Book Reviewed: The mind of Adi Shankaracharya, by Y. Keshav Menon
The spiritual and metaphysical odyssey of Jagadguru Sankaracharya (five stars)
This is a very well-written book that focuses on the essentials of Sankaracharya's teachings without misrepresenting any facets of his message. The discussions are comprehensive and it is intended for all readers including specialists of Vedanta. The general framework of Sankara's work includes three canonical texts; the Vedas (particularly Upanishads), the Brahma Sutra, and the Bhagavadgita. The first two are classified as "shruti" which are believed to be created by the direct inspiration of God; and Gita is known to be a "smriti," a written text that provides for a way to achieve liberation (moksha) from the miseries of life that results from the cycle of birth and death. Sankara's philosophy is the codification and exposition of the sages (rsis) of the three canonical texts.
A brief summary of the book is as follows: Self is not ego or a soul or spirit. It is not a spook that leaves the body at death. There is no soul that exists in human body as a separate entity. Self is not "anthakarana" or material mind although this perhaps is nearest to the common sense view. It is not a series of mental states or a logical postulate and it does not have qualities, parts or attributes. Self is not established by proof or existence; it is prior to all proofs. It cannot be grasped by thought but it is the whole being or pure consciousness. In Sanskrit, it is called "sat-chit-ananda," which means, absolute existence-absolute consciousness-absolute bliss. It is timeless, spaceless, and with an unrestricted existence. It is permanent. It illuminates and transcends all things; physical objects, mental concepts or abstract forms. It is unlimited, infinite and eternal. There cannot be two such beings; it is one without a second. It is the nature of pure consciousness. Consciousness and existence are inseparable. Avidya veils and perverts this beatitude. The illusion is created by Maya, an illusory power. Self comprehends everything, it is omnipresent and omniscient. All objects, everywhere, in the past, present and future are experienced by the Self in an eternal and timeless dimension.
Sankara taught three orders of reality; the absolute, the empirical and the apparent. The first order is neither subject nor object but the Self alone is illuminating itself. The third order, the apparent includes illusory perceptions like dream. The reality that is deemed to result from the cause and effect process is questionable on philosophical ground as well as quantum reality. Sankara explored the idea of casualty exhaustively and concluded that cause-effect relationship is unintelligible. Connecting the ends of such a relationship becomes superfluous and ends in an infinite regress. Neither cause nor effect emanate from each other. The effect is not pre-existent in the cause in a latent form. One could ask what was there before the first cause or what happens after the last effect? In Sankara's view all objects in spacetime are manifestation of the Self. How come Brahman can be immanent and transcendent? The world is real and unreal? Or the world is perfect and imperfect? The world is created but beginning-less and our lives are illusory? The same questions are actively addressed by theoretical physicists and coming to the conclusion that the universe is perhaps a giant hologram, we are in a two-dimensional projection of three-dimensional reality.
Jiva and Atman, the creature and the creator are ultimately one. Jiva is not a part of Atman since it parts-less and infinite. It is not modification of Atman since it is immutable. Some Upanishads speak of spark emanating from fire for relating jiva with Atman. To illustrate this further, the following example is appropriate; the space in a jug has certain shape and if you move the jug, the space within it appears to move but in reality space doesn't move. Space doesn't undergo any modifications. In the same way, Atman doesn't change but avidya (lack of knowledge) make us believe that Atman is changing. Jiva is a reflection of Atman in avidya. In deep sleep jiva is said to attain its real nature and Sankara explained that Jiva visits Brahman night after night without knowing it, i.e. during deep sleep. The dream state becomes unreal in waking state; and the waking state doesn't exist in dream or deep sleep. Both dream and waking state are absent in deep sleep state. Likewise deep sleep is also absent in dream and wake state. Thus all three states are unreal and the Self is the Eternal witness to all the three states. It is all in the One which is the Pure State of Consciousness.
Consciousness and matter (energy) are two different orders of reality but common sense tells us that consciousness is associated with living body (matter). The quantum reality however brings us closer to Sankara's view that consciousness is inherently a part of physical reality as illustrated by numerous quantum physical measurements, although it is not represented per se in any physics equations. The complexity in understanding physical reality through physics is precisely what Sankara has said that Self or Brahman or Pure Consciousness is the experience of the true self which is an Infinite Eternal Existence-Awareness-Bliss. Direct experience does not occur in the realm of thought or the intellect.
Wednesday, July 29, 2015
Tuesday, July 28, 2015
Movie Reviewed: The Baroness and the Butler, starring William Powell and Annabella
Movie Reviewed: The Baroness and the Butler, starring William Powell and Annabella
The epic adventures of butler Johann Porok
This is a romantic comedy starring William Powell and Annabella, a well-known French actress starring in her American debut. Although she was well received in this film but did not last long in Hollywood. The story is somewhat unorthodox in that Johann Porok (William Powell), a third-generation butler works for the Count Albert Sandor, the Prime Minister of Hungary. When Johann becomes a member of the parliament, in one of the parliamentary sessions, he attacks the Prime Minister for promising too much to the middle class and delivering nothing. This aggravates and enrages Sandor’s daughter Katrina (Annabella). The politics makes things difficult for Johann to continue working for Sandor and he is let go. Eventually he winds up with Annabelle with whom he is in love. The relationship starts in a complicated way since Katrina is already married but Johann wins at the end. In supporting roles are; Henry Stephenson as Count Albert Sandor; Joseph Schildkraut as Baron Georg Marissey, Katrina’s husband; and Lynn Bari as Klari, the maid attracted to Johann, all under the direction of Walter Lang have performed splendidly.
This movie was made at the height "great depression" in the life of William Powell. This was around the time when his fiancé Jean Harlow died suddenly at the age of 26 due to uremic poisoning. Powell still recuperating from his cancer treatment and the loss of Harlow requested his home studio MGM to let him do the movie at 20th Century Fox, and MGM Studios complied.
The epic adventures of butler Johann Porok
This is a romantic comedy starring William Powell and Annabella, a well-known French actress starring in her American debut. Although she was well received in this film but did not last long in Hollywood. The story is somewhat unorthodox in that Johann Porok (William Powell), a third-generation butler works for the Count Albert Sandor, the Prime Minister of Hungary. When Johann becomes a member of the parliament, in one of the parliamentary sessions, he attacks the Prime Minister for promising too much to the middle class and delivering nothing. This aggravates and enrages Sandor’s daughter Katrina (Annabella). The politics makes things difficult for Johann to continue working for Sandor and he is let go. Eventually he winds up with Annabelle with whom he is in love. The relationship starts in a complicated way since Katrina is already married but Johann wins at the end. In supporting roles are; Henry Stephenson as Count Albert Sandor; Joseph Schildkraut as Baron Georg Marissey, Katrina’s husband; and Lynn Bari as Klari, the maid attracted to Johann, all under the direction of Walter Lang have performed splendidly.
This movie was made at the height "great depression" in the life of William Powell. This was around the time when his fiancé Jean Harlow died suddenly at the age of 26 due to uremic poisoning. Powell still recuperating from his cancer treatment and the loss of Harlow requested his home studio MGM to let him do the movie at 20th Century Fox, and MGM Studios complied.
Movie Reviewed: Star of Midnight (1935), starring William Powell and Ginger Rogers
Movie Reviewed: Star of Midnight (1935), starring William Powell and Ginger Rogers
A romantic comedy starring William Powell and Ginger Rogers
William Powell plays the role of an attorney named Clay Dalzell who is framed in a murder but he is tries to solve the crime himself to prove his innocence. This role is eerily similar to the role he played in MGM's "The Thin Man (1934)." The twist in the story is that he is constantly stopped by his love interest played by Ginger Rogers, the police and gangsters making the story more interesting by the minute. It is unusual for Powell's fans to see a romantic comedy without Myrna Loy, but Ginger Rogers does her best. They do not have the same chemistry as in Powell and Loy's "Thin Man" Series. In supporting roles are Paul Kelly, Gene Lockhart and Ralph Morgan. The story is based on a novel by Arthur Somers Roche and directed by Stephen Roberts. For the RKO Studios, it was not a bad investment; it generated a net profit of $265,000 in 1935.
