Nepotism is based on favoritism granted to relatives in various fields, including business, politics, entertainment, sports, religion and other activities.
WAYS TO HANDLE NEPOTISM AT WORKPLACE
In cases of nepotism, what’s often most frustrating is that a person feels overlooked because of opportunities given to someone perceived as less qualified. Document what you’ve achieved over time, and make sure to compile as much data to back you up as possible.
Identify a third-party ally – someone higher up than you, and thus who has more power within the organization but has no skin in the game. As with any complaint, documentation and witnesses are important. Together with the ally, determine how to best bring forward your concerns that won’t result in backlash.
Some might feel compelled to act out of emotion, but it’s best to build a case with evidence and details – including any information from colleagues who may be experiencing the same things you are – before approaching anyone.
NEPOTISM IN BOLLYWOOD
A cake walk debut of a star kid and a difficult entry for others, nepotism cannot guarantee success though it has existed in Bollywood for a long time. Many star kids tried to make their presence on the screen, but failed to grab viewers’ attention. Nepotism in industry is defined with the surname famously associated with known actors. The legacy of Kapoor emerged from the golden age of Indian cinema watching the 3rd generation now. The father-son duo of Sunil Dutt and Sanjay Dutt, Dharmendra and Sunny Deol, there are many such names that get a grand welcome in cinema.
SOME OF THE RESULTS OF NEPOTISM
Alia Bhatt- daughter of Mahesh Bhatt
Varun Dhawan- son of David Dhawan
Sonam Kapoor- daughter of Anil Kapoor
Athiya Shetty- daughter of Suniel Shetty
Sonakshi Sinha- daughter of Shatrughan Sinha
Abhishek Bachchan- son of Amitabh Bachchan
Janhvi Kapoor- daughter of Sridevi
Ananya Pandey- daughter of Chunky Pandey
NEPOTISM- RIGHT OR WRONG
The nepotism debate has been reignited after the demise of Bollywood actor Sushant Singh Rajput. While there is no official statement by authorities on the reason behind his suicide, Twitterati and many celebrities have concluded that his death was in some way connected to nepotism in Bollywood. Recently, Kangana Ranaut appeared on a channel where she spoke about the prevalent culture of nepotism in Bollywood and how that resulted in Sushant Singh Rajput’s death. The conversation around nepotism was first ignited by Ranaut on Karan Johar’s chat show Koffee with Karan in 2017, where she called the filmmaker the ‘flag-bearer of nepotism’.
CELEBS WHO CLAIM THAT THEY HAD TO FACE THE BRUNT OF NEPOTISM
Abhinav Kashyap said Salman Khan and family ruined his career.
Resul Pookutty said no one gave him work after he won an Oscar.
Sonu Nigam says ‘Music Mafia’ crushes talented musicians.
Sona Mohapatra said she never got a second chance even after a blockbuster song Ambarsariya.
Upen Patel said that “they” cut him out suddenly and he felt left out.
Shreyas Talpade said that Karan Johar and YRF never showed interest in working with him.
The word Bollywood is a play on Hollywood, with the B coming from Bombay (now known as Mumbai), which is the center of the Indian film world.The word was coined in the 1970 As their popularity grow, movies created in the Mumbay’s reached the number of 200 annual movies, West continued to ignore cinema efforts of Indian filmmakers, but they acknowledged them when India managed to overtook America as the biggest producer of movies in the world.
In 1913 and the silent film “Raja Harishchandra”the first-ever Indian feature film and First full-length Bollywood silent movie.Its producer, Dadasaheb Phalke, was Indian cinema’s first mogul, and he oversaw the production of 23 films between 1913 and 1918 Dadasaheb Phalke is considered the father of Indian cinema.
Its great success paved the way for the countless movies that followed him and the expansion of the indian cinema industry to incredible heights. One of the largest successes of that time was “Alam Ara” from 1931, sound movie that became basis of the joyful modern Bollywood musical. First Indian Colour movie “Kisan Kanya” was created in 1937, but such movies found popularity only in late 1950s and early 1960s.
Gaining independence from the British Raj was tough and spanned from 1857 to 1947 – lasting a gruelling 900 years. However, the struggles in gaining India’s independence enthused the film industry. Some of the most critically acclaimed films in Indian cinema were created during this time and explored the difficult working-class life in India and the reality of urban life.
It was around 1947 that the industry went through significant changes. The historical and mythological stories of the past were now being replaced by social-reformist films, The 1950s saw filmmakers such as Bimal Roy and Satyajit Ray focusing on the lives of the lower classes, who until then were mostly ignored as subjects.
