Selling eye for a handful rice

Shefali Begum - worried for her daughter's future

The BBC in Bangladesh has received offers of help from around the world for a woman who placed an advertisement in a newspaper to sell one of her eyes.

The single mother, Shefali Begum, told the BBC it was her only way to escape from poverty as she cannot find work.

The sale of any human organ is illegal under Bangladeshi law.

The first call came from a Dhaka-based official of the World Bank, after the BBC's Bengali Service broadcast an interview with the woman.

Setting up account

The caller told the BBC's Dhaka bureau that he was extremely upset by the story of the 26-year old mother and wanted to help Ms Begum.

She lives with her two-and-a-half-year-old daughter in a tiny bamboo and corrugated tin room in the east of the capital, Dhaka.

She said her husband of four years left her last month, and she had no money for rent or to feed her daughter.

"All I want is some money so that I can buy a piece of land for my daughter. I would not repent if that causes me blindness," she told the BBC on Wednesday.

She said she was unaware she would be breaking Bangladeshi law.

She placed the advertisement in a Bengali-language daily last Sunday. No-one has responded to the advert.

But there are people all over the world who want to help her and the child, but wish to remain anonymous.

"I am completely shocked," an engineer from Canada said in an e-mail to the BBC after reading Ms Begum's story on the BBC News website.

"I want to help this lady. How can I help her?" he asked.

A listener to the Bengali radio service wrote that he would like to "help and rehabilitate" Ms Begum and her daughter. "I would like to take financial responsibility for about a year - for her food, shelter and basic needs."

A woman from US wrote that she was also poor, but that her retirement income allows her to offer the impoverished Bangladeshi woman the means to "escape dire poverty without having to sell any organ or aspect of her body".

Identifying herself as a Buddhist, the e-mailer said: "I believe that we are in this life to share what we have with those who have less and are in need."

There are many others who have asked how they can contribute to her bank account.

The woman however, who lives in a slum, at present has no bank account. However, arrangements are now being made so that she can open an account in the coming days.

The mother who suckles pet monkey

Namita Das has two grown up children, but she continues to suckle her pet monkey.

Mrs Das describes Buru as her "son" (Pics: Bapi Roy Chowdhury)

Namita, a middle-aged woman who lives in India's north-eastern Tripura state and is a government worker, describes Buru, the pet monkey, as her third child.

"Yes, I breastfeed him. He is my son," says Namita, caressing the monkey.

More than four years ago, her woodcutter husband found a dying baby monkey under a tree after a fierce storm.

He brought the animal home in Chandrapur village on the outskirts of the Udaipur town in Tripura's South District.

"The monkey fell ill after the storm , in which it lost its parents. I decided to bring him up with my daughters," says Namita.

Sibling

Her daughters, Dipti and Tripiti, treat the monkey as a sibling.

"We tie rakhi (a sacred thread) on Buru's wrists during the Indian festival when sisters wish their brothers well," says Dipti, the elder of the two.

I did not have a son. God finally gave one

Namita and her husband manage to earn around $100 together every month and barely manage to make ends meet.

But that does not deter Namita from spending to bring up the monkey.

It is not uncommon for poor rural families in Tripura to keep pets.

But Namita is upset when a photographer accompanying me calls the monkey a pet.

"This is not a pet, this is my son. Please get that right," she insists.

"I did not have a son. God finally gave me one," says Namita, as she continued to breastfeed the monkey.

I ask her whether she has been breastfeeding Buru- who is around five years old- for too long.

"I will continue to breastfeed him as long as he wants it. He will always remain a little one for me," she says.

She says she also feeds her pet monkey "expensive cow milk" which she could not afford for her children.

Many Indian mothers pamper their sons and give them what is denied to daughters.

They believe the family is not complete without a son and crave for one.

'Abnormal'

But it is rare for anyone to adopt a monkey.

Namita's neighbours find her behaviour with the monkey "somewhat abnormal".

Mrs Das refuses to put Buru in chains

"We keep pets but to treat a monkey as a human or as your own child is not normal," says Subal Paul of Chandrapur village.

