(This was published in the Hindu Metroplus, Kochi, dated November 30) R emakes always draw a high degree of curiosity interest. How is it different from the original? The actors are compared, the technicians, music and most of all how faithful it has been to the original. To tackle the last part of the doubts, if it is as faithful to the original as possible, then why make another film at all?
Well, one goes to see a Kathakali performance, knowing the story well, even the dialogues and the ‘padams' perhaps. Then what is it that draws audiences to such performances?
The Ambika link
Let's evaluate the overall effect of the new batch of artistes and technicians. The one link that Ambika has with the new Neelathamara, directed by Lal Jose is this: her brother Suresh Nair acts the role of Apputtan, a negative character. Ambika can definitely be proud of her kid brother who has made this cameo role memorable, with his apt mannerisms.
The woman-centric film that Suresh Kumar, of Revathy Kalamandir, dared to make, rather remake, is an experimental one in many ways. “The producers' association decided to make small budget movies and this is the first one after that decision. Neelathamara cost us under Rs. 1.5 crore. The decision to make movies with new faces was also implemented. After the first day, we are happy that the cinegoers have accepted this small movie with open arms,” says a visibly happy Suresh Kumar, who saw the film 14 times in his youth. Such was its romantic draw. “There's one person who saw it many more times than me: Suresh Gopi, who saw it 27 times,” Suresh Kumar laughs.
M.T.Vasudevan Nair, director Lal Jose and producer Suresh Kumar
Where the first ‘Neelathamara' ends, the present one opens. The remake is actually the flashback. MT has woven a topical twist to his old script which jells well. Sreedevi Unni who dons the mother's role stands out for her natural acting.
Archana Kavi has that vulnerable look and understated emotions that go well with rural girls. The male protagonist is played by Kailash. The smaller characters like the caretaker, the man under the banyan tree and the old servant leave an impression with the viewer.
Carefully cast characters
The young set of characters and the old ones are very carefully cast. When you see a dentist among the credits you wonder why, but Jaya had dentures similar to Samvrutha's fitted in to bring about the similarity.
Rima Kallingal did not seem comfortable in the role of Sharath Ammini. Every character, howsoever small, is a crucial link in the chain of events unfolded in this super-star script.
The short movie (less than two hours) has wonderful photography by Vijay Ulaganathan. Lal Jose has proved that he can handle quite a handful. Cheers to the small is beautiful credo!
Prema Manmadhan
Monday, November 30, 2009
Scripts, books and more (on John Paul)
(This was published in the Hindu Metroplus dated November 30)
What sets John Paul apart from many of his tribe is the ability to call a spade a spade in decent language, be it cinema or a book. He does not sandpaper over faults in bombastic euphemisms, neither does he even call them faults, but qualities that humans possess.
What would one choose to call him? A scriptwriter or a writer? Both hats suit him well. In the eighties, most good Malayalam cinema had one thing common: John Paul. Be it P.N. Menon, Bharathan, I. V. Sasi, Mohan, Balu Mahendra, K. S. Sethumadhavan, Fazil, Kamal, they all made movies with John Paul's story or script. Films like ‘Marmaram', ‘Kathayariyathe', this love affair with words, which started in the late seventies, continues in different avatars today.
“One MUST change one's attitude to cinema with the times. Reading the pulse of the audience is important,” says John, whose latest book on Bharat Gopi (‘Adayala Nakshatramayi Gopi', published by Green Books) is being released tomorrow. He did not have to do much research for this book, for his association with Gopi went back to ‘Palangal' days. This movie had Gopi playing the brother-in-law who coveted his wife's sister. “We would sit on the banks of the Bharathapuzha and talk about various subjects till the wee hours of the morn. There was a certain chemistry between us which lasted till the end. There was really no need for me to do much. This book was already within me, it just needed to be documented. His attitude to any role was so intense, taxing, that it would take a toll on his health. It was spiritual as much as it was physical. He always said ‘Every character is the first and last for me'.”
While doing the role of the tabala player, Ayyappan in ‘Yavanika', he told K.G.George that he did not know how to play the mridangam. “George told him, ‘but Ayyappan does'. And that was it. While shooting, he played as if in a trance, getting into the skin of Ayyappan's role, it was a sort of super reality,” remembers John.