Golden Age of Indian cinema took place between 1940s and 1960s. During that time countless influential Bollywood movies were released, exploring new storytelling techniues, social themes (mostly struggles and wonders of urban life), epic productions such as Mother India (1957). This period also popularized many Indian actors (Dev Anand, Dilip Kumar, Raj Kapoor, Guru Dutt) and actresses such as (Nargis, Vyjayanthimala, Meena Kumari, Nutan, Madhubala, and others).
1950 – The decade of extreme close-up The black and white era of 1950s was marked by songs shot in static frames with all the action happening through the eyes and eyebrows of our lead actors. So from extreme close-ups of the face to some relevant cut-ins of the moon, the flowers and the rustling of leaves, Bollywood songs welcomed more elements of dynamics of romance. Leading from the 1960s to the early 1970s came the birth of Modern Bollywood Cinema. This included the domination of two distinct genres: boy-meets-girl romance films and gritty action productions.
1960 – The decade of pure dance and enchnating eyes Actors like Vyjayanthimala, Waheeda Rehman and Mala Sinha slowly brought dance in the 1960s. Songs like “Honton Mein Aisi Baat” and “Piya Tose Naina Laage Re” resonate not just the beauty of these divas but also the sanctity of songs of this era. Even in their guest appearances Helen, Bindu and Aruna Irani became the perfect face of RD Burman’s tracks in the 1970s. They either happened inside the villain’s den or were meant to add thrill to the climax. From “Piya Tu Ab To Aaja” to “Mera Naam Hai Shabnam” and “Chadti Jawani Meri Chaal Mastani”, the songs of this phase still hold a place in our party playlist.In the 1970’s the name “Bollywood” was officially coined as conventions of commercial Bollywood films truly became defined.
1980 – The decade of growing romance. Come 1980s and the royal reign of RD Burman continued Parveen Babi and Zeenat Aman lead the epic playlist of this era. “Pyar Mein Dil Pe Maar De Goli” had as much stuff happening in the song as in “Pyaar Karne Wale”. Music and songs in this period were intimately connected to the storyline. They were written and woven as per the requirements of the film and in the respective situations.While Lata Mangeshkar, Mohammad Rafi, Asha Bhonsle, Kishore Kumar and Hemant Kumar were the mainstay of the playback singing scene, big actors like Amitabh Bachchan, Shashi Kapoor and Rishi Kapoor gave them the apt face value. This perfect combination reciprocated well onscreen too. Bachchan’s songs were either playful or had intense action happening (not literal fighting but the thrill of the climax). Towards the second half of 1980s and early 1990s, we had films like Qayamat Se Qayamat Tak, Ram Lakhan, Saajan and Dil Hai Ke Manta Nahin – all musical blockbusters. On the other side of the camera, it introduced us with the voices of Udit Narayan, Alka Yagnik and Kumar Sanu, on the front these songs majorly had a dreamy set-up, making anyone fall in love. There was romance, longing, betrayal and confessions and every aspect was shot with a proper screenplay of its own. Each song, be it “Pehla Nasha”, “Ae Mere Humsafar”, “Dil Hai Ke Manta Nahin” or “Bahut Pyar Karte Hain”, made us believe in love.
1990 – The decade of Celebration. The 80s and 90s brought back spotlight romantic musicals and family-centric films, and in 1995, Dilwale Dulhania Le Jayenge was released. Becoming the highest grossing Bollywood film of the year and one of the most successful Indian films its soundtrack became one of the most popular of the 1990s. Even today, the film has been showing at a Mumbai cinema, Maratha Mandir, since its original release in 1995. A portion of the 1990s also introduced us to the three khans, madhuri dixit and others.
2000 – The decade of quick moves Bollywood finally managed to reach outside of India and land in the West. Many of their lavish productions received significant box office success all around the world, especially after the critical success of “Lagaan: Once Upon a Time in India” in 2001.
Fourteen days into the new millennium, Kaho Naa Pyaar Hai launched Hrithik Roshan overnight superstardom. Dil Chahta Hai (2001) was differentThe songs by Shankar Ehsaan Loy. One of its lines, appropriately, announced – Hum Hai Naye Andaz Kyun Ho Purana. penned by Javed Akhtar give Dil Chahta Hai a socio-cultural perspective. A lot was going on in the 2000s. Single screens started to make way for multiplexes. The Hindi film industry, leaving the days of dubious underworld fundings behind, was being corporatised.Stars reinvented themselves. Amitabh Bachchan started acting his age. Aamir Khan – enabler, collaborator, producer and not just actor – promised quality mainstream entertainment, and delivered on most counts Rang De Basanti,Taare Zameen Par,3 Idiots,Hera Pheri (2000) helped find Akshay Kumar, an action star in the 90s, his sublime comic side. Shah Rukh did some of his most loved films – Kal Ho Na Ho (2003), Swades (2004) and Chak De India (2007); Main Hoon Na and Om Shanti Om. Lage Raho Munnabhai – which established Raju Hirani as a major director . New faces like Hrithik Roshan and Aishwarya Rai added to the star value. Both being brilliant dancers with beautiful personalities shone onscreen. Aamir’s antics in tracks like “Aati Kya Khandala”, made each of their song a national favourite. And amid Kabhie Khushi Kabhi Gham to fix any loose ends. This phase saw the canvas of songs grow to exorbitant levels. Bollywood has inspired films overseas including Danny Boyle’s Slumdog Millionaire which won four Golden Globes and eight Academy Awards, and Moulin Rouge which director Baz Luhrmann says was influenced by Bollywood Musicals
2010 – The decade of New era As 2000s entered its second decade, the “item songs” were back and with more action. 2010 alone gave us two of the biggest recent tracks – “Munni Badnaam” and “Sheila Ki Jawani”.