A romantic comedy starring William Powell and Ginger Rogers
William Powell plays the role of an attorney named Clay Dalzell who is framed in a murder but he is tries to solve the crime himself to prove his innocence. This role is eerily similar to the role he played in MGM's "The Thin Man (1934)." The twist in the story is that he is constantly stopped by his love interest played by Ginger Rogers, the police and gangsters making the story more interesting by the minute. It is unusual for Powell's fans to see a romantic comedy without Myrna Loy, but Ginger Rogers does her best. They do not have the same chemistry as in Powell and Loy's "Thin Man" Series. In supporting roles are Paul Kelly, Gene Lockhart and Ralph Morgan. The story is based on a novel by Arthur Somers Roche and directed by Stephen Roberts. For the RKO Studios, it was not a bad investment; it generated a net profit of $265,000 in 1935.
Movie Reviewed: Turnabout (1940), starring Carol Landis & Mary Astor. Director Hal Roach
Movie Reviewed: Turnabout (1940), starring Carol Landis & Mary Astor. Director Hal Roach
I have become “?Cait”
“The man’s had a baby instead of the lady” proclaimed the billboards when this movie was released. This is an oddball gender-bender screwball slapstick produced and directed by Hal Roach, and adapted by Mikel Novak from a Thorn Smith’s novel. The ad gives away the punchline of the story of a well-heeled couple (John Hubbard and Carol Landis) argue about their roles in life. He works hard all day and she looks after the house. When a Hindu guru, referred to as Mr. Ram comes to life from an idol, and grants them the wish to change places. The body switch takes place and thus starts the real comedy. The husband talks and behaves like a woman and his wife behaves like a man. Their friends become dumbfounded by the sudden developments in their mannerisms. In supporting roles is Adolphe Menjou, Mary Astor, William Gargan, Marjorie Maine, Verre Teasdale, Joyce Compton, Donald Meek and Polly Ann Young offer good performances. I can’t understand how leading lady like Mary Astor came to play a supporting role and the Carol Landis is has the leading role. The alumna of “Meet me in St Louis” Marjorie Maine is in the cast with Mary Astor and does splendid work.
This is an interesting story in that similar “switch bodies” and “gender-bender” movies have been made in plenty in later years in Hollywood that includes; The change-up (2011), starring Jason Bateman; 18 Again! (1988), starring George Burns; All of me (1984) starring Steve Martin and Lily Tomlin; Dream a Little Dream (1989), starring Corey Feldman, Jason Robards, and Piper Laurie; and Freaky Friday (2003), starring Jamie Lee Curtis and Lindsay Lohan.
When Bruce Jenner’s gender transformation occurred in 2015 and he became Caitlyn Jenner; the media is giving us the mother lode about what is the real nature of human sexuality. This debate started long ago, and this story filmed in 1940 nicely illustrates this controversial debate. It was a bold move on the part of the studio and also the producer for that time. Thanks also to the TV and film archives at UCLA for the preservation of this movie and also the archives from all major studios. Many producers and directors also have left their archives to UCLA including Director Hal Roach.
I have become “?Cait”
“The man’s had a baby instead of the lady” proclaimed the billboards when this movie was released. This is an oddball gender-bender screwball slapstick produced and directed by Hal Roach, and adapted by Mikel Novak from a Thorn Smith’s novel. The ad gives away the punchline of the story of a well-heeled couple (John Hubbard and Carol Landis) argue about their roles in life. He works hard all day and she looks after the house. When a Hindu guru, referred to as Mr. Ram comes to life from an idol, and grants them the wish to change places. The body switch takes place and thus starts the real comedy. The husband talks and behaves like a woman and his wife behaves like a man. Their friends become dumbfounded by the sudden developments in their mannerisms. In supporting roles is Adolphe Menjou, Mary Astor, William Gargan, Marjorie Maine, Verre Teasdale, Joyce Compton, Donald Meek and Polly Ann Young offer good performances. I can’t understand how leading lady like Mary Astor came to play a supporting role and the Carol Landis is has the leading role. The alumna of “Meet me in St Louis” Marjorie Maine is in the cast with Mary Astor and does splendid work.
This is an interesting story in that similar “switch bodies” and “gender-bender” movies have been made in plenty in later years in Hollywood that includes; The change-up (2011), starring Jason Bateman; 18 Again! (1988), starring George Burns; All of me (1984) starring Steve Martin and Lily Tomlin; Dream a Little Dream (1989), starring Corey Feldman, Jason Robards, and Piper Laurie; and Freaky Friday (2003), starring Jamie Lee Curtis and Lindsay Lohan.
When Bruce Jenner’s gender transformation occurred in 2015 and he became Caitlyn Jenner; the media is giving us the mother lode about what is the real nature of human sexuality. This debate started long ago, and this story filmed in 1940 nicely illustrates this controversial debate. It was a bold move on the part of the studio and also the producer for that time. Thanks also to the TV and film archives at UCLA for the preservation of this movie and also the archives from all major studios. Many producers and directors also have left their archives to UCLA including Director Hal Roach.
Wednesday, July 22, 2015
Book Reviewed: Dialogue Hymns of Rgveda, by Satya Dev Chaudhari
Book Reviewed: Dialogue Hymns of Rgveda, by Satya Dev Chaudhari
Rig-Veda: The wisdom of the ancient seers expressed in the dialogue hymns
There are eleven dialogue hymns in Rigveda (Rig-Veda) including two in monologue forms. The author has translated the original text into English and discussed the work of various interpreters with regards to meaning of these dialogues. It is inferred that the names and the conversations are symbolic. This conclusion is made by the authors of Brahmana-granthas and also the Niruktas. Almost all interpreters of Rigveda treat them as symbolic, including Yaksha, one of the prominent interpreters. The author suggests that the original meaning of the Vedas faded away during the very early period of Rigveda, and one of the reasons is that strict fidelity in the oral transmission of hymns and their recitation during Vedic sacrifices led the practitioners to forget the meaning of the verses. In fact there are several different recitations such as; pada-patha, ghana-patha, jata-patha, karma-pahta, etc. In one of his commentary, Yaksha remarks that seers instructed the meanings to their disciples but soon it was forgotten (Nirukta 1.20; 10.10.2).
Rigveda 1.179 has six mantras that constitute an interesting dialogue between rsi Agastya and his wife Lopamudra; and the devata of the conversation is Rati (the goddess of Love). The story of the hymn is that Lopamudra wanted her husband to make love and perform his conjugal obligations and help consummate the marriage for begetting (progeny). Agastya responds to the needs of Lopamudra and a disciple secretly overhears the private conversation of his revered guru and feels shameful and sinful. Rigveda 10.10 has 14 mantras that discuss the forbidden love between a twin brother and sister. Yami passionately ask Yama for copulation and to produce an offspring, but Yama counsels her as a sensible sibling to avoid the forbidden love and seek another man to fulfil her fantasies. The conversation focusses on how the Vedic gods would treat such a relationship.
Rigveda 1.165 focusses on the conversation between Indra and Maruts about each other's power and rsi Agastya's benediction. Rigveda 3.33 has 13 mantras in which sage Vishvamitra requests the overflowing rivers Bias and Sutlej to lower the water level so that he and his disciples can safely cross to the other side; the two rivers politely obey the seer. Rigveda 10.85 has 47 mantras and this is known as wedding hymn in which Surya, the daughter of Sun weds Soma (Moon). Some of the mantras are recited even today during wedding ceremony. Rigveda 10.95 has 18 mantras in which Urvashi, the wife of Pururavas, a nymphomaniac and pregnant with his child wants to leave her husband on earth and go her to heaven. Pururavas uses all his wisdom to convince her to stay and help him in ruling his kingdom, but she refuses. She believes that she will be happy in heaven and that would be her final decision. This is an interesting dialogue between a man and his wife in a difficult relationship.
