Tuesday, May 29, 2012

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It can't be ignored that the esteem of Nakshatra diamonds in India is brimming over into the global market place with the idealism and the expression of love and affection in a woman's life.
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This is an established brand of the Gitanjali Group who are a prevailing jewellery maker and trader in India. They source diamonds at economical prices from the Diamond Trading Company (division of the De Beers group). They have an established presence within the diamond business, with specific focus on sustainable revenues, who sell their goods through a network of franchised and self owned stores.
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This ever popular brand has the backing of popular actress Katrina Kaif selected as their brand representative. With blockbuster movies such as Namaste London, Race and Welcome, Katrina Kaif is hot property in Bollywood and it is no revelation that this brand of diamond jewellery is quickly becoming an indispensable accessory for the youthful, stylish and fashionable woman.
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The jewellery pieces are usually floral pieces and this is the hub to the design and brand. This more often than not is in the structure of numerous diamonds around a solitary large diamond, in so doing returning to its astrological roots. Various kinds of the brand are available and present ranges include: the Eternity collection, the Nakshatra collection and the Solitaire collection. A lady wearing this diamond jewellery conveys class, grace, femininity and beauty. It's hard not to pay attention to a woman wearing this new icon.
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Since the dramatic events of 9/11, Bollywood cinema has shown an unusual interest in the terrorist film genre, especially as regards to international terrorism and global tensions between Islam and the West. Striking examples of this genre include Kabir Khan's New York (2008), Karan Johar's My Name is Khan (2010), Rensil D'Silva's Kurbaan (2009) and Apoorva Lakhia's Mission Istanbul, to name a few. Films like Anil Sharma's Ab Tumhare Hawale Watam Sathiyo (2004) and Subhash Ghai's Black and White (2008) focus on terrorist issues within the Indian subcontinent itself. The latter films have continued in the tradition of pre 9/11 terrorist films like Vidhu Vinod Chopra's Mission Kashmir (2000), Mani Ratnam's Dil Se (1998) and Bombay (1995). Ratnam's Bombay dealt with the devastating Hindu and Moslem riots in 1991, which cost over a 1000 lives. Chopra's Mission Kashmir dealt with a scenario of local terrorist activity in the Kashmir region sponsored by international terrorist cells working from Afghanistan. In this way the terrorist genre is not an entirely new genre in Bollywood, nor is terrorism an unfamiliar phenomenon in the day to day activities of the Indian subcontinent (the most recent and brutal terrorist attack was the Mumbai massacre in 2008). What makes the recent spate of terrorist films interesting is that they have entered the global sphere and have become part and parcel of a transnational dialogue between East and West and Islam and the other.
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To make the terrorist genre more palatable, Bollywood has traditionally spiced up the violence and suspense with the hallmark Bollywood song and dance interludes and sentimental romantic exchanges between the hero and heroine. Mission Kashmir is notorious for its graceful dances and stirring emotional exchanges between the main protagonists, played out on the violent backdrop of terrorism in Kashmir. Mani Ratnam's Bombay likewise mixes up the most brutal scenes of Hindu and Moslem hatred and violence with delicious comedy and a forbidden love affair between a pious Moslem girl and a boy from a highly placed Shaivite Hindu family. His father is the trustee of the village temple and both the family patriarchs are violently opposed to the children marrying outside their caste and religious community.
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Following in the Bollywood tradition of mixing genres (known in the industry as the masala or spicy recipe film), Karan Johar's My Name is Khan blends comedy and romance with the political hot potato of post 9/11 bigotry and racial hatred in the US. The film's theme of ultra-nationalist extremism culminates in the senseless killing of a young Indian boy Sam or Sameer, who is beaten to death by youths in the football ground, in part due to the adopting of his stepfather's name Khan. Overflowing gushes of emotion and heart stirring romantic songs, such as the mixing of the 1960's counter culture anthem "We Shall Overcome" (sung in both Hindi and English), occur throughout the film to both lighten the tension and to exemplify the presence of light and hope in a world darkened by the bitter shadow of global terrorism. The fact that the central protagonist Rizvan Khan is a pious Moslem, and politically neutral to the hysteria of the debate, is significant. Brought up by his mother that there are no fixed labels such as Hindu and Moslem, but only good and bad people, Rizvan Khan freely practises his religion with equal love and respect for all other races and creeds, only differentiating between what is in the hearts and minds of people, not to what religion they profess, or to what race, culture and nationality they belong.
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My Name is Khan is also significant for Bollywood fans in that it reunites the biggest heart throb couple of Hindi cinema from previous decades, Kajol and Shah Rukh Khan. The duo was previously paired in two of Karan Johar's earlier blockbusters Kuch Kuch Hota Hai (1995) and Kabhi Kushi Kabhie Gham (2001). Both of these films were sentimental gushy romances, literally overflowing with juicy outpourings of emotion and feeling; a phenomenon which is termed rasa in India. The song and dance sequences were also very elaborately staged and combined a balance of the traditional Indian music and dance forms (Hindustani music and traditional folk dances) as well as modern Western forms. This ensured the films' immense popularity in both India and diaspora countries like Canada, the US and the UK.
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Karan Johar continues to utilise the Bollywood masala formula in My Name is Khan, exploiting a sentimental and occasionally drawn out love affair between the autistic hero Rizvan Khan and his eventual Hindu wife Mandira, a proprietor of a successful hair dressing salon in San Francisco (the "city of love" which symbolizes the 1960s counter culture movement exploited by Johar in the "We Shall Overcome" sequence). In the preliminary scenes of the film, America is portrayed as the land of freedom and opportunity, the nation where all races and religions are given the possibility to move forward and achieve prosperity and happiness in a way that is seen to be almost impossible in a country like traditional India, buffeted as it is with caste and religious prejudices and between half and two thirds of its population living in poverty.
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For foreign nationals or NRI's (non-resident Indians), however, 9/11 radically changes this formula and shatters the American dream nurtured for decades by an Indian diaspora which has merged its Indian cultural roots with American ideals of individual freedom and consumer prosperity. According to Johar's film, this is now the plight of the Khans who, instead of continuing to act as fully integrated members of the mainstream community, now suddenly find themselves on the periphery of a post-9/11"us and them" rhetoric, fuelled by an ultra-nationalist Republican President, who perceives the world in black and white realities, which have little to do with the everyday lives of the average individual. It is no coincidence that it is the newly elected President Barack Obama (played by his look alike Christopher B. Duncan) who greets Rizvan Khan at the end of the movie and applauds him for his faith in God and his humanity and perseverance. For Karan Johar, Obama's election is symbolic of the "us and them" divisions in the US psyche being brought to a close along with the restoration of the innate ideals for which the American Republic and its people stand.