Another neighbour Ramesh Sil says Namita is "overdoing her affection for the monkey".

Buru generally stays home but is often seen on the roof of neighbours' homes, stealing bananas.

The neighbours complain but Namita refuses to put Buru in chains.

"Our pets are in chains, but this monkey is far too pampered," says Meena Das, a relative.

But all this does not deter Buru's doting 'mother'.

"I don't care what they say. Buru is my son," she says.

Music of "Bose - The Forgotten Hero"

When he debuted in 1993 and reinvented the sound of Indian film music with “Muqabla”, “Urvashi”, and “Humma Humma”, the media christened him, the “Music Storm”. In a recent interview, Allah Rakha Rahman spoke about the growth of technology in the music field, admitting that in today’s times, it would be extremely easy for him or any other composer to create the kind of music that made him a phenomenon. As a result of creative reinvention, one has seen Rahman experimenting with his sound in recent years, seeking out and working with directors who have the ability to challenge him: Ashutosh Gowarikar (Lagaan, Swades), Mani Ratnam (Peck on the Cheek, Yuva), M.F. Hussain (Meenaxi), He Peng (Warriors of Heaven and Earth) and Sanjay Leela Bhansali (the upcoming Bajirao Mastani). Commercially favorable, chartbusting rhythms have given way to artistic, classy melodies, eclectic sounds, and diverse orchestral arrangements recorded with philharmonics world over. Shyam Benegal’s mammoth-budget, historical war-epic, “Bose - The Forgotten Hero” in a way, completes Rahman’s transition from a music director to a maestro. “Bose” obviously is not a conventional, six-track filmi soundtrack, but rather a 20-track album with 7 vocals and 13 tracks from the film’s score that immaculately express the mood and scale of the film.

Rahman opens the CD with his own vocals in Aazaadi, destined to go down as one of the finest patriotic songs ever written. Rahman’s singing brings back the passion of his very own Maa Tujhe Salaam. The orchestration this time is grander and far more sophisticated, with Chennai’s Western Choir adding a larger than life, feverous touch to it. Javed Akhtar’s poetry captures a man’s excitement at finding out that he is not alone in his struggle for freedom. A classic.

Vijay Prakash and the Mumbai Film Choir take over the second track in an inspiring marching song, Kadam Kadam Badhaye Jaa. The brasses of Rahman’s orchestra sound themselves in all their glory, adding an epic feel to Javedsaab’s description of the road to freedom. The Mumbai Film Choir returns for Hum Dilli Dilli Jaayenge, another marching number about Netaji’s leadership and the quest to march the armies to Delhi. Rahman controls the thematic consistency in this number by using the tune of Kadam Kadam as his bass track. Instantly catchy and very inspiring.

Ekla Chalo begins with a soft Bengali prelude by Nachiketa Chakraborty. It’s mesmerizing tone sets up the mood blending Sonu Nigam’s soothing vocals. Javedsaab elevates his lyricism to new heights through this call for unity. Ditto for Des Ki Mitti about Subhash Chandra Bose reminiscing about his land. Once again, Sonu Nigam shines with his hypnotic rendition. These numbers will grow on you as you delve deeper into Javed Akhtar’s masterful poetry.

Rahman returns to singing with Rafi, Rakeeb, and Sahukar Ali in Zikr. Listen deeper and this call to Allah asking for forgiveness, peace, and unity with send you into a trance. The powerful vocals carry more of a chant than a tune, and are set to a steady rhythm of membranophonic percussion. The lyrical plea may take a few listenings to understand in its entirety due to the chaste use of Urdu, but this is a very powerful track.

Ghoomparani is the last of the lyrical tracks in the album, sung by Sapna Mukherjee and Satyanarayan Mishra. A mother’s lullaby for her child, the lyrics speak of great dreams she foresees for her son. A soft, melodious number with addictive interludes in Bengali.