One of the leading hypotheses is that many Vedic gods represent natural forces. Indra is the wind; Maruts is the hurricane. Yama is the day and Yami is the night; another interpretation is Yama is fire and Yami is the flame. Surya is Dawn (daughter of Sun) and Vrsakapi is the rising or setting sun. Similarly Pururavas is the roaring cloud and Urvashi is the glittering and glowing lighting. Some scholars suggest that this is the mating of Pururavas and Urvashi that result in the birth of their son Ayus (water); another dimension added to this conversation hymn is that when the faculty of a man is lessened, the spark of creativity vanishes. Swami Dayananda, a leading exponent of Rigveda provides moral based interpretations of Rigveda. In addition, the followers of Dayananda believe that Rigveda is a divine knowledge and it is not composed by a human being but a revelation of God: It is eternal (Rigveda 10.90.9). The authors of Brahmana-granthas, owing to the influence of Yajurveda and the importance of yajnas (ceremonial sacrifices) attributed the names in these verses for Vedic gods. Some of these hymns are also found in later scriptures like Shaunaka's Brhddevata, the Brahmanas, Ramayana, Mahabharata and the Puranas. This is a very well written book and I very much enjoyed reading it. The discussions are quite illuminating.
Rig-Veda: The wisdom of the ancient seers expressed in the dialogue hymns
There are eleven dialogue hymns in Rigveda (Rig-Veda) including two in monologue forms. The author has translated the original text into English and discussed the work of various interpreters with regards to meaning of these dialogues. It is inferred that the names and the conversations are symbolic. This conclusion is made by the authors of Brahmana-granthas and also the Niruktas. Almost all interpreters of Rigveda treat them as symbolic, including Yaksha, one of the prominent interpreters. The author suggests that the original meaning of the Vedas faded away during the very early period of Rigveda, and one of the reasons is that strict fidelity in the oral transmission of hymns and their recitation during Vedic sacrifices led the practitioners to forget the meaning of the verses. In fact there are several different recitations such as; pada-patha, ghana-patha, jata-patha, karma-pahta, etc. In one of his commentary, Yaksha remarks that seers instructed the meanings to their disciples but soon it was forgotten (Nirukta 1.20; 10.10.2).
Rigveda 1.179 has six mantras that constitute an interesting dialogue between rsi Agastya and his wife Lopamudra; and the devata of the conversation is Rati (the goddess of Love). The story of the hymn is that Lopamudra wanted her husband to make love and perform his conjugal obligations and help consummate the marriage for begetting (progeny). Agastya responds to the needs of Lopamudra and a disciple secretly overhears the private conversation of his revered guru and feels shameful and sinful. Rigveda 10.10 has 14 mantras that discuss the forbidden love between a twin brother and sister. Yami passionately ask Yama for copulation and to produce an offspring, but Yama counsels her as a sensible sibling to avoid the forbidden love and seek another man to fulfil her fantasies. The conversation focusses on how the Vedic gods would treat such a relationship.
Rigveda 1.165 focusses on the conversation between Indra and Maruts about each other's power and rsi Agastya's benediction. Rigveda 3.33 has 13 mantras in which sage Vishvamitra requests the overflowing rivers Bias and Sutlej to lower the water level so that he and his disciples can safely cross to the other side; the two rivers politely obey the seer. Rigveda 10.85 has 47 mantras and this is known as wedding hymn in which Surya, the daughter of Sun weds Soma (Moon). Some of the mantras are recited even today during wedding ceremony. Rigveda 10.95 has 18 mantras in which Urvashi, the wife of Pururavas, a nymphomaniac and pregnant with his child wants to leave her husband on earth and go her to heaven. Pururavas uses all his wisdom to convince her to stay and help him in ruling his kingdom, but she refuses. She believes that she will be happy in heaven and that would be her final decision. This is an interesting dialogue between a man and his wife in a difficult relationship.
One of the leading hypotheses is that many Vedic gods represent natural forces. Indra is the wind; Maruts is the hurricane. Yama is the day and Yami is the night; another interpretation is Yama is fire and Yami is the flame. Surya is Dawn (daughter of Sun) and Vrsakapi is the rising or setting sun. Similarly Pururavas is the roaring cloud and Urvashi is the glittering and glowing lighting. Some scholars suggest that this is the mating of Pururavas and Urvashi that result in the birth of their son Ayus (water); another dimension added to this conversation hymn is that when the faculty of a man is lessened, the spark of creativity vanishes. Swami Dayananda, a leading exponent of Rigveda provides moral based interpretations of Rigveda. In addition, the followers of Dayananda believe that Rigveda is a divine knowledge and it is not composed by a human being but a revelation of God: It is eternal (Rigveda 10.90.9). The authors of Brahmana-granthas, owing to the influence of Yajurveda and the importance of yajnas (ceremonial sacrifices) attributed the names in these verses for Vedic gods. Some of these hymns are also found in later scriptures like Shaunaka's Brhddevata, the Brahmanas, Ramayana, Mahabharata and the Puranas. This is a very well written book and I very much enjoyed reading it. The discussions are quite illuminating.
Sunday, July 19, 2015
Book reviewed: Gods and Goddesses, by Swami Harshananda
Book reviewed: Gods and Goddesses, by Swami Harshananda
Understanding the Hindu faith: The significance of deity worship
In this book, entitled “Hindu Gods and Goddesses,” author Swami Harshanada, a disciple of the Ramakrishna Order elaborates and interprets the significance of the Hindu Gods & Goddesses. The apparent polytheistic nature of Hinduism and the unique style of deity worship are inherent in Indian traditions since Vedic times. The idea of polytheism is especially confusing for some followers of Hindu faith, and it is even more confounding to others since the Hindu practices are different. The vast collection Hindu scriptures, the Vedas, the Upanishads, the Gita, the Epics and the Puranas, with six schools of Hindu philosophy that provides a solid foundation for a belief system that is significantly different from Abrahamic religions. A proper understanding is required to comprehend the whole system into a simple working faith. In this regard, Swami Harshananda’s approach of explaining the deity worship and apparent polytheistic nature is commendable. Hinduism is actually the worship of One God in many forms, and the monotheistic nature of the faith is found in the concept of “Brahman,” in the holy scriptures of Gita and Upanishads. This idea is enumerated extensively in the Vedanta school of Hindu philosophy. It is disconcerting and even demeaning to the entire Hindu population to know that the Supreme Court of India concluded that Hinduism is not a religion, but “it’s a way of life.” It is incomprehensible that Indian Prime Minister Narendra Modi agrees with this verdict. How can one come with such an erroneous conclusion? The gods of Hinduism are eternal, even though some of them are from the Vedas and some from Ithihasas (Epics) and Puranas. The Vedic god represent forces of nature, Agni for fire; Varuna for water (ocean); Vayu for wind; Soma for plants; and Indra for thunder. The prayers (hymns) offer the highest attributes to these gods; something done for one Supreme Godhead. Lord Krishna in Bhagavadgita (4:11; 7:21) says that He, the Supreme Lord, will respond to the devotees in whichever form they worship Him and in whichever way they approach Him. In RgVeda 1.164.46, we find, “ekam sat viprah bhaudha vadanti,” translation; The Truth is One; Sages call it by different names. This sets the tone for very early metaphysical ideas that were later developed in Upanishads. The scribe of this hymn suggests that deities appear to be different and independent from each other but they are actually manifestations of the same Supreme God.
Bulk of this book discusses the attributes of Vedic gods; and the Holy Trinity of Hinduism, Brahma, Vishnu and Siva and their reincarnations. Yet these seemingly different gods led to the development of monotheism in Upanishads. When the Vedantic concepts are fully grasped, the apparent polytheism of Hinduism disappears. The worship of gods becomes adoration of One Supreme Being.
