The Doon School Information Review Mother Language Day Issue

తెలుగు

ଓଡ଼ିଆ বাংলা

Editorial

Editor-in-Chief

Special Thanks

Tamil

Kabir Subbiah

Mr. Arvind Dethe

Chief of Production

Mr. Arvindanabha Shukla

Krishnav Singhal

Mr. Johnson Joseph Wilson

Senior Editors Agam Bhatia Lorcan Conlon

Mr. Manoj Pandey Ms. Mercedes Alonso Garcia Ms. Mugdha Pandey Mr. Supratim Basu

Senior Correspondents

Kautilya Naga Podagatlapalli

Gurmehar Bedi

Neelotpal

Shreyan Mittal

Junior Correspondents Rohan Taneja Vivaan Sood

Design Team Krishnav Singhal Shrivar Kanudia Rohan Taneja

Master-in-Charge Ms. Malvika Kala

Loose translation ‘The mother tongue is your eyesight and the other language is your spectacle’ Venkaiah Naidu As the Doon School consists of teachers and students from across India, and because students learn foreign languages, the linguistic diversity found here is perhaps unparalleled by most other schools. This issue of the DSIR tries to celebrate that diversity by publishing articles written in a plethora of languages, from across India and the world.

This issue was also the fastest issue that the DSIR has released, and is thus a great victory for the Editorial Board. However, there are many people whom I must thank for making this happen. I have to thank my masters and the students who worked alongside me. And I have to thank my grandparents for how much they helped me write this editorial. There are a few others whose names we have included in the Special Thanks section.

I hope you enjoy this issue!

Kabir Subbiah, Editor-in-Chief

Mother Language Day Issue | 2

The Doon School Information Review | Contents

Contents

|| gkfnZd 'kqHk dkeuk,a || A poem dedicated to the students appearing for their board examinations. It reflects on ideas of support, honesty and hard work while offering the students the best of luck.

thou ds bl uo iFk ij] Mxj c<+krs tkukA gj iy gj fnu ;ksa gh eqLdjkrs jgukAA Lok/;k; ls gj fo"k; #fpdj cukukA la;e & euu dks thou vk/kkj cukukAA ijh{kk dh bl ?kM+h esa] ruko eqä jgukA uhj {khj foosdh cu dj lkjs ç’u gy djukAA

ଓଡ଼ିଆ Because I Love Page 12

Bengali Cinema and Rituparno Ghosh Page 4

Mahanti

తెలుగు

Punjab 1984 Tale of a State

Page 26

Page 14 ‫ترکی ھگ‬

French

Maharaja Tomare Selam: Soumitra Chatterjee

বাংলা

Page 6

Les Choristes Page 30

Page 15

German The Office

lPps çfrHkkxh gksdj eafty dh vksj HkkxksA tkx & txkvks dh reUuk ls iFk dks laokjksA lqj ls lqj feykdj thr ds xhr lqjhyk cuk yksA gejkgh cudj ^^MksLdks** f{knrt ikj dj yksAA cl] tks’k meax ls iwjk fjohtu dj Mkyks] ,dkxzrk] 'kkar fpÙk ls y{; dks “sn MkyksAA

Garhwal Lokgeet

DSIR Selects Page 20

Page 32

7 Dias Español Page 24

Book Review Yennangal

बहुमुखी प्रतिभा के धनी

Page 28

श्री विश्व मोहन बडोला Page 8

राजस्थान A Musical Magnificance

eqdke gkf’ky djus dh –< bPNk j[kuk] ç.k ijrK ysdj rqe] thou f’k[kj ij p<+ukA thou ds bl uo aiFk ij] Mxj c<+krs tkukAA Hkfo"; ds gj iVy ij lnk vOoy jgukA vPNk ba’kk cu dj balkfu;r fuHkkuk] lnSo bl laLFkk dk uke Å¡pk j[kukAA

Jh pUnu ?kq?kR;ky

Page 10 Picture Credits: Unsplash

Mother Language Day Issue | 4

The Doon School Information Review | Bengali

Bengali Cinema in the post Satyajit Ray era, and Rituparno Ghosh Picture Credits: Dhaka Tribune and The Cinemaholic

r n ha Bhattacharjee Satyajit Ray took Bengali cinema truly on the international stage; however, it may be tough to believe it today. oday s engali fil industry is remaking seventy percent of their fil s fro a il or Telugu movies and the remaining thirty percent eco e tagged as art fil y common audience and don’t even get a proper release. However, there was a director who had the guts to swim against the stream and change the equation of success -- yes, we are indeed talking about Rituparno Ghosh. Well, it’s not that no other director was trying to do the same; there were indeed legends like Aparna Sen and Buddhadeb asg pta t after atya it ay if eep rinal en and Rittwik Ghatak aside, Rituparno will probably re ain as the ost cele rated fil a er in the history of Bengali regional cinema. n the dar era of eder eye osna and a a eno ha or it parno hosh entered engali cine a fro the orld of advertise ent fil s li e a hiff of fresh air is first fil irer ngti the dia ond ring didn t eco e a grand s ccess t ith his very second fil nishe pril the nineteenth of pril he changed all the e ations of making a successful Bengali movie that existed

at that time. An evening’s conversation between a mother and a daughter – such a simple premise became such a great piece of art – and he never looked back. Success came in the form of the Indian National Film Award.

