sayari
Mood:  chatty
Now Playing: funny and fun
Topic: enjooy

Kaun kehta hai Dost tumse hamari Judaai hogi,
Ye Khabar kissi aur ne Udaai hogi,
Shaan se rahenge aapke Dil mae hum,
Itne mail mae Humne kuchh toh Jagah banaai hogi.

2Har khushi teri taraf mod doon,
Tere liye chand taare tak tod doon,
khushiyo ke darwaje tere liye khol doon,
Itna kafi hai ya do jhoot aur bol du

3Lata's Patriotic song sung by a Sardar !
Aye mere VATAN de logon, zara ankh vich bhar lo PANI,
joh shaheed hue hain onna di,
Tussi ghar le aayo JANANI !

4Aahat si koi aaye to lagta hai ke tum ho
Saya koi lahraye to lagta hai ke tum ho
Ab tum hi bataao meri jaan, tum kisi bhoot se kam ho?

5Bas nazro se dekh liya hota agar tamanna thi darane ki
Ham yunhi behosh ho gaye hote kya zaroorat thi muskurane ki

Woh to aaj bhi hamen dekh kar muskurate hain
Par unke bachche bade kameene hain
Jo hame mama, mama kah kar bulate hain

7Dekha tujhe to rooh khush ho gayi,
Ek kami thi vo bhi puri ho gayi,
Pagal hain vo log jo kehte hain ki,
Chimpanzi ki aakhri nasal kahin kho gayi!!

8Dosti toh sirf ek ittefaaq hai,
Yeh toh dilon ki mulaakaat hai,
Dosti nahi dekhti yeh din hai ki raat hai,
Isme toh sirf wafaadaari aur jasbaat hai !

dilse tera khyaal na jaye to kya karu
tu hi bata teri yaad aye to kya karu
hasrat hai bas tuzhe ek nazar dekh lun
par kismat vo lamha na laye to kya karu.............?

Lamha Lamha saanse khatam ho rahi hai,
zindagi bhi maut ke pehlu mein so rahi hai,
us Bewafa se na poocho meri maut ki wajah...
woh toh bus zamaane ko dikhane ke liye ro rahi hai !!

9Kash aap se pyaar na hota
Kash yeh dil pagal na hota
Aaj jo aap ne kaha..
Kal us dard ka ehsaas na hota

10Koi achi si saza do mujhko
Chalo aisa karo bhula do mujhko
maut aa jaye. agar bichdu tumse
apni dil ki gehraion se dua do muzko...............!
11AAI KHUDA KAASH TUNE YE MERA DIL SISE KA BANAYA HOTA,TO MERA DIL TODNE WALE KE HAATH ME JAKHM AAYA HOTA ,WO REH-REH KER DEKHTE IS JAKHM KO TO UNHE BEWAFAI KA SABAK YAAD AAYA HOTA

12Na aana usse leke mere janaze mein,
Meri Mohabbat ki tauhin hogi,
Main 4 logon ke kandhe pe hounga,
Aur meri jaan paidal hogi

13Qadam Qadam Par Baharon Ne Sath Chod Diya,
Pada Jab Waqt To Apno Ne Sath Chod Diya.
Qasam Khaii Thi In Sitaron Ne, Sath Dene Ki ,
Subah Hote Hi Sitaron Ne Bhi Sath Chod Diya

14• Aansuon ko bohut samjhaya ke yun na aya karo, mehfil mein hamara mazaak na udaya karo, is par aansu bole mehfil mein tumhe akela paate hain isliye chale aate hain.
DHOKHA DIYA THA JAB USNE,
DIL SE MEIN NARAZ THA,
PHIR SOCHA KI DIL SE USE NIKAL DU,
MAGAR WOH KAMBAKHAT BHI USKE PAAS THA.

15Kash Teri Yaad Saaye Jaisi Hoti,
To Andhera Hote Hi Gum Ho Jaati
Kash Teri Yaad Chand Jaisi Hoti,
To Amavas Ki Raat Use Gum Kar Deti
Kash Teri Yaad Zindagi Jaisi Hoti,
To Maut Use Apne Saath Le Jaati
Magar Teri Yaad To Aasmaan Jaisi Hai,
Jo Har Taraf Hume Dikhai Deta Hai

17 Pyaar kis baat ka jab dil hi na raha..
Pyaar kis baat ka jab dil hi na raha..
Ek pal tha muskurane ka aab woh bhi na raha...

