Theater in Kathmandu, the Archeological Garden in Patan, the Archeological Museum in Taulihawa, and the National Painting Museum in Bhaktapur. He extensively researched archaeology, cultural diversities, and the heritage of Nepal, presenting papers on these subjects globally. Second, Joshi was a model scholar in Nepali literature. He initially learned the alphabet at home and later enrolled at Durbar High School in Kathmandu. He completed his graduation from Tri Chandra College. Influenced by renowned writers like Bal Krishna Sama, Laxmi Prasad Devkota, and Lekh Nath Paudel, Joshi wrote dozens of books in Nepali, Newari (Nepal Bhasa), and English. He was a prolific writer, exploring folk songs, epics, plays, children's literature, grammars, biographies, and more. His literary contributions were recognized with numerous awards, including three Madan Puraskar prizes, the Order of Tri Shakti Patta, Gorkha Dakshin Bahu, Ujjal Kirtiman Rastradeep, and an honorary D Litt from Kathmandu University. Third, Joshi was a pioneering traveler who ventured far and wide within Nepal and globally. As mentioned earlier, he led a team to study the Sinja Valley in Karnali, which earned him two Madan Puraskar awards. He explored most parts of Nepal to collect folk literature and promote the importance of culture and arts, believing that they are the foundations of development and hold intellectual, moral, and spiritual significance. Joshi’s travels were not limited to the nation; he also visited various countries such as India, Sri Lanka, South Korea, Russia, Great Britain, the USA, and Canada. He went to China twice and is hailed as the first Nepali visitor to New Zealand. In conclusion, Joshi’s legacies emphasize the necessity of research in diverse cultures. It is crucial for individuals and universities to prioritize research in various fields as part of our culture. Therefore, this book is a captivating read that will continue to inspire young minds to adapt and innovate in their research endeavors, ultimately contributing to the development of our nation.

The audience response to ‘Jaari’ was so overwhelming that I felt like it would be a mistake not to watch it. Upendra Subba (who wrote the scripts of the Kabaddi series), I believe, is one of the best writers we have today. His poems are brilliant. The popular anthology ‘Kholaka Geet’, makes your stress and ego melt away in seconds. His award-winning book ‘Lato Pahad’ is another masterpiece. The point is, it was impossible not to have high expectations from Jaari, which is written and directed by Subba. I finally managed to get two tickets to the movie on my third attempt to watch it. It was the 51st day of the show and not many multiplexes in Kathmandu were running many shows. If I hadn’t gotten a ticket that day, I would have been heartbroken.   The movie was supposed to start at 2:00 pm. But advertisements took over. “This is unfair. They should have informed us,” said my friend, getting impatient. I asked her if she wanted to go out and get something to eat as we had rushed in, thinking the movie would start any minute. She didn’t think it was a good idea since we might miss a few crucial minutes of the movie that way. But the movie didn’t start until we walked in with our loaded tray of food, a whole 15 minutes later than the time printed on the tickets. Do all multiplexes do this? Allocate 15 minutes before the movie to run ads? I’m sure young couples don’t mind the extra time to canoodle but it was really annoying for us. Back to Jaari, I had read over a dozen reviews—some of them were wonderful and some less so. I wondered whether my opinion of the movie would be clouded by what I had read. But as the movie went on, nothing felt like déjà-vu. It was unlike anything I had watched or read before. Now I think of Jaari as a morning breeze—fresh and calming. Or should I compare it to a Vipassana experience, serene and liberating? Perhaps as pensively beautiful as Leonardo da Vinci’s Mona Lisa? Jaari’s delivery and mood felt poignant and solemn, which can largely be attributed to the impressive cinematography and the magical melodies. There’s no rush in the plot, no artificial decorations in dialogues, and no dramatic touches in characters. There is no nonsense. Love happens when it has to happen and doesn’t happen just because they’re husband and wife. Love creeps in only when you are ready for it. When life has left you bruised and battered, freeing you of all the ego and arrogance, love comes and sits quietly in your lap. This is the kind of love Jaari showcases. There could be controversial views on whether the female lead (Hangma, played by Miruna Magar) comes across as weak or strong. She might even seem like a victim. But what’s not to be forgotten is that she makes her own decisions, and she doesn’t regret the consequences. She has the guts to walk out on an abusive husband, and resist her mother’s request for a quick patch-up. But when her ex-husband (Dayahyang Rai as Namsang) and his family insult hers for taking time to clear the jaari amount, she makes a difficult decision: She announces that she is ready to go back to her abusive husband’s house, as a way to buy more time for the payment. The Jaari culture can be considered as a facilitating tool to end strained marriages and start afresh life with one’s chosen partner. This speaks volumes of the free choice in love affairs and marriages in the Limbu community, whereas divorces in other communities in Nepal, mainly in strict Hindu families, are still quite discouraged even when the couples’ conjugal life isn’t harmonious. Such forced longevity in marriage is not what the Limbu community welcomes. When Hangma throws back the coin (that symbolizes the end of the relationship) and steps out of the husband’s house, it looks powerful. And her community people simply comment that ‘a woman, somebody’s daughter, won’t live with you if you don’t regard or and value her enough.’ Each and every character of Jaari, even if they appear for a minute, looks real and is vital to the story. They all leave lasting impressions and add to the movie. The storyline is simple, yet it might be a taxing job to understand the sequences for a non-Limbu audience or those alien to the culture. For outsiders, when they completely understand the Jaari culture, it could feel fascinating, as well as threatening, as the inability to pay off the Jaari amount (which is the sum of what a groom’s family invested, including golden ornaments, to get the girl’s hand) ‘could be disastrous.’ Palam is another fascinating bit in the movie. The melodious songs of joy, sorrow, love, life, nature, and universe transport you to a different world. The lead male, Namsang, cries twice in the movie—the second time being when he has to sing Palam to win back his love, his ex-wife. And he’s someone who was never great at performing Palam. This makes the audience nervous for him. Everyone is watching if he can finally do it. The climax is such a thrill. The movie is peppered with humor, given Subba’s penchant for it. Full of light, comical shots, it keeps the audience hooked. Mangal Singh (Bijay Baral) has perhaps immortalized the scene of mating buffaloes through his extraordinary facial expressions. Being a son of Limbu father and Brahmin mother, he has never had a girlfriend and romance is something he longs for. His crazy reaction over animals mating makes everyone double with laughter.   Jaari will make you believe that Limbus are epitome of simplicity, openness, and integrity. What’s remarkable is also their temperament. You won’t find a character in Jaari who’s not short tempered. Their straightforwardness is complemented by their anger. They are a feisty lot and they aren’t ashamed about it. They will only bow down to what they believe is right—just like Hangma did when her family couldn’t pay back her husband. The movie is set in the 1990s and communicates the nuances of that period well through silent acts and gestures. The songs could have been better but I feel that’s just a minor glitch. As I left the movie theater, I was thinking about how many people might have watched it till now and whether the production team is considering adding English subtitles. I believe school children should watch this movie. It’s not just about art and entertainment. It’s a solid cultural bridge to bring the many communities of Nepal closer to one another.  Drama  Jaari Actors: Dayahang Rai, Miruna Magar Bijay Baral, Prem Subba Director: Upendra Subba Runtime: 121 minutes