The thematic score section of the CD begins aptly with the Durga Puja Rhythm, a traditional piece with heavy percussions and shehnais. Diversely different from any of Rahman’s earlier thematic pieces, this one oozes with spirit and energy.

Netaji Theme showcases Rahman reinventing himself to reach alternate dimensions as a composer. The signature strings and choir retreat into the background, creating a warm ambience for the flute to lead, impeccably supported by the clarinet. The theme repeats towards the end of the CD in a slightly different version led this time through string solos. The “Mozart of Madras” at his best.

The two Afghanistan Themes carry an eerie, epic-scaled feel, with pronounced percussion and razzy vocals. The Arabic style strings drive the piece with a keen Middle-Eastern flavor. Stunning vocals in the shorter, second theme exemplify vintage Rahman.

Hitler Theme is an uneasy piece with short orchestral bursts, with a heavy dose of strings and timpani crescendos. As any piece of music trying to create an aura of Hitler’s Germany would be, this too is a discomforting composition in the minor key.

The two tracks titled Emilie Theme 1 and 2 are soothingly resonant western classical pieces. A stunning blend of violin solos backed by French horns and clarinets, these compositions and orchestrations would make any composer proud.

War Theme and U-Boat Theme as the titles suggest, are pieces of the score for what could presumably be war sequences in the film. Rahman liberally plays with his brasses and timpanis as the strings help alternate the pacing of the piece between victory and tragedy.

The orchestral versions of Kadam Kadam Badhayeja and Mere Desh Ki Mitti are not merely instrumental versions of their originals but rather orchestral interpretations that vary quite significantly. Short and sweet.

The CD closes with Rahman’s orchestral rendition of the national anthem, Jana Gana Mana. Undoubtedly, the finest version of the national anthem ever presented, this one is grand with heavily complex arrangements. Don’t be surprised if this is the version that is used henceforth to represent Jana Gana Mana in its instrumental form at least. Spectacular.

“Bose - The Forgotten Hero” is one of A.R. Rahman’s and Javed Akhtar’s finest creations. It’s lack of mainstream compatibility and item numbers may hinder it from topping tabloid music charts, but that is barely a price to pay for having the distinction of creating musical storytelling of such high caliber. With three creative geniuses (A.R. Rahman, Javed Akhtar, and Shyam Benegal) at work, this quality soundtrack promises a very exciting movie to watch out for.

Mahasweta Devi supports Taslima's citizenship plea

A group of Bengali writers, poets and intellectuals have supported a controversial Bangladeshi writer's plea for Indian citizenship.

Ms Nasreen faced death threats in her homeland

"The Indian government should not make a fuss about this. Taslima deserves our support and refuge and she should be given citizenship," said leading writer and social worker Mahasweta Devi.
Mahasweta Devi

"Like us, she is a Bengali, and she only writes in Bengali. She cannot enter Bangladesh, so her only option is to live amongst Bengalis in Calcutta if she has to exist as a writer of some consequence," said writer Shib Narain Ray.

Nearly 50 writers, painters and intellectuals of Calcutta have signed a petition supporting Ms Nasreen's bid for Indian citizenship.

The Indian federal government has still to decide on whether to give the writer Indian citizenship.

Taslima Nasreen, who went into self-imposed exile, has repeated her wish to be an Indian citizen.

Conservative Muslims in the 42-year-old author's homeland have condemned a number of her writings as blasphemous.

The doctor-turned-writer left Bangladesh for Sweden in 1994 amid calls for her execution.

She is currently living in the eastern Indian city of Calcutta on a visitor's visa and has said she wants to make the city her home.

Tango Charlie -- A movie based on "gut wrenching facts of separatist violence"

This film is a must-see. 2005 seems to be a decisive year for Hindi cinema. Frontiers are being opened up constantly, almost by the week.

A new dimension to the war epic emerges from "Tango Charlie" - Mani Shankar's fascinating study of terrorism, violence and valour that is incredible in scope.

In the film, Mani Shankar holds on to key pockets of terrorist activities in the country and creates a fascinating collage of geo-political aggression whereby characters are thrown from one level of separatist violence to another until the audience is virtually shell-shocked.