18Khuda se maine ek dua mangi, dua me apni maut mangi,
Phir khuda ne kaha maut to tujhe me de du par usko kya kahu jisne teri lambi umar mangi.

19Ho sakta hai usne anjane mein hamein rula diya,
Unhone duniya ke kehne pe humko bhula diya,
Hum to waise bhi akele the,
Kya hua agar unhone ehsaas dila diya....
20kabhi roke muskuraye kabhi muskurake roye
teri yaad jab bhi ayi tuje bhula bhula kar roye
ek tera hi naam tha jise hazaar bar tha likha
jaise khush hue the likh kar
use mita mita kar roye

21Aapki dosti ki ek nazar chahiye; Dil hai beghar use ek Ghar chahiye
Bas yun hi saath chalte raho ae dost; Yeh Dosti hume umar bhar chahiye

22 Din gujar gaya firtanha raat ayi,
Dil ke sune angan me fir teri yaad ayi
Ehsaan mante hai us hawa ka
tere badan ko chukar jo chupke se mere paas ayi.
23Mohabbat 1 bar ho jaye us ko bholapan kehtay hain, 2 bar ho jaye us ko dewaanapan kehtay hain, 3 bar hoo jaye us ko pagalpan kehtay hain, agar phir bhi na rukhay to use kameenapan kehtay hai

24Khuda bachaye hamein in haseenon se, naazneenon se, dilnasheenon se, jaaasheenon se... par inhe kaun bachaye hum kameenon se...

25Kya aap SEX karte hai,
Kya aap CONDOM use karte hain,
Kya aap AIDS se darte hai,
To aap HATH se Q nahi karte hai,
HATH chale to AIDS tale.

26EHSAAS BAHUT HOGA JAB CHOR KE JAYENGE
ROENGE BAHUT MAGAR AANSOO NAHI AAYENGE
JAB SAATH KOI NA DE TOW AWAAZ HAME DENA
AASMA PAR HONGE TOW BHI LAUT KA AAYENGE
27armaano ka janaza liye nikalte hai,
ab hum har din ye soch ke jalte hai,
jaane kaun se paap kiye humne kis janam mein,
ki zindagi ke dard hume yu milte hai

28jab bhi aapse milne ke taqdeer nazar aaye,,
mujhe pairo mein bandhi zanjeer nazar aaye,,
aapke yaado mein nikal pade mere aasu...
Har aasu mein aapke tasveer nazar aaye
29Dard-e-Dil , Dil Thodne Wale Kya Jaane
Mohabbat Ki Riwaze Yeh Dunya Wale Kya Jaane
Hoti Hai Kitni Takliff Kabre Mein
Yeh Upar Se Phool Rakhne Wale Kya Jaane

30Rukta bhi nahi, theek se chalta bhi nahi,
Yeh dil hai kay tere baad sambhalta hi nahi,
Is umar key sehra say teri yaad ka baadal,
Talta bhi nahi aur barasta bhi nahi,
31Toot Jaate Hai Sabi Rishte Magar,
Dil Se Dil Ka Rishta Apni Jagah,
Dil Ko Hai Tujhse Na Milne Ka Yakin,
Tujh Se Milne Ki Dua Apni Apni Jagah.

32A gaye meri zindagi me tum pyar bankar
Udaas tanhai me payal ki jhankar bankar
Zindagi se kinara kar yu hi ji raha tha main
A gaye tum achanak pyar bankar
33Kal mila waqt to zulfein teri suljha doonga,
Aaaj uljha hoon zara waqt ko sulajhane mein,
Yun to sulajh jatee hain uljhi zulfein,
Umar kat jati hai waqt ko sulajhane mein.

34Mera Ekraar Tere Inkar Se Achcha Hoga,
Mera Har Ek Din Tere Hat Ek Raat Se Achha Hoga,
Agar Tujhe Yakin Nahin Tho Apni Doli Se Jhak Kar Dekh ,
Mera Janaza Tere Barat Se Achcha Hoga.

