Paradox of The Nature

The Romantic Euthanasia and The Living Will

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About BOOK

Paradox of The Nature: The Romantic Euthanasia and The Living Will is a non-fictional story. The story is about the strained relations between Hilary Tachibana, and Max Tate, who hail from America and Norway, respectively, and are deeply confused in their lives at certain points. It is narrated from the second-person point of view in a nostalgic, Melancholic, persuasive, and Reverent tone. Often takes a dig at the imagination and the reality of the world. Finally, revealing the untold story of Max Tate to Hilary Tachibana.

 Paradox of The Nature

The Romantic Euthanasia and The Living Will

About BOOK

Paradox of The Nature: The Romantic Euthanasia and The Living Will is a non-fictional story. The story is about the strained relations between Hilary Tachibana, and Max Tate, who hail from America and Norway, respectively, and are deeply confused in their lives at certain points. It is narrated from the second-person point of view in a nostalgic, Melancholic, persuasive, and Reverent tone. Often takes a dig at the imagination and the reality of the world. Finally, revealing the untold story of Max Tate to Hilary Tachibana.

"Book Dedicated To

The Invisible Force, Balancing the Living and The Non-Living

 And 

To My Jaan (Hilary Tachibana)"

About Author

Book Authored by The Anil Kumar Kummari. The feeler, sensor, and thinker. Trying to connect the dots beyond the endpoints. Professionally, Historian and Agriculturist, an expert in Metaphysics, and a Film Scholar. Believer in situational ethics and progressivism. Author (21^st Century a way to live a loving life Dogmatic Philosophy with The Theory of Non-Existence), Social worker (Founder of Innatefriends-Saving life’s, www.Innatefriends.in) and blogger (www.urstrulykummari.blogspot.com). Farmer Research surveyor at CSIR-CDRI. Like to be mad, an idiot, and useless.

Disclaimer

“Any names or characters, businesses or places, events or incidents, are fictitious. Any resemblance to actual persons, living or dead, or actual events is purely coincidental." 

Trigger Warning

“This book was created and written by a dissipated State of Mind with an environment of highly destructive force. It contains themes running through the temporal pincer moment talking to the invisible objects. The content might be troubling to some readers, but not limited to, depictions of and references to death, suicide, vivid nightmare imagery, trauma, child abuse, PTSD and OCD. Please be mindful of these and other possible triggers and seek assistance if needed.”

                 PREFACE 

Paradox of The Nature: The Romantic Euthanasia and The Living Will is a non-fictional story. Every relationship starts with understanding. The story is about the strained relations between Hilary Tachibana, and Max Tate, who hail from America and Norway, respectively, and are deeply confused in their lives at certain points. It is narrated from the second-person point of view in a nostalgic, Melancholic, persuasive, and Reverent tone. Often takes a dig at the imagination and the reality of the world. Finally, revealing the untold story of Max Tate to Hilary Tachibana, who thinks that Max Tate’s thoughts were pervasive to nature. The story reveals, How Max Tate got changed his feelings for Hilary Tachibana. Why Max Tate doesn’t have any friends? Why Max Tate hides his feelings for Hilary and the First love of Max Tate with Ariel. Why does Max Tate hate this world? The Reality of the world versus Max Tate’s world. Where and When Max Tate finds his solace. Why Hilary Tachibana wants to make distance from Max Tate.

‘Essay on Gandhi (1982)’ 

Anil Kumar, Film scholar,
Kerala central university.

Gandhi was released in India on 30th November 1982. it was praised for a historically accurate portrayal of the life of Gandhi, the Indian independence movement and the deteriorating results of colonisation on India, and also for Kingsley's performance, its production values and costume design. it became a commercial success, grossing 127.8 million dollars on a 22 million dollar budget.

It is directed and produced by Richard Attenborough from a screenplay written by John Briley. it stars Ben Kingsley in the title role. A co-production between India and the united kingdom. the film opens with Gandhi's life from a defining moment in 1893, as he is thrown off from a South African train for being in a whites-only compartment, and concludes with his assassination and funerals in 1948.

The film received a leading eleven nominations at the 55th academy awards, winning eight. the British film institute ranked Gandhi as the 34th greatest British film of the 20th century. on the mise-en-scene aspects, this film made its mark as a living, original and attracted the audience not only in the 20th century but also in the 21st century. Let's talk about some of the aspects of mise-en-scene in the film Gandhi.