Understanding the Hindu faith: The significance of deity worship
In this book, entitled “Hindu Gods and Goddesses,” author Swami Harshanada, a disciple of the Ramakrishna Order elaborates and interprets the significance of the Hindu Gods & Goddesses. The apparent polytheistic nature of Hinduism and the unique style of deity worship are inherent in Indian traditions since Vedic times. The idea of polytheism is especially confusing for some followers of Hindu faith, and it is even more confounding to others since the Hindu practices are different. The vast collection Hindu scriptures, the Vedas, the Upanishads, the Gita, the Epics and the Puranas, with six schools of Hindu philosophy that provides a solid foundation for a belief system that is significantly different from Abrahamic religions. A proper understanding is required to comprehend the whole system into a simple working faith. In this regard, Swami Harshananda’s approach of explaining the deity worship and apparent polytheistic nature is commendable. Hinduism is actually the worship of One God in many forms, and the monotheistic nature of the faith is found in the concept of “Brahman,” in the holy scriptures of Gita and Upanishads. This idea is enumerated extensively in the Vedanta school of Hindu philosophy. It is disconcerting and even demeaning to the entire Hindu population to know that the Supreme Court of India concluded that Hinduism is not a religion, but “it’s a way of life.” It is incomprehensible that Indian Prime Minister Narendra Modi agrees with this verdict. How can one come with such an erroneous conclusion? The gods of Hinduism are eternal, even though some of them are from the Vedas and some from Ithihasas (Epics) and Puranas. The Vedic god represent forces of nature, Agni for fire; Varuna for water (ocean); Vayu for wind; Soma for plants; and Indra for thunder. The prayers (hymns) offer the highest attributes to these gods; something done for one Supreme Godhead. Lord Krishna in Bhagavadgita (4:11; 7:21) says that He, the Supreme Lord, will respond to the devotees in whichever form they worship Him and in whichever way they approach Him. In RgVeda 1.164.46, we find, “ekam sat viprah bhaudha vadanti,” translation; The Truth is One; Sages call it by different names. This sets the tone for very early metaphysical ideas that were later developed in Upanishads. The scribe of this hymn suggests that deities appear to be different and independent from each other but they are actually manifestations of the same Supreme God.
Bulk of this book discusses the attributes of Vedic gods; and the Holy Trinity of Hinduism, Brahma, Vishnu and Siva and their reincarnations. Yet these seemingly different gods led to the development of monotheism in Upanishads. When the Vedantic concepts are fully grasped, the apparent polytheism of Hinduism disappears. The worship of gods becomes adoration of One Supreme Being.
Thursday, July 16, 2015
Book Reviewed: Hindu Gods and Goddesses, by Swami Harshananda
Book Reviewed: Hindu Gods and Goddesses, by Swami Harshananda
Understanding the Hindu faith: The significance of deity worship (five stars)
In this book, entitled “Hindu Gods and Goddesses,” author Swami Harshanada, a disciple of the Ramakrishna Order elaborates and interprets the significance of the Hindu Gods & Goddesses. The apparent polytheistic nature of Hinduism and the unique style of deity worship are inherent in Indian traditions since Vedic times. The idea of polytheism is especially confusing for some followers of Hindu faith, and it is even more confounding to others since the Hindu practices are different. The vast collection Hindu scriptures, the Vedas, the Upanishads, the Gita, the Epics and the Puranas, with six schools of Hindu philosophy that provides a solid foundation for a belief system that is significantly different from Abrahamic religions. A proper understanding is required to comprehend the whole system into a simple working faith. In this regard, Swami Harshananda’s approach of explaining the deity worship and apparent polytheistic nature is commendable. Hinduism is actually the worship of One God in many forms, and the monotheistic nature of the faith is found in the concept of “Brahman,” in the holy scriptures of Gita and Upanishads. This idea is enumerated extensively in the Vedanta school of Hindu philosophy. It is disconcerting and even demeaning to the entire Hindu population to know that the Supreme Court of India concluded that Hinduism is not a religion, but “it’s a way of life.” It is incomprehensible that Indian Prime Minister Narendra Modi agrees with this verdict. How can one come with such an erroneous conclusion? The gods of Hinduism are eternal, even though some of them are from the Vedas and some from Ithihasas (Epics) and Puranas. The Vedic god represent forces of nature, Agni for fire; Varuna for water (ocean); Vayu for wind; Soma for plants; and Indra for thunder. The prayers (hymns) offer the highest attributes to these gods; something done for one Supreme Godhead. Lord Krishna in Bhagavadgita (4:11; 7:21) says that He, the Supreme Lord, will respond to the devotees in whichever form they worship Him and in whichever way they approach Him. In RgVeda 1.164.46, we find, “ekam sat viprah bhaudha vadanti,” translation; The Truth is One; Sages call it by different names. This sets the tone for very early metaphysical ideas that were later developed in Upanishads. The scribe of this hymn suggests that deities appear to be different and independent from each other but they are actually manifestations of the same Supreme God.
Bulk of this book discusses the attributes of Vedic gods; and the Holy Trinity of Hinduism, Brahma, Vishnu and Siva and their reincarnations. Yet these seemingly different gods led to the development of monotheism in Upanishads. When the Vedantic concepts are fully grasped, the apparent polytheism of Hinduism disappears. The worship of gods becomes adoration of One Supreme Being.
Understanding the Hindu faith: The significance of deity worship (five stars)
In this book, entitled “Hindu Gods and Goddesses,” author Swami Harshanada, a disciple of the Ramakrishna Order elaborates and interprets the significance of the Hindu Gods & Goddesses. The apparent polytheistic nature of Hinduism and the unique style of deity worship are inherent in Indian traditions since Vedic times. The idea of polytheism is especially confusing for some followers of Hindu faith, and it is even more confounding to others since the Hindu practices are different. The vast collection Hindu scriptures, the Vedas, the Upanishads, the Gita, the Epics and the Puranas, with six schools of Hindu philosophy that provides a solid foundation for a belief system that is significantly different from Abrahamic religions. A proper understanding is required to comprehend the whole system into a simple working faith. In this regard, Swami Harshananda’s approach of explaining the deity worship and apparent polytheistic nature is commendable. Hinduism is actually the worship of One God in many forms, and the monotheistic nature of the faith is found in the concept of “Brahman,” in the holy scriptures of Gita and Upanishads. This idea is enumerated extensively in the Vedanta school of Hindu philosophy. It is disconcerting and even demeaning to the entire Hindu population to know that the Supreme Court of India concluded that Hinduism is not a religion, but “it’s a way of life.” It is incomprehensible that Indian Prime Minister Narendra Modi agrees with this verdict. How can one come with such an erroneous conclusion? The gods of Hinduism are eternal, even though some of them are from the Vedas and some from Ithihasas (Epics) and Puranas. The Vedic god represent forces of nature, Agni for fire; Varuna for water (ocean); Vayu for wind; Soma for plants; and Indra for thunder. The prayers (hymns) offer the highest attributes to these gods; something done for one Supreme Godhead. Lord Krishna in Bhagavadgita (4:11; 7:21) says that He, the Supreme Lord, will respond to the devotees in whichever form they worship Him and in whichever way they approach Him. In RgVeda 1.164.46, we find, “ekam sat viprah bhaudha vadanti,” translation; The Truth is One; Sages call it by different names. This sets the tone for very early metaphysical ideas that were later developed in Upanishads. The scribe of this hymn suggests that deities appear to be different and independent from each other but they are actually manifestations of the same Supreme God.
Bulk of this book discusses the attributes of Vedic gods; and the Holy Trinity of Hinduism, Brahma, Vishnu and Siva and their reincarnations. Yet these seemingly different gods led to the development of monotheism in Upanishads. When the Vedantic concepts are fully grasped, the apparent polytheism of Hinduism disappears. The worship of gods becomes adoration of One Supreme Being.
Book Reviewed: The Power of Negative Thinking and other Parables from India, by Koilpillai Charles
Book Reviewed: The Power of Negative Thinking and other parables from India, by Koilpillai Charles
A collection of aphorisms, parables and moral stories from Hindu scriptures (four stars)
This book has a collection of moral stories and other parables from Hindu mythology and literature. The author points out that negative aphorism are integrally connected to the positive, such as love and hate; fear and courage; happiness and sorrow; and they are related to each other in a dialectical way. The unique feature is that there is a positive lesson to be learnt from many stories presented in this book. The author’s commentary on each story and the moral taught is explained in a comprehensible way. There are about 62 stories in this book and a story ranges from one page to four pages.
The Hindu religious instruction is given through the Vedic practices and beliefs originating from the vast Hindu literature; the Vedas, the Upanishads, the Gita, the epics and the Puranas. In addition to six schools of Hindu philosophy and the vast stotra literature, the worship and the religious practices has also been contributed by numerous legends and stories. Many of them are woven around the life and actions of gods & goddesses, their manifestation and reincarnations. These stories awaken the truth in the listener’s heart and help shape the Hindu belief system. It is noteworthy that the parables and stories spoken by Jesus in canonical gospels is the major part of his teaching.