35Heena Ke Rang Mein Asar Nahin , Aye Khoon-e-Dil
Hatheli Uski Sajani Hai , Kya Kiya Jay
Mera Wajood Hai Paani Mein Bulbule sa
Darya Mein Rawana Hai Kya Kya Kiya Jay

36
Ret pe naam kabhi likhte nahin, kyonki ret pe likhe naam kabhi tikte nahin,
Aap kehte ho tum patthar dil ho, par patthar pe likhe naam kabhi mitte nahin.

37
sirf kashish nahi kaafi ishq me,
chahat ke mayne kuch aur bhi hai,
gaur se dekho in aankho me kajal ke picche,
ashk ae samander aur bhi hai

38Ek din hamare annsoon humse pooch baithe, humey roz -roz kyon bulate ho,
Humne kaha hum yaad to unhe karte hain tum kyon chale aate ho.

39na jaane kitne aansu bahaye,
jaane kitni baar unke dil ke dwaar khat-khataye,
woh na maane rub na maana,
kyu kisi ne humara pyaar na jaana,
bus ab ek tamanna,
unke dard hume mil jaye,
woh sukun ki zindagi paye..

40Phul sajde sada taahniyan te,Sungh laiye par kade todiye na.
Jekar todiye ta samban di kasam utte,Aiven hath vich kade maroriye na.
Dilon kariye jisnu pyar ik vaari,Mukh kade phir uss ton moriye na.
Preet pauni hove tan preet sachi payiye,Aiven naata kise nal jodiye na....

41Duniya se nahi hum mehefil se darte hai,
kisi se nahi sirf AAP se darte hai,
Aaj tak humne bahot kuch khoya hain,,
ishiliye har waqt Aapko khone se darte hai......!!

42Na-jane kis baat ki hume wo saza dete hain,
meri hasti aankhon ko rula dete hain,
ab to muddat se khabar nahi aati unki,
kya is tarhan koi apno ko bhula dete hain......
43Hathon se gir gayi lakiren kahin,
Bhul ayee hum apni takdeer kahin,
Agar tumko miley kahin to utha lena,
Mere hissey ki har khushi apne hathon me saja lena

44gam sataaye to muskuraana,
isi auzaar se usko haraana,
zindgi banegi kuchh aur dilkash,
har dard ko seene se lagana,
dard taraash dega hasti ko tumhaari,
muskuraana aur bass muskuraana

45ngTera Jaana Aisa Hua Jaise Phoolon Ko Khusbu Ke Bina Jeena Pad Raha Hai,
Tera Jaana Aisa Hua Jaise Suraj Bina Aag Ke Thanda Pad Gaya Hai
Tera Jaana Aisa Hua Jaise Aankhon Ko Roshni Ke Bina Jeena Pad Raha Hai,
Tera Jaana Aisa Hua Jaise Dil Ko Bina Dhadkan Ke Jeena Pad Raha Hai

46mere dil ke zakham ab aah nahi bharte
kyun ki ab vo is dil mein raha nahi karte
hamne aasoo vo se un ko vidaaye di hai
in ankhon mein abhi ashk raha nahi karte.
47Jisne humein chaha hum use chah na sake,
Jisne humne chaha hum use pa na sake,
Yeh samajlo ke dil tootne ka khel hai,
Kisika toda....... aur apna bacha na sake

48Jisne humein chaha hum use chah na sake,
Jisne humne chaha hum use pa na sake,
Yeh samajlo ke dil tootne ka khel hai,
Kisika toda....... aur apna bacha na sake

Kaun yaad rakhata hai naamko,
Log to chehron ko bhi bhul jaate hai,
Aap samandar ki baat karte hain,
Log to aankhon me bhi duub jaate hai !!!
*******************************************************
Phool ki shuruwat kalise hoti hai,
Zindagi ki shuruwat jaan se hoti hai,
Pyaar ki shuruwat dostise ...
Aur dosti ki shuruwat aapase hoti hai !!!
********************************************
Bahut khushnooma kal ki Raat guzri hai
Kuch tanha par kuch khaas guzri hai
Na neend aayi na Khwaab koi
Bas aap hi ke khayalon ke saath guzri hai
****************************************
Jis shaam mein mere lab per aapka naam na aaye,
Khuda kare ki kabhi aisi shaam na aaye,
Ae jaane wafa yeh kabhi mumkin nahin ki,
Afsaana likhoon aur aapka naam na aaye.
***************************************************
Masti aankhon me hoti hai..sharaab me nahi...
Bhakti shraddha me hoti hai...shabdon me nahi..
Tu bhi jaan le mere dost...
Dosti dil me hoti hai.. dikhawe me nahi...
************************************************
Lamho Lamho per Khwaab Likhoonga,
Apni zindagi per kitaab likhoonga,
Aapki gardaan (neck) to phoolon ki tehni,
Aur aapke chehre ko gulab likhoonga.
*********************************
Mera ikraar tere inkaar se behtar hoga,
Mera din bhi teri raat se behatar hoga,
Yakeen nahi aata to dolise Jhank kar dekh lena..
Mera janaazaa teri baaraat se behatar hoga !!!
********************************************************
 
