Latest news with #Krishna
India Gazette
2 hours ago
- Sport
- India Gazette
"Line, lengths I bowled were not perfect...": India's Prasidh Krishna on Leeds Test performance
Leeds [UK], June 28 (ANI): Ahead of the second Test against England at Edgbaston, Indian pacer Prasidh Krishna admitted that he could not bowl the line and lengths he wanted and would look to control his economy rate in the coming matches. The second Test will take place at Birmingham from July 2 onwards. While Prasidh took a total of five wickets in the match, the same as pace spearhead Jasprit Bumrah, his economy rates of 6.40 and 6.10 across both innings attracted plenty of criticism from fans and experts alike, as he offered too many easy-to-hit deliveries. Speaking ahead of the match in the pre-match presser, Krishna said, 'I think if I look at the first innings, I was a little shorter than where I wanted to be, definitely 6-8 metres is ideal. That is what I would say. I think the second innings got slightly better because again the wicket was slightly slower.' 'I had to pitch a few slightly behind 8 and then go slightly fuller when I am trying to get a wicket. So yeah, I definitely did not bowl the lengths that I wanted to,' he added. Krishna also said that he would like to bring down his economy rate in the coming games. 'I think I am learning as well. I cannot say anything, it is up to me, it is my responsibility to get better, and that is what I am trying, that is what I am working on and I just want to make sure I put in the right kind of work and come back here and put up better numbers,' he added. On the possible absence of Bumrah from the second Test, Krishna said that the team is learning from each other no matter who is there and who is not, and the senior pacer had been talking to the bowling group even before coming to England. 'At least for me, I have been part of this team for a few years now, so the conversations are still going on. One thing you cannot get is experience that you have to do it yourself , and yeah, I think all of us are excited. If you look at the team, everybody is here. (Mohammed) Siraj has played a lot of games, he is going to continue playing, and then whoever comes in or whatever happens later, it is a great experience and it is an opportunity, that is the way we look at it,' he added. The pacer admitted that during the last match, the outfield was fast and his line and lengths were 'not perfect' and hence the English batters took him on. 'Some of them were edges, some of them I tried bowling bouncers, I ended up giving runs, so I think somebody in the team had to do it. I am happy to do it, but definitely every time I come out to bowl, I am looking to keep the economy right down and build the pressure up,' he added. India's Test squad for England series: Shubman Gill (c), Rishabh Pant (vc), Yashasvi Jaiswal, KL Rahul, Sai Sudharsan, Abhimanyu Easwaran, Karun Nair, Nitish Reddy, Ravindra Jadeja, Dhruv Jurel, Washington Sundar, Shardul Thakur, Jasprit Bumrah, Mohammed Siraj, Prasidh Krishna, Akash Deep, Arshdeep Singh, Kuldeep Yadav. (ANI)
Indian Express
3 hours ago
- Sport
- Indian Express
India's tailenders toiling away in nets, Shubman Gill ‘speaking to all of us', says Prasidh Krishna after 1st Test debacle
Among the major factors that contributed in India losing the first Test against England at Headingley was a rather stunning late collapse in the second innings, with their last three batters all falling for ducks. This, coupled with the fact that they accounted for just a combined four runs in the first innings, put India's rather long tail under the spotlight. Fast bowler Prasidh Krishna has now said that the tailenders are now putting in the work with the bat in the nets. 'As the lower-order batsmen, we definitely are working on… If you look at our net sessions, we are putting in the work,' Krishna told reporters on Saturday. 'I think it is about putting your mind in there as well, making sure you trust yourself, trust the skill that you have and be there at the crease for a little longer. And then the numbers and the runs are going to show, and we are working towards it. India lost the series opener at Headingley by five wickets despite having five centurions, with two tons scored by Rishabh Pant alone, and a five-wicket haul for Jasprit Bumrah. New captain Shubman Gill's ability to establish his authority was brought up by a few commentators when it looked like KL Rahul and Pant were among senior players setting fields during the second half of the second session on Day 5. Krishna said that Gill did a very good job with rotating his bowlers and is in conversation with them. 'About Shubman, yeah, I think he did a pretty good job. All of us saw how he rotated the bowlers, made sure everybody had enough breaks, brought in people at the right kind of spells,' IPL 'Purple Cap' winner Prasidh said. 'He saw opportunities and brought in the right kind of bowlers. All of that was great. And knowing him, he set a very good atmosphere around. He's been speaking to all of us. We always go in with a plan and the communication is happening there,' he added.