A few stories discussed in this book are worth looking into: The story of four blind men trying to find out what an elephant may look like: They feel different parts of the body and conclude differently about the appearance of a real elephant. The truth is each one of them has partial truths and they have to synthesize the knowledge gained by combining all their perceptions. The concepts of illusion and reality are nicely illustrated in this example. The story about Fate (chapter 14) is another interesting narrative which helps a believer. The fact that the Supreme Being is governing the universe is a source of strength, and that everything happens according to a divine plan is a faith. Incidentally, interpretation of physical reality through quantum physics strongly supports this notion of existence and reality. The story about Ramayana (Chapter 36) finely illustrates the illusion of life (Maya) when Rama refuses to accept Sita doubting her faithfulness to him. She refuses to prove her faithfulness, and instead enters the womb of mother Earth. This infuriates Rama even more until demigods explain to Rama that his suspicion, anger and vengeance destroyed his relationship with his wife. It is all due to Maya and the real reason is that he is the reincarnation of Lord Vishnu and he appeared as a human to destroy the evil in the form demon king Ravana. The Time Warp (Chapter 37) illustrates the propensity of man to mistake, temporary with permanent; and the transitory with eternal, is the cause of human misery. This is the story of Lord Vishnu teaching a lesson to the Vedic God Indra. Other chapters of interests are; Pollution (Chapter 43), The Tantric Way (Chapter 44), Humility (Chapter 48) about Lord Vishnu and Sage Bhrigu; and Enlightenment (Chapter 52) about Dharma and Yudhisthira. I enjoyed reading this book and it is recommended.
A collection of aphorisms, parables and moral stories from Hindu scriptures (four stars)
This book has a collection of moral stories and other parables from Hindu mythology and literature. The author points out that negative aphorism are integrally connected to the positive, such as love and hate; fear and courage; happiness and sorrow; and they are related to each other in a dialectical way. The unique feature is that there is a positive lesson to be learnt from many stories presented in this book. The author’s commentary on each story and the moral taught is explained in a comprehensible way. There are about 62 stories in this book and a story ranges from one page to four pages.
The Hindu religious instruction is given through the Vedic practices and beliefs originating from the vast Hindu literature; the Vedas, the Upanishads, the Gita, the epics and the Puranas. In addition to six schools of Hindu philosophy and the vast stotra literature, the worship and the religious practices has also been contributed by numerous legends and stories. Many of them are woven around the life and actions of gods & goddesses, their manifestation and reincarnations. These stories awaken the truth in the listener’s heart and help shape the Hindu belief system. It is noteworthy that the parables and stories spoken by Jesus in canonical gospels is the major part of his teaching.
A few stories discussed in this book are worth looking into: The story of four blind men trying to find out what an elephant may look like: They feel different parts of the body and conclude differently about the appearance of a real elephant. The truth is each one of them has partial truths and they have to synthesize the knowledge gained by combining all their perceptions. The concepts of illusion and reality are nicely illustrated in this example. The story about Fate (chapter 14) is another interesting narrative which helps a believer. The fact that the Supreme Being is governing the universe is a source of strength, and that everything happens according to a divine plan is a faith. Incidentally, interpretation of physical reality through quantum physics strongly supports this notion of existence and reality. The story about Ramayana (Chapter 36) finely illustrates the illusion of life (Maya) when Rama refuses to accept Sita doubting her faithfulness to him. She refuses to prove her faithfulness, and instead enters the womb of mother Earth. This infuriates Rama even more until demigods explain to Rama that his suspicion, anger and vengeance destroyed his relationship with his wife. It is all due to Maya and the real reason is that he is the reincarnation of Lord Vishnu and he appeared as a human to destroy the evil in the form demon king Ravana. The Time Warp (Chapter 37) illustrates the propensity of man to mistake, temporary with permanent; and the transitory with eternal, is the cause of human misery. This is the story of Lord Vishnu teaching a lesson to the Vedic God Indra. Other chapters of interests are; Pollution (Chapter 43), The Tantric Way (Chapter 44), Humility (Chapter 48) about Lord Vishnu and Sage Bhrigu; and Enlightenment (Chapter 52) about Dharma and Yudhisthira. I enjoyed reading this book and it is recommended.
Wednesday, July 15, 2015
Book Reviewed: The Book of Job, by Stephen Mitchell
Lessons from the Book of Job
What will happen when bad things happen to a God-fearing Man? The verbal fireworks of the dialogue between Job and his friends and beauty of the poetry on wisdom of the divine speeches are found in the Book of Job. Having lost everything, confused and angry, Job refuses to reject his faith. In order to understand the nature of God, he questions if God make good people suffer and what has he lined up at the end of this. Is he going to bring happiness? Is he testing the individual or it is a fact of life? At the end of this book, we learn that God indeed is benevolent and forgiving. The God Almighty blesses Prophet Job and bestows everlasting happiness in his life. In the process of teaching Job, God reveals that He is Omnipotent. In Job 4:17, we find that "Shall mortal man be more just than God? Shall a man be more pure than his maker? The implication is that God alone can discern morality and goodness in the universe. This idea is reinforced by God's own voice which asks Job "Can thou draw out leviathan with a hook (Job 41) a rhetorical question which serves to demonstrate the almost abject lowliness of a human being when contrasted with the wisdom of God
The author briefly discusses the Hindu holy book of Bhagavadgita and the Book of Job on the Problem of the Self as a matter of academic expediency, since God talk to Arjuna, like he does with Job. In Bhagavadgita, Lord Krishna teaches and mentors Arjuna of his spiritual journey and quest for enlightenment. Krishna first comforts Arjuna by instructing him on the externality of the human soul and helping to stave off Arjuna 's own fear of personal mortality and fighting a war with his own kith and kin. In this story, God stands as a protector of Arjuna and all mortals (1, 2).
The author has translated the book from Hebrew to English with an emphasis on the accuracy and the meaning of the original version of the scripture. The life of Prophet Job dates back to about fifth century B.C., but the earliest Hebrew manuscript that survived was written some 1500 hundred years later. Through many centuries of or oral and scribal transmission, corruptions have occurred in the Book of Job. To prove this point, the author discusses selected verses such as 5:6-7; 23:13; 39:21, etc.
References:
1. The Bhagavad Gîtâ and the Book of Job on the Problem of the Self, James Norton, East-West Studies on the Problem of the Self, 1968, pp 177-192
2. Dilemma and Resolution in Bhagavad-Gita and Job, Hazel S. Alberson, College English Vol. 18, No. 8 (May, 1957), pp. 406-413
What will happen when bad things happen to a God-fearing Man? The verbal fireworks of the dialogue between Job and his friends and beauty of the poetry on wisdom of the divine speeches are found in the Book of Job. Having lost everything, confused and angry, Job refuses to reject his faith. In order to understand the nature of God, he questions if God make good people suffer and what has he lined up at the end of this. Is he going to bring happiness? Is he testing the individual or it is a fact of life? At the end of this book, we learn that God indeed is benevolent and forgiving. The God Almighty blesses Prophet Job and bestows everlasting happiness in his life. In the process of teaching Job, God reveals that He is Omnipotent. In Job 4:17, we find that "Shall mortal man be more just than God? Shall a man be more pure than his maker? The implication is that God alone can discern morality and goodness in the universe. This idea is reinforced by God's own voice which asks Job "Can thou draw out leviathan with a hook (Job 41) a rhetorical question which serves to demonstrate the almost abject lowliness of a human being when contrasted with the wisdom of God
The author briefly discusses the Hindu holy book of Bhagavadgita and the Book of Job on the Problem of the Self as a matter of academic expediency, since God talk to Arjuna, like he does with Job. In Bhagavadgita, Lord Krishna teaches and mentors Arjuna of his spiritual journey and quest for enlightenment. Krishna first comforts Arjuna by instructing him on the externality of the human soul and helping to stave off Arjuna 's own fear of personal mortality and fighting a war with his own kith and kin. In this story, God stands as a protector of Arjuna and all mortals (1, 2).