Baadal garaja magar barsaat nahi aayi,
Dil dharka magar aawaz nahi aayi,
Pura din guzarne ko hai dost,
Kya ek baar bhi meri yaad nahi aayi?
****************************************************
 
Unko chaha bhi to izhaar na karna aaya,
Kat gayi umar hame pyaar na karna aaya,
Unhone maanga bhi agar kuchh to judaai maangi,
Aur ham the ki hame inkaar bhi na karana aaya !!!
 
********************************************************
Aaj apne aap se khafaa hoon......
Jo uske chere ki madhoshiyaan na pad saka,
Par kya karoon uski yaad me aisa khoyaa
Ki uski muskurahat ke peeche ki shararat na pad saka.
*************************************************************
Aaj kuch khas baat to zaroor hai ......
Jo aap itne madhosh huwe ja rahe hain.....
Kahin ye bin piye jaam ka nasha to nahin..
Jo aap itne Ashiq mizaj huwe ja rahe hain
**********************************************************
Aapke shahar ka har mausam suhana lage,
Ek shaam chura loon aapki agar bura na lage,
Aap chahe bhula de hume ek pal me hi,
Aapko bhulane me shayad hume zamana lage.
**********************************************************
Aapne dushman se hi dil laga baithe
Unki Saadgi se fareb kha baithe
Pattharon se tha Apna rishtaa..
Phir bhi Shishe ka Ghar bana baithe
************************************************************
Nanhe se dil me armaan koi rakhna,
Duniya ki bhid main pehchan koi rakhna.
Ache nahi lagte jab rahte ho udas,
In hoto pe sada muskaan wohi rakhna.
************************************************
Zindagi kisiki mohtaj nahi hoti,
Dosti sirf jazbaat nahi hoti,
Kuch to khayal aaya hoga khuda ko,
Warna yuhi aapki humse mulaqat nahi hoti.
**********************************************************
Zindagi kisi ki amanat nahi hoti,
Amanat main kabhi kayamat nahi hoti,
Dil ko sambhal kar rakhna,
Meri dosti ki kaid main zamanat nahi hoti.
********************************************************
Kuch nasha to aapki baat ka hai,
Kuch nasha to dheemi barsaat ka hai,
humein aap yun hi sharabi na kahiye,
Is dil par asar to aap se mulakat ka hai!
*************************************************************
Guzre huwe kal ki yaad aati hai,
Kuch lamho se aakhen bhar aati hai.
Woh subah rangeen woh shaam nirali doob jaati hai,
Jab aap jaisi dost sirf yaado mey aati hai.
*************************************************************
Boy says : -
Tumse mila main kal to, mere dil mein hua ek sound,
Lekin aaj tum mili to kehti ho: Your file not found!

Girl says : -
Aisa bhi nahin hai ke, I don't like your face ,
Par dil ke computer mein, nahin hai enough disk space
********************************************************************
Ishq ek shokh nigaah hai dost,
Unpe mit jaane ki ek chaah hai dost,
Ishq manzil nahin, koi iraadaa bhi nahin,
Jhoot ke jangal se alag,
Sach ki ek raah hai dost.
***********************************************

