“Moral sense is almost completely ignored by modern society. We have, in fact, suppressed its manifestations. All are imbued with irresponsibility. Those who discern good and evil, who are industrious and provident, remain poor and are looked upon as morons. The woman who has several children, who devotes herself to their education, instead of to her own career, is considered weak-minded. If a man saves a little money for his wife and the education of his children, this money is stolen from him by enterprising financiers. Or taken by the government and distributed to those who have been reduced to want by their own improvidence and the shortsightedness of manufacturers, bankers, and economists. Gangsters are protected by politicians and respected by judges. They are the heroes whom children admire at the cinema and imitate in their games.” — Alexis Carrel, 1935
Amitji, Sarkaar 3 is your first release of 2017. What makes Subhash Nagre so powerful as to be the only character of yours to be seen in three films?
Gosh .. !! I had not realised this, but thank you for bringing it up.
Where there is continuity, there shall be desire to revert.You succeed in one vocation, you continue with it. Your team construct wins a series, a game, you continue with it. You build a happy association, you nurture and harvest it again. SARKAR 1 was a success, but I doubt very much whether SARKAR 2 was prompted keeping the success factor in mind. It was done more for the continuation of the story, from where it was left off in 1.
The character, the circumstance and the environ of the story of SARKAR has been alluring. It has begged desire to revert and to continue. It’s like those bed time stories that your Mother narrated when putting you to bed to sleep ; they all started with ‘ek tha Raja, ek thi Rani ..’ , and then invariably they would doze off and we the young were wide eyed and anxiously questioning ..‘phir … phir kya hua ..?’ . SARKAR’s narration has invoked similar questioning at the end of each sequel. SARKAR 3 therefore is a natural revert to that childlike question, at the end of the previous film.
BUT .. in my very limited opinion SARKAR is not just another name .. ‘SARKAR ek soch hai’ , it is a condition, a reality, a state, an order. A condition state and order, that exists in every home. SARKAR is authority, governance, politics, not just in its much renowned truest self, but one that reflects its meaning in every day life, more so in a domestic application.
Each individual is a human. He or she may have the benefit of power through political process, in a country, but these individuals have a domestic life as well. And this is what has intrigued me ; does individual domestic circumstance influence in any manner, decisions that are taken by such individuals for State, Country and Governance ? Decisions, that could affect a billion people and their lives ?!
There is a SARKAR in every home - one that guides, takes decisions, masters and commands either servility or compassion. Who rides favour with the Master, who questions, who poisons their countenance to what end, are some of the several obligations that these heads face each moment. What goes on within the closed walls and drawn curtains and for what reason, is complex and many a time unknown to the outside world. Its a politics of a different kind, often referred to as ‘Palace Politics’. Derived presumably from the era of Kings and courts and Emperors with their inner coteries and subsequent intrigues, today, every home is a ‘palace’ and every home has its ‘politics’, the nature of which is guided and abetted by the ‘politics’ it conducts !
There is a Subhash Nagre in every home and that is why he becomes such a versatile, vulnerable yet respected and an acceptable character. Subhash Nagre is powerful not just by the presence of his conduct, to behave in a manner that he believes is right - ‘mujhe jo sahi lagta hai main karta hoon’ - but because he commands a system that has existed from time immemorial. The power of that depiction is dynamic and most attractive and loved. Negativity sells, but when you make it credible and right, it endears even more. It’s tough to pull something such as this in film and story .. but RGV and his conviction of the character, has succeeded in doing so. Which is why it attracts continuity .. and my convinced association !
Having played the character twice before, how easy was it for you to recapture inner life of this politician-gangster?
I have reservations about the way you express the character - ‘politician-gangster’ - of SN in this particular question. I hope I am wrong, but to me it breathes, vicious negativity !
Politics compels you to take a stand, a stand that attracts disagreement and debate. Not all are expected to toe your thought or vision, but those that do become your ‘party’ of part of your ‘gang’. In normal terms ‘gangster’ invites crime, terror and all that is violent and against social and moral norms. But would you address all such ‘gang’ partners, or what you notify as a ‘gangster’, to only be defying moral and social norms. The British Raj identified freedom fighters as 'violent gangsters’ and hung them. Daku Man Singh and Veerappan were revered by the locals they served and looked after. Their means may have been wrong, but to them their act was right and for their own reasons - legal constitutionality not withstanding. Once that is understood, the act of performing is eased out by the concept devised by the director and the writer. My professional conviction is guided and operated by the Director and in turn the Writer. They have already ‘recaptured’ it in their initial discussions. I merely attempt to enumerate their final discussion and design it on film.
Ram Gopal Varma is a very strange filmmaker , if for no other reason then the inconsistency of his output. Having done so many films with him. how would you describe your working relationship with this director?
You are so right - inconsistency is indeed ’strange’.
