Raavan- Movie Review

Do we judge the qualities of our lives and that of our own self with a contrast as simple as black and white, good or bad? That is what Mani Ratnam had tried to bring out with his densely shot 'Raavan'. It took Mani and his team a grueling three years to complete this flick, which says alot about the kind of effort it took to shoot the movie in the dense forests of Madya Pradesh.

First of all, Raavan is one of those movies that can't be compared with Mani's previous works. Some may claim it is not on par with his other movies, while some may claim it is as good as any. Admittedly Mani's best movie to date, Iruvar, had a similar response during its initial release before it picked up steam and played to the gallery of classics around a decade later. Raavan might fall in the same mould- few years from now, it'll be seen as a classic.

Mani seems to cut loose whatever is left of the thin veil of ropes that tied him from fully expressing his ideas in his previous movies, and he executes Raavan with a newfound freedom- thus pushing the envelope further as far as the qualities of his own movies go. We all saw what happened when Mani went bold in Iruvar- the movie collapsed on a commercial structure, and like someone who failed in a first real jump, Mani was very subtle in the movies that he made after 'Iruvar', and it took him some time to attempt something with complete boldness again- and by some time I mean 13 years. Because it's only in Raavan that he rediscovers that touch.

Even Iruvar wasn't a perfect movie, but it was classic- so much to the extent that even the unanswered grey aspects of the movie, the hanging threads, and the flaws have come to be accepted to be part of what makes the movie even greater- and Raavan's imperfections might work the same way, they will dissolve as time passes by- and the movie will be accepted as one to be remembered for a long time to come.

To begin with the story- Beera (Abhishek) is another one of Mani's Nayakan moulded character. A man who stands firmly at the wrong side of the law, but not necessarily at the wrong side of life on a larger scale. He is at logger heads with Dev (Vikram), a ruthless local policemen who is hell bent in killing Beera, and thus erasing the image of a lawbreaker ruling the roosts in the rustic rural area of Lal Maati. Once Dev and his fellow policemen contribute heavily to the ill-fated death of Jamuniya (Priyamani)- Beera's stepsister, Beera goes out for revenge. He savages few of Dev's colleagues, and abducts Ragini (Aishwarya Rai), Dev's apple of the eye. Beera vows to kill Ragini within 14 hours of abduction to avenge for his sister, but when Ragini's lack of fear strikes him like a bolt of thunder, Beera retracts from the stance and instead keeps her alive- an act that would set a motion of unprecedented events and upturn of emotions leading to an emotional and poetic climax.

Abhishek Bachchan without doubt is Mani's personal favorite, and Beera was tailor made for him. He plays the character with such effervescence that his facial expressions alone are sufficient to deliver the kind of emotional turmoil he goes through when he starts falling in love with Ragini. He gives a weak look full of love at one glimpse of his vulnerable moment, and at the very next, he returns to his sadistic smile that is his trademark. He comes across as a good-hearted character who shouts out loud to the world that he is indeed a ten-headed Raavan, and a devil in order to hide his own soft side. You start by despising Beera's madness, slowly get intrigued by the layers of emotions he has within himself, and you start adoring him towards the end of the movie. On another day and at the hands of a lesser actor, the character Beera can easily come across as just being a pure psycho, but Abhi prevents that with great deliverance. Every little detail of his performance is polished put exceptionally, so much so that when he finally strings together a dialogue to express himself, no matter how short or incomplete, you'd know what he was actually saying. This is Abhi's best career performance to date, and betters even Guru in many aspects.

Aishwarya Rai never lost an ounce of elegance even after all those years, she looks genuinely charming even in the scenes where she is thrashing about in torn clothes with dirt smearing all over her body. And her performance is no less elegant as well. She stands out well in the plethora of visually poetic scenes between Abhi and her, and yet she stands her ground, and makes the duel and the battle of eyes even more interesting. She is convincing in the latter half when she is torn by her blossoming care for Raavan and also her existing love for Dev, as the two men seem to be heading on a collision course- she struggles to differentiate black and white anymore, which is what the film is all about. In short, Mani tells us the story through Ash's bewildered eyes- the entire darkness and gray shades about it.

