The world renowned company apple has recently announced the new ‘Airpods Max’. As claimed by Apple the Airpods are a new generation transcendence to its
TRIED&REFUSED PRODUCTIONS . January 10, 2021
The trailer for the upcoming Telugu comedy drama Jathi Ratnalu starring Naveen Polishetty, Priyadarshi, Rahul Ramakrishna, and Faria Abdullah is out on YouTube now. The film seems to follow the story of three small-time crooks. Obviously, there’s a lot of money and mayhem involved in it. Do the characters played by the three men plan to run away with a huge sum of cash and get caught by the police while doing so?
Polishetty might just hit the jackpot with this film. His previous comedy thriller, Agent Sai Srinivasa Athreya, where he played a detective from a small town, was also a blockbuster. This time, however, he has shifted his allegiance to the gods of greed. And now that he has teamed up with two other funny men, it’s definitely going to be more entertaining. At least, that’s what the trailer hints at. The movie was supposed to release last year, but the pandemic pushed it to 2021. It’s finally going to see the light of day next week.
Two songs from the film, which were released a couple of weeks ago one after another, have become hugely popular on YouTube and other music streaming apps. Radhan, who composed music for Arjun Reddy, is the wizard behind the earworm “Chitti” and the title track.
Apart from the three leading men, Vennela Kishore and Brahmanandam are also going to feature in Jathi Ratnalu. It’ll be interesting to see so many comedians in one frame. If director Anudeep KV gets the formula right, he’ll be an unstoppable force in Telugu cinema.
Director Selvaraghavan talks to us about SJ Suryah-starrer Nenjam Marappathillai, his next release after NGK (with Suriya). He says he writes by instinct but still does a lot of research for his films, especially the background score. He talks about how digital filmmaking revolutionized the way he created Nenjam Marappathillai and why the audience needs to participate in the drive for better cinema. Excerpts…
Where does an idea like Nenjam Marappathillai come from?
I wish I could say that I stare at the sky for hours or take a walk on the beach. I’ve heard that some screenwriters get their ideas in the bathtub. I believe that writers write. I’ve been writing for years and I can sit anywhere, and some idea comes out of nowhere, even if I am surrounded by a hundred people. You’re either a writer or you’re not.
If you keep researching, I assure you that you’re not going to get anywhere. Instead, chill and feel free… let your heart or soul fly. Your instinct is your god, and it will come. When it does come, start writing, where you are. Don’t delay.
We mostly get horror comedies in Tamil. How do you think the audience might receive Nenjam Marappathillai?
I’ve always said that the film is neither a horror film nor a ghost story because different films depict ghosts differently. I don’t want to brand my film. Maybe it’s about something beyond a ghost: the soul.
Do you feel like you don’t have the burden of being Selvaraghavan when you make films in a different language?
Yeah, but even in Nenjam Marappathillai I was almost like a newcomer because it was my first digital film. What can I do with it? Can I play with it like a toy? I was fascinated and thrilled. It changed my entire way of conceiving and making films.
It’s really difficult for a filmmaker to explain the kind of magic you can make out of nothing with the right eye, lensing, lighting, mood, dialogue delivery, and things like how the camera moves. There are a zillion things that you can do with filmmaking. It’s a pure and delightful art. One day, people might get it!
Is there more freedom with digital?
Absolutely, though it’s not really freedom. You could do fifty takes if you wanted but that’s not what I am talking about. It’s a different film altogether because we had to do things differently. You can do a lot of stuff with digital. I enter the sets at eight-thirty in the morning, and suddenly it’s six-thirty: pack up time!
If we had a better multiplex culture in Tamil Nadu, do you think you could make a pure Selvaraghavan film?
There’s no pure Selvaraghavan film, in my opinion. I don’t think there are A, B, and C centers. I come from a small village hours away from Madurai, and many of the guys from there are in America now. Thanks to television and social media, people are aware. Change has to come also from the audience by the way they see films. I don’t think I am going to live to see people perceive films the way I want them to.
Our mainstream film culture has become a huge, monstrous tree now. Satisfying the masses has become a competition. Yet, everything has to start from the root. I think it will happen very slowly. A few occasional gems might work, but everyone will go back to satisfying the masses. We (including me) have to change. Instead of multiplexes everywhere why don’t you build theatres to screen independent films?