After that one after another, gems were created by Rituparno: ahan rossfire ari ali he andlady tsav he festival h ho ah rat he grand opening ord spread that if you work in a Rituparno hosh fil yo are g aranteed to win the National Award! When everyone else made “herocentric” movies, Rituparno didn’t care about commercial success and ade fil s of o en centric plots, and needless to say the audience adored his works.

Rituparno expanded his working territory in the new millennium. He started a ing fil s in indi and English languages and worked with Bollywood bigwigs like Amitabh Bachchan, Aishwarya Rai and anisha oirala it parno s

Dosar (2006) by Rituparno Ghosh

works have won a total 22 National Film Awards; a record that is a distant dream for most fil a ers It will be an injustice to Rituparno Ghosh if we don’t talk about his personal life and struggles in this rite p ro the very first day a certain group of people taunted him over his “mannerisms” and “feminine attitude”. But instead of breaking down, he took it in his stride and instead challenged the existing norms by acting in fil s li e re ti re er olpo st another ove tory e ade fil s on a s ect on which most people don’t even feel comfortable talking even today – Human sexuality. It needs immense courage coupled with a rare creative geni s to a e fil s like Rituparno Ghosh.

Rituparno Ghosh left us forever on the th of ay after suffering from a massive heart attack. The breath of fresh air that ca e ith his fil s ill stay in o r e ories forever rasen it Chattopadhyay, Rituparno’s friend and colleague, commented after his demise that “he was an avid reader and you don’t see many directors who are as well-read as he was”. Rituparno Ghosh will always stay alive in the hearts on Bengali audience through his creations. Be it through “Shikha” in “Abohoman” he ternal or a eri in osar he o panion his audience will always get to see the re ections of the turmoil of their own lives – something that Rituparno presented in front of us in his simple but impactful language.

Mother Language Day Issue | 6

The Doon School Information Review | Bengali

Maharaja Tomare Selam: Soumitra Chatterjee Mr. Anjan Chaudhary

Picture Credits: The New Indian Express

This legend was born in the same year when he oon chool as fo nded t is deep respect and gratitude with which I pen down my remembrance for this well-established personality.

He was an actor, orator, thespian and so much more to Bengali and Indian cinema. Yes, I am talking about the one and the only, Soumitra Chattopadhyay hatter ee nce one starts re ecting on his life one finds that what is most intriguing is his accessible nature. He was in his prime, gifting fantastic cinema when I was born and as I started watching his movies, I was awestruck by the repertoire of roles he has played is first ovie p r angshar sho cases the struggle of a middle-class Indian who has aspirations of riting a novel n the fil hatter ee played the role of a character called Apu. It was a fil prod ced ea tif lly in the conte t of the early twentieth-century Indian subcontinent. The movie went on to get multiple awards. That was when his jugalbandi starts with another stalwart of Indian cinema: Satyajit Ray. He was settling in an era when another ahanaya in engali cine a tta ar had established his ground. Now, Chatterjee had to find his o n

During his glorious tenure, he has been a genuine presence, a left ideologue

To me, he was the superstar of Bangla cinema in its glory years. The affable Bhadralok icon who crafted a towering stature ironically banking on down-to-earth, playing believable characters that represented middle-class Bengal. In the state that he grew up in, he saw multiple political movements. is role in har lata ratinidhi ranayer inratri all connected beautifully with the middle-class Bengali at that time. He was the most prominent face in all of atya it ay s fil s ay st say as instrumental in discovering the talent in this legend.

As time rolled, they have worked in multiple movies.

The movie was primarily about how an inspirational coach trains his underprivileged students in swimming while teaching them to fight against all odds dditionally he as a fantastic hoc ey player in his time. he c lt ral acco tre ents of a iddle class ol ata in the eighties and nineties o ld e hr ti ato s a dio play theatres isit the oi ela oo air andan for fil s Rabindranath Tagore and of course Chatterjee. When I look at this life ith respect five evergreen songs fro his cine a co es to y ind i hini o hini o are i one i a o a oyto o ari anya hid i he e indh dh ar g n egeche Legeche. Jibone ki pabo na connects to the para culture of ol ata engali s love of soccer and the a a ing t ist dance celebration.

During his glorious tenure, he has been a genuine presence, a left ideologue. His involvement in street protests in Calcutta against fa ines and food in ation have had great i pacts on the p lic He was a man of principles who has been awarded multiple prestigious awards. He was a genuine bridge within the masses.