First of all, I want to apologize for the few weeks of silence. I had some family commitments that demanded most of my time but I’m back now and ready to bring you more reviews. And what better way to start than with the much-awaited ‘Rana Naidu’ on Netflix? This Indian series is a captivating and riveting action crime drama that had me hooked from start to finish. The show is directed by Karan Anshuman and Suparn Verma and it boasts an incredible cast led by Venkatesh Daggubati and Rana Daggubati, both of whom deliver standout performances. The writing and direction are top-notch, making it one of the best things to watch on Netflix right now. The show centers around Rana Naidu (Rana), a ‘fixer of the stars’ who helps his high-profile clients solve their problems. Although his work is highly respected and sought after, his personal life is a mess. His relationship with his wife and two children is strained, and his estranged father, Naga Naidu (played by Venkatesh), is released from prison after serving 15 years for a crime he claims he never committed. The father-son relationship is complex and layered, and the two actors bring it to life with nuance and subtlety. Venkatesh’s performance as Naga is one of the best of his career. He brings charm and gravitas to the role, and it’s a treat to watch him on screen. Rana’s character arc is well-written and executed, and Venkatesh does an excellent job of portraying his emotional journey. Rana Naidu is a story of family, loyalty, and betrayal. The show does an excellent job of exploring these themes and creating a world that is both gritty and compelling. The writing is tight, and the pacing is perfect. There is never a dull moment in the series, and it’s easy to binge-watch in a single sitting. The action scenes are well-choreographed, and the tension is palpable. The show’s cinematography and soundtrack are also noteworthy, adding to the overall experience. In addition to Venkatesh and Rana, the supporting cast is also excellent. Sushant Singh as Tej Naidu (Rana’s elder brother), Abhishek Banerjee as Pawan ‘Jaffa’ Naidu (Rana’s younger brother), and Surveen Chawla as Naina Naidu (Rana’s wife) complete the Naidu family with standout performances and adding depth to the show’s world. The exposure and screen time given to other characters such as Tara (Naga’s love interest), OB Mahajan (politician and Rana’s boss), Bollywood actor and Rana’s associate Prince Reddy, and Surya Rao Naidu (Naga’s older brother and former boss turned arch nemesis) all add another layer of complexity to the show. The characters are all well-written and woven into the storyline, giving them each importance in how the story unfolds. The writing is so deep that the series can have multiple spinoffs, with its lead characters telling their own narratives. Even some of the supporting casts could independently lead their own stories to create more spinoffs, sequels, or prequels if need be. Who should watch it? Rana Naidu is a must-watch series for fans of crime dramas and action thrillers. The show’s writing, direction, and performances are all top-notch, making it one of the best Indian series on Netflix. Venkatesh’s performance is a standout, and it’s a treat to see him in a role like never before. At least for me, this is one of his best acting performances so far. The series leaves viewers wanting more, and the cliffhanger ending sets up an exciting second season. I can’t wait to see where the story goes next. Rating: 4 stars Genre: Action/Crime Director: Karan Anshuman and Suparn Verma Actors: Venkatesh Daggubati, Rana Daggubati, Surveen Chawla Run time: 8hrs (approx.)

Parliament member and Nagarik Unmukti Party whip Arun Chaudhary has been released from jail on Sunday. President Bidya Devi Bhandari on the recommendation of the Office of Prime Minister and Council of Ministers waived the remaining jail sentence of Chaudhary on the occasion of Democracy Day. According to Lilakant Paudel, assistant spokesperson at the President’s Office, 381 persons, who were doing time in various prisons, were released this morning. Party Chairperson Ranjita Shrestha among others had reached the prison to welcome Chaudhary. He was apprehended from Kohalpur of Banke on February 2. Following his arrest, he was suspended as a lawmaker. He was produced before the court on February 3. Around 12 years ago, the Kailali District Court had sentenced Chaudhary to six months in jail for torching a tractor. He was elected as a member of the House of Representatives from Kailali-2 by securing 21, 871 votes. Police had said that Chaudhary was nabbed as he has yet to serve the jail term associated with a 12-year-old arson case.