What is it between you and Yuvan Shankar Raja that clicks? Obviously, there’s wavelength or understanding, but what is that special something?
That’s what happens when a music director is seventeen and a filmmaker is twenty one. It’s like growing up together making movies. I criticize him a lot. But we have a lot of chemistry.
I do research for the background score. I’m influenced by Western classical and Carnatic. A fusion, like my childhood. I take my research to the composer and he gives me what the film needs. Rather than describing something to him for hours, I just tell him I need something that’s similar to a piece by Beethoven or Mozart.
What was your mental state when Nenjam Marappathillai kept getting postponed?
The film was ready but one thing after another happened in the industry. My state of mind is that nothing is in my hands. So, I stop blaming myself, and I keep moving.
It is by no means a simple feat to create art out of two people talking to each other. But Richard Linklater, Ethan Hawke and Julie Delpy have done it 3 times now. In doing so, they have created a living, breathing entity, aided by actors who were in the writers’ room, cities that paint postcard backgrounds, a time gap that is never a gimmick and two characters who refuse to be anything but alive.
It is not merely a question of brilliant screenwriting or authentic performances or masterful direction. It is a whole composite of continuous elements that flow together to tell a story. It is the art of cinema, come alive in a trilogy across Europe.
Jesse, the ‘crude American’, found an unshakeable place amongst my favourite characters with his earnest, honest attempt at living his life. He has cracked no code. He has not discovered the secrets of the universe and if the greatest thing in his life has been his love story, he embraces that with grace. Ethan Hawke does not so much play the part perfectly as infuse himself into a character who is too specific to be artificial. It is like Céline says: every person is made up of such specific, intricate details. Jesse is certainly that in his graph from young to middle-aged, from a guy on a train, to an author and father whose romantic love still holds centrestage.
It is not hard to understand this love. Not after the first moment Céline charms the camera, on a train, reading. This French woman, with her humour, fierce bravery and passion for being alive on this Earth, is so real it is frightening. Frightening because she wears her irrationality behind no cloak. She will not pretend, even in the midst of all the second film’s pretending. She cannot help but love the way humans so often do. Loud, confused, fearless, and also fearful in those irrational moments. She inspires two of Jesse’s books and, really, how could she not? In her growth through the films, Julie Delpy unravels Céline into cynicism and anger, but also shows us the relentless compassion amidst her rage.
Also read: Movies With Great Sequels
The central spine of the trilogy, which holds the narrative, is the conversation. Jesse and Céline talk. And when they talk, the only parts of the outside world that matter are the bits they enliven. A listening booth, a park bench, a guitar in an apartment and the train where it all starts. At the end of the first film, Linklater shows us the same places the couple talked through, now empty. It is not the places that lent the poetry but the conversation that wrapped around each spot. The conversations are engaging, poetic, specific, and there is a lot of philosophy. Pretentious, some people would call it. And I suppose it is so. ‘Pretending’ to be real in a world where so much isn’t.
The MCU may be the reigning royalty of laying Easter eggs along their ventures. But the Before Trilogy continues, expands, lays callbacks and repeated gestures not for a plot point, but because they are the same people; just 9 years later. While it is easy to be distracted by the romance of the cities in each movie, the real backdrop of the films is time. It is not just the films that released 9 years apart, it has been that much time for the characters as well. We see their 20s, 30s and 40s. We see what time has done. We are shown how love has changed, how love has remained, how the family grows beyond the two of them; but Jesse and Céline are still a story all their own.
In Before Sunrise, I saw them find and fall into each other. In Before Sunset, I watched with bated breath and a lump in my throat, hoping for a seemingly impossible reunion. But in one of my favourite endings from any film ever, Linklater shows us that is oh-so-simple. In Before Midnight, you may want to look away from the acidity of their argument. But we cannot. How could we? Not now. Not when we have come so far.
In these films, Linklater has given me another definition for love.
What if love is the freedom to be devastatingly pretentious with another, and yet know exactly what the subtext is?
What if this trait labelled as pretentiousness is that part of you that can be uncloaked only in love. What if?