I distinctly remember two memorable movies where Chatterjee starred as is anath a dar irst in ela heshe here a year old an decides to divorce his ife after nearly five decades of arriage econd in tan hosh s ay ra shi here Soumitra played the role of a formidable professor who slowly descents into de entia y eyes fill ith tears listening to ol a ol s yare hola heyal hola apan ola achiye ye recited by Soumitra Chattopadhyay. Thanks to YouTube, his recitals can still be heard in this digital world.

Soumitra Chatterjee: Bengali Cinema’s all-time Superstar

har lata evi een anya hare ahire iro a ar eshe and anashatr to na e a fe part fro these hatter ee is the first actor to play the role of one of the ost e ora le characters of Bengali Cinema, Feluda, the detective created by Ray. He essayed the role of el da in t o fil s onar ella and oy a a el nath hatter ee in his ti es has or ed ith a a ing fil a ers incl ding rinal en apan inha sit en and oy ar distinctly re e er another ovie of his na ed ony and the catchphrase ight oni ight

Life is all about struggles and how this quintessential Indian re ected a role in eelachar ahapra h goes on to define his excellence as a superstar. Life will keep rolling post-COVID, and yet p el da rodosh handra itter dayan andit hid da, Ashoke Gupta and Amulya will keep providing everyone ith the ch needed energy to fight ac against all odds find new approaches to doing things and taking your stand to Ekla Cholo when you need to do so. Sadly, he got out through COVID encephalopathy during another shoot and a glorious career that spanned over years ca e to an end el da is no ore p has said his goodbyes and yet as the day and the night rolls he will always be remembered as a tall man with principles and a aster ho can act in any state of ind

Mother Language Day Issue | 8

cgqeq[kh çfrHkk ds /kuh & Jh fo’o eksgu cMksyk Jh nsosanj dqekj feJk ukVd thou dh vuq—fr gSA ;g vfHkO;fä dk ,d l’kä ek/;e gSA ;g dsoy euksjatu gh ugha djrk vfirq thou ds vusd i{kksa vkSj vuqHkoksa dks n’kZdksa ds le{k mtkxj djrk gSA blesa dykdkjksa ;k ik=ksa dh Hkwfedk vR;ar egRoiw.kZ gksrh gSA blh drZO; dks iwjh thoUrrk] lathnxh] deZBrk vkSj ftEesnkjh ds lkFk fuoZgu fd;k mÙkjk[kaM ds ;’kLoh vfHkusrk] i=dkj] jsfM;ks dykdkj ,oa fQYe vfHku;drkZ fo’oeksgu cMksyk th usA fo’oeksgu cMksyk th ls esjk loZçFke vçR;{k lEcU/k ^geyksx* /kkjkokfgd ds ek/;e ls gqvkA ^ge yksx* /kkjkokfgd ftldh iVdFkk euksgj ;ke tks’kh }kjk fyf[kr gS vkSj ftldk çlkj.k vLlh ds n’kd igyh ckj gqvkA 11&12 lky dh vusd /kqa/kyh Le`fr;ksa esa eq>s ;kn gS fd fdl çdkj ge nksLrksa rFkk eqgYysokyksa ds lkFk cSB dj 'osr & ';ke Vhoh ij ^ge yksx* / kkjkokfgd ns[krs FksA bl /kkjkokfgd ds fdjnkj 'kh?kz gh gekjs eu efLr"d ij viuh Nki NksM+us esa l{ke jgsA cM+dh] uUgs] yYyw] e>yh] çhre mLrkn vkfn dks ge 'kh?kz gh ilan djus yxs rFkk mudh vkdka{kkvksa rFkk la?k"kksZ ls tqM+us yxsA rhl o"kZ ckn eq>s ^çhre mLrkn* vFkkZr fo’o eksgu cMksyk th ls lk{kkr feyus rFkk ckrphr djus dk volj muds laca/ kh Jh vkuan ekfU/k;ku ds lg;ksx ls çkIr gqvkA cMksyk th }kjk vfHkuhr ;k eafpr vusd ukVdksa dh tc ppkZ v[kckjksa ;k iqLrdksa esa gksrh rc mUgsa i<+us ,oa le>us dh Hkh bPNk tkx`r gksrh FkhA ^g;onu* ds ^Hkkxor* ds pfj= dh ppkZ ds ckn gh eq>s bl ukVd dks i<+us ,oa le>us dh çsj.kk feyhA vusd ukVd tSls & ^,oa bUæthr* ^dkfynkl* ^datwl*] ^[kkeks’k vnkyr tkjh gS* ^æksinh* ,oa vusd dgkfu;ksa dks cMksyk th ds jaxeaph; vfHku; ,oa jsfM;ks ukVdksa ds ek/;e ls tkuus dh çsj.kk feyhA ukVdksa ds vfrfjä cMksyk th us vaxzsth i=dkfjrk esa Hkh vR;ar egRoiw.kZ ;ksxnku fn;k gSA os vaxzsth ds vusd i=&if=dkvksa ls tqM+s rFkk jktuSfrd ,oa lkekftd ltxrk dk ifjp; fn;kA fQYe ds {ks= esa t‚yh ,y,ych „ ds ^ckcwth*] rkldan QkbYl ds ^tfLVl dwfj;u*] Lons’k ds ^ljiap*] yxs jgks eqUuk HkkbZ ds ^nknw*] tks/kk vdcj ds ^lkfnj vnklh* tSls vufxur pfj=] cMksyk th ds l’kä vfHku; dh ;kn ges’kk fnykrs jgsaxsA dbZ ckj d{kk esa Hkh eSaus cMksyk th }kjk vfHkuhr va’kksa dks fn[kk dj cPpksa ds lkFk ppkZ & ifjppkZ dh gS tSls & xwxy dk foKkiu ^jh;wfu;u* ftlesa nks fcNM+s gq, fe= thou ds vafre iM+ko esa ljgnksa dks ikj dj feyrs gSaA