The author has translated the book from Hebrew to English with an emphasis on the accuracy and the meaning of the original version of the scripture. The life of Prophet Job dates back to about fifth century B.C., but the earliest Hebrew manuscript that survived was written some 1500 hundred years later. Through many centuries of or oral and scribal transmission, corruptions have occurred in the Book of Job. To prove this point, the author discusses selected verses such as 5:6-7; 23:13; 39:21, etc.
References:
1. The Bhagavad Gîtâ and the Book of Job on the Problem of the Self, James Norton, East-West Studies on the Problem of the Self, 1968, pp 177-192
2. Dilemma and Resolution in Bhagavad-Gita and Job, Hazel S. Alberson, College English Vol. 18, No. 8 (May, 1957), pp. 406-413
Book Reviewed: Shankara and Indian Philosophy, by Natalia Isayeva
Book Reviewed: Shankara and Indian Philosophy, by Natalia Isayeva
Hindu Philosophy: Shankara’s vision of journeying into The One
It was a time when India’s ancient Sanatana-dharma was attacked when Muhammad bin Qasim’s army occupied the province of Sindh in Northwestern India in 711 A.D. The land was in a state of shock and diminishment. By then, the influence of Buddhism was also a serious challenge to the practice of Hinduism. At this time, India needed a spiritual master to conquer the mind and hearts of the masses to save the teachings of Vedas and acceptance of dharma as the principal guiding force in one’s life. Then came the resurgence and spiritual unification with the appearance of Adi Sankara on the horizon in 788 A.D. Renouncing material life, he mastered India’s ancient lore and cleared the cobwebs that obscured the eternal religion and interpreted Brahma-Sutra, the Upanishads and the Gita in the light of Advaita Vedanta. The spirit of Shankara prevailed and he was successful in revitalizing and rejuvenating the principles of jnana, dharma and moksha, the basic elements of a Hindu life. Sankara also inaugurated the vast area of stotra literature, which remains a part of a Hindu’s daily practices of a devotional and spiritual life. He was not only a great reformer, an intrepid scholar, and an illustrious teacher, but also a great visionary and a fine poet. His mastery over the six philosophical systems of Hinduism, and philosophical thoughts of the Jainism and Buddhism was immense, and in this book, the author discusses some of his work.
The main focus of this book is to examine the principles of Shankara’s Advaita Vedanta; his concept of the identity of atman and Brahman, his understanding of casualty and Maya. Shankara’s closest teachers were Gaudapada, and his work Mandukya-Karika incorporated the ideas of Mahayana Buddhism with Vedanta. The two systems evolved in Upanishads and reached its pinnacle point in Shankara’s interpretation of the sacred texts. According to Shankara, the ignorance of our “real-nature” causes suffering and pain in life. The desire for happiness is essentially a longing to awaken to who and what we truly are, and discovering our relationship with Brahman. Through the path of self-knowledge, one can be awaken from their ignorance, created by the mind, and find inner peace with true knowledge.
The introductory chapter provides a concise summary of the Hindu philosophy and various schools of thoughts and its influence on Shankara’s metaphysics. But the main body of the book dwells too much on other works not directly relevant to Shankara. In the conclusion chapter, the discussions deviate to other schools of philosophy, especially Vishishtadvaita and Dvaita schools.
Hindu Philosophy: Shankara’s vision of journeying into The One
It was a time when India’s ancient Sanatana-dharma was attacked when Muhammad bin Qasim’s army occupied the province of Sindh in Northwestern India in 711 A.D. The land was in a state of shock and diminishment. By then, the influence of Buddhism was also a serious challenge to the practice of Hinduism. At this time, India needed a spiritual master to conquer the mind and hearts of the masses to save the teachings of Vedas and acceptance of dharma as the principal guiding force in one’s life. Then came the resurgence and spiritual unification with the appearance of Adi Sankara on the horizon in 788 A.D. Renouncing material life, he mastered India’s ancient lore and cleared the cobwebs that obscured the eternal religion and interpreted Brahma-Sutra, the Upanishads and the Gita in the light of Advaita Vedanta. The spirit of Shankara prevailed and he was successful in revitalizing and rejuvenating the principles of jnana, dharma and moksha, the basic elements of a Hindu life. Sankara also inaugurated the vast area of stotra literature, which remains a part of a Hindu’s daily practices of a devotional and spiritual life. He was not only a great reformer, an intrepid scholar, and an illustrious teacher, but also a great visionary and a fine poet. His mastery over the six philosophical systems of Hinduism, and philosophical thoughts of the Jainism and Buddhism was immense, and in this book, the author discusses some of his work.
The main focus of this book is to examine the principles of Shankara’s Advaita Vedanta; his concept of the identity of atman and Brahman, his understanding of casualty and Maya. Shankara’s closest teachers were Gaudapada, and his work Mandukya-Karika incorporated the ideas of Mahayana Buddhism with Vedanta. The two systems evolved in Upanishads and reached its pinnacle point in Shankara’s interpretation of the sacred texts. According to Shankara, the ignorance of our “real-nature” causes suffering and pain in life. The desire for happiness is essentially a longing to awaken to who and what we truly are, and discovering our relationship with Brahman. Through the path of self-knowledge, one can be awaken from their ignorance, created by the mind, and find inner peace with true knowledge.
The introductory chapter provides a concise summary of the Hindu philosophy and various schools of thoughts and its influence on Shankara’s metaphysics. But the main body of the book dwells too much on other works not directly relevant to Shankara. In the conclusion chapter, the discussions deviate to other schools of philosophy, especially Vishishtadvaita and Dvaita schools.
Monday, July 13, 2015
Movie Reviewed: Dames (1934) starring Dick Powell, Ruby Keeler and Joan Blondell
Movie Reviewed: Dames (1934) starring Dick Powell, Ruby Keeler and Joan Blondell
Director Busby Berkeley's Dames, starring Dick Powell, Ruby Keeler and Joan Blondell
This is the story of an ambitious young song writer (Dick Powell) finds a backer for his show (Ruby Keeler) and falls in love with her. The highlight of the movie is the genuine production numbers devised by showman Busby Berkeley who does brilliantly in the visual realization of some ambitious flights full of fancy and flair. “The girl at the ironing board” sung by spunky Joan Blondell, and the title number “Dames,” in which hundreds of girls clad in white blouses and black tights twist themselves into a panoply of abstract patterns and mosaics catches the eyes of the viewers. In supporting roles, Zasu Pitts and Guy Kibbee have performed admirably.
Director Busby Berkeley's Dames, starring Dick Powell, Ruby Keeler and Joan Blondell
This is the story of an ambitious young song writer (Dick Powell) finds a backer for his show (Ruby Keeler) and falls in love with her. The highlight of the movie is the genuine production numbers devised by showman Busby Berkeley who does brilliantly in the visual realization of some ambitious flights full of fancy and flair. “The girl at the ironing board” sung by spunky Joan Blondell, and the title number “Dames,” in which hundreds of girls clad in white blouses and black tights twist themselves into a panoply of abstract patterns and mosaics catches the eyes of the viewers. In supporting roles, Zasu Pitts and Guy Kibbee have performed admirably.
Movie Reviewed: The Crash (1932), starring George Brent and Ruth Chatterton
Movie Reviewed: The Crash (1932), starring George Brent and Ruth Chatterton
The Gault’s after Wall Street Crash
When Geoffrey Gault (George Brent), a bank executive becomes a victim of Wall Street crash of 1929, his wife Linda (Ruth Chatterton) abandons him in New York and goes to Bermuda where she meets a wealthy Australian sheep farmer. The romance blossoms and he falls in love with Linda and she becomes attracted to his wealth and life-long financial security. This movies based on a novel by Larry Barretto was directed by William Dieterle. Ruth Chatterton looks stylish with her wardrobe while playing as a deceiving gold digger. George Brent is ill at ease as a spurned husband, but as always in Chatterton movies, she steals the show.
The Gault’s after Wall Street Crash
When Geoffrey Gault (George Brent), a bank executive becomes a victim of Wall Street crash of 1929, his wife Linda (Ruth Chatterton) abandons him in New York and goes to Bermuda where she meets a wealthy Australian sheep farmer. The romance blossoms and he falls in love with Linda and she becomes attracted to his wealth and life-long financial security. This movies based on a novel by Larry Barretto was directed by William Dieterle. Ruth Chatterton looks stylish with her wardrobe while playing as a deceiving gold digger. George Brent is ill at ease as a spurned husband, but as always in Chatterton movies, she steals the show.