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nature collection
Topic: loop picture

life cycle
views -earliar days there used to territory and states which used to be ruled by kings ,czars etc who used to have the man powers . these kings used to collect fund by way of tax,levies ,slaves etc . as every one knows history repeats itself . and in my opinion i feel that the samething is going to happen because as day by day people are going direction less . the total administration is going to be taken over by the so called buisness tycoon or big players who has the money to rule the administration. as the clue for all these is already reflecting. big players directly taking over the branded buisness/brand names by ways of paying the huge sum. i feel personally the day will come when entire administration will be taken over by these players .they will not be following any rules or regulations as . these people will become untouchable because these tycoon will be having enough resources to dominate the the entire system and these may bring to death of democracy. its purely the opinion

real estate
Mood:  don't ask
Topic: mumbai realetate
MUMBAI REAL ESTATE -------------------------- I am watching real estate market since 1999 very closly.the way the market had taken a pace is un believable. the property which was not to be acceptable at the value of 20 lakh to 24 lakh is now acceptable at the price of approximatly to 60 to 70 lakh . opinion made by certain prominent people is ,as the land prices has gone up,government policies has become little more complicated adding new counters for babus (government ageny),and other overheads like service tax and so on. apart from the housing loans gettting easier led to market to boost. Can the real estate market sustain for longer as already the company has started migrating to new destination like jaipur,chennai,gurgaon ,faridabad etc .real estate company only motive is to get the continous work because the scope has decreased tremdously in mumbai by the virtue of making proccessing difficult...........the move is certaily going to give loss to mumbai,s economy. try to save losses. 31 st may 2006

