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The Hindu
5 days ago
- Entertainment
- The Hindu
Review of Ranbir Sidhu's book, Night in Delhi
Here's the first and, to my mind, the most important foundation for Ranbir Sidhu's new novel Night in Delhi: almost everybody here is out to scam somebody. If you've ever read a Khushwant Singh novel or seen the movies of Dibakar Banerjee (Khosla Ka Ghosla and Oye Lucky Lucky Oye), you'll understand that most landmark Delhi texts make this point — because it has always been true. This city is the Valhalla of hucksters, the nourishing nucleus of the confidence trick that is Indian democracy. The novel's unnamed protagonist is a minor crook and thief who lives with his boyfriend/ pimp, Jaggi, a talented but violent man who performs in drag in Delhi's underground music venues. The two live together in a place owned by the deeply unsavoury Basam, who looks the other way when it comes to rent because the duo often steals stuff for him. The protagonist's seemingly oblivious American acquaintance Susan is under the thrall of a transparently fraudulent godman. And a recently-dominant mafia group in the city pauses for breath, in anticipation of a new leader. 'Dirty realism' All of these happenings are a window into the city's invisible gears and mechanisms, the covert economies that keep the whole thing together on a wing and a prayer. Sidhu's gaze is unflinching, shorn of sentiment, intent on grabbing the reader by the scruff of the neck, making them look at things they would have otherwise turned their gaze away from. In the novel's opening line, Jaggi 'unzips his fly and produces his penis' — had this been in the middle of the novel, the reader could not have been blamed for thinking that rape/abuse is in the offing. Instead, Jaggi gets up and pees on the floor, the yellow pool intended to drive away Basam, who had been lingering with the two of them (Jaggi and the protagonist) against their wishes. It is a brilliant, dramatic moment and one which sets the novel's noirish, 'dirty realism' tone. Early on in the book, the protagonist gets involved with tele-scammers, the kind targeting American senior citizens, scaring them with stories of tax evasion and pilfering their retirement funds. In a darkly funny extended scene, we see the protagonist giving it his best shot, trying to scam the bemused Mrs. Elaine Drummond, 73, from Idaho. 'We've travelled a long way, Mrs. Drummond and I, through the woods in the night and now we're close to the city in the dark, the undiscovered country, glowing distantly, as we struggle forward, and I'm ready, with luck, to show her that shining destination. As we talk, the room gradually grows quieter around me. One after another, my colleagues remove their headsets, cut short their phone calls, and rise from their chairs to gather and listen... Everyone is enraptured, and except for me, there is silence in the room.' By the time the cons and deceits are wrapped up, Night in Delhi proves itself to be an essential Delhi novel, and another resounding success for the author of the brilliant 2022 book Dark Star, a devastating meditation on misogyny, nationalism and displacement. The reviewer is working on his first book of non-fiction.
Express Tribune
13-07-2025
- Entertainment
- Express Tribune
Sardaar Ji 3 review: bridging borders but missing depth
After undergoing various socio-political and cultural controversies, and ups and downs, the new Indian film Sardar Ji-3, has been released globally except its parent country India. This leaves 1.5 billion film lovers deprived of enjoying this comedy feast starring Diljit Dosanjh, one of the most prominent and celebrated stars of India. Interestingly, the reason for this deprivation is that the film's female lead happens to be the famous Pakistani actress Hania Amir. Other stars in the cast include Neeru Bajwa, Manav Vij, Gulshan Grover, Jasmin Bajwa, Nasir Chinyoti (also Pakistani), Sammy Jonas Heaney, Daniel Khawar, Sapna Pabbi, and Monica Sharma. The project has been directed by Amar Hundal and produced by Gunbir Sigh Sidhu and Manmord Sidhu, while Rakesh Dhawan, Dheeraj Rattan and Manila Rattan teamed up as screenwriters. Another twist in this cinematic cum political tale is that long before the recently mounting tensions between the two arch-rivals India and Pakistan, the government of Pakistan had banned the screening of Indian films in the country, but as a unique case has permitted this cinema venture to be released in the country's theatres and cinemas. That is a timely and prudent move by our decision makers on diplomatic and geopolitical fronts and will definitely cement further the ties between Pakistan and the East Punjab [Indian] and its people, especially the Sikh community. I have always valued and loved the fact that art and culture transcend the political divides, also between Pakistan and India, and hence music