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AM Movie: Still on the Silver Screen

Date: Sun, 31 Aug 2008 23:09:31 +0530 From: "Jayashrii Devii" To: AM-GLOBAL Subject: AM Movie: Still on the Silver Screen Baba Krpa Hi Kevalam ~ Baba's Grace is Everything "Toma'ke buddhibale balo ke va' pa're, Buddhi toma'r krpa'y sabe labe..." (P.S. 1028) Purport: Baba, no one can get You by the strength of their intellect. In the past I wasted so much time depending on my little brain. I was foolishly thinking that by my intellect I will get everything. Though I tried hard, I failed desperately. At every step I came to understand my ignorance and stupidity. That You cannot be found within the periphery of intellect. Baba, in the past I adopted the path of hypocrisy and tried to hide my weakness through my tall talks. In that way I ploughed the way for my degeneration. Baba, by Your grace, today samvit (awareness) has come. This much You graciously made me understand-- that without Your causeless grace nothing can happen. And with Your causeless grace the impossible becomes possible. Baba, I am humbly surrendering my everything at Your lotus feet...
Namaskar, The relatively new, i.e. 1 year old, AM pracara movie is still on the silver screen and here are some thoughts about the film. As the opening scene unfolds in this isolated, forested enclave, there is a fake sannyasi dressed in orange-- just like one of our AM avadhutas-- and he is looking out onto a small scenic river, with his back towards the camera. After a few seconds, from the opposite direction advances a young, glamorous woman wearing dark sunglasses who is sashaying her hips, and stroking and caressing her long shiny black hair. She is clearly looking around for something-- for someone. In this lonely environment, the mood is distinctly one of Hollywood love. With the music of intrigue & romance playing in the background, the camera reverses back to the fake sannyasi who is still facing towards the river, tossing something out into the current. A split second later, the focus swings back to the seductive, young starlet who neatly sidesteps her svelte & voluptuous body closer so she can get a better view of the fake sannyasi. Again the camera switches to the sannyasi who is still facing towards the river and in a flash the view reverts back to our young heroine. This time it is a close up of her entire self.
Her shirt is fashionably unbuttoned down to her chest, and she is wearing revealing business attire that highlights her every curve. The smooth, silken skin of her visage is very carefully made-up with eye mascara, glossy lipstick, & blush-- to give her that certain type of sensual appeal. Her mouth is slightly open and she has a forlorn look on her face. With her long shiny hair blowing gently in the wind, sometimes coming across her cheek, she gazes at the fake sannyasi. Unable to refrain herself any longer, in a tone of lustful desperation, she calls out to him and says 'Excuse me'. The well-built, fake avadhuta then wheels around in Hollywood movie style and directly faces towards the young, glamorous female. The fake sannyasi responds by saying 'Yes'. And simultaneously, a romantic type of music is played in the background, as if some special new love story is about to unfold.
This instant in the film represents the first time that the fake sannyasi is looking into the camera, only to show that he has not the face of a sadhu, but rather the face of a drug dealer, pimp, or robber, a daku-- if you will. This is arguably the worst and most negative aspect of the entire film. Because the ideal of the avadhuta in AM culture is something truly great. But here in this film, the fake sannyasi is totally crude looking. And although in AM we have a range of avadhutas who have various qualities & standards etc, I have never seen such a crude and unsentient looking Avadhuta as the fake sannyasi in this movie. The vibration of his face is just awful and not at all becoming of a sadhaka. That is why many say that the fake sannyasi in the movie looks just like a butcher or daku, i.e. robber.
Here is the continued description of the opening scene... The moment this daku-faced sannyasi turns and faces the sensual starlet, the voluptuous, young woman's face changes drastically. She clearly recognises the strongly-framed, fake sannyasi. As if her clouded memory has suddenly become clear. As if all the romance of her past has suddenly, magically reappeared before her. The daku-faced sannyasi also looks at her with hope and recognition as if a flame from his lustful past has rekindled in his heart. And he says, 'Ah...' and hurries himself toward her enticing body. In such a scene, I do not know what the common people will gain by seeing such things. The young maiden is overcome with wonder and excitement and she removes her dark sunglasses so she can get a better look at this daku-faced actor in fake sannyasi dress standing before her. In lustful Hollywood & Bollywood fashion, the voluptuous young female marvels & gazes at the fake sannyasi from head to toe. The sensual and soft features of her movie-star face betray her familiarity with his physique and form. And it is in this way that their secret, romantic rendez-vous unfolds, all alone in the forest by the river bank. It is a scene painted for the ages-- full of sensual overtones and suggestive body movements. And with yes-- romance. That is how the new AM pracara movie-- "Kiirtan Mahima"-- begins.