boolywood
Mood:  celebratory
History of Bollywood
At the turn of this century, when the country was poised for major social and political reforms, a new entertainment form dawned in India-the Cinema. The first exposure to motion pictures which India received was in 1896, when the Lumiere Brothers' Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay on July 7. And the first exposing of celluloid in camera by an Indian and its consequent screening took place in 1899, when Harishchandra Bhatvadekar (Save Dada) shot two short films and exhibited them under Edison's projecting kinetoscope.Hiralal Sen and F.B. Thanawalla were two other Indian pioneers engaged in the production of short films in Calcutta and Bombay in 1900. Around 1902, J.F. Madan and Abdullah Esoofally launched their career with Bioscope shows of imported short films. In 1912 , N.G. Chitre and R.G. Torney made a silent feature film Pundalik which was released on May 18, and it was half British in its make.Dhundiraj Govind Phalke, more generally known as Dada Saheb Phalke was responsible for the production of India's first fully indigenous silent feature film Raja Harishchandra which heralded the birth of the Indian film industry. The film had titles in Hindi and English and was released on May 3, 1913 at the Coronation Cinema, Bombay. In 1917, Bengal saw the birth of its first feature film-Satyabadi Raja Harishchandra made by Madan's Elphinstone Bioscope Company. In Madras, the first feature film of South India Keechaka Vadham was made by Nataraja Mudaliar in 1919.After stepping into 1920, the Indian cinema gradually assumed the shape of a regular industry. The industry also came within the purview of the law. The new decade saw the arrival of many new companies and film makers. Dhiren Ganguly (England Returned), Baburao Painter (Savkari Pash), Suchet Singh (Sakuntala), Chandulal Shah (Guna Sundari), Ardershir Israni, and V. Santharam were the prominent film makers of the twenties.The most remarkable things about the birth of the sound film in India is that it came with a bang and quickly displaced the silent movies. The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani was released on March 14, 1931 at the Majestic Cinema in Bombay; The talkie had brought revolutionary changes in the whole set up of the industry. The year 1931 marked the beginning of the talking ear in Bengal and South India. The first talkie films in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass) were released in the same year.The thirties is recognised as the decade of social protests in the history of Indian Cinema. Three big banners-Prabhat, Bombay Talkies and New Theatres gave the lead in making serious but gripping sand entertaining films for all classes of the wide audience. A number of films making a strong plea against social injustice were also made in this period like V.Santharam's Duniya Na Mane, Aadmi and Padosi, Franz Osten's Achut Kanya, Damle & Fatehlal's Sant Thukaram, Mehboob's Watan, Ek hi Raasta and Aurat. For the first time Ardeshir Irani attempted a colour picture in 1937 with Kisan Kanya.The decade also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja 1932), Gujarathi (Narasinh Mehta-32), Kannada (Dhurvkumar-34); Oriya (Sita Bibaha-34); Assamese (Joymati-35); Punjabi (Sheila-35) and Malayalam(Balan-38).The decade during which the second world was fought and Indian independence won, was a momentous one for cinematography all over India. Some memorable films were produced during the forties such as Shantharam's Dr. Kotnis Ki Amar Kahani, Mehboob's Roti, Chetan Anand's Neecha Nagar, Uday Shanker's Kalpana, Abbas's Dharti Ke Lal, Sohrab Modi's Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia's Court Dancer, S.S. Vasan's Chandralekha, Vijay Bhatt's Bharat Milap and Ram Rajya, Rajkapoor's Barsaat and Aag.The first International Film Festival of India held in early 1952 at Bombay had great impact of Indian Cinema. The big turning point camp in 1955 with the arrival of Satyajit Ray and his classic Pather Panchali which opened up a new path leading the Indian film to the World Film Scene. International recognition came to it with the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. In Hindi Cinema too, the impact of neorealism was evident in some distinguished films like Bimal Roy's Do Bigha Zamin, Devadas and Madhumati, Rajkapoor's Boot Polish, Shri-420 and Jagte Raho, V. Shantharam's Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood's Mother India.Gurudutt's Pyaasa, and Kagaz Ke Phool and B.R. Chopra's Kanoon; The first Indo-Soviet co-production Pardesi by K.A.Abbas was also made during the fifties. The transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. The sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The sixties began with a bang with the release of K. Asif's Mughal-E-Azam which set a record at the box-office. It was followed by notable productions