And if so, if love really is finding a language all your own and creating a finite world within this infinite one, then Jesse and Céline found it from their first moment on the train to Vienna.
Disclaimer: This article has not been written by Film Companion’s editorial team.
In our country, when a man named Rasool falls in love with a woman named Anna, you know that you are in for a tragedy. Religion is an insurmountable wall. Like Romeo and Juliet, Anna and Rasool are star-crossed lovers, doomed from the day they meet.
Actually, it’s not so much a meeting as a seeing. It’s a night of festivities. Rasool’s friends have gotten into a fight. He doesn’t know exactly what is going down but he hides near a statue of Mother Mary. Anna approaches to light a candle Her face is bathed in the warm glow. Crouched on the floor, Rasool watches her hidden, unblinking, almost as though he can’t believe what he is seeing. He then gets up slowly, takes a step back and rests against the wall behind him. It is as if love has landed a physical blow.
Rasool is a taxi driver. Anna is a salesgirl in a sari showroom. The story is set against the backdrop of Fort Kochi and Vypin in Kerala and it takes place as much on land as in water. Rasool starts to follow Anna, taking the ferry she does to work. He doesn’t attempt to talk to her. He just basks in her presence. He even shows up at her workplace – she is modeling a wedding gown for her customer and he sees her as a bride. These passages have minimal dialogue. Anna and Rasool barely talk to each other. It’s stolen glances and silent acknowledgement of each other’s physical proximity.
This wooing is poetic and problematic. Rasool is a stalker. In one scene, he rummages through Anna’s handbag when she isn’t around and gets her phone number. He follows her all the way home, walking a few steps behind her in narrow, deserted lanes. In real life, Rasool would be frightening. Anna would have called the cops. But this is a stalker played by Fahadh Faasil so there is an inherent decency in his demeanour. His eyes betray his longing. His passion brims with sincerity. Anna, played by a nicely understated Andrea Jeremiah, is shy and hesitant. The first time they speak, she tells him that it won’t work. He says, ‘Is it my fault I am born a Muslim?’ Eventually, Anna allows herself to hope that there might be a happily ever after.
Annayum Rasoolum is the directorial debut of celebrated cinematographer Rajeev Ravi. Working from a screenplay by Santhosh Echikkanam, Ravi creates a story that throbs with romance but which also stays rooted in the hardship of working-class lives. Rasool’s brother Hyder, played by director Aashiq Abu, is desperate to go to the Middle East but he can’t find a way out of his daily grind. Andrea’s brother, Kunjumon played by Shane Nigam whom you will remember from Kumbalangi Nights, is a lout filled with rage. Andrea tells Rasool that she considered suicide before she met him. These characters are teetering at the edge of despair. There is frustration and violence simmering underneath. Which is what eventually derails the tenuous connection that Anna and Rasool make with each other.
Also read: 50 Films I Love: Kumbalangi Nights
In these hardscrabble circumstances, Ravi and his DOP Madhu Neelakandan create passages of overwhelming beauty. Water is a recurring motif through the film, which is narrated by Anna’s neighbor Ashley who works on a ship. Water provides escape and enchantment. It is as if the divisions, resentments and compromises get washed away. Also notice the use of curtains in the film – in several scenes, they add a touch of poetry. The soundtrack by K, which is peppered judiciously through the film, does the same.
Annayum Rasoolum is a slow burn. It plays out with a grim inevitability. We know this cannot end well. And yet those fleeting moments in which Anna and Rasool find happiness are enough to provide hope. Love loses but Ravi allows us to believe that it also uplifts and overcomes. Briefly, it makes ordinary lives sparkle. And that itself is a benediction.
You can see Annayum Rasoolum on DisneyPlus Hotstar and Amazon Prime Video.
