she - aise nahi chalega.
me - kya hua mohtarma?
she - are is kadar koi apni blog ko tanha chorta hai kya?
me - bas ye fiza ka ranj hai. mausam badalte hi wo shaks fir jaag uthega.
she - bahaane bhi aapki tarah boring ho gaye hain.
me - baatein badi sayaani hoti hain aapki o meherbaan.
she - shayar ho jaisa, waise unke kadrdaan.

choriye is takraar ko. kuch nooraani khayaal zehen mein aayen, uski prateeksha kiziye.

times change. news of forthcoming economic boom in india. feels good. dec being fav times for bird returning home. this panchi stuck here. i guess for good.

expressions change. need to be accepted. kal ho na ho. a well-made movie in all.
waiting for tehzeeb to happen here. i'm still trying to figure out the re-defining trends of bollywood but with kal ho na ho, i believe its some pattern clearly showing out. after all, in many ways, wot they sell is wot we eat or actually vice versa. a nice review here. wait till everybody starts using "joharian" or "joharanesque" keywords to describe the current symptoms. anyhow, i realised how the class of DCH n joharian movies differ: (as one of the comments there says): joharian movies portray a severely self-conscious opulence, while DCH took it in a matter-of-fact way. KHNH was a more matter-of-fact joharian movie, which i guess was a reason why i liked it better. The indian crowd is a dreamer, thirsty for unbounded indulges of opulence, whether it be tan-tadang in ramayan or tear-floods in kKKG, or mohabbat in mohabbatein. I'm made to conclude that given the success formula of such movies remains the same. Yet, there are ppl who conceive more pragmatic versions of such indulgence, like DCH. With time, I believe the latter will outdo the others. or at least, i'd like to believe so. hoho.

chameli - looks like kareena kapoor is into whoring. interesting. check out sandesh shandilya's music.