Movie Reviewed: Beauty and the boss (1932), starring Warren William and Marian Marsh
Movie Reviewed: Beauty and the boss (1932), starring Warren William and Marian Marsh
Beauty and the Beast
This is a formula comedy based on a Hungarian play by Ladisalu Fodor and Paul Frank about a Viennese businessman named Baron Josef von Ulrich and his office secretary. The Baron finds that all his secretaries are pretty and are distracting him during business hours, hence he hires a plain looking young woman as his office assistant (Marian Marsh). It soon turns out that she is not plain at all, but a gorgeous young woman, who is not only distracting him but testing his patience as to how long it will take for him to fall for her. This is a delightful comedy of trial and errors that ultimately makes the boss submit to the charming young lady. There are some humorous spark of words between the boss and beauty leading to a beautiful union. The film is directed by Roy Del Ruth and well supported by Charles Butterworth, David Manners, Mary Doran and Lillian Bond
Beauty and the Beast
This is a formula comedy based on a Hungarian play by Ladisalu Fodor and Paul Frank about a Viennese businessman named Baron Josef von Ulrich and his office secretary. The Baron finds that all his secretaries are pretty and are distracting him during business hours, hence he hires a plain looking young woman as his office assistant (Marian Marsh). It soon turns out that she is not plain at all, but a gorgeous young woman, who is not only distracting him but testing his patience as to how long it will take for him to fall for her. This is a delightful comedy of trial and errors that ultimately makes the boss submit to the charming young lady. There are some humorous spark of words between the boss and beauty leading to a beautiful union. The film is directed by Roy Del Ruth and well supported by Charles Butterworth, David Manners, Mary Doran and Lillian Bond
Wednesday, July 8, 2015
Movie Reviewed: The son of sheik, starring Rudolph Valentino and Vilma Blanky.
Movie Reviewed: The son of sheik, starring Rudolph Valentino and Vilma Blanky.
Rudolph Valentino’s classic films
Son of Sheik was released at the time of Rudolph Valentino’s funeral during which thousands of mourning female fans caused a riot. The box office was besieged and grossed $1 million within a year and soon doubling that amount. Valentino was 31 at the time of his death. The plot was adapted from Edith Hull’s novel in which Valentino plays the son of a sheik meets Vilma Banky who plays the role of a nomadic dancer. He immediately falls in love with her. She asks, “who are you my Lord,” “I am he who loves you, is that not enough” says Rudy. When he is captured and tortured, he believes that she has tricked him, but soon realizes that she really loves him. Finally they meet and ride off to his sheikdom. Valentino took the role of his own father as sheik and Agnes Ayers reprised her part as his wife and Montague Love played the role of son’s rival.
Rudolph Valentino’s classic films
Son of Sheik was released at the time of Rudolph Valentino’s funeral during which thousands of mourning female fans caused a riot. The box office was besieged and grossed $1 million within a year and soon doubling that amount. Valentino was 31 at the time of his death. The plot was adapted from Edith Hull’s novel in which Valentino plays the son of a sheik meets Vilma Banky who plays the role of a nomadic dancer. He immediately falls in love with her. She asks, “who are you my Lord,” “I am he who loves you, is that not enough” says Rudy. When he is captured and tortured, he believes that she has tricked him, but soon realizes that she really loves him. Finally they meet and ride off to his sheikdom. Valentino took the role of his own father as sheik and Agnes Ayers reprised her part as his wife and Montague Love played the role of son’s rival.
Tuesday, July 7, 2015
Movie Reviewed: Trouble in Paradise (1932), starring Kay Francis and Miriam Hopkins
Movie Reviewed: Trouble in Paradise (1932), starring Kay Francis and Miriam Hopkins
Marriage is beautiful mistake two people make together
Critics wrote raving reviews for this movie, released in 1932, at the height of Great Depression, and they still have not stopped yet! It is a sophisticated comedy of director Ernst Lubitsch, but in 1932 the audience response was not sensational and it did not receive any nominations for the movie in which quintessential Lubitsch displayed his directorial talents with smooth narrative for this comedy. It has a delicate eroticism and verbal wit but Lubitsch brings out something special from every actor in this film.
Herbert Marshall and Miriam Hopkins play a pair of jewel thieves and prey upon a wealthy socialite played by Kay Francis. When Marshall falls in love with Kay, Miriam is not too happy and some of the best dialogues of the movie come out when they fight about the lost love. In supporting roles; Charles Ruggles, Edward Everett Horton, and Aubrey Smith perform splendidly. Samson Raphaelson’s screenplay is well written for the Aladar Lazlo’s play.
Marriage is beautiful mistake two people make together
Critics wrote raving reviews for this movie, released in 1932, at the height of Great Depression, and they still have not stopped yet! It is a sophisticated comedy of director Ernst Lubitsch, but in 1932 the audience response was not sensational and it did not receive any nominations for the movie in which quintessential Lubitsch displayed his directorial talents with smooth narrative for this comedy. It has a delicate eroticism and verbal wit but Lubitsch brings out something special from every actor in this film.
Herbert Marshall and Miriam Hopkins play a pair of jewel thieves and prey upon a wealthy socialite played by Kay Francis. When Marshall falls in love with Kay, Miriam is not too happy and some of the best dialogues of the movie come out when they fight about the lost love. In supporting roles; Charles Ruggles, Edward Everett Horton, and Aubrey Smith perform splendidly. Samson Raphaelson’s screenplay is well written for the Aladar Lazlo’s play.
Movie Reviewed: Rain (1932), starring Joan Crawford and Walter Huston
Movie Reviewed: Rain (1932), starring Joan Crawford and Walter Huston
A controversial pre-code film starring Walter Huston and Joan Crawford
Rain is a 1932 South Seas drama directed by Lewis Milestone with portions filmed at Santa Catalina Island, California. The film stars Joan Crawford as a wild lady Sadie Thompson and features Walter Huston as a conflicted missionary who wants to reform her, but his own morals come into question. The role of Sadie Thompson was written for Gloria Swanson, but director Lewis Milestone, relied on his instinct to cast Joan Crawford. With her curly blonde hair, thick make-up, large beauty-spot, gaudy dresses, jingling bracelets and high heels she accepted to take a shot at it in this Joseph Scheck’s production. Incidentally Crawford was loaned out by MGM to United Artists to do this film. It didn’t help; Rain was not well received critically or financially. The unglamorous role for Crawford, and bold story about religious hypocrisy caught depression-era audiences off guard. The film earned $538,000 in the US and Canada and $166,000 elsewhere resulting in a total loss of $198,000. Years later, critics looked at the artistic elements of the movie and began to appreciate the efforts of Joan Crawford and Walter Huston. Maxwell Anderson wrote the screenplay for this story from Somerset Maugham.
A controversial pre-code film starring Walter Huston and Joan Crawford
Rain is a 1932 South Seas drama directed by Lewis Milestone with portions filmed at Santa Catalina Island, California. The film stars Joan Crawford as a wild lady Sadie Thompson and features Walter Huston as a conflicted missionary who wants to reform her, but his own morals come into question. The role of Sadie Thompson was written for Gloria Swanson, but director Lewis Milestone, relied on his instinct to cast Joan Crawford. With her curly blonde hair, thick make-up, large beauty-spot, gaudy dresses, jingling bracelets and high heels she accepted to take a shot at it in this Joseph Scheck’s production. Incidentally Crawford was loaned out by MGM to United Artists to do this film. It didn’t help; Rain was not well received critically or financially. The unglamorous role for Crawford, and bold story about religious hypocrisy caught depression-era audiences off guard. The film earned $538,000 in the US and Canada and $166,000 elsewhere resulting in a total loss of $198,000. Years later, critics looked at the artistic elements of the movie and began to appreciate the efforts of Joan Crawford and Walter Huston. Maxwell Anderson wrote the screenplay for this story from Somerset Maugham.