which include romantic musical and melodramas of a better quality. Rajkapoor's Jis Desh Mein Ganga Behti Hai, Sangam, Dilip Kumar's Gunga Jamna, Gurudutt's Sahib Bibi Aur Gulam, Dev Anand's Guide; Bimal Roy's Bandini, S.Mukherji's Junglee, Sunil Dutt's Mujhe Jeene Do and the experimental Yaadein, Basu Bhatacharya's Teesri Kasam, Pramod Chakravorthy's Love in Tokyo, Ramanand Sagar's Arzoo, Sakhti Samantha's Aradhana, Hrishikesh Mukherji's Aashirwad and Anand, B.R. Chopra's Waqt, Manoj Kumar's Upkar, and Prasad Productions Milan were the significant Hindi films of the decade.Among the regional languages, Malayalam cinema derived much of its strength from literature during the sixties. Malayalam cinema hit the head lines for the first time when Ramu Kariat's Chemmeen (1965) won the President's Gold Medal. Towards the end of the decade, Mrinal Sen's Bhuvan Shome, signalled the beginnings of the new wave in Indian Cinema.The New Indian Cinema emerged as a reaction to the popular cinema's Other Worldiness. It is a cinema of social significance and artistic sincerity, presenting a modern, humanist perspective more durable than the fantasy world of the popular cinema.Satyajit Ray, Ritwik Ghatak and Mrinal Sen were the founding fathers of the new cinema in India. Acclaimed as India's foremost director Satyajit Ray has made 30 feature films and five documentaries, tacking a wide range of rural, urban historical themes. His cinematography places him away form the inheritors of the neorealist school, and yet his films are infused with an unusual humaneness. Pather Panchali, Apur Sansar, Charulata, Jalsaghar, Goopy Gyne Bagha Byne, Seemabadha, Jana Aranya, Ashani Sanket and Agantuk are some of his outstanding films. He was fortunate enough to present his films in almost all the leading films festivals of the world. The national and international awards won by Ray are numerous.Ritwik Ghatak swooped on the Indian scene with new dynamism. His films constitute a record of the traumas of change form the desperation of the rootless and deprived refugees from East Bengal .(Meghe Dhaka Tara, Ajantrik, Komal Ghandhar, Subarnarekha). Mrinal Sen is the ebullient one-experimenting with neorealism as well as new wave and fantasy. His notable films are Bhuvan Shome, Chorus, Mrigaya, Ek Din Pratidin, Akaler Sandhane, Kharij & Khandahar. He has also won several national an international awards.In Bombay, a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji (Sara Akash), Rajinder Singh Bedi (Dastak), Mani Kaul (Uski Roti, Duvidha), Kumar Shahani (Maya Darpan), Avtar Kaul (27-Down), Basu Bhattacharya (Anubhav), M.S. Sathyu (Garam Hawa), Shyam Benegal (Ankur), and Kanthilal Rathod (Kanku). In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. (Kabuliwala, Hatey Bazarey, Harmonium, Safed Haathi; Balika Bodhu, Nimantran, Ganadevta, Dadar Kirti).The seventies has further-widened the gap between multistar big budgeted off beat films. The popular Hindi hits of the decade include Kamal Amrohis Pakeeza, Rajkapoor's Bobby , Devar's Haathi Mere Saathi, Ramesh Sippy's Sholay, Zanjeer, Deewar, Khoon Pasina, Yaadon Ki Baarat, Kabhi Kabhi, Dharamveer, Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muqaddar ka Sikandar. Of these majority of the films were action oriented with revenge as the dominating theme.Down in the South, the new wave cinema originated in Karnataka and Kerala. Pattabhi Rama Reddy's Damskara (70) and Adoor Gopalakrishnan's Swayamvaram (72) were the trend setters in Kannada and Malayalam respectively. This continued with a series of socially conspicuous films like M.T. Vasidevan Nair's Nirmalyam, B.V.Karanth's Chomana Dudi, Girish Karnad's Kaadu, Girish Kasara Valli's Ghatasradha, G. Aravindan's Uttarayanam and Thamp, K. Balachander's Arangetram, Avargal and Apoorva Ragangal, Adoor's Kodyettam, K.G. George's Swapnadanam and P.A. Backer's Chuvanna Vithukal and G.V.Iyer's Hamsageethe.The Hindi avante garde or new wave seems to have reached its bloom period towards the end of the seventies with the coming of film makers like Govind Nihalani (Aakrosh), Saeed Mirza (Albert Pinto Ko Gussa Kyon Aata Hai, Aravind Desai ki Ajeeb Daastan), Rabindra Dharmaraj (Chakra), Sai Paranjpe (Sparsh), Muzafar Ali (Gaman) and Biplab Roy Chowdhari (Shodh). The movement spread to the other regional cinemas such as Marathi, Gujarathi, Assamese, Oriya and Telugu. Directors like Jabbar Patel (Samna, Simhasan), Ramdas Phuttane (Sarvasakshi), Ketan Mehta (Bhavni Bhavai). Babendranath Saikia(Sandhya Rag), Jahanu Barua (Aparoopa, Papori), Manmohan Mohapatra (Klanta Aparanha, Majhi Pahacha), Nirad Mohapatra (Maya Miriga) and Gautam Ghose (Ma Bhoomi) came to the scene with their films.Also from the South came film makers such as Jayakantan, John Abraham, Bharathan, Padmarajan, Balu Mahendra, Bharathi Raja, T.S. Ranga, T.S. Nagabharana, K.R. Mohanan, G.S. Panicker, Chandrasekhar