It is ‘strange’ because consistency is downright boring and static - for some. Not all, but for some. If one were to ‘consistently’ wear black, how would they ever discover the presence or the beauty of an alternative colour. Whether they like that range of difference is another matter, but deprived of it would be, to them, discomforting.
RGV is inconsistent because he is a restless creative mind, willing and deliberating continuously, to search valuable seed through his ‘outputs’. To have made me a part of that desire is a privilege for me. It challenged me, provoked me - a condition, I am absolutely convinced, every creative artist pleads for.
RGV’s ‘inconsistency’ may not have given him the desired results he expected, but which artist, maker, producer, director has been able to achieve consistent box office success. Has that stopped us from admiring and applauding their efforts.
Every ‘inconsistent’ offer that RGV included me in, found me striving to live upto his vision. They have all been exercises of great learning. Positive learning.
Stanley Kubrik, “cited as one of the most influential Directors in cinematic history” has had the most diverse and ‘inconsistent’ temperament in his choice of films. From the iconic and revolutionary ‘2001 Space Odyssey’ made in the 60’s, to a period film, to ’The Shining’, ‘Clockwork Orange’ ‘Dr Strangelove’ is the genius of an inconsistent Director. Inconsistency has ridden with the more recent creators too. Spielberg shifted from an extra terrestrial experience to the Holocaust. Would you call that inconsistency questionable ??!
Yes .. ‘inconsistency’ is 'strange’ !!
Ramu has gone on record to say he regrets doing all the films he has done with you except the Sarkaar franchise. Your comments please?
This defeats the argument of the previous response. He is wrong. I wouldn’t mind being part of his further regrets !
Abhishek was with you in the first two Sarkaar films. Did you miss his presence in the third film?
This is an obscure question ! Abhishek’s character dies in SARKAR 2 ! How can he be present in SARKAR 3 !! SARKAR structures have differing circumstances and stories around it, but the family is the same ..
Amitji, you continue be exemplary for the Indian mindset with your conduct and your statements. You recently said your wealth would be divided equally between your son and daughter. What prompted you come forward with this exceptional declaration?
No I am not exemplary with my conduct and mindset when I declare the gender equality for my children. It is a natural belief of mine. I express it because if my face and voice can sell cement, I hope it can cement this social and moral belief of mine, among my countrymen !
Do you feel that the gender inequality that plagues our social order can only be repaired by a patriarchal willingness to right the wrongs that cause the inequality?
This question, questions the very tenet of gender equality. Please do not even journalistically attempt to suggest that gender equality can only be repaired by a patriarchal willingness. It should be willingly repaired and accepted if it is propagated , matriarch-ally too !!
Hey kid, wanna know the history of Wonder Woman? The whole messy lot of it, not just the very start?
Wanna know HOW her books ended up the biggest mess in the entire comics industry? Big clues as to why her movie took so long to make?
It has feminism, racism, sexism, blasphemy, infanticide, and bees…
Wonder Woman was created by Dr. William Moulton
Marston, noted psychologist, inventor of the lie detector, writer, and feminist. He secretly lived in a polyamorous relationship
with two women
who helped him come up with Wonder Woman: his wife, Elizabeth Marston, and Olive Byrne, daughter of the major women’s rights crusader Ethel Byrne (known for helping her sister, Margaret Sanger, to create Planned Parenthood). He was heavily influenced by early-twentieth-century
suffragists, birth-control advocates, and
Even putting aside how jaw-droppingly progressive
his woman superhero was, the comics still stand out for how whimsical
they were. Wonder Woman/Diana had an invisible plane and a telepathic radio.
She jousted on a giant battle-kangaroo, and, like all Amazons, enjoyed
deflecting bullets with her bracelets. She
fought Nazis, mad scientists, valkyries, mole-men, tiger-ape hybrids, flying mer-sharks, a subatomic army, and her arch-enemy: Mars, the god of war. She regularly battled aliens well
before it became common for her peers (including Superman, who in those days was usually taking on gangsters and corrupt politicians). When not kicking
back with her mother and sister Amazons she hung out with a short and stout
firecracker of a girl called Etta Candy, a slew of college girls, and an Air
Force pilot named Steve Trevor that was as disaster-prone as Lois Lane. And while later writers said that gods gave her superpowers under Marston everything she could do was just from training real hard.
Analysis often puts attention on some elements that are – let’s not beat around the bush – kinky as hell (like the “bondage” aspect of Wonder Woman typing people up and getting tied up), but just focusing on that is a massive disservice to Marston. Early Wonder Woman comics were far ahead of the curve in sheer quirkiness and how progressive they were in their depiction of women (even stating there would be a woman President one day). It certainly helped that s Marston was often helped by his assistant, 19-year old Joye Hummel (I’ll come back to her in a moment), particularly when his health began deteriorating.