Vikram is convincing as the ruthless policeman, and also manages to bring out well the demonic obsession that consumes him towards the end of the movie, when he was killing people at the snap of a finger just to get Beera. His need to get Beera weighs over his need to find Ragini, the kind of obsession not associated with a typified 'good guy'. As Raavan shows love and care for the woman, Dev shows more thirst for blood that tends to be justified by his khaki uniform. The gray shades of Dev were so effortlessly brought forward by the National-award winner.

Priyamani leaves a lasting impact despite her brief appearance, and manages to evoke sympathy for her ill-fated character- a good cameo to get herself introduced in Bollywood. Govinda is underutilized, but manages to evoke humor in the eariler scenes that he was part of- as the story focused more on Beera's side of things.

Technically the film is too good, in one word. Santosh Sivan returns to wield the camera for the larger part of the movie, for the first time since 'Dil Se', and his camerawork is simply mindblowing, not to take any credit away from V.Mani Kandan, who was also the joint cinematographer. The denseness of the jungle, and the depth of the river are simple natural settings, but the way the shots are composed makes this one of the most, if not the most visually poetic movie ever made in Indian cinema. Scenes between Abhi and Ash especially deserve special mention- the shots used for the song 'Behene De' steals your breath away. Mani stays true to his common principles of using natural lights for his films and it is evident again in Raavan.

Kudos should go to every member of the production team for executing the film with such a natural look in such a difficult location- every actor is made to work and go through genuine physical barriers to enact their roles, as it is evident in the movie.

AR Rahman's music as usual carries the film forward almost single handedly at times. There is a variation of music for every different setting, for every different mood, and what tops it all is ARR's own slow humming song 'Uduja' that is used heavily during the climax, bringing out the exact emotional content of the moments.

'Thok De Killi', 'Khilli Re' and 'Kata Kata' carry Mani's usual trademark of songs being executed exceptionally well, as the choreography of all three songs captivates a great deal.

Mani excels in writing the couple of plot twists in the lead up to the climax, and perhaps his biggest achievement would be that despite the plot twist, he doesn't lose the core emotional content that sets the film running. Mani may have not written the dialogues himself, but staying true to his trademark of minimal dialogue usage, the dialogues are great whenever delivered, especially around the climax and the emotional scenes between Ash and Abhi. Vijay Krishna Acharya lost so much credibility after his Tashan flopped that he was sacked from Yash Raj Productions, but with his dialogues for Raavan alone, has attained himself from credibility again, as it looks like he is still Mani's trusted ally in that particular department.

All in all, Raavan has its flaws and unfinished threads- but it is by no means a cumbersome movie- in fact it is a classic for that very reason- the film ends like an open ended question, a question that reverts back to the audiences, to pick up the pieces and find the Ram and Raavan within their own selfs as they makes their way home. Some might say this movie is not for everyone- it is in fact for everyone. But some might find it hard to stomach or dismiss it. But give it sometime and it'll grow back on you.

Mani Ratnam is a gem for the Indian film industry. And with a great deal of help from his actors and technical team, he proves that once again with Raavan.

A couple of cheers and now the wait begins for the next Mani Ratnam film. :)

Rating: 9/10

p.s.- don't listen to the critics. They don't make movies. Mani Ratnam does.

Taran Ardash, please humbly quit reviewing movies.

The new rainbow

The warrior once sat down bespectacled, wondering if at all he will attain what he desired. What he wanted. He is still making that journey, but the perennial doubts keep visiting him, throwing him into a whirlwind of uncertainty. Is this a battle that he has to fight alone? Will it be a futile one? Is he making a journey in which the destination will never materialize?