and entertainment of both countries are cherished by the people on either side of the border. As the Punjabi diaspora is globally present and has exercised a great impact on broader-spectrum culture, the modern-day Punjabi films, plays and music are considered beyond the restraints of regional and political boundaries. Linking its roots to the previous two parts, Sardar Ji 3 continues the eccentric saga of the beloved ghost-hunting character Jaggi, portrayed by Diljit Dosanjh. This time, Jaggi finds himself entangled in a bizarre cross-border tale involving supernatural elements, mistaken identities, and an unlikely romance. This time the ghost is bigger and more horrible, and later on, it appears to belong to the dead body of the twin brother of the villain who has hired the psychic pair for getting their castle free from this weird and unearthly presence. It is unbelievable that for many years, the villain has kept the body of his brother inside the castle without any special procedure or treatment in a simple wooden-box. Set against a backdrop of fantasy and farce, the film attempts to blend comedy, action, and fantasy with a touch of patriotic sentiment. The plot weaves in a new twist through the character of a cute girl, which becomes the centre of both the romantic and political drama. However, despite the fresh setting, the storyline remains structurally similar to the earlier installments, leaning heavily on familiar tropes — bumbling heroes, exaggerated and even comic villains, and a chaotic narrative full of comic misunderstandings. Thematically, Sardaar Ji 3 appears to aim at promoting righteousness and relationship setting aside financial gains and pragmatism. It tries to wrap its message in humour and whimsy, hoping to soften complex realities through cinematic exaggeration. However, this intention is undermined by its lack of depth and over-reliance on slapstick humour. While the film hints at themes like love beyond borders, the absurdity and loud comedy often dilute the emotional and moral potential of the story. Another theme is the internal conflict of identity and legacy — Jaggi tackles the burden of his own exaggerated legend. The movie plays with the idea of living up to a larger-than-life image, which ironically mirrors Diljit's own struggle as an actor stuck in a repetitive on-screen persona. Despite some visually engaging moments and high-energy sequences, Sardaar Ji 3 lacks the narrative maturity and character development needed to transform it from a noisy comedy into a meaningful cinematic experience. In the end, it becomes more about gags than growth — both for the character and the actor portraying him. The plot and script were expected to blend humour, drama, and romance, typical of the Sardar Ji franchise, but this time, the viewers were caught unaware by a loosely woven horror thread in the general fabric of comedy. It would not be unjust to say that the amalgamation of both the mutually diverging elements — humour and horror — unfortunately proved to be counterproductive and marred the individualistic impacts of each of the genres. Moreover, we come across a very sombre and didactic aspect of human life — the evil deeds always bring forth evil outcomes — portrayed through the episode of the ghost in the castle and the people connected to his family and friends or accomplices. However, the teasing feature is that this grave story is confined to 5-10 minutes of dialogues/scenes sunk into the overall atmosphere of the sitcom. It seems that a major twist and climax of the story is just an insignificant incident in its scheme. It would be grimly unjust not to admire and relate dynamic appearance, awesome dressing style and confident acting of Hania. The songs picturised on her have oodles of her charm, while her performance hypnotises the audience, as do the stunning landscapes. Hania's dimples, screen presence, the song lyrics, dance steps, and melodies make watching the songs a treat for Pakistani audiences. The only but significant professional lapse in her performance was her poor command over Punjabi dialogue delivery that made the director take help from technology and dubbing in places where needed. Diljit Dosanjh seems to have reached a creative plateau with his repetitive performance. While his star power remains undeniable and his international fan-base continues to grow, the film exposes a deeper issue — his inability to break free from the repetitive mould he has built over the past decade. Diljit appears to be a prisoner of his own peculiar style, recycling the same brand of slapstick comedy, exaggerated absurdities, and over-the-top antics that once felt charming but now border on monotonous. The comic timing, facial expressions, and character delivery all seem like déjà vu for audiences who have followed him since the original Sardaar Ji. Despite commercial success in some overseas markets, the