This was the Ranbir Kapoor-Deepika Padukone-Anushka Sharma-Ranveer singh phase giving movies – Yeh Jawaani hai Deewani, Bajirao Mastani,Ramleela, Sui Dhaaga Their songs emphasised their beauty as the camera moved in and out of their face to their chiselled appearance.
In years to come, Abhishek Chaubey’s revisionist dacoit film, Sonchiriya, and two fine festival titles from 2018: historicals (Manikarnika, Panipat), war films (Uri: The Surgical Strike), action blockbusters (War),patriotic (Kesari) Also blockbuster Khan’s gave ,Bajrangi Bhaijaan,sultan , My name is khan,Raees, Dangal and PK, and he made a killing overseas and Secret Superstar. Shahid kapoor –Jab We Met,Kabir Singh ,Ayushmann khurrana – Dum laga ke haisha, Dream girl, bareilly ki barfi, Sushant Singh Rajput – Kai Po Che, Chhichhore, M. S.Dhoni, Rajkummar Rao – Stree and Pankaj Tripathi. This new Middle Cinema dovetailed with arthouse film Masaan. This decade, several actors joined Manoj Bajpayee and Irrfan Khan- Hindi Medium in the fertile middle ground between superstardom and niche acclaim. Nawazuddin Siddiqui broke through in 2012 with Kahaani and Gangs Of Wasseypur. A number of Indian films from different regions are often included among the greatest films of all times in various critics and directors polls.Indian Cinema will be eternal as decades move on….
After Sushant Singh Rajput’s death there is another shocking news which has left us devastated. Yes, today morning we have lost another legend of bollywood industry. The legendary bollywood choreographer Saroj Khan died of cardiac arrest at around 2:30 am on Friday morning at a Mumbai hospital. She was in Mumbai ‘s Guru Nanak Hospital since June 17 after she complained of breathing difficulties. She was 71. After her death her funeral took place in the morning in Malad, Mumbai.
She was a three – time National Award Winner who was credited for choreographing more than 2000 songs. She was fondly called as ‘Masterji’ by the stars. She was a wonderful artist and an exceptional guru who played crucial roles in many superstars journeys by giving memorable choreographies to them. Her most famous collaboration were with actors Madhuri Dixit and Sridevi. Her iconic numbers included Dhak Dhak Karne Laga from movie Beta (1992), Ek do teen from Tezaab (1998), Hawa Hawaii from Mr India (1987) and many more.
So today we have lost another amazingly talented person. You will be missed Saroj ma’am.
Well, overrated would actually be quite an inappropriate word to use, so let’s just say it was a disappointing movie for it did fail at delivering what I and most of the viewers expected it to.
This movie that I had watched just 2 weeks ago ,”Laila Majnu” set in Kashmir directed by Imtiaz Ali went a bit over my head and hence became a reason of my dislike. The first half an hour is fine and in fact quite engaging. The male and female protagonist are into a kind of flirtationship, some cliché stalking from the guy’s side happens and then they soon fall for each other, ask the girl finally gives into to the boy’s advances. The romantic medley depicting this blossoming of love is just amazing! #Aahista Check out this clip here. https://www.instagram.com/p/BmQVM8thKNQ/?igshid=efdd6ydad9my
Their families are arch rivals. Laila gets married to somebody else owing to a misunderstanding. The story then takes a turn of events until both of the leads get united post Laila’s repentance as she came vis-à-vis the reality of (Qais) Majnu’s innocence and her husband’s real attitude soon after her marriage. So she was delighted to see Qais aka THE Majnu back in the town after 4 long years. After her husband’s demise in an accident, Laila had to wait for 3 more months to be able to marry Majnu as per an Islamic tradition.
