Oh, I know I've heard it somewhere!

When I first heard the scintillating tune of ‘Un Siripinil’ from Pachaikilli Muthucharam, I swore by my smelly socks that I’ve heard it before. About a week later, I happened to chance upon Kylie Minogue’s ‘I’m spinning around’ and the similarities between the two hit me like a freight train. Another instance was when 7G Rainbow Colony, both the movie and its soundtrack was creating waves. The theme song was extremely popular and I overheard my brother saying that it was picked up from The Passion of Christ.

I’m sure all of us must’ve encountered similar situations. You begin to like a song, hum it for days on end, and then someone springs up with a “Theriyadha? That is appdiye dippy copy from this movie!” What mostly ensues is a 5-minute pause, when you think about how plagiarism seems to have transcended all fields, shake your head murmur in disagreement and move on with life. But only if you visit itwofs.com will you realise just how big this trend really is.

Itwofs simply stands for Inspirations in Indian Film Songs. Managed by Bengaluru-based Karthik Subramanian, the motive of this site is straight and simple - to provide a comprehensive list of musical inspirations (sometimes subtle and intelligent but mostly downright blatant!) of Indian film music composers.

To start off, the number of songs ‘copied’ is not a few or even a few score. Karthik has actually tracked over 500 songs that have been lifted from various popular or less known international tracks. Much more bad news is that every director is guilty of such ‘theft.’ A.R Rahman, thankfully infuses the much needed faith in the music industry, with only 10 songs, most of which has inspired beats, but original tunes.

Maestro Ilayaraja also has genuine cases of inspiration, and the author describes his 'Chittu Kuruvi' from Chinna Veedu as “An exceptionally beautiful case of genuine inspiration. This is how a composer of repute gets inspired for his compositions. This can never ever be called plagiarism. Such instances are really rare and probably more common if we dig deep into Ilayaraja's compositions! Truly, a masterpiece!”

But delve in more, and you get only muck. Here are some stats regarding how many songs are inspired and or plagiarised by music directors:

Anu Malik: 67.
Pritam Chakravarthy: 50
RD Burman: 47
Yuvan Shankar Raja: 9 (nearly all are blatant lifts, mostly from his dad)

The best part about Itwofs is that it lists both the original track and the Indian inspired/plagiarised tracks, and the author lets us to take the final call. It reminded me of scientific journalism that a friend and I were discussing about, with relation to Wikileaks. The author does not make open claims about plagiarised tracks, but also gives us sufficient evidence to agree or disagree with him. The website also makes an excellent call for better copyright laws in the country. It sends out a clear message that the people are not ignorant, or too stupid to not find out.


You can read this excellent interview of Karthik Subramanium.

Oscars and the Indian Connection

It’s January, the Oscar Academy has announced the nominations for various categories and the Oscar fever seems to be raging worldwide, with angry-fans messages and predictions. The Mozart of Madras A.R Rahman managed to pick up two nominations in the Original Score and Original Song for Danny Boyle’s 127 Hours, and everybody is taking a victory call for it.

While there is an increasing conflict about the meaning of Oscars, a constant debate rising at this point is whether acknowledgement in the West spells more success in the East. Whenever an actor performs to his greatest potential, the next slogan that immediately flashes out is ‘oscar like performance’. Even after 50 years of freedom, there seems to be this restless and incessant longing for occidental approval.

India has been a leading contributor in International Cinema, with over 500 films being released a year. It is very disappointing to know that, despite being such a strong forerunner, many Indians ascribe so much value, integrity, hype and hoopla to the Oscars. However, the truth is that the Oscars are the epitome of recognition for cinema, and often translates into opulence for those who return with it. The success of Lagaan and the consequent development of the Indian film industry is testament to just how crucial Oscars are in filmdom. The reason why Slumdog Millionaire cannot be substantiated as an example is because it did not win on the grounds of how it portrayed India. It was definitely a story of triumph against all odds, but it was backed by technically slick production, and direction by a person of great credentials. Slumdog Millionaire also had its back by the strong Fox and Dreamworks organisation.

The Indian film industry is hugely talented, and as of late has become world-class. It deserves to be represented and recognized all over the world. It further acts as a medium to educate the world about Indian culture, its heritage and contemporary India. Surprising is the amount of ignorance others in the world have about India. India has such a rich and colourful culture, such beautiful and sublime philosophies and spirituality that the world should be introduced to, especially in this age. Why do we have to look westwards for ideas? This is why Lagaan and the fatigue-inducing Devdas were chosen to represent India at the Oscars, because they are synonymous of our culture and our storytelling traditions. The Producers Association (who recommends Indian films for Academy Awards) did not consider Satyajit Ray, Mrinal Sen or Adoor Gopalakrishnan films Oscar-worthy. Films like Pather Panchali, Apur Sansar, Aparajito, Charulata, Bhuvan Shome or Mathilukal were ignored. This leaves much to be pondered over the selection of films.