film feels creatively stale. There is little evolution in the narrative style or performance depth. What was once viewed as a unique blend of rural charm and urban wit has now become a predictable caricature. The clownish energy, which may have been endearing in the early years, now feels forced — almost as if Diljit is trying to meet the expectations of a role that no longer fits him naturally. The broader disappointment lies in the fact that Diljit has the talent and the presence to redefine Punjabi cinema, but Sardaar Ji 3 suggests he's stuck in a comfort zone. Instead of exploring new emotional ranges or bolder themes, he seems content repeating a formula that's well past its prime. As the global Punjabi film industry develops further and audiences become more discerning, actors like Diljit will need to take creative risks or risk becoming parodies of their former selves. Stardom is a gift — but it can become a burden when it resists reinvention. Switching to Neeru Bajwa, who plays the role of a ghost/witch named Pinky, we must say that she reprises her presence in the series with grace and seasoned charm, she has also done justice to her role with a few scattered deviations and lapses. Playing the role of a strong-willed and magnanimous female or feminine creature, she adds emotional balance to the otherwise chaotic and comedy-driven storyline. Her character acts as both a counterforce and a reality check to Diljit Dosanjh's over-the-top antics, grounding the narrative in moments of sincerity. While the film largely revolves around supernatural fun and cross-border humour, Neeru brings depth through her expressions and mature screen presence. Though her role isn't the central arc this time, her contribution adds a layer of continuity and credibility to the franchise. Her final understanding and decision to get aside, sacrifice her overwhelming love, and to bring Noor and Jaggi together adds to the positive emotional flow that runs through the theme of the film. Winding up, the film is just like a confection — sweet, effervescent, and unpretentious. It embraces its genre tropes joyfully, yet beneath that lies little narrative heft. Performatively, it struggles on Diljit's enduring appeal and music‑infused humour, which often rescues the experience. The insertion of Sikh spiritual text attempts emotional depth but highlights the film's tonal fragility. Meanwhile, its political entanglement inadvertently performs a cultural critique: the torn space where art and diplomacy collide. Muttahir Ahmed Khan is an author, literary critic and educationist, and can be reached at muttahirahmedkhan@ All facts and information are the sole responsibility of the writer
Time of India
17-06-2025
- Politics
- Time of India
‘1K converted Sikhs reverted'
Lucknow: The All India Sikh Punjabi Welfare Council (AISPWC) announced on Tuesday that it will launch a state-wide campaign to combat religious conversion of Sikhs in Uttar Pradesh. Speaking at the UP Press Club, AISPWC national president Harpal Singh Jaggi said around 1,000 people had been reverted to Sikhism out of approximately 3,000 who had converted to Christianity in Pilibhit district. "We will organise public meetings, awareness drives, campaigns and dialogue programmes across the state to prevent such conversions," said Jaggi. President LGPC Devendra Singh Bagga, another council member, expressed concern that such "unconstitutional activities" were disturbing communal harmony and peace in the region. TNN
Time of India
16-06-2025
- Entertainment
- Time of India
Ahead of Sardaarji 3, here's where you can watch the last two instalments of Jaggi's adventure - Deets inside!
Sardaarji 3, the most recent entry in the popular Sardaarji franchise, is scheduled to open in theaters on June 27, 2025, so Punjabi moviegoers are in for a treat. The film promises a new take on the beloved supernatural comedy series, and it stars the always endearing Diljit Dosanjh as Jaggi, the ghost-hunter with a golden heart. This time, the story delves further into Jaggi's emotional realm, fusing romance, oddball humor, and unearthly mayhem into a thrilling journey. The ensemble cast of Sardaarji 3, which is directed by Amar Hundal, includes Monica Sharma, Nasir Chinyoti, Gulshan Grover, Manav Vij , Neeru Bajwa , and Saleem Albela. Rekindling their cherished on-screen chemistry, Bajwa and Dosanjh's reunion will delight fans. The movie was filmed in a number of gorgeous foreign locales, with snippets of Edinburgh and London providing an exotic setting for the spectral adventures. The first breath calling from the set hints at an energetic mix of love and magic, yet the studio keeps the script under lock and key. This round, Jaggi might battle tender heartbeats alongside wily spirits. Teasers promise a chunkier emotional journey, plus a handful of unconventional newcomers ready to sprinkle extra charm on the already adored cast. A Quick Look Back: Sardaarji (2015) It's worthwhile to go back to the beginning before delving deeper into the most recent installment. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Mother Set Up A Hidden Camera, Her Husband Was Caught In The Act... Topbunt Undo The 2015 film Sardaarji introduced viewers to Jaggi, a bold Punjabi ghostbuster who is transported to London in order to exorcise a bothersome ghost that is haunting a palace. The first film, mixing Punjabi flair with slapstick ghost antics, became an instant crowd-pleaser. Directed by Rohit Jugraj and headlined by Diljit Dosanjh, Neeru Bajwa, and Mandy Takhar , it set a new bar for Punjabi cinema. With snappy jokes, sing-along tracks, and slick cuts, the movie shattered box-office records and became the region's first ghost comedy. Sardaarji 2 (2016): Bigger, Wilder, and More Hilarious Capitalizing on that momentum, Sardaarji 2 arrived in 2016 with a brand-new storyline. Now set in Australia, the film follows Jaggi as he enters a farming contest bent on rescuing his home village. The movie focused more on ridiculous humor, misidentifications, and heartwarming family moments than it did on ghosts. Starring Diljit Dosanjh, Monica Gill, Sonam Bajwa, and Jaswinder Bhalla, the movie was another box office hit. Fans enjoyed its fast-paced humor and Diljit's dual-role performance, although it tended more toward slapstick comedy than the horror aspects of the original. Where to Watch Sardaarji 1 & 2 Fans can dive into the earlier mischief while waiting for Sardaarji 3 to hit cinemas: 1. Sardaarji (2015) pops up on Netflix and Amazon Prime Video in select corners of the globe. 2. Sardaarji 2 (2016) floats onto ZEE5 and Chaupal OTT, depending on where you log in. More than a mere sequel, Sardaarji 3 heralds the return of a cherished hero who stands for laughter, lore, and heartwarming Punjabi films. With its star-studded roster, an enticing fresh tale, and Jaggi's unmatched charm back in full swing, the third outing promises to be the most massive yet. Mark June 27, 2025, in bold on your calendar, and until then, let the spooky giggles and lovable chaos of the original pair sweep you off your feet again.
Indian Express
31-05-2025
- General
- Indian Express
The man who brought gurbani to the masses
Padma Shri Dr Rattan Singh Jaggi, one of the most revered scholars of Sikhism and a towering figure in Punjabi and Hindi literature, passed away in Chandigarh on May 22. He was 98. Over a remarkable career spanning over six decades, Dr Jaggi authored over 150 books and became a widely respected authority on Gurmat, the Bhakti movement, and medieval Indian literature. His erudition, linguistic mastery and deep engagement with Sikh scripture earned him recognition as a literary colossus and a guiding force for generations of scholars. Born on July 27, 1927, Dr Jaggi obtained his PhD from Panjab University in 1962 for his thesis 'Dasam Granth Da Pauranik Addhyan'. He received a DLitt from Magadh University in 1973 for his work 'Sri Guru Nanak: Vyaktitva, Krititva aur Chintan'. He retired as professor and Head of the Department of Punjabi Literary Studies at Punjabi University, Patiala, in 1987. Equally at ease in Punjabi, Hindi, Urdu, Sanskrit, Persian and English, Dr Jaggi's scholarship was as prolific as it was profound. Among his most significant contributions was the eight-volume commentary 'Bhav Prabodhini Tika – Sri Guru Granth Sahib', followed by its Hindi adaptation in five volumes. His works also include 'Arthbodh Sri Guru Granth Sahib' published by the Shiromani Gurdwara Parbandhak Committee, and 'Guru Nanak Bani: Paath ate Vyakhya', released in both Punjabi and Hindi during the 550th Prakash Purb celebrations. Dr Jaggi served as editor of several key reference texts published by Punjabi University, including 'Punjabi Sahit Sandarbh Kosh', 'Punjabi Sahit da Sarotmoolak Itihas', and 'Guru Granth Vishavkosh'. His books 'Guru Nanak: Jeevni ate Vyaktitva' and 'Guru Nanak di Vichardhara' were both honoured by the Languages Department, Punjab. His Punjabi transliteration and translation of Tulsi Ramayan earned him a national award from the Sahitya Akademi. In recognition of his lifelong contributions to literature and education, the Government of India honoured him with the Padma Shri in 2023. He was also the recipient of the Sahitya Akademi Award in 1989 and the Punjab government's highest literary honour, the Punjabi Sahit Shiromani Award in 1996. The governments of Delhi, Haryana, Uttar Pradesh, the SGPC and several universities and literary bodies also conferred honours upon him. Dr Jaggi is survived by his wife Dr Gursharan Kaur Jaggi, retired principal of Government College for Women, Patiala, and son Malwinder Singh Jaggi, a retired IAS officer. His passing marks the end of an era in Sikh theological scholarship and Punjabi literary tradition. The last prayers will be held on Saturday.