Picture Credits: Filmi Beat

fo’o eksgu cMksyk th ,d lPps dykdkj Fks ,oa dyk ds çfr lefiZr FksA mUgksaus vaxzsth i=dkfjrk] laxhr] jaxep vkSj fQYeksa esa leku :i ls ;ksxnku fn;k ysfdu tSlk eaxys’k Mcjky th dgrs gSa fd phtksa dks ,d eqdke ij ys tkdj NksM+ nsuk mudh fQrjr esa FkkA cMksyk th dqN ekl iwoZ gh bl nqfu;k dks vyfonk dg x,A ek¡ ljLorh ds ,sls ojn iq= dkss 'kkr 'kkr ueu---

Mother Language Day Issue | 10

Mr. Adarsh Saxena jktLFkku] bl uke ds dbZ vk;ke gSaA Hkkjr ds if"peh Hkkx esa fLFkr ;g jkT; vius vanj QSys gq, Fkkj e#LFky ds fy, rks tkuk gh tkrk gS] lkFk gh lkFk viuh vuks[kh lkaL—frd fojklr ds fy, Hkh fo’o fo[;kr gSA jktLFkku dh LFkkiR; dyk] fp= dyk] os’kHkw"kk] Hkk"kk] u`R; dyk vkfn bldks vU; lHkh jkT;ksa ls ,d vyx igpku nsrh gSA

Rajasthan : A Musical Magnificance Picture Credits: Hindustan Times

jktLFkku esa jpk clk ;gk¡ dk laxhr cgqr gh fofo/krk fy, gq, ,oa vuwBk gSA pkgs yaxk ,oa ekaxf.k;kj tu tkfr;ksa }kjk xk, tkus okys xhr gksa ;k xqykch lisjk dk dkycsfy;k u`R; ;k fQj vyykV ftykbZckbZ } kjk xk, tkus okys ek¡] ;gk¡ ds laxhr ,oa laxhrdkjksa us nqfu;k Hkj esa viuk ,d eqdke dk;e fd;k gSA jktLFkku dk laxhr

eq[;r vyx&vyx _rqvksa esa] rht& R;kSgkjksa esa] tUe] e`R;q] 'kknh] o vU; egRoiw.kZ voljksa ij rks vk/kkfjr gksrk gS lkFk gh lkFk yksddFkkvksa ohj xkFkkvksa vkSj yksd nsorkvksa dk o"khr Hkh muesa Hkjiwj feyrk gSA ^dslfj;k cky e i/kkjks Egkjs nsl* bl xhr us iwjs fo’o esa jktLFkku dks ,d igpku nh vkSj bl jkT; dh vkfFkfr;rk dks n’kkZ;kA bl xhr dks tc tSlyesj esa fdlh jsV th Vhys ij cSBs dykdkjksa ds lewg ls lqurs gSa tks vius gkFkksa gSa ^jko.k grFkk*] ^lkjaxh*] ^dek;pk*] ^[kM+rky* fy, bldh çLrqfr nsrs gSa rc lwjt ds <+yus dks ,d u;k vFkZ fey tkrk gSA bl xhr ds vyok ^?kwej*] ^ewey*] ^<ksyk <ksy eathjk* bR;kfn dbZ xhrksa us vke tu ij viuh Nki NksM+h gSA jktLFkku ds laxhr esa nsl] [kekt] ekaM] ihyw] HkS[kh tSlh dbZ jkxksa dk Lo:i feyrk gS lkFk gh lkFk dgjok] nknjk] nhipanh] vkfn vusd rkyksa esa ;g xhr ik, tkrs gSaA jktLFkku ds laxhr fde Bgjko Hkh gS tks ;gk¡ dh ^ekaM^ xk;dh esa ns[kk tk ldrk gS vkSj yksxwu dks >wek nsus okyh ckr Hkh tks ^?kwej*] ^Egkjks gs yks lw.kksth*] ^if.kgkjh* vkfn xhrksa esa >ydrh gSA jktLFkku dh laL—fr dk çfrfcEc mlds laxhr esa ns[kk tk ldrk gSA var esa nks okD; ;gh dg ldrs gSa% ^^lksus jh /kjrh vBs] pk¡nh jks vklekuA jax jaxksyh jlHkjks] Egkjks I;kjks jktLFkkuAA**