Hans India
7 hours ago
- Entertainment
- Hans India
A soul-stirring Bharatanatyam ballet of devotion and deception
Ravindra Bharathi came alive with the grand premiere of Sirikakolanu Chinnadi, a Bharatanatyam ballet that dazzled with exquisite costumes, jewellery, music, and dialogue. Originally a radio broadcast drama by the famed Veturi Sundararama Murthy, it was the dearest wish of the late Padma Shri Dr. K. Viswanath that the story be transformed into a dance ballet. Although he originally intended it to be a film, circumstances prevented it, and the vision lived on in this evocative new form. The monumental task of choreographing and creating this ballet was entrusted to Dr. Smitha Madhav, who embraced the challenge with patience, devotion, and years of creative effort. The richly layered narrative, set in the luminous era of Sri Krishnadevaraya, was staged with classical finesse and majestic grandeur. At the heart of the story is Aliveni, a devadasi of profound devotion to Lord Krishna, caught in a whirlpool of love, deception, divine longing, and social condemnation. Through masterful choreography, soul-stirring music, and deeply expressive abhinaya, the production transported audiences to Sirikakulam—a sacred land envisioned as Vaikuntha itself. The music, composed by maestro Embar S. Kannan, gave the ballet a tonal richness that added to its emotional impact. The program's prologue opened with a vibrant homage to Telugu land and the Krishna River. Stunning imagery was projected on a screen, eliminating the need for traditional props. In 'Sīrulu Galugu Telugu Thalli,' young dancers in a riot of multicolored costumes celebrated the beauty of the land—said to surpass even Amaravati—setting the sacred tone for the story. Three noblemen in bright tunics encounter Aliveni, debate her identity, and try to win her over. She, however, remains detached, immersed in her devotion to Krishna. Smitha portrayed this enraptured mood with refined sensitivity. At a grand performance at the Andhra Maha Vishnu Temple, Emperor Krishnadevaraya notices her divine connection and appoints her as the temple devadasi, granting her lands and sacred honors. However, the provincial governor Marthanda becomes infatuated with her. Smitha's portrayal of Aliveni offering services to the Lord was marked by reverent, elegant gestures. Back home, tension brews between her and her mother Rangaji—a show-stopping performance by Bhargavi—along with her friends Chanchala (Ananya) and Jalaja (Aditi). Rangaji and Chanchala, driven by greed and cynicism, mock Aliveni's spiritual path. Jalaja's innocent questions about Krishna offer a tender moment, with Aliveni responding in the lyrical format of 'Nanda Kishorudu,' echoing the yaksha-prashna tradition. The supporting characters were deeply compelling: Bhargavi as the domineering and exploitative mother, Ananya as her crafty companion, and Aditi as the gentle and innocent Jalaja. These performances showcased abhinaya at its finest. Aliveni counters skepticism with a moving performance of 'Raayi Kaade,' declaring the deity as not merely a stone, but a living and loving Lord who resides in her heart. The narrative intensifies halfway through the 90-minute ballet. In a dream sequence set to 'Katthina Silanu,' Krishna appears, responding to Aliveni's yearning. She proves her devotion through 'Kondaneti Dhara.' Rangaji's fury escalates, and she imprisons her daughter. In the heart-wrenching 'Na Jeeva Veena Pai,' Aliveni pleads to Krishna, comparing herself to a silenced veena, desperate and abandoned. Rangaji, in collusion with Marthanda, plots to deceive Aliveni. Disguised in crown and garments, Marthanda (played with exuberance by guest artiste Hari Mangalampalli) approaches Aliveni pretending to be Krishna. She is deceived. The truth is revealed when Aliveni collapses during a dance performance before Krishnadevaraya, her pregnancy exposing the betrayal. A vivid courtroom scene follows, rich in drama and eloquence. After Aliveni sings 'Brindavaname' in despair, her innocence is proven through Marthanda's confession and Rangaji's remorseful admission. The emperor and his court poet Allasani Peddana reflect on the events. Marthanda is punished; Aliveni is spared. The finale is poignant and unforgettable. A broken-hearted Aliveni walks into the Krishnaveni River, symbolizing her liberation. In a stunning theatrical gesture, the dancer stepped off the stage and walked through the central aisle, dissolving the boundary between performer and audience. This moment marked not just the end of her story, but an immersive experience of spiritual transcendence. The ballet powerfully explored the eternal tension between worldly desire and divine love. Each scene was sculpted with classical precision—mudras, jatis, and expressions seamlessly aligned with raga and rasa. Sri. Y Harish Chandra Prasad founder Malaxmi Group presided as Chief blessings from Seetha Mahalakshmi the ballet was produced by Madhav-Director Varna Arts Academy. Presentation was assisted by the Department of Language and Culture, Govt. of Telangana and Raga Saptha Swaram whose convenor Smt. V. S. Rajyalakshmi was indefatigable in her organizational skills to make the recital well attended and appreciated.