Aspects of Mise-En-Scene:-

1. Setting: - Exciting sequences will be the burning of the chauri chaura police station, dandi march, the staging of a 1916 INC, and surging crowds of half a million on Rajpath following Gandhi's funeral cortege. sets have carefully abbreviated a village with green vegetable patches, a fully-equipped Gujarati kitchen and the dusty, faint brown silhouette of Ahmedabad town, chimneys and trees, perfectly proportioned to merge into the natural backdrop.
2. Lighting: - The whole movie was shot in Panavision to reflect the historical film. A unique new gadget called the louma crane, of which only five exist in the world is being used for the first time in India. the shot at the railway station after being Gandhi thrown off from the first-class compartment was perfectly pictured by the lights.
3. Acting: - Kingsley, 36, whose grandfather was Indian, he tries to emulate Gandhi's simple life. he tries to show Gandhi in various postures, smiling, thinking and sitting at his spinning wheel. he showed Gandhi's spirit on the screen. Co-actors Nehru, Jinnah, Sardar and all others gave a feel of the Indian freedom struggle.
4. Set props: - the view along the river is of a long, low-slung verandah, stone-floored and austere, a white mattress, a low writing desk,  stool, a spittoon exactly like the one Gandhi used, reed pens, a threadbare pincushion, and in fact all the minutiae of Gandhi's ashram as it exists. the correct kitchen utensils of the time and old bullock-cart.
5. Hand props/Action props: - When Nehru comes to visit Gandhi for the first time, Gandhi himself is peeling potatoes under a tree, later feeding the peels to a goat.
6. Costume: - This film includes western-style men's suits of the period 1900-1940 to represent the same period. ladies used gloves and handbags, the hatpin of the time. footwear, military and police uniforms of the British Indian army were perfectly represented the periodic drama. it made the film living in the ages.
7. Makeup: - Gandhi, Sardar Patel and even Nehru progress from smartly-cut three-piece suits and hats to home-spun, receding hairlines, sagging muscles, altered gaits - all of this has to be meticulously recorded. Gandhi alone changes hairstyles 11 times during the movie.

All of this made film rich in all the diversities and attracted crowds and awards throughout the world. though it has been criticized for truncation of events, depictions of towering real-world figures and omissions of both historical and human scale, Gandhi succeeds in a film.

‘Sardar Udham’ movie review: Journey of a Young innocent boy turning into a revolutionary freedom fighter.

Anil Kumar, Film scholar,
Kerala central university.

Shoojit Sircar’s latest, Sardar Udham, streaming on Amazon Prime.  Starring Vickey as a lead role will make a quiet person a leader and the louder as this film provokes an ideological questioner about the revolutionary activities and the unity in the diversity of India.

Story: - Main theme runs around the life and activities of Ram Mohammad Singh Azad aka Udham Singh who is trying to assassinate Michael O'Dwyer in London to take revenge for the 1919 Jallianwala Bagh massacre. The aim is to understand the emotional arc of an innocent boy from Amritsar who wouldn’t hold a gun, let alone fire one. What motivation led him to survive 20years to kill Dwyer? Was it driven by revenge? Why is the same person a revolutionary and terrorist for different people?

Review: - Sircar’s usage of creative liberties and dramatizing the events for cinematic expression was fantastic. One can feel and live in the scenes with the beautiful background music and top-notch cinematography. Directors work on hysterography to represent a true picture based on various articles, reports and research to make the point very clear about global freedom and imperialism. Distinguish between terrorism and the revolutionary. Director tries to convince the audience by making a conversation between a British officer and Udham Singh about the hatred. This film is a ticking time bomb waiting to explode but beware; the wait tries your patience. The intention is to give a lull before the storm treatment to storytelling. Silence is amplified so when Udham’s inner turmoil finds an outlet, the impact reaches a crescendo.

Aspects of Mise-En-Scene:-

1. Setting: - Depiction of the chain locking of the culprit, moving soldiers and the usage of the 1920s vehicles at the opening scenes, travelling through Siberia, Siberian wild dogs, London immigration with perfect VFX shots with the combination of the ships, vehicles, streets, trams and the buildings.
2. Lighting: - Movie coloured in warm aged glow to indicate the historical narration of the film. Scenes of London design with mastery of cinematography, jail scenes and the lengthiest Jallianwala bagh massacre shot in the night with perfect visualisation.
3. Acting: - Expressing the ideology of free speech at the monument, court scenes and rescuing the wounded bodies, searching the dead bodies will melt the audience.
4. Set props: - Khyber guest house to represent the place, timings, depiction of the telegraph, telegram and telephone highlighted the historical narration, red coloured files, closed ground of Jallianwala bagh having the narrow entry.
5. Hand props/Action props: - Hunting scenes of the Jallianwala bagh massacre, lovely moments of the protagonist, lines written on the hand, rejection of food, and forceful injection of food.
6. Costume: - British Indian uniform of the soldiers, imperial officers, police, costumes of the crowd, judges and the pupil of London.
7. Makeup: - showing the life phases of the protagonist as a young boy transformation to an aged revolutionary.