Mother Language Day Issue | 12

The Doon School Information Review | Poetry

Odia

Mr. Srinivas Swami and Ms. Sangeeta Bhandari

ି

ି

ି

ି

ି

ି

ି

Because I Love

ଓ

Because I Love nature Tied to nature and to the mind Forget sadness, torture, tears st loo at the oon the s n and the o ers

ି

ି ି ି ି

ଓ ି

ି ି ି ଡ ଓ

ି ି ଆ

ି

ି ଆ ଼

ି

ଆ

ି

Picture Credits: Wikipedia Commons

Because Love is my Nature I Love humanity and the life Trying to forget To greed, lust and intolerance Just remember To be humane like humans And his values

ି

o the great so ls of

Because Love is in the nature Like the Love for the mother reserving patriotis Goes on to suppress Corrupt people I remember waiting to salute y co ntry o his self respecting lifestyle o his p re self f lfilling so l

Mother Language Day Issue | 14

Garhwali Lok geet Mr. M.H. Farooqui

Gurusanjan Singh na set in the ost t r lent period of n a s history conveys the i pact of ins rgency in n a on social life in the ost co pelling manner possible. his il it osan h and irron her starrer cannot e la elled as st a fictional tale set in a historical background. The movie is simply not a story of fictional characters it is the real story of thousands of families which suffered in the ins rgency years of the s and early s Anurag Singh, the director and the screenwriter, did certainly produce a masterpiece, which not only made the audience connect with the characters but also made the audience live the very lives of the characters.

The story revolves around the life of a collegegoing yo ng an hiva il it ho lost his innocent father in Operation Bluestar, and his other at ant a r irron hen hiva sets out to know more about his father’s death and correct his father’s image, who had been falsely labelled as a terrorist, soon he also disappears.

It is a tragic tale of a mother’s search for her son, who, like his father, has been labelled as a ilitant et in the dar ti es of n a the fil portrays and depicts the whole situation in a very beautiful manner, without taking any biases. The fil covers a ide range of the es ranging fro morality, brutality, propaganda, repression to love friendship revenge and sacrifice he plot is seemingly complex, which in turn, brings out the co ple ities e isting in n a i society at the time. he ond et een irron and il it as other and son not only looks completely real and natural but also ably depicts the strength of an n rea a le other son relationship he fil

also has a number of sub-plots which include Shiva’s love story with Jeeti, played by Sonam Bajwa, and a unique relation between Satwant a r and itt hiva s est friend ho loo ed after his mother, after Shiva went missing. There is no villain as such in the movie because such binary characterisation would have made the movie biased towards one side. The main antihero in the movie is Inspector Deep Rana played y avan alhotra ho has een sho n as merciless, cruel and wicked. His evil qualities are represented by his brutal actions, which include eating p at ant a r or tort ring hiva ruthlessly or doing cold-blooded fake encounters.

Exceptional and passionate performances given y il it osan h irron her and a an alhotra ade this a very special fil of the n a i il industry.

The plot’s complexity highlights the complexities which existed in Punjabi society at the time. s the fil as on a historical period and ro ght the real life stories of many people on screen, it didn’t have a typical happy ending, rather a tragic one he fil s ending as e otionally overwhelming, but it needed to be like that to show the sufferings of thousands of families d ring the ins rgency in n a his has to e one of the greatest n a i fil s ever ade and it is a must-watch for everyone, who wants to know more about and connect to people’s sufferings in post-independence India.

Republished from AJKAL Urdu monthly Magazine Publications Division, Government of India, Delhi, September 1983.

The original Urdu article is published in the next few pages.

Below is a short English abstract describing the piece.

The genesis of folksongs, folktales and folklores lies in the cultural and social life of a society and its people. Their legends, myths, joys, sorrows, collective and individual suffering, cheerfulness and overall manifestations of their cultural and social lives re ect in their fol songs

Rajsinga: A Garhwali-Nepali Classical Wind-Intrument

beautiful tribute to the country. A large part of Garhwali folk songs is a manifestation of the spoken word, mythology, folktales and legends.

It belongs to the oral tradition of the Garhwal in ttara hand

The cultural and social lives of older generations travel to become the folklore of the younger generation.