Director: Manoj Jahson And Shyam Sunder
Cast: Kalaiyarasan, Anjali Patil
In Kafka’s Metamorphosis, a man wakes up to find that he’s transformed into a giant bug. There are echoes of this classic story in Kuthiraivaal, a Pa Ranjith production directed by Manoj Jahson and Shyam Sunder. Here, too, a man wakes up to find that he’s transformed: he’s still human, fortunately, but now he has a horse’s tail. Like Kafka’s protagonist, our hero (Kalaiyarasan) leads a mindless, drone-like existence, which we see in his job at a bank. So what does the transformation indicate? Alienation from humankind? Has he come the proverbial beast of burden? Or is it something more… sexual? The tail, after all, does resemble the cascading hair of a woman. Kalaiyarasan gives an intensely physical performance. Every time the tail twitches, he flinches as though electrocuted. Something is prodding him in some strange direction, and he needs to know what. And he needs to know why.
He tries his luck with an old woman who interprets dreams. (I just discovered there’s a cool word for this: oneirocriticism!) She speaks of a dream from the times of The Bible. Much later in the movie, we will see what appears to be an Immaculate Conception. He tries his luck with his one-time college professor, who says the answer may lie in maths. Or memories. Kuthiraivaal, written by Rajesh G, is a thoroughly thought-out film. And this thoroughness is evident in every frame. It’s there in the careful “disorganisation”, the carefully curated “chaos” in Ramu Thangaraj’s production design. It’s there in cinematographer Karthik Muthukumar’s acid-trip colours and tilted frames. And it’s there in the surrealism that rises from the multiple parallels in the narrative. Our protagonist had a dream that involved water; the font of the opening credits ripples like liquid. The geometric pattern on a stained-glass window is replicated on a woman’s dress.
The multiplicities are everywhere. In the bank, a customer points out that his account number is as valid an ID as his name. A dog bears the name of another animal: Frog. Is our protagonist named Saravanan or Freud? And what do we call the mysterious woman found by his bedside (and played by Anjali Patil)? Irusayi or Nila? Could he (and she) be both? After all, we may see ourselves as one thing. Others may see us as something else. As Saravanan/Freud’s neighbour says, every time we look into a mirror, we see ourselves in reverse: left is right, right is left. In a timeframe that exists in the past, a woman eats with her right hand but people see her left hand move. And in this magical world, we see image and reflection switch places. It’s the best scene in the movie, conceptually and also aesthetically.
You can tease out several “narratives” from all these clues. Here’s one: some people (like Saravanan/Freud) are mystified by these multiple selves, while others thrive on them. Take MGR. He is both a flesh-and-blood man in life and a two-dimensional image on screen. These two selves inhabit two worlds: one real, one of dreams. And our inability to tell one from the other may sometimes result in questions that border on absurdist philosophy: Can MGR be dead if you just saw him on a screen in a local theatre? The screenplay name-drops Jacques Lacan, aka the French Freud. His most well-known theory? The Mirror Stage. Many actors in this movie, accordingly, play multiple roles. They inhabit multiple selves across multiple places and timelines and multiple states of consciousness.
Kuthiraivaal is the rare Tamil film built on psychoanalytic theory, and you could say – jokingly – that the narrative itself straddles two selves: the perfectly realised, and the clunky. An instance of the latter would be the endless scenes of Saravanan/Freud at work, battling with his boss. The dialogues are clunky, too. It’s inevitable in a film of this nature that some amount of “explanation” is (retro)fitted in. But when our protagonist keeps dropping mind-voice lines (about the tail) like “Idhu eppidi enakku molachirukku?” or “Idha vechu naan eppidi veliya poga poren?”, the dream state is literalised. It comes crashing down. You cannot rationalise a dream. You cannot question its logic. You cannot attempt to mimic a Mani Kaul mood, but also explain things with a blackboard and a piece of chalk — and also take on a host of “issues”, like global warming and capitalist predation.
Kuthiraivaal works best when it relies on the sound (Anthony Ruban) and score (Maarten Visser), which distort and amplify these strange happenings. And the other audio clips do their bit, too: snatches from Vivaldi’s Four Seasons, a bit from the courtroom dialogue in Parasakthi, and especially songs like Adho andha paravai pola… There, that MGR connect again. There’s another connect in a dream sequence (given that the film is itself dreamlike, would this be a dream within a dream?) where Saravanan/Freud speaks in MGR’s voice. These are the times you may wish this had been a near-silent movie, with only these sounds and this score and these oddball snatches of audio. Then again, you have to respect a film that tries to capture that most elusive of states between sleep and wakefulness, between myth and reality, between the real and the reflected. Whatever its merits as a movie, Kuthiraivaal is a fascinating experiment.