John's earlier books on cinema and people he was close with like Bharathan, was honest and appreciated precisely for that, for not sensationalising the truth. That is not to say John has distanced himself from what he is best known for, scripting. His next movie, ‘Swapnangalil Hazel Mary' is directed by George Kithu. And that will be his 99 {+t} {+h} film! What about the 100 {+t} {+h}? “Maybe next year. There are a few ideas but nothing has been decided,” says John.
Passion for cinema
Though John's philosophy of life is very different from the present crop of filmwallahs, he has learnt to be take life as it comes. “For our generation, money was not the only aim. Cinema was a passion, it still is and we thrived on learning more and more about cinema, discussing cinema and making them as best as we could. We all helped one another. When Mohan's grandmother passed away, it was K. G. George who directed some scenes for the movie ‘Vida Parayum Mumbe'. That was the kind of relationship we shared.” Though John has not done a single script for K. G. George, he remains a very close friend of his. Teamspirit was also very strong in those days, he reminisced. Aravindan was someone who was unparalled in creativity, John says, who was a very strong influence.
The film society movement initiated John into tinselworld. Else how would the Economics post graduate who worked in a bank be in cinema today? The passion for cinema brought him close to many in the field. Once I. V. Sasi asked him to recraft the script of ‘Njan Njan Mathram'. And that was thespian Thoppil Bhasi's script. He was shocked. But he did it without changing anything. “I just rejigged it with 27 flashbacks and that was my first brush with scripts. Mankada Ravi Varma helped me a lot when I worked with him in my early days, in documentaries.”
Is a good script the ticket to a successful film? “No,” says the veteran scriptwriter. “No good script can be made into a good movie, unless it is directed well. Likewise, the very best direction cannot make a bad script into a good movie. I didn't say that, Kurosowa said it,” he says smiling.
There is a lot to be documented in the Malayalam film world, which will be lost if not done soon, John feels. He is busy teaching about cinema at various intitutions and says he is surprised at how much he enjoys teaching. At the back of his mind is a play, an academic play. On Thespis, who is credited with putting up the first play.
Prema Manmadhan
What sets John Paul apart from many of his tribe is the ability to call a spade a spade in decent language, be it cinema or a book. He does not sandpaper over faults in bombastic euphemisms, neither does he even call them faults, but qualities that humans possess.
What would one choose to call him? A scriptwriter or a writer? Both hats suit him well. In the eighties, most good Malayalam cinema had one thing common: John Paul. Be it P.N. Menon, Bharathan, I. V. Sasi, Mohan, Balu Mahendra, K. S. Sethumadhavan, Fazil, Kamal, they all made movies with John Paul's story or script. Films like ‘Marmaram', ‘Kathayariyathe', this love affair with words, which started in the late seventies, continues in different avatars today.
“One MUST change one's attitude to cinema with the times. Reading the pulse of the audience is important,” says John, whose latest book on Bharat Gopi (‘Adayala Nakshatramayi Gopi', published by Green Books) is being released tomorrow. He did not have to do much research for this book, for his association with Gopi went back to ‘Palangal' days. This movie had Gopi playing the brother-in-law who coveted his wife's sister. “We would sit on the banks of the Bharathapuzha and talk about various subjects till the wee hours of the morn. There was a certain chemistry between us which lasted till the end. There was really no need for me to do much. This book was already within me, it just needed to be documented. His attitude to any role was so intense, taxing, that it would take a toll on his health. It was spiritual as much as it was physical. He always said ‘Every character is the first and last for me'.”
While doing the role of the tabala player, Ayyappan in ‘Yavanika', he told K.G.George that he did not know how to play the mridangam. “George told him, ‘but Ayyappan does'. And that was it. While shooting, he played as if in a trance, getting into the skin of Ayyappan's role, it was a sort of super reality,” remembers John.
John's earlier books on cinema and people he was close with like Bharathan, was honest and appreciated precisely for that, for not sensationalising the truth. That is not to say John has distanced himself from what he is best known for, scripting. His next movie, ‘Swapnangalil Hazel Mary' is directed by George Kithu. And that will be his 99 {+t} {+h} film! What about the 100 {+t} {+h}? “Maybe next year. There are a few ideas but nothing has been decided,” says John.
Passion for cinema
Though John's philosophy of life is very different from the present crop of filmwallahs, he has learnt to be take life as it comes. “For our generation, money was not the only aim. Cinema was a passion, it still is and we thrived on learning more and more about cinema, discussing cinema and making them as best as we could. We all helped one another. When Mohan's grandmother passed away, it was K. G. George who directed some scenes for the movie ‘Vida Parayum Mumbe'. That was the kind of relationship we shared.” Though John has not done a single script for K. G. George, he remains a very close friend of his. Teamspirit was also very strong in those days, he reminisced. Aravindan was someone who was unparalled in creativity, John says, who was a very strong influence.