Garhwali folk songs are called natural poetry, like other fol tales and fol lores y rd article on Garhwali lokgeet covers all genres of Garhwali fol songs li e h derh geet h ello agar ranay geet and and ani nostalgia is the keyword of Garhwali songs.

ar ain once said ndia is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend and the great grandmother of tradition”. Garhwali lokgeet, folk songs, are a real testimony of this

Thirty-eight years ago, I used original Garhwali songs in rd script for y article transliterated in rd and e plained layered eanings his article first appeared in the rd onthly aga ine fro lications ivision overn ent of ndia elhi epte er Picture Credits: Just Watch and Devian Art

Agantuk

Shwaas

Satyajit Ray

Bangla

Sandeep Sawant

1991

Marathi

2004

La casa de Papel Álex Pina

Spanish

2017

20

Amelie

Jean-Pierre Jeunet

French

Movies & TV Shows

V. V. Vinayak

2017

Florian Henckel von Donnersmarck

German

2001

Khaidi No. 150

Telugu

DSIR Selects

Das Leben der Anderen

Suryakantha

Anbe Sivam

M. Surendran

Sundar C.

Tamil

2006

2003

Sanskrit

2017

French

2007

German

Sanksrit

2006

German

2005

Telugu

1934

Viswanatha Satyanarayana

Falco

Christophe Maé

2018

Tamil

Veyi Padagalu

Jeanny

Mon paradis

Telugu

1985

2019 Discovery of Sanskrit Treasures Satyavrat Shastri

Die Vermessung der Welt Daniel Kehlmann]

French

1668

Veyi Padagalu

Viswanatha Satyanarayana

Tamil

2018

22

DSIR Selects

Samajavaragamana Sid Sriram

Sanksrit

2015

Songs & Books

L’avare

Sancharam

Molière

Bengali

1927

Marathi

S. Ramakrishnan

1982

Spanish

1971

Aigiri Nandini

Rajalakshmee Sanjay

Bengali

2017

Tumi Jake Bhalobaso Iman Chakraborty

Marathi

2000

Nakshatranche Dene Snehal Bhatkar

Spanish

2017

La Puerta Violeta Rozalén`

The Scent of Sunlight Jibanananda Das

Vapurza V.P Kale

Vasant Purushottam Kale

Las venas de America Eduardo Galeano

Mother Language Day Issue | 24

7 Dias Español

Saachin Ramasami

7

d as es na pel c la hecha en ra horas y es na pel c la de co edia clasificada e trata de n ho re de nombre Claudio Caballero. Detrás de los illetes anifiesta na idea loca plan acar de la c enta de los padres de s novia on ese dinero ir a n casino del efe de la afia y ense ar el dinero a la afia e ir al a o n el baño regresa el dinero a su novia por la ventana y regresa con un maletín vacío. Él apuesta por un partido de fútbol. El partido ter in y no en s favor ando nos matones colectan el maletín, ven que no hay dinero y preparan a matarlo. Cuando Claudio está pidiendo para su vida, dice que solo quiere el dinero para traer a la anda la dio convence a la afia para perdonar su vida y que él traiga el dinero se le dan tie po no de los matones cree en en Claudio y pide al jefe para dejarlo. El jefe les da 7 días para regresar el dinero. Luego Claudio va a cada de sus amigo pidiendo dinero para traer Amigo, después de amigo, después de amigo ha que pidió dinero de todo mundo. Después de un rato, la banda rival capta la esencia de lo que están tratando de hacer y van a pidiendo que vengan a tocar. La otra banda tiene más dinero, tiempo, y contactos.

Finalmente cuando Claudio acumula los fundos y se reúne con

los directores de los directores les dicen e tienen otra oferta de otra e presa ero c ando se ve co o es el fin del ndo los directores de regresan y dicen e la otra empresa no tenía tanto passion y que quieren ir con Claudio y no con la otra empresa y así termina la película. i persona e favorito es el at n e cree en Claudio y le ayuda por qué se ve como es loco y felizmente ignorante del mundo alrededor, irrumpe en monólogos dramáticos demasiado profundo para entender.

Este película trata de su camino; sus problemas y sus triunfos. Es una película llena de acción con muchos chistes que vale la pena ver.

Picture Credits: IMDB and Slant Magazine

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ays is a fil ade in t lasts one and a half hours and is a co edy fil rated It is about a man named Claudio Caballero. Behind on bills, he is the personification of a cra y idea is plan ta e o t of his girlfriend’s parents’ account. With that oney go to a afia oss s casino and show the money to the mob as proof and go to the bathroom. In the bathroom return the money to his girlfriend through the window and return with an empty briefcase.

He’s betting on a football game. The match ends and not in his favor When thugs collect the briefcase, they see there’s no money and they prepare to kill him. When Claudio is in the midst of begging for his life, he states he just wants the money to bring the and to play in their city. Claudio convinces the afia to spare his life and that he brings the money, he’s given time.