Word of wisdom had drained his ears. Some wise man had once told him that when you want something so badly, the whole universe will conspire to make you achieve it. The warrior knew for sure that his destination is not even remotely close yet- the only way to continue is to keep going despite all the uncertainties riddled in his mind- that's when he had realized that what he was actually looking for is a shoulder to lean on, somebody who could accompany him in this bewildering, taxing journey. The warrior knew that he had had been looking for this person for a long time, hoping someday she would come in his line of sight, but now the thought of whether she ever existed was needling him.

And then the warrior realized he had someone to pick him up from his troubles all along. A companion who has always been there to help him through a hard times, a woman adorned with qualities that he has been looking for all along- but how did he not realize it? Now that woman rides with him through that journey, and the warrior does not fear falling or being defeated. For he knows she will be there to hold him up in good stead. The lack of soldiers had once been his greatest concern, but now he know he wasn't actually looking for soldiers, but instead looking for someone like her- he was looking for the most magical word of all- love.

And they say love can conquer mountains. The warrior still has to climb up the mountains himself, but facing demons doesn't seem like an ardous task anymore- if anything, love conquers fears and uncertainties.

The warrior once reached an edge of the mountain which looked like a dead end, he could not see a way put or a way further up from it. All he saw was a small path that was heading nowhere, he took it, and the only thing that rang in his mind was the same adage that he has so blindly followed for six years- when you want something so badly, the universe will conspire to make you achieve it. Next thing the warrior knew, he was climbing a difficult slope, but at the end of that slope, he realized that he had taken a step closer to the peak of the mountain he wants to conquer. He looked down back, and realized how impossible an task it was, and yet he did not heed to the difficulty at all. The wind of the mountain seem to be telling him that he has embarked on a new phase in his journey.

Few days later, the warrior had made a new group of friends, a pack of travelers as well to different destinations-- they were all at an altitude where they were exhausted and have not feasted for a long time. Word has it that somewhere around the mountain, a feast has been prepared for them. There's plenty of food still left around the place, little scraps of bread here and there, on which they have been feeding on for some time. But they felt it was time for some feast, but to find the feast there is a price to pay. They to abandon their breads behind as the luggage would prove to be too heavy, and with starvation already visiting them, they made the journey. The warrior once again remembered that old adage that the wise old man had told him once- and after a seeming futile journey that reduced all of them into a state of weakness, they were starring at a faint light inside a dark cave. As they sauntered inside, they were shocked to find that they were starring at the feast that they were looking for. They found plenty of offerings on the way, that of breads and mountain guards and old men discouraging them from their ridiculous urge to find the feast. For reasons they themselves could not explain, they were adamant on finding the feast, and at a time when the exhaustion had totally caught up with them, they found the place.

And when the warrior had his feast and walked back outside of the cave to a bright sunshine greeting, he realized the adage wasn't a blind one. When you want something so badly, you do eventually attain it. And he also realized something else- that the journey might be grueling, but it will never be futile- just when you thought your energy has been drained out, the desire will materialize, the dream will come true. The universe will conspire to give it to you when you least expected it- and when you do get it, you will realize that the tools to reach the destination has been lying around you all along- the journey is about attaining that wisdom to be able to look at things differently, and when you reach that stage, you shall be able to look around you and find the hidden treasures that were meant for you.

Today, the warrior has love- which he once though was an endless search. And with the universe seemingly ready to give him everything he pursues without an iota of fear, with only faith and hope in his heart- he looks up at the peak and smiles. He knows he will get there too. But there's no rush. He will enjoy the journey with love, faith and hope. He has abandoned fear at the foot of the mountains.

And he walked on.

Raavanan- Music Review

Mani Ratnam and AR Rahman are probably two names that the industry most desperately want to see come together- there is never a bad time for both of them to come up with an album on all respects. The music of Raavan was already creating ripples in the Bollywood arena, now it is time for ARR-Mani to grace Kollywood for the first time in almost six years (let’s discount a dubbed version of Guru out of the way).