Kambar, P.Lankesh, C. Radhakrishnan and Bhagyaraj who presented significant films like Unnai Pol Oruvan, Agraharathil Kazhuthai, Prayanam, Peruvazhiambalam and Oridathsoru Phayalvan, Kokila, 16 Vayathinile and Kizhakke Pokum Rail , Geejegand Goodu, Grahana, Aswathama, Ekakini, Kaadu Kudre, Pallavi, Agni, Suvar Illatha Chithrangal and Mundani Mudichu.The new cinema movement continued with full spirit in. the next decade (eighties) also . Shyam Benegal presented some good movies like Manthan, Bhumika, Nishant, Janoon , and Trikal. Nihlani's Aaghat and Tamas were remarkable works. Other important films with new style of treatment include Damul (Prakash Jha), 36-Chowringhee Lane (Aparna Sen), New Delhi Times (Ramesh Sharma), Mirch Masala (Ketan Mehta), Rao Saheb (Vijaya Mehta), Debshishu (Utpalendu Chakraborthy), Massey Saheb (Pradeep Kishna), Trishagni (Nabayendu Ghosh), Ijaazat (Gulzar), Umrao Jaan (Muzafar Ali), Dakhal, Paar (Gautam Ghose), Dooratwa, Neem Annapurana, Andhi Gali (Buddhadeb Dasgupta), Aajka Robin Hood (Tapan Sinha), Tabarana Kathe, Bannada Vesha (Girish Kasara Valli), Accident & Swamy (Shanker Naag), Daasi (B. Narasinga Rao) and Phaniyamma (Prema Karanth).The new wave masters of Kerala, Adoor and Arvindan, consolidated their position in the eighties with their films Elippathayam, Mukha Mukham, Anantharam, Esthappan, Pokkuveyil, Chidambaram, and Oridath, Elippathayam has won the prestigious British film Institute award for 1982. Shaji N.Karun's maiden film Piravi(1988) bagged several national and international awards and was shown in nearly forty film festivals. Meera Nair, the young woman director, won the Golden Camera award at Cannes for her first film Salaam Bombay in 1989. In 1990, Adoor Gopalakrishnan's Mathilukal won the FIPRESCI and UNICEF awards.The late eighties and early nineties saw the revival of the musical love stories in Hindi cinema. Mr. India, Tezaab, Qayamat se Qayamat Tak, Main Pyar Kiya, Chandni, Tridev, Hum, Ghayal, Saudagar, Rakhwala, Jo Jeeta Wohi Sikander, Hum Hain Rahi Pyarke, Baazigar, Aaina, Yeh Dillagi, Hum Apake Hai Kaun, Krantiveer, Raja and Rangeela were some of the popular Hindi films of the last decade.The first half of nineties witnessed the release of some better films in Hindi as well as in other regional languages. Drishti and Drohkal (Nihalani), Lekin (Gulzar), Disha (Sai Paranjpe), Prahar (Nana Patekar), Parinda (Vinod Chopra), Diskha (Arun Kaul), Kasba (Kumar Shahani), Rudaali (Kalpana Lajmi), Maya Memsaab (Ketan Mehta), Mujhse Dosti Karoge (Gopi Desai), Suraj Ka Satwan Ghoda & Mammo (Benegal), Who Chokri (Subhankar Ghosh)&Ek Doctor Ki Maut (Tapan Sinha), were some of the notable Hindi films from Bengal, Orissa, Assam and Manipur came films like Tahader Katha, Bagh Bahadur, Charachar (Buddhadeb Dasgupta), Uttoran (Sandip Ray), Wheel Chair (Tapan Sinha), Unishe April (Rituparno Ghosh), Adi Mimansa, Lalvanya Preethi (A.K. Bir), Nirbachana (Biplab Roy Chowdhari), Halodhia Choraya Baodhan Khai, Firingoti (Jahau Barua), Haladhar (Sanjeev Hazarika), and Ishanou (Aribam Shayam Sharma). In the South Malayalam Cinema presented some notable films. They include Vasthuhara (Aravindan)_, Vidheyan (Adoor) Kireedom, Bharatham (Siby Mmalayil), Amaram (Bharathan) Innale (Padmarajan), Oru Vadakkan Veeragatha, Sargam, Parinayam (Hariharan), Devasuram (I..V.Sasi). Kilukkam, Thenmavin Kombath (Priyadarsan), Perumthachan (Ajayan), Daivathinte Vikurthikal (Lenin Rajendran), (Sivan), Manichithrathazu (Fazil), Ponthanmada (T.V. Chandran) and Swaham (Shaji), From Tamil and Telugu cinema, there came few films like Anjali, Roja and Bombay (Mani Ratnam) ,Marupakkam and Nammavar (Sethsumadhavan),Karuthamma (Bharathi Raja), Surigadu (Dasari Narayana Rao), Swathi Kiranam (K.Viswanath), Mogha Mul (G.Rajasekharan) etc. English film like Miss Beatty's Children (Pamela Rooks), and English August (Dev Benegal) were also produced during this period.All in all, it has been a long story of nearly nine decades, with the early shaky screen images turning into a multi pronged and multi winged empire of its own, that has yielded about 27,000 feature films and thousands of documented short films. Cinema has raised India's flag high in the world as the consistently largest film producer. But when it comes to quality the flag has to fly half mast.All the above information is coursty of: All India

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LIFE STYLE -------------- ARTIFICIAL life style made peoples life very very tense. as to cope up with the day to day need people have to spend more and more to maintain their profile and to add to their life . can anyone has the answer to this? mi opinion says - no . now the competion is not for the comodities and assets but only and only for luxury ....which doesnt give meaning to the life style ,,,,,people are dying for the luxury and not for the actual need .which should be considered to be basics of life.