In the third and final part of this series, we look back at England’s last three Test matches at Chepauk heading into the ongoing series against India, each of which resulted in defeat.
A tame series surrender – Second Test, 1992-93
Smarting from an eight-defeat at Calcutta, England were dealt a further setback when captain Graham Gooch had to pull out due to sickness, presumably due to eating prawns the previous night. Opener Navjot Singh Sidhu scored 106 after India elected to bat, sharing in stands of 108 for the second wicket with Vinod Kambli (59) and 147 for the third wicket with Sachin Tendulkar, who continued to add to the visitors’ woes.
Tendulkar put on 118 for the fifth wicket with Pravin Amre (78) before falling for a fine 165. Kapil Dev’s quickfire 66* swelled the total to 560/6, at which point India declared late on the second day. Stand-in captain Alec Stewart (74) and Graeme Hick (64) added 111 for the second wicket in response, before left-arm spinner Venkatapathy Raju (4/103) and off-spinner Rajesh Chauhan triggered a collapse from 157/1 to 179/6.
Neil Fairbrother (83) pushed the total to 286, after which India enforced the follow-on. Kapil removed Stewart and Hick for ducks early, and though opener Robin Smith scored 56, England crashed to 99/6. Chris Lewis, batting at number seven, hit an a rapid 117 on his 25th birthday, which took the match into the final day. England were duly bowled out for 252, with leg-spinner Anil Kumble collecting figures of 6/64.
A chase to remember – First Test, 2008-09
Andrew Strauss laid a strong platform for England in this first of two Tests through an opening stand of 118 with fellow left-hander Alastair Cook (52). But India fought back with regular wickets to have the score at 229/6, Strauss being fifth out for 123. Matt Prior propelled the eventual total to 316 with an unbeaten 53. India wobbled to 37/3 in reply, with debutant off-spinner Graeme Swann taking two of those wickets.
Virender Sehwag was named Man of the Match in the 2008-09 Chepauk Test, for his 68-ball 83 that set the tone for India’s memorable chase against England (source – Times of India)
Captain MS Dhoni (53) was joined by Harbhajan Singh at 137/6, and the pair added 75 for the seventh wicket. But it was not enough to prevent England from taking a 75-run lead. England were then reduced to 43/3, before a fourth-wicket stand of 214 between Strauss (108) and Paul Collingwood (108) steered them to a declaration at 311/9. Strauss had the satisfaction of scoring twin hundreds, but it would be in a losing cause.
India’s target was a stiff 387. However, Virender Sehwag smashed 83 in just 68 balls in an opening stand of 117 with Gautam Gambhir (66). Just after lunch on the final day, Yuvraj Singh (85*) joined forces with Tendulkar at 224/4. They forged an unbroken stand of 163, with a four from Tendulkar (103*) bringing up his hundred as well as a famous six-wicket win for India. This is currently the seventh highest successful Test chase.
Record-breaking India run amok – Fifth Test, 2016-17
As was also the case in the fourth Test at Mumbai, England somehow went on to lose heavily despite a promising start. Their first-innings total of 477 eventually went down as the highest for a team losing by an innings. The visitors, already down by 3-0 in the series, slipped to 21/2 before Joe Root (88) and Moeen Ali put on 146 for the third wicket. Moeen kept going, and was the seventh man out at 321 for 146.
Debutant Liam Dawson (66) and Adil Rashid (60) frustrated India by adding 108 for the eighth wicket. India displayed their run-scoring intentions from outset, as openers Lokesh Rahul and Parthiv Patel (71) put on 152. Rahul also added 161 for the fourth wicket with Karun Nair, and agonisingly fell on the verge of a double ton, for 199. Nair was in his element, as he deflated England with an incredible performance.
Playing only his third Test, Nair became the second man to hit a Test triple ton for India. He stayed unbeaten on 303 from just 381 balls, sharing in stands of 181 for the sixth wicket with Ravichandran Ashwin (67) and 158 for the seventh wicket with Ravindra Jadeja (51). India amassed a gargantuan 759/7 – their highest Test total. The left-arm spin of Jadeja (7/48) dealt the final blow to England, who were dismissed for 207.