Though it turns out hard enough to judge one version over the other, the Tamil, for one, doesn’t come across as even remotely inferior to the Hindi version- probably a repeat of the 2004 scenario, when the music of Aayitha Ezhuttu were more at home compared to the Hindi Yuva. More at home? That seems to be the case with at least few of the songs, while others seem to have fitted the Hindi version better.

Veera Veera (Vijay Prakash, Keerthi Sagathia)

The opening song of the album which has already become a catchy sensation in Bollywood, Veera retains the same tune, beat and length. The lyrics are uncharacteristic of a Mani movie for a start, probably a clear indication that the number was composed originally for the Hindi version. A change of singers was made clearly to fit a more southern environment, and lyrics which exude reference to Ram and Raavan makes it intriguing nevertheless, even though words such as ‘Veera’, ‘Sura’, and ‘Kala’ seems a little over the top. A good number but not great.

Usure Pogudhey (Karthik)

Forums and listeners were full of ‘Behene De’ when it came out last week, many comparing it to the same breath as ‘Satrangi Re’ from ‘Dil Se’. Usure Pogudhey meanwhile seems to go even a notch higher than the already famous and highly appreciated Behene De. This has the potential to be another sparkling song to add to Karthik’s CV, which he sings with such panache that all the infusing passion is almost tangible. Vairamuthu’s lyrics are spot on, bringing out a distinct rural feel about them (which is where the movie is set). Karthik alone carries the song on his shoulders and his modulation and timely stressing at certain stanzas and certain words makes this one of the quality compositions to have come out from the Rahman stable in recent times. Two thumbs up.

Kodu Potta (Benny Dayal)

Though ‘Thok de Killi’ sounded decent in the Hindi version, it got monotonous after some time with Sukhwinder Singh’s singing keeping the song with the same tone variation throughout. However, with Rahman’s own favorite Benny Dayal crooning here, Kodu Potta sounds more unique and pleasant. Once again, lyrics that represent a rustic rural environment prevail and even the tune seems to have been tailor-made to suit a southern environment. Combined with synthesized Arabian sounds, Kodu Potta is a good number.

Kaatu Sirrukki (Shankar Mahadevan, Anuradha Sriram)

Talk about using the same tone and composing a number which would fit a rural Bollywood setting and also a rural southern setting, no one does it better than Rahman. Ranjha Ranjha was an instant hit when it came out last week, and although Kaatu Sirrukki takes a little longer to grow on you, it eventually strikes a chord and looks every bit like a hit that will stay there for an awfully long time. Look out for Anuradha Sriram’s unique voice modulation at different parts of the song, singing again under ARR after such a long absence from his albums. Shankar Mahadevan infuses more life to the song than Javed Ali did to the Hindi version, proving once again that his experience definitely counts for something. Another quality composition. Whether it will become an instant market hit remains to be seen, but any music enthusiast would never deny that this is one composition off the top shelf.

Kalvare (Shreya Ghosal)

The lone classical number of the album, that should immediately appeal to those who love to listen to such classical, almost pure compositions. Rahman opted for Shreya Ghosal for the Tamil version and she seems to be able to bring out more emotions and more variation here than the Hindi version ‘Khilli Re’.

Keedaikari (Benny Dayal, Tanvi, Reyhana)

Just like in ‘Kaatu Sirrukki’, ARR tweaks masterfully to make ‘Kedaikarri’ sound just as southern, original and catchy as the Hindi version ‘Kata Kata’. Understandably, Bollywood wedding songs have the tendency to run at a higher tempo and for that very reason, the Hindi version sounded extremely catchy. Should the same tempo retained in the Tamil version, it might have looked a little out of the place, but ARR’s tweaks works the song wonderfully, sounding as refreshing as ‘Kummi Adi’ from ‘Jillendru Oru Kadhal’.

All in all, AR Rahman and Mnai Ratnam have definitely not disappointed, with the Tamil version of the Raavan album not sounding even an inch like it is a translated version of Raavan in Hindi, but instead sounding just as fresh and infusing as the Hindi version sounded, and even in certain parts, better and more variated, and ultimately sounding more like at home. Maybe because this is home. Mani Ratnam’s home. And also Rahman’s. And no composition elsewhere can better the ones they are able to produce in Tamil (for an original film that is).