Needless to say, the seductive and almost erotic beginning is quite a shock to all AM sadhakas who view the film. Because as we all know, the tantra of AM is about channelising the mind to the Supreme, yet immediately this entire opening scene plummets in the opposite direction. And by its suggestive nature, the film clearly undermines the sanctified place that our AM wholetimers have on this earth. An Avadhuta has come to live a life of sacrifice: With an elevated mind he is to serve the crying humanity-- and not fall into the lustful net of cheap romance etc. Because our entire sannyasis order is based on only the highest ideals, yet here in this film, our AM avadhutas are being painted as nothing more than sexually-oriented womanizers. That is the unfortunate vibration of this movie-- that is the message that is not so subtly given. In such a scene, I do not know what the common people will gain by seeing such things.
I do not want to point out all the problems and ruin the film for everyone-- all should see it with their own eyes to believe it. And while you watch, there are a whole slew of dogmas that are unleashed throughout this new AM film. Such as:
(a) Wrong way of doing Guru Sakash; (b) Improper namaskar and incorrect explanation; (c) Mispronunciation of Guru Puja; (d) Wrong selection of song for Paincajanya which goes against the sanctity of Ista; (e) Misleading & dogmatic idea of how Baba's grace works; (f) And there are so many other ideological errors.
So these are all things to watch for. Because really this film should be set aside in the dustbin and all such errors should never repeated again as they give a false and improper teaching of AM ideas and values. That is what many are telling about the film. Those non-margiis involved in making the film should be taught and those margiis and wts involved in the film should take atonement. They should return $$ to AM. They are enemies of the Marga. Tis is neg plan to destroy AM philosophy and way of life, just like communists and Hindu Fundamentalists did in the past. And tragically enough, this lengthy AM movie (47 min 45 sec) is aimed at pracara, i.e. to be shown to the general public. So the common people will get a totally mistaken view of Ananda Marga. All because of the poor and improper way the movie was made-- from its sensual overtones to its misinformation about AM adarsha.
Here is yet another example how the film goes astray. One aspect of the film focuses on a 'typical margii family'. Only this version is hardly typical as it is wrought with pseudo-culture and Hollywood values. For instance, in the so-called margii family the father is approximately 45 years of age. And there are three children: two sons and a daughter whose age, more or less is around 18. Thus far it is reasonable. However, the outrage is that the mother looks to be half the age of the husband, around 22 yrs of age. Then how can there be prama, when the mother is 22 and the children are 18. To make the mother look alluring and attractive they casted a young sensual female to play the role of mother. So the seductive mother is actually only a couple years older than the children. That is why all the whole prama of this so-called margii family is totally lost-- gone. Because who can believe this is a real family when the so-called mother has teenage children yet the mother herself appears to be not much older than a teenager. Hence, rather than depicting an endearing and wholesome margii family, the film totally undermines our AM tradition by resorting to a Hollywood, pseudo-culture approach that shows women for their sexual value only. In AM females are respected as a mother but in the movie, that actress is not a mother, just a just sex symbol. To top it all off, in one notorious scene, throughout the time that this so-called margii family is doing kiirtan, the camera is primarily focusing on the mother's face and breasts. So the whole thing is a complete embarrassment to AM values and directly contravenes Baba's mandate of 'dignity of women'.
While there are countless points and objectionable scenes in this film which has been done in the name or RAWA, here I do not want to say more. Instead others should come forward and express their viewpoint.
At the same time we should recall and remind ourselves of Baba's stern warnings about the movie industry. Because although the potential of film-making is very great and can be an asset to the society, all too often today's film plunge into the horrid depths of sexual innuendos and lustful displays. That is Baba's stern warning. Baba says, "Many people complain that a major part of modern literature is full only of the whimperings of cheap erotic love. I cannot but agree with their complaint. Such allegations can be brought not only in the sphere of literature but in every sphere of art. After seeing Bombay-made films it seems as though juvenile society has, indeed, no other job than busying itself with so-called love - as though every college girl of any respectable community is engaged in amorous escapades, throwing all decency and decorum overboard. In fact, the mentality of those artists and litterateurs who depict only this type of situation is nothing but impotent." (PNS-10, 'Art and Literature') So Baba harshly condemns those films which fall into the depths of depravity by resorting to sexual overtones etc. Yet tragically, that is exactly what the makers of this new AM film-- "Kiirtan Mahima"-- have done. They have filled it with grossly sensual scenes. Here again is another of Baba's warnings about the modern-day film industry. Baba says, "Cunning exploiters, by encouraging animality, are able to bring people under their sway. The cinema industry suffers from this malady. This industry is controlled by a handful of business persons who make films according to popular taste and demand. While ordinary people naturally run after those films which in their ideas, language or visual images cater to their base propensities, such ideas, language or images instantly distort the ideals of the idealist beyond recognition. It is quite in character for purely commercial film producers to exploit these human weaknesses to their own advantage, and this is exactly what is happening." (HS-1, 'Education') So Baba chastises and condemns those film producers who 'sell out' to lowly imagery and depraved themes in order to capture the public and make a buck. And the horrible part is that the new AM film, "Kiirtan Mahima", falls into this same category. That is the irony of it all. Because ultimately our AM aims to wipe out pseudoculture yet this same black cloud of pseudo-culture is enveloping our own existence, as evidenced by the release of this newly made AM film. All I ask is, how can we tolerate this negative display as this film runs amuck in the river of pseudo-culture and depravity.