One of the thugs believes in Claudio and convinces the boss to leave him. The boss gives them seven days to get the money back. Then Claudio goes to each of his friends asking for money to bring Friend, after friend, after friend until he has asked for money from everyone.

After a short while, the rival band captures the essence of what they are trying to do and go to asking them to come and play. The other band has more money, time, and contacts. Finally when Claudio accumulates the funds and meets with the directors of the directors tell them that they have another offer from another company.

English

But when it looks like the end of the orld the directors of come back and say that the other company didn’t have as much passion and that they want to go with Claudio and not with the other co pany and that s ho the fil ends y favo rite character is the th g ho elieves in la dio and helps him because he looks crazy and happily ignorant of the world around, bursts into dramatic monologues too deep to comprehend. he fil is a o t his path pro le s and tri phs t s an action pac ed ovie ith a lot of o es that is definitely worth watching.

Mahanati

Mother Language Day Issue | 26

The article is about a biopic on one of the most prominent actresses in the Telugu movie industry, Mahanti Savitri, popularly known as Mahanti. The eponymous movie depicts her unfortunate life populated with disheaterning and empathetic moments.

Kautilya Podagatlapalli

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Picture Credits: India Glitz

Mother Language Day Issue | 28

Synopisis

Tamil

The Doon School Information Review | Books

The article speaks about the book 'Yennangal', in English ‘Thought’ written by M S Udhayamoorthi.

The book speaks bout how good thoughts produce history changing incidents and bad thoughts and it's negative effects on oneself and their immediate circle.

I write about how it impacted me and how I went back to the book time and again every time I felt I was going downhill. Even after reading many such books in nglish reading it in y other tong e a il gives a closer to ho e feeling The last couplet quote dfrom Thiruvalluvar's thirukkural, speaks about the power of thoughts and it's success:

Translation Whate’er men think, ev’n as they think, may men obtain, If those who think can steadfastness of will retain.

If those who have planned (an undertaking) possess firmness (in executing it) they will obtain what they have desired even as they have desired it.*

‘Yennangal’ M S Udhayamoorthi

Book Review

By Mr. Johnson Joseph Wilson

*kural.gokuldeepak.com

Picture Credits: Mocah and Goodreads

Les Choristes The Chorus (2004) Ms. Mugdha Pandey

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et in the post Second World War era, in a boarding school for boys with troubled background, where disciplining them equates to a repressive system using harsh ways by the adults, comes a supervisor cum music teacher with an unconventional way of engagement, that with patience, kindness, and confidence not only in his students but himself. Clement Mathieu channelizes his students’ energies towards a more productive way of life through music, forming a choir. It is the story of Clement and the challenges he faces to bring these boys together to perform. Nominated for the best foreign language film category at the 77th Academy Awards, Les Choristes, though predictable with its story line, does strike a chord on the question of raising a kid not by means of strict rules and corporal punishments but by creating an environment filled with love and kindness which helps one blossom and reach one’s full potential.

S

elon un proverbe québécois, on dit que ‘La douceur vaut mieux que la rigueur’. Les Choristes de Christophe Barratier en est un exemple. Le film se déroule à Fond de l’Etang, un pensionnat qui accueillit des élèves en difficultés dans la vie. Le pensionnat est loin d’être un endroit idéal pour élever bien ses élèves, par contre, eux, ils se trouvent dans un système répressif de discipline qui leur fait plus mal que du bien.

Le proviseur, Rachin, ne voit les élèves comme des humains avec des émotions ou des sentiments. Pour lui, les punitions, même corporels parfois sont la meilleure manière d’« élever » un enfant.

C’est dans ces circonstances que Clément Mathieu se lance comme le surveillant des élèves. Selon la tradition, son rôle de discipliner devrait suivre les mêmes règles que ceux du Proviseur. Certainement, il ne s’y identifie pas. Le personnage de Clément est patient, gentil et sympathique, bref, le contraire du personnage du Proviseur et donc contre les valeurs, le système du pensionnat.

Clément, avec toute sa tendresse, essaie de comprendre ses élèves, leurs « actions et leurs réactions ». C’est en présentant

les élèves aux pouvoirs magiques de la musique qu’il bouleverse leurs vies.

Mais, c’est vraiment la mer à boire d’autant plus que les élèves sont « troublés ». Ce qui est frappant, c’est la conviction chez Clément de diriger la vie de ses élèves vers un avenir plus brillant.

Le film est non seulement à propos de la projection de défis auxquels fait face Clément en orientant les élèves « difficiles » vers le bonheur, la joie, la positivité dans le quotidien, mais aussi, il met l’emphase sur les caractéristiques fondamentales d’un professeur et surtout d’un adulte pour mieux cultiver les jeunes.