The film society movement initiated John into tinselworld. Else how would the Economics post graduate who worked in a bank be in cinema today? The passion for cinema brought him close to many in the field. Once I. V. Sasi asked him to recraft the script of ‘Njan Njan Mathram'. And that was thespian Thoppil Bhasi's script. He was shocked. But he did it without changing anything. “I just rejigged it with 27 flashbacks and that was my first brush with scripts. Mankada Ravi Varma helped me a lot when I worked with him in my early days, in documentaries.”
Is a good script the ticket to a successful film? “No,” says the veteran scriptwriter. “No good script can be made into a good movie, unless it is directed well. Likewise, the very best direction cannot make a bad script into a good movie. I didn't say that, Kurosowa said it,” he says smiling.
There is a lot to be documented in the Malayalam film world, which will be lost if not done soon, John feels. He is busy teaching about cinema at various intitutions and says he is surprised at how much he enjoys teaching. At the back of his mind is a play, an academic play. On Thespis, who is credited with putting up the first play.
Prema Manmadhan
Saturday, October 31, 2009
Kerala Café, film review
The Kerala Café experience (published in The Hindu Metroplus Weekend on October 31)on
CINEMA Kerala Café, a portmanteau film by ten directors, is truly touching, says Prema Manmadhan
The first day, first show of Kerala Café is an experience I will never forget. Prejudiced that 10 short films will not please me, I sit, waiting just to find out what’s new. At the end of two and a half hours, I left the cinema, wondering which of the ten was the best and trying to remember which director directed which. A few scenes refuse to move out of my heart. I am glad I went for Kerala Café.
Eight men and two women (to borrow heavily from Adoor) star in this venture, ‘Kerala Café’ made by Ranjit’s production house, Capitol Theatre. These stars are the 10 directors of as many films woven together by a single thread called Kerala Café, a railway canteen somewhere in Kerala, the one link that brings these diverse subjects under one umbrella, under another label called journey. The ‘sutradhar’ of it all is Ranjit, who is not content to sit back and write scripts or direct movies alone.
Such an experiment, to give the audience a cinematic version of a short story book, has succeeded and failed, though it’s a very new concept. "It has failed where the director has not been able to touch the hearts of the viewers," Ranjit says, confidently, when confronted with this question.
And touch the heart Kerala Cafe did, for all 10 connect with the plight of people. , some the majority and others, the minority. ‘Bridge’, the one directed by Anwar Rasheed, left such a big stone in my heart that not even a two-hour slapstick comedy can lift it off. The fate of the unwanted in society, love notwithstanding, where the practical overrides the emotional as it does in the 21st century, is communicated in great cinematic style. The script, the camera and the actors all merge to make it noteworthy.
Revathy’s ‘Makal’ is another of the social issues that mock society, that is clothed so much in realism that the last scene stings. ‘Mrityunjayam’, Uday Ananthan’s film, belongs to the ‘horror’ genre and is set in today’s milieu. It stars Rima Kallingal, Thilakan and Fahadh Faasil, (remember the guy in ‘Kaiyethum Doorathu’, Fazil’s son?) who plays a journalist. He has since matured into a good actor and a handsome young man. The camera and the ambience take you back into the past but the dilapidated old ‘illam’ and the goings on remain a mystery.
Padmakumar’s ‘Nostalgia’, has the very busy protagonist longs for Kerala at the soirees in his flat, over a drink, in a Gulf country, but actually dreams of pulling down his aristocratic home to build flats: A practical man for whom emotions don’t count, a very contemporary theme, indeed. The other topical subject that is not so serious to many but very worrisome, has been handled by Anjali Menon in ‘Happy Journey’. In long distance buses girls really don’t know who may sit beside them on the plush seats. And that’s the subject. Period. Jagathy and Nithya Menon make this one tenth of Kerala Café memorable.