Having revisited England’s first three Tests at Chepauk in the first of this three-part series, we move on further through the 1970s and into the 1980s in the second part.
A commanding series success – Third Test, 1976-77
Holding a lead of 2-0, England pocketed the series with two matches left. They won the toss on a pitch with uneven bounce, but slumped to 31/3. Roger Tolchard retired hurt two runs later, at which point Mike Brearley (59) and captain Tony Greig (54*) joined for a stand of 109.Wicketkeeper Alan Knott chipped in with 45, even as Greig’s opposite number Bishan Singh Bedi (4/72) chipped away with his left-arm spin.
The innings closed at 262, which was to be the highest total of the Test by far. India had an even worse start, crashing to 17/3 against the pace duo of Chris Old and John Lever. Left-armer Lever ended up as the wrecker-in-chief with 5/59, as India conceded a substantial lead of 98. The innings was marred by controversy, when Lever was alleged to have made use of Vaseline to alter the condition of the ball.
Leg-spinner Bhagwat Chandrasekhar (5/50) and off-spinner Erapalli Prasanna (4/55) combined to bowl England out for 185, but a target of 284 was going to be a tall order. After Dilip Vengsarkar retired hurt, India caved in from 40/0 to 83 all out, then their lowest total at home. The pick of the bowlers was left-arm spinner Derek Underwood (4/28). This 200-run victory gave England only their second series triumph in India.
Viswanath shines in stalemate – Fifth Test, 1981-82
The streak of draws in the six-match series continued – India had prevailed in the first Test and would win the rubber 1-0. England scalped the openers to make the score 51/2, but Vengsarkar (71) put on 99 with Gundappa Viswanath before retiring hurt, bringing Yashpal Sharma to the crease. The pair shared a record stand of 316, then India’s best for the third wicket and still their all-wicket best against England.
Mike Gatting scored a career-best 207 in England’s nine-wicket win at Chepauk in 1984-85 (source – Bob Thomas/Getty Images)
Sharma fell for 140, but Viswanath carried on to 222, then the highest score by an Indian against England. Replying to India’s 481/4, openers Graham Gooch (127) and Chris Tavare put on 155. England were 279/3 late on the fourth day, but were bowled out for 328 early on the final day, left-arm spinner Dilip Doshi returning a tidy 4/69. India declared for the second time at 160/3, with debutant Pranab Roy scoring 60*.
Foster, Fowler and Gatting script famous win – Fourth Test, 1984-85
The five-match series was well poised at 1-1. Fine swing bowling from Neil Foster, playing his first Test in India, got rid of captain Sunil Gavaskar and Vengsarkar, which contributed towards reducing India to 45/3. Mohinder Amarnath (78) added 110 for the fourth wicket with Mohammad Azharuddin, while Kapil Dev hit a brisk 53. But Foster (6/104) kept striking to ensure that the hosts were restricted to 272.
The English top order cashed in on better batting conditions and poor Indian fielding. The left-handed Graeme Fowler added 178 with Tim Robinson (74) for the first wicket and 241 with Mike Gatting for the second, before falling for 201. Gatting piled the runs in a fourth-wicket stand of 144 with Allan Lamb (62), helping himself to 207, a career-best performance like Fowler’s. England declared at a colossal 652/7.
This is England’s highest total in India and the highest by a visiting team in a winning cause in India. The efforts of Amarnath (95), Azharuddin (105) and Syed Kirmani (75) were not enough, as Foster took 5/59 to notch his only Test ten-for. England duly achieved the target of 33 to win by nine wickets. The last Test was drawn, meaning that England became the first visiting side to win a series in India after being behind.
Coming off series wins in Australia and Sri Lanka respectively, India and England will commence their four-Test battle for the Anthony de Mello Trophy on 5th February. The first two Tests will be played at the M.A. Chidambraram Stadium in Chennai (formerly Madras), more popularly known as the Chepauk Stadium because of the locality in which it is situated.
England have played 11 Tests in Chennai, of which nine have been at Chepauk (they played two Tests at the Corporation Stadium in 1961-62 and 1963-64). Their record at the ground stands at three wins and five losses, besides a draw. Through this three-part series, we look back at each of these nine Tests, some of which have featured significant results and performances.