"Tango Charlie" looks at 'war' as a state of the mind as seen through the mind of the state. There are no politicians in the film. But politics populates the plot abundantly. It's indeed remarkable how the director fuses the main characters from the Border Security Force (BSF) into a spiralling demonstration of battle lines drawn between war and terrorism.

Caught between protecting the country and making spot-decisions distinguishing crime and nationalism, the two protagonists spin dizzyingly from one episodic depiction to another - Bodo insurgency in Assam, Maoists in West Bengal and Andhra Pradesh, Gujarat riots, and finally the India-Pakistan conflict at Kargil in Jammu and Kashmir.

That is where, in a tribute to David Lean's "A Bridge Too Far", Mani Shankar ekes out a stunning climactic scene for his two protagonists Mohammad Ali (Devgan) and Tarun Chauhan (Deol).

We journey across a frenzied hinterland of strife and bloodshed with the two heroes -- one a seasoned cynic, the other a reluctant rookie -- but both joined by a narrative that moves sure footedly through a harsh and rugged territory.

For a film that's predominantly macho (like Mani Shankar's earlier film, the interestingly paced "16 December" and the failed "Rudraksh", "Tango Charlie" too precludes woman audiences) the two female leads are memorably etched, though not played with the charm and gusto that the roles deserved.

The light romantic portions with Tanishaa cast as a village-based livewire, who asks the naïve Tarun if he has brushed his teeth before kissing her "Hollywood style", are illustrations of brilliant screenwriting. Nandana Sen's extended cameo as a zamindar's daughter in a Maoist-infested area in West Bengal, who turns from bride to widow to fugitive, is again proof of how expertly women can be fitted into a predominantly male domain.

For sure, Mani Shankar is better at writing his energetic high-octane adventure than in putting it on screen. Like Mani Rathnam's "Yuva", the execution of the episodic incidents is a definite departure from the orthodox format of storytelling in Hindi films. But audiences are bound to wonder why there're so many plots-within-plots.

The director constantly courts the unconventional. "Tango Charlie" never gets dull and the protagonists seem to exude an authoritative and credible energy.

Wisely the film unfolds in a diary format with two air force pilots (Sanjay Dutt and Suniel Shetty in endearing cameos) reading through the unconscious BSF personnel Bobby Deol's jottings. Using the diary device Mani Shankar provokes us to look at the socio-political forces in different parts of the Indian map.

The Devgan-Deol relationship reminds us of Devgan and Abhishek Bachchan in that other counter-terrorism adventure story "Zameen". Both the actors are far more agile spirited and in-character here than they have been in their other recent films. Bobby Deol's vulnerable personality lends itself specially well to his character of the reluctant soldier who must convince himself that the killings in the name of country are justifiable.

Parts of the film showing the killing of civilians during the 2002 Gujarat riots or the brutal torture and killing of a BSF soldier in the jungles are unbearably violent. The overall mood of the film is relentlessly rigorous and rugged. The director's crew is markedly equipped in making the material look convincing.

"Tango Charlie" isn't exactly the prescription box office pundits prescribe for filmmakers who want to create a sensation. It tries, and succeeds to a large extent, in taking mass entertainment into unexpected areas of pyrotechnical patriotism.

Bangla can be read on Mars

If you land on planet Mars today, you have a chance of reading a few words in two Indian languages, thanks to two Rovers launched by NASA in its bid to study the planet.

''The first sun dial sent to Mars has 18 languages covering 3/4th of the world. Hindi and Bengali have made it to the board. Many of the drawings sent by children across the world also have been incorporated. It will be a monument and message for the future,'' said Dr Amitabha Ghosh, only Asian on NASA's Mars Pathfinder mission.

Giving the details of the mission, he said it was the first sun dial outside earth. Earlier, sun dials were used to calculate the time when modern instruments were not available, he pointed out.

Claiming that the Mars mission had been success and outlived its expectations, he said they would be carrying out a couple of more missions in the future.