It starts with a heart in your throat. That’s where you feel it at first, something lodged in a vital place that you can’t quite clear. You turn your head to the side, cough, take a glass of something sparkling, yet it remains stubbornly lodged in place like it has signed papers thrice over and taken up residence. In the beginning you may imagine that this peculiar feeling is nothing more than a sugared almond caught in your pharynx, but as time goes by and the feeling does not dissipate, you begin to realize this is something else entirely.
You think you’ve caught the vulnerable, pretty little aorta of the circus in your teeth and taken it in your throat.
It’s not hard to believe, with the way this world unfurls before you at the touch of your forward-facing shadow like morning glories: the people, these maddened and magenta-clad jesters, peel open like they want you to lean in and drink honey-sweet from the dips of their collarbone. They are cruel; oh, they are cruel in ways you do not understand - but like all meager-hearted humans, you cannot deny the pull of their attentions. The girls are tall and short and lithe and always, always beautiful, pulling you in close to stain silver lipstick all over your collar. One pinches a piece of confetti between her painted fingers and passes it to your tongue. It takes like strawberries and cream. This is a righteous bacchanalian, a sweet ecstasy that was left stuck to the corner of Pandora’s darling little box when all the wicked things flew out.
And it feels all yours.
So what do you do?
You swallow the heart. Your throat relaxes and you take it all at once, feeling full-up and arrogant and hungry for your triumph.
I’ve been looking into the dark side of K-Pop for some time and seen there isn’t much to be found online, especially in English, but there are some reports of prostitution, suicide, disbandment and police reports of getting caught in illegal criminal activity. I understand that the Korean gangsters and politicians actually run Korea’s Entertainment, just like in America(Their influences). Even EYK has stated this in their YouTube videos, so there is no doubt the biggest agencies are run by them. It’s just this iffy feeling rather big groups like Big Bang and SNSD participate in such activities as prostitution to the higher ups.(Of course, things like this happens in America. I mean who doesn’t know that our top stars sleep around? Which sends us back to Korea, the top prostitution country, so why wouldn’t happen there too? If anything, it should be more and in deep secrecy) It’s no doubt they are still being used by politicians for entertainment, since some fuderai were just discovered to have k-pop groups come to their private parties such as T-ara and they still push some agendas in their music videos with symbolism. They even use scandals to cover up their government stories. (Ex. G-Dragon & Park Bom) What do you think of this?
your classic MxM reunion fic, but with a twist. Matt is a hitman hired off the deep web and Mello is his target. Paid by a dangerous rival gang, Matt has the choice to kill Mello or risk death by Mello’s enemies. Read if you like: road trips, motels, rest stops, some basic American gothic goes grody with a dash of post-Wammy’s, post-L angst on the side. Matt knows what choice he’ll make and fucking so do you. Doesn’t mean the way there won’t be fun. Brought to you by your sponsor themihaelkeehl <33
So I’m writing another mini series on here…. I might finish it. I might not lol. Depending on where it leads me. BUT. I’m dropping a piece of it today. And the rest will be…. Soon 😊
So here it is. I hope y'all enjoy this like the other ones!!
There’s something about the purple dungeon. It’s filled with the worlds most famous athletes. Gangsters, politicians, even your friendly neighbor has been in the room. But only an exclusive bunch. They’re hand chosen, on a specific day. A specific time. And for a specific reason. Reason is: to see me, Venom.
Well that’s what they call me. No I’m not a stripper. I’m not a call girl. I’m not a prostitute. I’m even better. But that’s a secret only kept in the purple dungeon.
The purple dungeon holds 4 of the most beautiful women youd ever meet. Me. Aphrodite, Sap, and Chyna. And we are not available upon request , we request you.
And today… You have been requested by the exclusive Bad Girls Club of the Purple dungeon to engage in a night of epic fantasy. And you have been chosen by me…
As the HBO series Boardwalk Empire about rival gangsters, corrupt politicians and federal agents starts its fifth and final season, show creator Terence Winter reminisces on how it began.
In the interview he tells Fresh Air’s Terry Gross about how he studied gangster films with Martin Scorsese (who directed the pilot episode) in preparation for Boardwalk Empire:
“That entire month of going to Martin Scorsese’s office and watching gangster films with him was the best film course you’ve ever had times a billion. Getting to sit with him watching Rod Steiger's Al Capone, the St. Valentine’s Day Massacre, all these classic films, Public Enemy, and to hear his live commentary.
He’s very much about truth and real moments and real performances. He understands the juxtaposition of violence and humor, having an incredibly tense scene and then letting the air out of it, let the audience breathe with a light moment. Some of Martin Scorsese’s films that are very violent, Goodfellas for example, Raging Bull, at times, can be very funny. These guys are so absurd in some ways that you almost can’t help but laugh at them — I think The Sopranos was like that too.”