Verity wreaks havoc – Third Test, 1933-34
This was the final match of the first ever Test series to be played in India. England, holding a 1-0 lead after having won by nine wickets in the first Test at Bombay, were provided with an opening stand of 111 between Alfred Bakewell (85) and Cyril Walters (59). At 167/1, England seemed to be aiming for a big total. However, the pace duo of Amar Singh and Lala Amarnath sparked a collapse to send the score to 208/7.
Captain Douglas Jardine, in what would be in his last Test, revived the innings by scoring 65 and putting on 97 for the eighth wicket with Hedley Verity, who made a valuable 42. Amar ended with figures of 7/86, taking the wicket of Harry Elliott to end the innings at 335. Verity’s left-arm spin then took centre stage – he captured 7/49 to condemn India to 145 early on the third day. No batsman scored more than 26.
Walters (102) cemented England’s position, enabling a declaration at 261/7. Amar’s new-ball partner Nazir Ali returned figures of 4/83. With opener Naoomal Jaoomal retiring hurt in the first innings, India were already a man short. Verity (4/104) and fellow left-arm spinner James Langridge (5/63) duly bowled England to victory by 202 runs, even as Amar (48) and the Yuvraj of Patiala (60) showed some resistance.
India finally break the duck – Fifth Test, 1951-52
Vinoo Mankad returned match figures of 12/108 to star in India’s maiden Test win (source – indiatimes.com)
Prior to this series finale, India had not recorded a single win in 24 Tests since their debut in 1932. While England were led by Donald Carr in place of an unwell Nigel Howard, the hosts, under Vijay Hazare, made five changes from the side that played the fourth Test. Richard Spooner (66) and John Robertson (77) anchored the innings after England won the toss, guiding the score to 224/5 at the end of the first day.
The second day was declared as the rest day due to the death of King George VI. When play resumed, Vinoo Mankad made short work of the lower order. The great leg-spinning all-rounder snared the last five wickets on his way to a haul of 8/55, which helped restrict England to 266. When India batted, opener Pankaj Roy rose to the task with a fluent 111. But it was Polly Umrigar who diminished English hopes.
Batting at number seven, Umrigar hit an unbeaten 130, adding 104 with Dattu Phadkar (61) for the sixth wicket and a further 93 with Coimbatarao Gopinath for the seventh wicket. India declared at 457/9, after which Mankad (4/53) and off-spinner Ghulam Ahmed (4/77) secured India’s historic win by an innings and eight runs before tea on the fourth day. This result ensured that the series was drawn 1-1.
England succumb to spin – Third Test, 1972-73
The five-match series stood at 1-1 following India’s 28-run win in the second Test at Calcutta. England were undone by the spin trio of leggie Bhagwat Chandrasekhar (6/90), left-armer Bishan Singh Bedi and offie Erapalli Prasanna, who combined to leave the score tottering at 110/7. But Keith Fletcher (97*) rallied well with the tail. His ninth-wicket stand with Norman Gifford fetched 83, taking the total to 242.
India wobbled to 28/2 in reply, before the middle order shared in vital partnerships. Mansur Ali Khan Pataudi, brought into the eleven at the expense of Abid Ali, came in when captain Ajit Wadekar (44) was third out at 89. The Nawab top-scored with 73, which was the cornerstone of the Indian total of 316. Armed with a handy lead, India rode on four-wicket hauls from Bedi (4/38) and Prasanna (4/16) in the second innings.
England managed 159, with Mike Denness (76) doing the bulk of the scoring. Set 86 to win, India were tested in the chase. Sunil Gavaskar did not open due to a finger injury, and with only 11 on the board, Chris Old ousted Farokh Engineer and Wadekar. Salim Durani steadied the ship, but Pat Pocock (4/28) gave a late scare. The off-spinner sent the score from 44/2 to 78/6, before India sealed a four-wicket win.