By Baba's grace we are to lead the humanity toward the divine Goal. So our films should adhere to the devotional cult and be made by those whose minds are ensconced in sadhana-- not pseudo-culture. By this way we will be able to goad one and all unto the path of bliss. Baba Krpa Hi Kevalam-- Baba's grace is all. Baba says, "This search for beauty, this effort to attain perfection, gave birth to dharma, because when human beings did not get happiness from crude objects, they started moving towards the subtle one. Human beings today are not satisfied to watch silent movies. They want to see audiovisual films, because these are more subtle; they give more pleasure to the mind." "Therefore, it is the duty of every person to perform dharma sa'dhana'. Human beings are marching along the path of aesthetic science. Parama Purus'a is described as 'Truth, Consciousness and Beauty' (Satyam Shivam Sundaram). Human beings are fascinated by His grandeur, His non-attachment, and by His beauty too." Sisterly yours, Jayashrii
Seeing the movie it is clear the Rudrananda faction made this film for the sole motive of making money. Just like B group did by making those degenerated Prabhat Samgiita cassettes with Bollywood heroines on the cover. All told that margiis are feeling sad and disgusted after purchasing these things like the newly made AM film.
In a recent email, one blind fellow is praising this movie. Actually in all likelihood he never even saw the film but since he is just a puppet of the Rudrananda regime-- or any regime that will give him his fake family acaryaship-- he speaks glowingly about this crude and unfortunate AM film. So he is praising it just to please his masters, nothing more. Such is the predicament of Narada of Suva Sector.
Really the most awful and detestable aspect of the film is the very depraved and ugly face of the actor who was the fake avadhuta. It was intolerable to look at him. It was like walking into some seedy part of the city where drugs and prostitution run rampant. He looks just like one robber or criminal roaming the streets. And on the top his whole beard and mustache are just fake. Rather than looking like a real sadhu, he looks like some type of terrorist-minded Muslim with the way his mustache is very short and hardly covers his face. It looks like this lowly fellow dreams of being a movie star or a true avadhuta, but his standard and approach drifts drastically in the opposite direction. If he ever does sadhana in his life, then he will quickly be embarrassed by what he has done. That will be the best way for him to recitfy himself. When through sadhana, he himself recognises his dirty ways and refuses for the film to be distributed. I do not know who this so-called actor is, but hopefully such a day will soon come, lest he fall deeper into the depths of depravity & egoism.
One last point about the sensual mother of the fake margii family in the film. Believe it or not, in the film, she continually wears the dress of an avadhutika as if an avadhutika is someone's wife. I think no more need be said than that.
All in all, from top to bottom, according to Baba's viewpoint, this new AM film-- "Kiirtan Mahima"-- is nothing but bad company. Baba says, "In the modern world there is a wide variety of films which excite the passions and have a degrading influence on boys and girls, adolescents and young men and women. Such films create in cinema-goers the desire to emulate in their individual lives the criminal activities, the vulgar expressions of love, or the adventurous behaviour that they see enacted on the screen. This is another example of how keeping bad company causes depravity." (PNS-2, 'Justice')
*************************************** To Become Family Acarya
Baba says, "Only those persons who are sincere, spirited and endowed with sharp intellect; and who understand and can make others understand the philosophy will be considered eligible to become acaryas." (CC-1, '95 Edn, p.12) Note: In the current times, Baba's above golden guideline is being used "for show only". Unfortunately, the reality is that family acaryas are made on the basis of (a) approaching Centre with one's hands and arms raised above one's head in surrender; and (b) going on filling Centre's pockets one after another. If these two qualifications are fulfilled, that is enough. No other qualification is necessary.

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