Curtains raise...let the ten-headed evil mind come...

Raavan has come, riding with it expectations as heavy as anything, yielding his ten heads and ten minds on a horseback. Two names is enough to make you swirl around with expectations at this album- Mani Ratnam and AR Rahman.

Without giving verdicts, I'll get straight to scrutinizing all the songs.
Beera Beera

Obviously an introduction song for the main character in this movie- Abhishek's Raavan. Set against the backdrop of a rural area, the song has an unique mixture of African and Indian folk, and the result is just as good as any. AR Rahman hits the notes right once again to bring out the entire environment and a glimpse peering into Raavan's characterization. The song oozes with energy, and celebrates Raavan to the tilt. Vijay Prakash has become such a favorite of Rahman's that he is being used in all colors of songs by Rahman in recent times, coming in the back of the super-melodious 'Hosanna' in VTV, he's here stretching his vocals for 'Beera', accompanied by Mustafa Kutoane.

Now you are in the vehicle, you know the atmosphere, a solid start to the album.

Ranjha Ranjha

Don't expect a Tere Bina in Raavan. Obviously Ratnam has set the tone for all of Raavan's songs to fit a more situational frame, in flow with the entire narrative structure; and Ranjha epitomizes that perfectly. Rekha Bhardwaj dominates with her impeccable rendering, and once again ARR throws in a surprise with Javed Ali sounding unconventional supporting the vocals.

This song too brings out the vague smell of the terrains of the more rural areas in Madya Pradesh, which is where the film is mostly set in. Full of life and full of environment (atypical of ARR), Ranjha is just as pleasing.

And we go on knowing its getting better.
Tonk De Killi

Look for the name Sukhwinder Singh, and you'd know what to expect right away. The song is absolutely high on spirits, the sounds and beats staying with the environment of the album so far. Nothing too spectacular, but good nevertheless, but might end up looking as exquisite as anything on the screen. Earmarked.

Khilli Re

If I had not mentioned it so far, Aishwarya Rai plays a singing tutor in this movie, and this song definitely has something to do with that fact. For some reason reminds me of Thalapathy's Yamunai Aatrile. Minimal instruments, mainly classical, with the full scope given for Reena Bhardwaj to take centre stage and deliver the best of her vocal capacities.

Breezy.

Kata Kata

Remember 'Rukumani Rukumani' from Roja? Mani and ARR revisit among their first ever hits together with Kata Kata, which is also a song about a newly married couple, but the beats is even more livelier, and seems to go one better than the classic hit 18 years ago.

Just like 'Beera', the orchestration is heavy and vociferous, and ARR even interludes at some points. Listen to it a couple of times, and you are tapping your feet at the really catchy beats- ranking right beside Alaipayuthey's 'Yaro Yarodi' in terms of overall impact.

Very Good.

Behene De

A killer of a song. Karthik is sensational once again in this situational song that definitely to be used as an all-important number to move the story. Infused with such passion and deliverance of atmosphere, Behene De makes for a good impression.

On an overall note, Mani and ARR prove once again that they are in their own league. ARR still gives his best for Mani, and Mani still extracts the very best of Rahman. And that magical combination wouldn't waver anytime soon. 18 June shall come, and I'd be among the first to grab the tickets.

Come with your ten heads, ten minds, and a hundred voices Mani. I'm awaiting it.

Verdict: 9/10

Why we need to grow up?

Grow up. Grow up. Stop acting like a kid.

We probably have heard this statement repeated over in almost every household there is in this country- after a certain age, parents, or any elders that be, would nail the point hard through to the teenagers- the time has come for us to start acting adults. We need to talk mature, learn how to live (or survive), be cunning enough in our acts not to be taken advantage upon, learn how to earn money, not to be choosy, not to ask too many questions, and just live with a given situation.