India Today
11 hours ago
- Entertainment
- India Today
Naa Ninna Bidalare: Anant Nag's classic is a battle between obsession and devotion
In this week's Retro Review, we pick a 1979 Kannada horror film that set trends, made waves and gave an iconic on-screen pair. 'Naa Ninna Bidalare' is a milestone film in the esteemed careers of Lakshmi and Anant Nag, who were considered an iconic on-screen pair during their prime. The film established Anant Nag's acting prowess as well as his potential to pull audiences to the Naa Ninna Bidalare (1979)Cast: Anant Nag, Lakshmi, K Vijaya, KS Ashwath, Leelavathi, Balakrishna, Musuri Krishnamurthy among Vijay ReddiBox-Office Status: Blockbuster (Ran in theatres for over 100 days)Where to Watch: YouTubeWhy to Watch: Anant Nag-Lakshmi on-screen chemistry, screenplay, peak horror, beautiful songsadvertisementToxicity in relationships and romance is one of the most talked-about topics currently, in cinema or otherwise. Red flags, obsession, stalking, coercion, manipulation, etc., on one side - green flags, loyalty, trust, devotion, etc., on the other - and we often find characters in films and people around us in real life oscillating and stuck between these poles; all in the name of imagine a film that is almost four decades old addressing the same issues, but with a magnified perspective. That's 'Naa Ninna Badalare' for you - a 1979 Kannada film that talks about the same problems but on a deeper, darker and scarier level. On one end, we have Kamini, played by K Vijaya, who represents all the negative connotations of love listed above; and on the other, we have Gayathri, played by Lakshmi, who represents the positive. Struggling in between is Krishna, played by Anant Nag, who is married to his childhood love Gayathri but becomes blue-eyed due to Kamini's obsession - a love that haunts him literally. A poster of 'Naa Ninna Bidalare' advertisementThe Plot in a nutshellThe film begins with Krishna attempting to study for his exams, but his focus quickly falters, thanks to a photo of Gayathri tucked inside his textbook. The picture acts like a bookmark - or maybe a checkpoint in the syllabus - as if he's promised himself he can see her only after completing a set number of the exams are done, Krishna heads back to his village. But instead of going home, he rushes straight to see Gayathri. Having grown up together - their parents being siblings - Krishna and Gayathri have shared a bond since childhood. Their love story feels destined, even unofficially betrothed over the follows is a string of cinematic highs: Krishna jumps off a moving train just to get to Gayathri immediately; a retro classic, 'Naanu Neenu Ondada Mele' by SP Balasubrahmanyam and S Janaki, sets the tone; there's drama, comedy, and a wedding fixed before you know it. Then comes another SPB–S Janaki gem, 'Hosa Balige Nee Joteyaade', played on their first night as a married couple. Just when things seem to be heading toward a near-consummation of marriage - boom - the pre-interval twist drops: in a graveyard, Krishna is blue (eye)balled, and the camera pans ominously to the name... Kamini. (PC: Youtube/SGV Digital) This is where the film really gets into its element and picks up pace. Who is Kamini? What happened to Krishna? Was Krishna loyal to Gayathri while he was away for his studies? Will Gayathri be able to save her husband from the clutches of Kamini? The answers to these questions - delivered in the most conventional and classic manner - form the plot of the rest of the film. Not just that, but these very answers are what made the film a classic in the rich filmographies of cinema icons like Anant Nag and of romance: Red flags and green flags'Naa Ninna Bidalare', which translates to 'I won't leave you' in Kannada, is applicable in two ways: the innocent, dedicated love of Gayathri and the toxic obsession of Kamini - both directed at Krishna. While 'red flags' and 'green flags' are terms popularised by Gen-Z, the theme itself has existed for as long as love has been relevant, and cinema has long explored these Anant Nag as a possessed Krishna looks terrifying, the conversations between Kamini in Krishna's possessed body and Gayathri are just as catty as ever - conversations between two women over a man. The dialogue, 'Baa re baa!', is so iconic that it's the first thing that comes to mind for anyone who has watched the film. And the pre-climax clash between the metaphorical green and red flag? It's the kind of spicy (masaledaar) showdown that reality shows today could only dream of staging. (PC: Youtube/SGV Digital) advertisementThe film takes a moral standpoint, holding up a mirror to reflect the contrast between these