Shankar Ramakrishnan, an assistant of Ranjit’s gets into independent mode with ‘Island Express’. Prithviraj, with his new hairstyle is dashing with a capital ‘D’. The Perumon tragedy relived by a few whose closest relatives perished then, forms the theme. B Unnikrishnan’s ‘Aviramam’ tackles life during recession, and the hopelessness of it getting to be unbearable. Recession is also the topic that Shyamaprasad deals with in ‘Off Season’, how it has hit westerners too, handled in a lighter vein. Shaji Kailas’ ‘Lalithamhiranmayam’ is again very contemporary, in fact too broad minded for domestic consumption, where the other woman and the official woman don’t tear each other’s hair. Lal Jose’s ‘Puram Kazchakal’ does not make Mammooty into a Pazhassi Raja, but a strong hearted man who keeps his sorrows to himself. Based on C. V. Sreeraman’s story, Lal Jose has handled it with care.
Actors in this big venture are Sreenivasan, Suresh Gopi, Sona Nair, Shantha Devi, Jyothirmayee, Siddique, Salim Kumar, Sudheesh, Dhanya, Jayasurya, Rahman, Sukumari and a few others.
The camera plays a big role in Kerala Café. Credit goes to all these technicians.
Kerala Café was shown at the Middle East International Film Festival earlier this month. "It was a dream I had last May," says the man who dared to gamble with this experiment. The work was stupendous, Ranjit admits when compared to one feature film with one person at the helm. The budget of course is as low as it can get for most of the directors and artistes worked for free, he says. Why isn’t Mohanlal in this venture? "There was no slot for him in any of the scripts as any one can see, that’s why," explains Ranjit.
CINEMA Kerala Café, a portmanteau film by ten directors, is truly touching, says Prema Manmadhan
The first day, first show of Kerala Café is an experience I will never forget. Prejudiced that 10 short films will not please me, I sit, waiting just to find out what’s new. At the end of two and a half hours, I left the cinema, wondering which of the ten was the best and trying to remember which director directed which. A few scenes refuse to move out of my heart. I am glad I went for Kerala Café.
Eight men and two women (to borrow heavily from Adoor) star in this venture, ‘Kerala Café’ made by Ranjit’s production house, Capitol Theatre. These stars are the 10 directors of as many films woven together by a single thread called Kerala Café, a railway canteen somewhere in Kerala, the one link that brings these diverse subjects under one umbrella, under another label called journey. The ‘sutradhar’ of it all is Ranjit, who is not content to sit back and write scripts or direct movies alone.
Such an experiment, to give the audience a cinematic version of a short story book, has succeeded and failed, though it’s a very new concept. "It has failed where the director has not been able to touch the hearts of the viewers," Ranjit says, confidently, when confronted with this question.
And touch the heart Kerala Cafe did, for all 10 connect with the plight of people. , some the majority and others, the minority. ‘Bridge’, the one directed by Anwar Rasheed, left such a big stone in my heart that not even a two-hour slapstick comedy can lift it off. The fate of the unwanted in society, love notwithstanding, where the practical overrides the emotional as it does in the 21st century, is communicated in great cinematic style. The script, the camera and the actors all merge to make it noteworthy.
Revathy’s ‘Makal’ is another of the social issues that mock society, that is clothed so much in realism that the last scene stings. ‘Mrityunjayam’, Uday Ananthan’s film, belongs to the ‘horror’ genre and is set in today’s milieu. It stars Rima Kallingal, Thilakan and Fahadh Faasil, (remember the guy in ‘Kaiyethum Doorathu’, Fazil’s son?) who plays a journalist. He has since matured into a good actor and a handsome young man. The camera and the ambience take you back into the past but the dilapidated old ‘illam’ and the goings on remain a mystery.
Padmakumar’s ‘Nostalgia’, has the very busy protagonist longs for Kerala at the soirees in his flat, over a drink, in a Gulf country, but actually dreams of pulling down his aristocratic home to build flats: A practical man for whom emotions don’t count, a very contemporary theme, indeed. The other topical subject that is not so serious to many but very worrisome, has been handled by Anjali Menon in ‘Happy Journey’. In long distance buses girls really don’t know who may sit beside them on the plush seats. And that’s the subject. Period. Jagathy and Nithya Menon make this one tenth of Kerala Café memorable.