With the increasing interest in Indian cinema in the West perhaps a day might dawn when Indian movies would proudly march all the way to Los Angeles for justifiably competing for the Oscar Awards and returning home with the much coveted statuette. Maybe some time in the future, some day, it would happen. Indian filmmakers should also learn to treat the Oscars with the required attention only. And also to learn that our films can give Hollywood productions a run for their money in all countries. Sholay and Nayagan didn’t need an Academy Award stamp to certify that they are as ripping a good yarn as The Godfather.


You can read up this excellent article on how The Academy forcefully forgets Asian Cinema.

34th Chennai Book Fair: A tradition that never disappoints.

Just like all of you, my calendar has certain days and/or events that I wouldn’t miss for anything. One of them is the Landmark Quiz in August, for the yearly dosage of ‘oh-I-didn’t-know-that!’-ness. For the year to end on a happy note, I attend Little Theatre’s Christmas Pantomime, all set to crack my ribs with all the comedy. But every year, it’s become a tradition of sorts for my family to visit the Chennai Book Fair in January. And this year was no different.

Belying common impressions that the Internet and the TV have nearly exterminated their reading habits, people thronged to the 10 day Chennai Book Fair from 4-18 January at the St. George's Anglo Indian Higher Secondary School, Shenoy Nagar. More than 30,000 people streamed into the book fair on it's last day on Sunday picking up books on a spectrum of subjects ranging from Krishna to Kurt Cobain, and from corporate affairs to cooking.

Organised by The Booksellers' and Publishers' Association of South India (BAPASI) the fair comprised of 588 stalls this year compared to the 450 last year. On most working days, nearly 20,000 people turned up while during holidays, it neared to at least 30, 000. Books on a wide range of subjects including self-improvement, biographies, yoga, fiction, history, philosophy, children’s literature, cookery and science were available at the exhibition.

Biggies in Tamil publishing like Vanathi, Narmada, Arivoli had stalls in the fair, as were The British Council Library, American Library and Higginbothams. The main focus for this year's exhibition has been children. Excited bunch of kids were seen eagerly browsing through the racks for the books of their varied interest.

But what surprised me this time around was the staggering amount of roof less bookstores that had taken camp outside the venue, on the pavement that surrounds Pachaiyappas College. Owners were brandishing ‘The Lost Symbol’ and ‘2 States’ shouting out their wares “Edhu eduthaalum twenty rupees wonly!” (Anything you take: twenty rupees only!)

Despite spending over two hours, I could manage to see just about half the stalls this year. As my mum collected books that went along the lines “How do diabetic patients live a healthy life?” I meandered away and spoilt myself silly by getting a paperback version of ‘The Complete Adventures of Sherlock Holmes.’ Here’s to many hours of reading with a smoke pipe and a detective hat!

You can dig out for more information on this year's book fair here.

Masterchef Australia: Sufficient Food for Thought

When the clock strikes 12 noon at my residence, both my mother and grandmother rush in at their various speed levels for a spot in front of the television to watch their favourite show ‘Abhiruchi’ on ETV. One hour of non-stop cooking interspersed with fake “Ooh, ninda bagaundhi Chef” comments is the best recipe to grate my nerves. I have never been a fan of such cookery shows. I always end up questioning her,

“Why are you watching this, when you know that you’re not going to try out any of the recipes?”

She does not get frustrated then. She only waits till it rings 9pm, to see the hypocrite in her daughter put on her cerebral apron to wait expectantly with a straight spine for ‘Masterchef Australia.’

Initially, this seemed as the latest entrant into the reality TV show genre: another game based cooking program, with the “elimination drama”, with excellent marketing in a bid for increased ratings. But there is a simple reason for nearly four million viewers to have tuned in to watch the show, especially its final episode which aired on New Years Eve. The show reeks of innovative ideas which include invention tests, the mystery boxes, team challenges and of course, the most dreaded pressure tests.

The biggest selling point of Masterchef Australia was its refreshing mix of contestants, ranging from Indian food ingredient researcher Jimmy Seervai to band manager Aaron Harvie and police detective Sarah Carmichael.

It involved a set of people who were so genuinely nice to each other that up till the finals between Adam Liaw and Callum Hann, the other contestants seemed interested in each other’s well-being as their own chances of victory.

It involved a set of civil and encouraging judges in the smart and suave Gary Mehigan, the sarcastic and over-the-top George Colamboris, and the blunt and outrageous Matt Preston.

It involved a set of an uber-impressive guest Chefs, who set eye-popping dishes as challenges, including Rick Stein’s Sea Food Platter and Adriano Zumba monstrous Croquembouche and Macaroon Tower.

The show silenced its critics accusing it of favouritism, when Marion Gasby, easily the favourite, fondly referred to as “the food thesaurus” was eliminated. She was sent out on the back of a simple satay sauce, against Aaran Harvie. (easily my favourite)

The grand finale was just like any other international sporting event final, both the contestants always close, but in the end, only one of them held it together, the other didn’t. Adam became Masterchef 2010, clinching a book deal and a hundred thousand dollars to start off his culinary career.

On one side, we have shows like Roadies and Big Boss which portray people as being shot or being blown up. But on the other side, we have shows like Masterchef Australia that are clear in its goals: to be simply watchable and result in unadorned fun. In that way, we can safely assure… a new benchmark has been set.