You are walking flanked at either side by few of the most significant peoples of your life, on the midriff on a Sunday afternoon, the sun blazing nakedly over the horizon, unleashing its utmost ray- literally bathing you in sweat. You obviously don't like it, you have walked a far distance, and there's still that substantial amount of journey to go. Suddenly you see an elegant-looking car swoosh past you at the highways, covered in hue dark tinted windows, barely revealing the individuals inside. An element on mystery, an epitome of comfort. You envy at that drive, you wish immediately that you are in that car, and you tell yourself you will be in that car one day.

Few years later, you are in a very similar car, breezing past the terrains- watching from the cold, cozy comfort inside your car- and you witness a flock of people walking and talking with each other. You look at the vast spaces of your car and there you are, driving alone, and for the split moment, you'd think you make do without your shades, comfort, and elegance if you could take that walk again- flanked by people you love talking to, making them laugh and letting them make you laugh. You want, for once, for the journey to last longer so that you feel fulfilled when you reach home. What's the point of running to the destination? That one day in your life in which you will look back and say you wish- it will come.

Only that there is no reprieve when you are driving. You tell to someone the stories of your past, but indulging in past won't yield you a bread for the future, you have been told. On that ashen-faced day when you are actually sweating and walking, you take a cold drink with the people around you and bask at the great relief it provides. You don't feel like you need to be in that car anymore, all there is is a flicker of light in your eyes, gazing the future, imagining the day when you will have that elegant car in your possession, but with these people still around you, to enjoy it alongside you.

When you do drive, you realize you don't have time for that people anymore. They don't have time for you. All of you, as simple as it gets, have grown up. You have attained your pursuit, but why you wanted that pursuit in the first place has been long blown away with the wind- now brushing off the eyes and the minds of another young person, standing aloft with the world at his disposal- or so he thinks.

And then you think- that's life. And you say it with a sigh.

But why do we grow up? Why that maniacal need to grow up? It was once said that kids are God's favorite children. Ever wondered why? Is it just because they are small, innocent, unknowing? The answer is no. A child asks questions aplenty. Why is that tree green?- a child might ask. Why is the sky blue? Why don't rainbows last forever? Can we go nearer to those stars? What's beyond those skies? Why is this man begging to earn money? Can't we help him? How many countries are there in this world? Can we go around the world one day? Can we go to the sea?

What happens to all these questions? Do you get answers for them as you grow up? Obviously you don't. You just cease to ask those questions anymore- because you are told, those questions are not part of life as they say it is. Are they not? Have you figured out what life is all about? For sitting in your balcony one day and gazing into an empty space, sighing, and saying 'that's life' within the frames of your mind doesn't seem an exactly glittering way to look back at the form of life.

How do we smile when we look back? Only if we had had the courage to pursue what our hearts wanted. It's like a loose string when you let your heart rule you in life- instead of the more disciplined, rigid spaces of your brain with spoon-fed ideas, the heart's desires take you places, makes you take risks, makes you fall into deep wells, yet clamber back up to redeem yourself. The heart makes this life an incessant journey as long as there is breath in that body of yours.

And to pursue the heart's desires in the purest of senses, one must first have the ability to look at this world the way the eyes of a kid would look at it. Why shy away from questions? Do we, as the ever self-conscious adults that we are cultivated into, know all the answers that be regarding what life is all about, or even the world? We do not know anything, no matter if we are adults or kids. Why then, shouldn't we ask questions? Only then can we open new avenues for ourselves, can we conquer uncharted territories. Why look at life through the confinements of what the society thinks life is made up of? Look at the world and life, and start asking questions. You will realize there are much more answers to be found out there-- enough answers to last a lifetime. Stop sitting around, and start to make that journey that improve you as a person with every little baby steps you take. You won't end your life knowing everything even when you do that, but when you reach that twilight zone, you will know that you treated life as a journey that its supposed to be, and that you have traveled as far as you could.