Shankar Ramakrishnan, an assistant of Ranjit’s gets into independent mode with ‘Island Express’. Prithviraj, with his new hairstyle is dashing with a capital ‘D’. The Perumon tragedy relived by a few whose closest relatives perished then, forms the theme. B Unnikrishnan’s ‘Aviramam’ tackles life during recession, and the hopelessness of it getting to be unbearable. Recession is also the topic that Shyamaprasad deals with in ‘Off Season’, how it has hit westerners too, handled in a lighter vein. Shaji Kailas’ ‘Lalithamhiranmayam’ is again very contemporary, in fact too broad minded for domestic consumption, where the other woman and the official woman don’t tear each other’s hair. Lal Jose’s ‘Puram Kazchakal’ does not make Mammooty into a Pazhassi Raja, but a strong hearted man who keeps his sorrows to himself. Based on C. V. Sreeraman’s story, Lal Jose has handled it with care.
Actors in this big venture are Sreenivasan, Suresh Gopi, Sona Nair, Shantha Devi, Jyothirmayee, Siddique, Salim Kumar, Sudheesh, Dhanya, Jayasurya, Rahman, Sukumari and a few others.
The camera plays a big role in Kerala Café. Credit goes to all these technicians.
Kerala Café was shown at the Middle East International Film Festival earlier this month. "It was a dream I had last May," says the man who dared to gamble with this experiment. The work was stupendous, Ranjit admits when compared to one feature film with one person at the helm. The budget of course is as low as it can get for most of the directors and artistes worked for free, he says. Why isn’t Mohanlal in this venture? "There was no slot for him in any of the scripts as any one can see, that’s why," explains Ranjit.
Monday, August 24, 2009
Puthiya Mukham, puthiya bore
Phew! Saw Puthiya Mukham. Got a headache watching the terrible angles of the camera. Wide angle shots for every frame almost does not exactly calm you. Wonder why this love for wide angle shots. It looked like a camera was placed at the disposal of this chap and he went berserk! And then I thought whether it was the Malayalam version of Crouching Tiger Hidden Lion.
The story is strange, stranger still its execution. Prithviraj has had to deal with a bad script, but he has tried to redeem the movie, but in vain. Meera Nandan is quite plumpy and therefore has lost the lovely shape of her face.
Priyamony has oomph and despite the bad role, brought some freshness to the movie, though she cannot dance to save her life.
Bala looks merely like a thug and does not rise above that. Two songs are good, the one by KK and the title song, okay.
What stands out like a sore thumb is the camerawork. Diphan, the director needs to apprentice with a good director for some more time. Hard earned money gone down the drain, and worse luck, all that time, my God!
The story is strange, stranger still its execution. Prithviraj has had to deal with a bad script, but he has tried to redeem the movie, but in vain. Meera Nandan is quite plumpy and therefore has lost the lovely shape of her face.
Priyamony has oomph and despite the bad role, brought some freshness to the movie, though she cannot dance to save her life.
Bala looks merely like a thug and does not rise above that. Two songs are good, the one by KK and the title song, okay.
What stands out like a sore thumb is the camerawork. Diphan, the director needs to apprentice with a good director for some more time. Hard earned money gone down the drain, and worse luck, all that time, my God!
Sunday, August 2, 2009
Malayalam movie, Ritu
Saw Malayalam movie, Ritu. Wonderful movie, very topical, very moving and excellent casting, with the kind of cinematography that is true to the story. DOP is Shamdat, great guy with a lot of enthu. The story is king here and Joshua Newtonn needs to be congratulated for that.
What I really loved about the movie was that the emotional content is high without diluting the presentation. It's as close trealism as is possible without killing the entertainment value, that's something director Shyamaprasad can be proud of. It was filmed within 26 days on an enviable budget of under one crore rupees, if reports are to be believed.
K.Govindankutty, veteran journalist plays an important role with great elan. Who knew he had it in him. I knew him as a good writer, knowledgeable editor, eloquent in both English and Malayalam..but acting.. it WAS surprise.
Rima Kallinkal is the next big thing in Malayalam cinema, but she will definitely migrate to Tamil Telugu or even Hindi for she has that international kind of face, with make up and it's obvious she is ready to wear anything with a good figure and is not wary of doing intimate scenes, if the script demands it. She said in her first interview in The Hindu that she is out here to make money too. This lady will certainly go places. The male lead Nishan is a non Malayali and apparently wrote his lines in Hindi to have proper lip movements. He did his role very well, without going overboard. That's a difficult thing to do, for a beginner. The other important character called Sunny in the film had a tougher job to carry out and came out fine. Even the smallest character had a role that could not be called unwanted and each one did well. That is Shyamaprasad's victory. Ritu is stylish, it has content and it's a movie that all generations MUST see, to realise that time does things to people, including yourself , that time never stands still, that nostalgia is not all that should guide your life, but vlues hold, nevertheless. I would give it 80 marks out of 100.