French Mother Language Day Issue | 30

A ce stade, une question importante se pose devant nous tous. Avonsnous besoin de rigueur et de dureté à chaque pas de discipline ? L’important c’est d’être patient et ouvert à comprendre, à accepter et à travailler avec l’autre. Dans ce cas, l’autre appartient à de différentes tranches d’âge. Le voilà, le message que j’ai tiré du film.``

Mother Language Day Issue | 32

Während des Lockdowns wegen der COVID-19 Pandemie hatten wir alle viel Freizeit, und einer der allgemeinen Wegen, wodurch wir diese Zeit verbrachten, war die TV-Shows zu sehen.

Das war gleich mit mir!

Obwohl ich so viele TV-Shows sah, dass ich jetzt meiste mich nicht erinnern kann, gab es eine Show, die ich nie vergessen kann: ‚The Office (US)‘. Das ist eindeutig meine Lieblingsshow aller Zeit für viele Gründe, wie die Schauspielerei, den Mockumentary Stil der Show, und am Meisten die Beziehungen zwischen Freunde, Liebespaare und Mitarbeiter.

In ,The Office‘ geht es um die Leben von einige Mitarbeitern in einem Büro in einer kleinen Stadt, die Scranton heißt, in Pennsylvania. Dieses Büro ist eine Filiale einer größeren Firma ‚Dunder Mifflin‘. Die alltägliche Ereignisse in diesem Büro wird durch eine Mannschaft für einen Dokumentarfilm über neun Jahre gedreht.

Deswegen sehen wir die Leben dieser ‚normalen‘ Leute, und damit sehen wir auch die Schönheit der laufenden Lebenswege. Zum Beispiel, wir miterleben die romantische Geschichte von Jim und Pam, die laut mir die beste Romanze auf dem Bildschirm ist. Wir sehen auch, dass die Hauptfigur der Show, Michael Scott, die der Schauspieler Steve Carell aufgezeichnet darstellt, ihre Träume von der Liebe und einer eigenen Familie am Ende bekommt.

Es gibt auch viele andere Beispiele, die hervorheben, dass das alltäglichen ,normalen‘ Leben zu sehen meist interessant und wirkungsvoll ist, statt die Geschichte der bekannte Einzelne.

Da ich diesen Aufsatz mit einem philosophischen Abschnitt angefangen habe, muss ich jetzt deutlich erklären: ,The Office‘ ist im Grunde eine Komödie Show, und führt es diese Rolle wunderbar. Das im Stil von einem Dokumentarfilm zu

German

Varen Talwar machen musste in meinen Augen sehr anspruchsvoll sein, aber die Schöpfer der Show darin klar erfolgreich waren. Am Wichtigsten ist die Tatsache, dass einer der Lieblingsscherzen Streichen zwischen Jim und Dwight sind, weil jemandem übel mitspielen ist quasi der meiste zuordenbare Witz.

Das Schreiben von Schreibern wie Mindy Kaling, BJ Novak und Paul Lieberstein und die Schauspielerei von John Krasinski, Steve Carell, Jenna Fischer und Rainn Wilson sind auch doch toll. So ist die Show eine super Mischung von wunderbare Talente in vielen Abteilungen.

Das ist eine große Leistung für diese Show, die hauptsächlich mit Neuankömmlinge gemacht wurde.

Eigentlich nahm die Schöpfer von ‚The Office‘ viele Risiken mit der

Show, weil sie neue Schauspieler und einen Dokumentarfilms Stil ausgewählten hatten.

Trotzdem haben sie drin gelungen. Meiner Meinung nach wird ,The Office‘ immer dafür erinnert, dass es trotz viele Wagnisse und Probleme wie die sehr schlechte Kritiken, die es anfänglich belegt hat, so erfolgreich und bekannt wurde. ,The Office‘ war der Anfang der Karrieren von vielen berühmten Schauspielern wie Steve Carell, John Krasinski, und Mindy Kaling. Es hat den Bereich und den Standard der TV-Show Industrie völlig geändert, und seitdem es geendet ist, bekam es Kultfolgende. Obwohl es eine sehr alte Show ist, war es einer der meiste gesehene Shows im letzten Jahr! Immer

wenn ich es während des Lockdowns sah, lachte ich übers ganze Gesicht. Ich habe mich auf viele Charaktere darin bezogen, deswegen war es zu sehen eine sehr besondere Erfahrung für mich. Ich habe das nie mit einer anderen Show erlebt, weil ‚The Office‘ die meiste persönlich ist.

Wenn ich einige Szene heute sehe, sind sie eben jetzt sehr lustig. Am Ende will ich sagen, dass es nicht viel Inhalt in der Welt gibt, die immergrün ist, aber ‚The Office‘ ist eindeutig einen Teil dieser Gruppe, und deshalb empfehle ich allen es herzlich.

The Doon School Information Review

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