The world is always at our disposal- waiting to be discovered, new wonders waiting to be unearthed. Only if you make that journey will you understand what's beyond those stars, and what's beyond those horizons. Some of us think we can't find answers by traveling at the very surface of this earth, but lest do we realize, the answers for everything in life lies right around you.

Can you be a kid again, attain that innocence and purity again, and ask those questions again, with an urge to discover?

The lines of a traveler

Oh traveler,
You shall go on.

Behold,
The beauty of this world,

Forget your sorrows,
Bask in the blossoming of that new flower,

And embrace the colors of this world.

This path now tells me,
Someone, somewhere is waiting for you,

Why this restlesness?
Whom shall I meet in this journey?

It might be that your destiny,
Is about to happen.

For that oh traveler,
You shall go on.

For life is a vehicle,
And time are the wheels.

The is a river of tears,
And a garden of joy,

The journey is yours to travel,
Oh traveler.

Whenever I gaze through and beyond these paths,
Colors flicker across my eyes.

There's a cool breeze that tells me to keep going,
And I wonder whose village may be beyond those terrains,

The clouds have moved apart,
I could only see the clear sky,
How far has my heart brought me- I wonder;
For with each new step, I beckon a new dream,
And the journey prolongs.

Every single dream does come true,
Oh traveler,

If only you lit every passion of yours with the ray of love,
And choose the path your heart points out to you.

Time is an oyster,
Travel with love,
Oh traveler,
And you shall find the pearls in every oyster there is
All by listening to your heart.

Why does my heart feel light?
As if the breeze has carried off with it all the burdens of distress,
As if I am once again a kid,
Untainted, Innocent,
Gasping at wonder at every new nook this world has to offer,
And finding answers for every little question I ask myself.

I am wet, fresh,
Dipped in pure water,
Cleansing myself with only the forthcoming journey beckoning me.

My heart has only excitement,
Bonds are renewed and ebbed,
Life feels new.

There's love in my life,
There's a song on my lips,

This is the only ingredient of victory,
Oh traveler,
For those who can love purely can conquer your paths.

Wherever you shall go,
Never shall you lose love.

Light the lamp of love,
And brighten every road you travel on,
For it will make your paths visible.

Oh traveler,
Who is there calling out to me?

I look at the river, the mountain, the lakes, the streams and the jungles,
All seem to signify a sign,
Whose signs are these?
What are they trying to tell me?

Go on,
Oh traveler,
Destiny beckons.

All that She is.

She loves coffee.

She's hyperactive at late nights.

She hates chocolates.

A sucker for shoes.

A Gossip Girl freak.

She dies for Harry Potter and anything to do with it.

She reads Enid Blyton to pass a short leisure time.

She can 'ter'-sleep whenever she's on the bed.

Her nails are always polished with various colors.

She's obsessed with Anushka Sharma.

Milo is her diet drink, and also the only remote form of chocolate she consumes.

She tortures her roommates by singing to them.

She's a no.1 person.

If allowed, she'd stare at me the whole day.

Gulab Jamun- another one of her obsessions.

Penang is the best place in the world for her.

Hanuman is like her imaginary friend, at all times.

She says I make her heart smile.

Little things makes her happy.

She has the best smile in the whole freakin world.

She can go on and on and on, and I can listen and listen and listen, and never ask her to stop.

She can be utterly childish and amazingly adult at the same time.

She can write, but she doesn't.

She dislikes labs for one main reason- she has to cut her nails.

She loves to cross her legs.

She hardly drags her feet.

She has fears- fears that makes me take her in my arms.

She has strength- strength that makes me lean on her shoulders.

If nobody ever says a word against it, her whole room will end up flooded in pink.

Green are Red is what you will see associated with her when Pink is absent.

If you see a salon, then watch for her gaze.

Food is the main reason why she loves this country.

UK is where the fairytale future lies for her.

She'd sleep on a bed of tulips.

If there is a personality test, the teacher will suspect her of having copied me blatantly, even though we didn't sit beside each other.

She loves being hugged from behind.

She's a Vijay fan...duh

AND

She is what Love is all about.