What I really loved about the movie was that the emotional content is high without diluting the presentation. It's as close trealism as is possible without killing the entertainment value, that's something director Shyamaprasad can be proud of. It was filmed within 26 days on an enviable budget of under one crore rupees, if reports are to be believed.
K.Govindankutty, veteran journalist plays an important role with great elan. Who knew he had it in him. I knew him as a good writer, knowledgeable editor, eloquent in both English and Malayalam..but acting.. it WAS surprise.
Rima Kallinkal is the next big thing in Malayalam cinema, but she will definitely migrate to Tamil Telugu or even Hindi for she has that international kind of face, with make up and it's obvious she is ready to wear anything with a good figure and is not wary of doing intimate scenes, if the script demands it. She said in her first interview in The Hindu that she is out here to make money too. This lady will certainly go places. The male lead Nishan is a non Malayali and apparently wrote his lines in Hindi to have proper lip movements. He did his role very well, without going overboard. That's a difficult thing to do, for a beginner. The other important character called Sunny in the film had a tougher job to carry out and came out fine. Even the smallest character had a role that could not be called unwanted and each one did well. That is Shyamaprasad's victory. Ritu is stylish, it has content and it's a movie that all generations MUST see, to realise that time does things to people, including yourself , that time never stands still, that nostalgia is not all that should guide your life, but vlues hold, nevertheless. I would give it 80 marks out of 100.
Friday, July 10, 2009
Bhramaram Review
Al last, Malayalam movies are getting out of the rut. Am so glad. Bhramaram is yet another different movie that has hit the cinemas. It falls into different genres actually: thriller, sentimental, topical, cerebral and family movie, or all of these. The work of the entire team has brought out a mind blowing result:The camera (Ajayan Vincent who is Jayanan Vincent's brother and son of veteran Vincent), acting (Mohanlal, Suresh Menon, Muralikrishnan, in that order), apt sound (Mohan Sithara) and the suthradhar of it all, Blessy (bless him for thinking out of the box and working towards realisation of his visualisation) He says two cameramen declined when they saw the locales, rough terrain in the high ranges of Kerala. The city shots have novelty written all over them. Blessy has exploited up to 60 per cent of Mohanlal's talent. So far he has brought out hardly 45 per cent, I believe. Jayanan Vincent's camera makes you sit on the edge of your seat. Only at the end of the movie do you realise the meaning of the title. Flaws there are, but very very few. Year 2009 will be a landmark year for Malayalam cinema. Would that more and more directors think out of the formula.
Thursday, July 2, 2009
Don't fear a check up
We had our medical check up today. Men think it's macho to say, 'I don't have the time for such things,' but I think they are plain scared and think it can be put off for fear of finding out that there IS something wrong with them. Just look at what happened to Lohitadas and closer home, to Vijayakumar, one of the finest desk hands in journalism, in India. So go for your check up: That's the moral of the story.
Wednesday, July 1, 2009
Rains and attitude
Going home in the rain, yesterday, I was cursing the puddles, getting angry with the car drivers who splashed water on my sari and generally irritated at the crowded buses. Halfway through, when I was walking along to board my next bus. I started enjoying it all, the water. the rain and the freedom to walk about as I pleased. I realised that once I started NOT worrying about whether my sari would be dirtied, whether my leather slipper would be wet and whether my bag would be mis-shapen, I was enjoying the rains, looking at the world in a different way and feeling relaxed. Why don't we enjoy the small mercies that come to us instead of placing gargantuan demands on poor God who is already overburdened with the likes of Sreeshanth's mother and the mothers and fathers of Idea star Singer contestants constantly fighting for His attentions?
It's attitude that matters.
It's attitude that matters.
Maiden blog
July 1, 2009
Wow, Great D-Day. Feels great to have created a blog all by myself. It's a kind of Eureka feeling, especially it's because a friend, Padma Jayaraj, wrote saying she wanted to create a blog but didn't know how. That set me thinking and here I am. More later, let me take in my joy first.
Wow, Great D-Day. Feels great to have created a blog all by myself. It's a kind of Eureka feeling, especially it's because a friend, Padma Jayaraj, wrote saying she wanted to create a blog but didn't know how. That set me thinking and here I am. More later, let me take in my joy first.
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