Majnu was heartbroken still did not express anything because he was tired of waiting for his ladylove so he sought refuge in his distant, tranquil farmhouse. There he is portrayed as a mad lover through typical actions of running around, screaming out loud and it just didn’t seem to make sense to me. Seemed as if he got struck by sufism and that he came to realize that he didn’t any longer require Laila for the fulfillment of his love story. For he is so content and at absolute peace by just seeing Laila (an illusion actually) in a beautiful white fairy gown in front of his eyes, he is seen talking to her and that’s the reason why the people declared him mad.
Laila then came to see him and she realised this as well that Majnu no longer needs her physical self to celebrate his love, for his love has evolved much more in deeper sense and left her body soonafter. Majnu is also shown to be dead near Laila’s grave. The ever-so-mind-bewildering story then ends with the song Jab Se Tu Meri Hai Tab Se Main Tera hu Laila. What questions pops up on my mind is that when one attains such deeper, higher form of divine, selfless love then it definitely would not lead to the downfall of that person that he would go insane. From what I know, true love only supports growth of both individuals and can never result in negativity as it is the only positive this world has to offer. So this story line contradicted the universal truth and just didn’t go well with me otherwise the scenes, the acting, the dialogues, music and everything was top notch except for the way in which it’s plot progressed.
The leads, Avinash Tiwary and Tripti Dimri are coming together, yet again, for a Netflix Original “Bulbbul”. Checkout the trailer. Given that the chemistry of the leads was sizzling and they look cute together, I am sure you would not want to miss out on this one, especially if you love psychological, supernatural or thriller stuff.
I watched Tum Bin 2 some two months ago and then only, checked out its reviews on the internet which didn’t seem to do justice with the content of the film at all and that is why i decided to express my views here and why i would say it is a must watch.
The story revolves around a girl named Taran who mistakens her fiance to be dead in a skiing accident caused on one of their vacations. The guy goes missing and she is heartbroken because she was about to get married. She has a hard time trying to move on upon the insistence of the guy’s father and her sisters. She would see him everywhere and the scenes are beautifully depicted with just the right kind of music playing in the background and the pain and the suffering of the girl is portrayed beautifully by Neha Sharma. I felt the pain myself. Soon a new guy named Shekhar (Aditya Seal) is introduced into her life. He is a very amicable guy and impresses off everyone else with this modesty. He tries to ease off the suffering of Taran, making her laugh and open up but at the same time not expecting anything from her so she gradually takes the first steps towords living freely.
SPOILER ALERT: And now after 8 months Aman, her fiance makes an entry. It is revealed that all this while, he was being treated anonymously and that, he went in a coma. Everyone is rejoiced and so is Taran. But somehow she finds it difficult to recreate that same bond with him because she had already decided to move on with Shekhar. Aman could not figure out the reason behind this sudden change of attitude. Taran initially maintained some sort of distance between her and Shekhar but she realizes that she loves him and needs to be with him only and that’s when she finally opens up to Aman and Aman gives a green signal to their relationship peacefully. And now after 8 months Aman, her fiance makes an entry. It is revealed that all this while, he was being treated anonymously and that, he went in a coma. Everyone is rejoiced and so is Taran. But somehow she finds it difficult to recreate that same bond with him because she had already decided to move on with Shekhar. Aman could not figure out the reason behind this sudden change of attitude. Taran initially maintained some sort of distance between her and Shekhar but she realizes that she loves him and needs to be with him only and that’s when she finally opens up to Aman and Aman gives a green signal to their relationship peacefully.
Soon Taran and shekhar begin a relationship witnessing which Aman’s heart aches but he chooses to stay happy in the happiness of his lover’s. Towards the end, Shekhar suddenly starts behaving quite odd like not answering her calls and decides to leave the city. Taran’s sorrow is uncontrollable, wishing to talk to him and try and stop him for the one last time and Aman is the man who drives Taran to the airport and this conversation is the one which altogether changed my whole perception on LOVE. Shekhar questions Taran repeatedly and says that he would stay for her if just once, she would say, that she doesn’t love Aman anymore. He reminds her that she never did actually love him. She was always in love with Aman only and shekhar was just a replacement as it was him whose carelessness caused Aman’s accident in the first place.And that’s when he decided that he would take care of everyone involved with aman but that doesn’t mean that he didn’t love Taran, he loved her immensely but to Taran, maybe he was just an infatuation, happened when she needed support.
SPOILER OVER: I think the reason why this movie didn’t go well with the audience is because they failed to understand the true essence of love. This movie portrayed different shades of love with a beautiful story line and an even better jukebox of musical tracks which keeps you engaged throughout. Through the dialogues and the songs, you can actually feel the the emotions of the protagonists. It’s highly recommended from my side if you feel like watching some real love content, with a box of tissues handy and if you’re an emotional person who understands such sob stories well.
International Journal of Research (IJR) 