Monday, July 6, 2015
Book Reviewed: Peter O'Toole: Hell raiser, Sexual Outlaw, Irish Rebel (Blood Moon's Babylon Series), by Darwin Porter
Book Reviewed: Peter O'Toole: Hell raiser, Sexual Outlaw, Irish Rebel (Blood Moon's Babylon Series), by Darwin Porter
The sexual odyssey of Peter O’Toole
This is the third memoir of Peter O’Toole; the first two being, “Loitering with Intent: The Child” is about his childhood in the years leading up to WWII, and the second book, “Loitering with Intent: The Apprentice,” is about his years spent training with a cadre of friends at the Royal Academy of Dramatic Arts. Both books were published in 1997. The current book chronicles his sexual odyssey and exploitation of his fame and popularity with more than one thousand women including his co-stars, Audrey Hepburn, Elizabeth Taylor, Jayne Mansfield, Anita Ekberg and Diana Dors. The most notable being the Princess Margaret while she was still married to Lord Snowdon.
O’Toole was known for leading week-long sex orgies with women who pursued him obsessively. This tremendously gifted Irish actor with severe addiction to alcohol and women could have ended up in jail had he not be a famous actor. A self-described romantic, O'Toole regarded the sonnets as his favorite English poems. He was also political active early in his career opposing the Korean War, and later the American involvement in Vietnam. Peter O’Toole achieved fame and recognition for playing in Lawrence of Arabia (1962) for which he received his first Academy Award nomination but lost the award to Gregory Peck for “To Kill a Mocking Bird.”
When NBA star Wilt Chamberlain revealed that he had physical intimacy with over 20,000 women, the perception of him in the sports world changed, especially for his fans. Peter O’Toole is not an alec, he is a smart Irishman; standing at 6’2”, this blonde and blue-eyed dude published his sex-escapades posthumously, baring his mind, his soul, his body and the rest.
The sexual odyssey of Peter O’Toole
This is the third memoir of Peter O’Toole; the first two being, “Loitering with Intent: The Child” is about his childhood in the years leading up to WWII, and the second book, “Loitering with Intent: The Apprentice,” is about his years spent training with a cadre of friends at the Royal Academy of Dramatic Arts. Both books were published in 1997. The current book chronicles his sexual odyssey and exploitation of his fame and popularity with more than one thousand women including his co-stars, Audrey Hepburn, Elizabeth Taylor, Jayne Mansfield, Anita Ekberg and Diana Dors. The most notable being the Princess Margaret while she was still married to Lord Snowdon.
O’Toole was known for leading week-long sex orgies with women who pursued him obsessively. This tremendously gifted Irish actor with severe addiction to alcohol and women could have ended up in jail had he not be a famous actor. A self-described romantic, O'Toole regarded the sonnets as his favorite English poems. He was also political active early in his career opposing the Korean War, and later the American involvement in Vietnam. Peter O’Toole achieved fame and recognition for playing in Lawrence of Arabia (1962) for which he received his first Academy Award nomination but lost the award to Gregory Peck for “To Kill a Mocking Bird.”
When NBA star Wilt Chamberlain revealed that he had physical intimacy with over 20,000 women, the perception of him in the sports world changed, especially for his fans. Peter O’Toole is not an alec, he is a smart Irishman; standing at 6’2”, this blonde and blue-eyed dude published his sex-escapades posthumously, baring his mind, his soul, his body and the rest.
Wednesday, July 1, 2015
Book reviewed: Rastram: Hindu history in United Indian Ocean States, by S. Kalyanaraman
Book reviewed: Rastram: Hindu history in United Indian Ocean States, by S. Kalyanaraman
The United States of Indian Ocean Nations: Is such a union ever possible?
I have strong interest in the ancient civilization of the Near East during fourth and third millennium BCE, and the birth of the first Indo-European language; and a proto Indo-Iranian religion that eventually led to the Vedic culture in India. Having read many publications from this author at the online journal Academia.Edu, I thought this work refers to a discussion of social and economic union of the three major civilizations of Asia during the Bronze Age. But this book is about the future; towards the unification of nations along Indian Ocean, for political and economic benefits, similar to European Economic Community (EEC). The title of the book is somewhat misleading, since the European Union is failing, and no one would ever think that it is possible for very diverse nations along the Indian Ocean would ever go through the economic and political unification like EEC. Nations of South Asia, Egypt, parts of the Middle East and Eastern Africa, South East Asia and Australia are as diverse as one can be. Differences in race, culture, religion and political instability in many of these nations ring alarm bells before one can effectively strategize EEC style unification. In recent years, Asia has to cope with a rapidly changing external security environment with the rise of China as a power player. Other challenges include rapidly changing economic opportunities, the regional war against Islamic terrorism and boundary disputes among Asian countries are very troubling. The author is giving the wrong message at the wrong time when experiments with European Community is measuring up to be a disaster with failing nations like Greece, Portugal and Spain. People in many member nations are calling for an end to the European Union.
The discussions in this book are sparse and diffused; it needs some focusing. Reparations for the wrong done by British and Islamists in India are a bit farfetched. There are extensive references to dharma found in Hindu literature, and using dharma as the guiding force to govern the new union is untenable. The book quotes many scholars about the wisdom contained in the ancient texts of India but rarely refers to the original publications in the professional journals: The book also cites numerous references to articles of Wikipedia. I would rely more on original publications.
The author is a frequent contributor in the field of the etymology and semantics of Meluhha, the name for the Indus civilization found in Mesopotamian texts. Meluhha is an important historical source about the movement of people, goods, language, art and written communication between these two regions during the fourth to second millennia BCE. Despite the author’s contributions in this field, the book is poorly written. I have a friendly advice to the author; he has to summarize his arguments and discussions at the end of each chapter so that the reader understands the gist of the discussion. The final chapter must include the overall message of the book to make it clear to the reader that his arguments set forth in the introduction may be achievable through his discussions in various chapters. There must be a “take-home” message for the reader that sums up the book.
The United States of Indian Ocean Nations: Is such a union ever possible?
I have strong interest in the ancient civilization of the Near East during fourth and third millennium BCE, and the birth of the first Indo-European language; and a proto Indo-Iranian religion that eventually led to the Vedic culture in India. Having read many publications from this author at the online journal Academia.Edu, I thought this work refers to a discussion of social and economic union of the three major civilizations of Asia during the Bronze Age. But this book is about the future; towards the unification of nations along Indian Ocean, for political and economic benefits, similar to European Economic Community (EEC). The title of the book is somewhat misleading, since the European Union is failing, and no one would ever think that it is possible for very diverse nations along the Indian Ocean would ever go through the economic and political unification like EEC. Nations of South Asia, Egypt, parts of the Middle East and Eastern Africa, South East Asia and Australia are as diverse as one can be. Differences in race, culture, religion and political instability in many of these nations ring alarm bells before one can effectively strategize EEC style unification. In recent years, Asia has to cope with a rapidly changing external security environment with the rise of China as a power player. Other challenges include rapidly changing economic opportunities, the regional war against Islamic terrorism and boundary disputes among Asian countries are very troubling. The author is giving the wrong message at the wrong time when experiments with European Community is measuring up to be a disaster with failing nations like Greece, Portugal and Spain. People in many member nations are calling for an end to the European Union.
The discussions in this book are sparse and diffused; it needs some focusing. Reparations for the wrong done by British and Islamists in India are a bit farfetched. There are extensive references to dharma found in Hindu literature, and using dharma as the guiding force to govern the new union is untenable. The book quotes many scholars about the wisdom contained in the ancient texts of India but rarely refers to the original publications in the professional journals: The book also cites numerous references to articles of Wikipedia. I would rely more on original publications.
The author is a frequent contributor in the field of the etymology and semantics of Meluhha, the name for the Indus civilization found in Mesopotamian texts. Meluhha is an important historical source about the movement of people, goods, language, art and written communication between these two regions during the fourth to second millennia BCE. Despite the author’s contributions in this field, the book is poorly written. I have a friendly advice to the author; he has to summarize his arguments and discussions at the end of each chapter so that the reader understands the gist of the discussion. The final chapter must include the overall message of the book to make it clear to the reader that his arguments set forth in the introduction may be achievable through his discussions in various chapters. There must be a “take-home” message for the reader that sums up the book.
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