Over the years, the Border-Gavaskar Trophy has had no dearth of extraordinary cricket and riveting drama. But what transpired in Brisbane on 19th January 2021 was in a different realm altogether. Embattled by injuries and forced to field a greenhorn bowling unit, defending champions India entered the fortress of the Gabba needing at least a […]
With Border-Gavaskar Trophy holders India pulling off a gripping draw at the Sydney Cricket Ground, the battle for the series is still alive going into the fourth and final Test at the Gabba in Brisbane. The visitors, hit by a spate of injuries, face a tall ask at the venue, famously referred to as the […]
Hello Hello! I’m back! Today I’ll be sharing a list of 21 skincare brands that are made in India and are worth your money money 🇮🇳
SHREYA JAIN . November 24, 2020
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The privacy of those who visit this web site is of primary concern to Cella Jane. We automatically collect some data from everyone who visits our site. None of this information is shared with outside parties other than our sponsors and or affiliates.
My collection for Amazon the Drop is finally live! I am sharing all the details on every piece in my collection + a few ways I styled my collection with staples from the drop.
This is the Whisper White Scoop-neck sleeveless jumpsuit that I paired with The drop Nina lace-up fashion sneaker. This jumpsuit is the perfect everyday item- you can wear it around the house and you can dress it up for date night. I am wearing a size small it runs true to size, size down for a more fitted look.
This is the Whisper White shawl-collar knit duster that I paired with The drop Nina lace-up fashion sneaker, the drop Janelle gathered shoulder bag, the drop faux leather long shirt jacket and the drop Blake long blazer. This duster is a perfect pairing with the Whisper White Scoop-neck sleeveless jumpsuit. I am wearing a size small it runs true to size.
This is the Praline V neck button-down jumpsuit I paired it with The drop Nina lace-up fashion sneaker. I designed this jumpsuit to be worn everyday, you can dress it down or dress it up, either way its so chic. I am wearing a size small it runs true to size, size down for a more fitted look.
This is the Praline open-front knit cardigan paired with The drop Nina lace-up fashion sneaker and the Janelle gathered shoulder bag. I designed this cardigan with a loose fit in mind, it is perfect paired with the praline jumpsuit. I am wearing a size small it runs true to size.
This is the Whisper White puff-sleeve knit top that I paired with The drop faux leather pull-on jogger, The drop Avery square toe two strap high heeled sandal and The drop Francesca croissant pouch bag. I designed this top with a fun sleeve detail to make a subtle statement. I am wearing a size small it runs true to size.
This is the Tan/Biscuit Animal Print pleated-front bodysuit that I paired with The Drop Venice mid-rise skinny jean, The drop Avery square toe two strap high heeled sandal and The drop Francesca croissant pouch bag. This bodysuit is the perfect statement shirt, I love to pair it with the Tan/Biscuit Animal Print front-belted pants. I am wearing a size small it runs true to size.
This is the Tan/Biscuit Animal Print front-belted pants that I paired with The Drop Karolina sleeveless mock neck rib sweater, The drop Avery square toe two strap high heeled sandal and The drop Francesca croissant pouch bag. These pants are the perfect statement piece, I am wearing a size small it runs true to size.
This is the Tan/Biscuit Animal Print faux-wrap pop-over mini dress that I paired with The drop Nina lace-up fashion sneaker. I designed this dress with comfort in mind, so that it could be worn day to night. I am wearing a size small it runs true to size.
This is the Whisper white shoulder tie V-neck tank top that I paired with The Drop Venice mid-rise skinny jean, The drop Avery square toe two strap high heeled sandal and The drop Francesca croissant pouch bag. This tank top is the perfect top for spring and summer with the tie shoulder to add super fun detail. I am wearing a size small it runs true to size.
This is the Praline gathered-waist mini shirt-dress that I paired with The drop Nina lace-up fashion sneaker. This dress is perfect for everyday work wear, I am wearing a size small it runs true to size.
STAPLES BY THE DROP
Wearing a size small in each garment, sizing is true to size Shop the look here
I am wearing a size small in both the top and jacket and size 26 in jeans, sizing runs true to size Link to look here
I am wearing a size small in both the top and jacket and size 26 in jeans, sizing runs true to size Shop the look here
I am wearing a size small in both the top and jacket and size 26 in jeans, sizing runs true to size Shop the look here
I am wearing a size small in both garments, sizing runs true to size Link to shop the look here