polar-opposite forces. Sitting in 2025, it might come off as a tad preachy in its portrayal of a modern city girl versus a traditional village girl. But if you look past the obvious classic template, you can see how these women represent all the traits we now label individually - what was once simply considered good or classic template: Old now but gold thenThe story, screenplay, and technical aspects of the film follow what we now recognise as 'the template'. In the realm of love-centric dramas, it has all the familiar ingredients: a noble and charming hero, a heroine who's the epitome of virtue, families who heighten the drama without offering real solutions, a couple of comic side characters, and a female villain who's the complete opposite of the ideal heroine. And since the villain is a ghost, it's ultimately God who steps in to save the paper, it might sound like a film you've seen a hundred times before, but what makes this old gem feel like gold is the way it has been presented. A classic template done right is still entertaining today, so just imagine the kind of craze this film must have had - which, for a 1979 release, can still be considered ahead of its time. While the elements follow the template, the treatment does not. Most importantly, the comic scenes are an extension of the main plot, and not just a random ape-man showing up in the city and harassing women under the guise of comedy. This shows that building a story was given the most importance and not a mindless integration of music and immortal voicesSP Balasubrahmanyam, S Janaki, and P Susheela are pillars of playback singing in Indian cinema. Just these names, along with the music cassettes sold, were enough to make this film a profitable venture. Those were the days when such musical icons were no less than superstars on screen. The immortal voices of these stalwarts struck the right chord, elevating the cinematic experience and instantly establishing the chemistry between the characters. P Susheela, SP Balasubramaniyam and S Janaki (from the left), some of the most accomplished singers in Indian cinema advertisementThe four songs in the film - the devotional 'Bidenu Ninna Paada', the saucy anti-romantic 'Endendigoo Naa Ninna', the song of unification 'Hosa Balige Nee Joteyaade', and the ever-romantic 'Naanu Neenu Ondada' - form a playlist, and a set of voices, that are truly Nag and Lakshmi: One of the finest on-screen couplesLakshmi, or 'Julie Lakshmi', became a nationwide sensation with her debut film for her beauty and on-screen charm. Anant Nag, on the other hand, was a consistent presence in parallel cinema, frequently seen in Shyam Benegal's award-winning films like 'Ankur', 'Nishant', and 'Kalyug'. While these roles marked their entry into the Hindi film industry, both actors carved out their own success stories in South Indian cinema before coming together on who debuted in 1968, was soon cast opposite some of the biggest names in South Indian cinema - from Rajkumar and Vishnuvardhan to MG Ramachandran, Sivaji Ganesan, NT Rama Rao, and Akkineni Nageswara Rao. She steadily built a strong portfolio, eventually establishing herself as a female superstar of that Nag, meanwhile, made his debut in 1973 after gaining prominence in theatre. He gradually rose in popularity for his chocolate-hero image in commercial films, while also making a mark in several award-winning parallel cinema projects. When the two were paired together in 'Naa Ninna Bidalare' (1979), their chemistry was so widely appreciated that they went on to star in several more Kannada films together, becoming a formula for guaranteed commercial success. A lasting legacyA film becomes a classic when it refuses to fade with time and continues to live on in the minds of its audience. This is one such film - not just because its themes still resonate today, but because its storytelling sets it apart from the rest. What truly cements its legacy, however, are two unforgettable forces: the iconic pairing of Padma Bhushan Anant Nag and Lakshmi, and Kannada cinema's eternal blue-eyed boy - Krishna. - Ends
The Hindu
16 hours ago
- General
- The Hindu
June 28, 2025
The role of a guru is the highest in the world, as he is the one who takes a devotee by hand and leads him to God. Kanchi Maha Periyava was among the greatest gurus to have lived in the Kali Yuga and lakhs of devotees have been fortunate to have known him and be guided by him in their lifetime, said Damal Perundevi. He was of such a high principled and humble saint who was hailed as Jagathguru, but he always demurred saying, 'I am not the guru, the world is my guru, I am still learning so much from this earth and all the creatures that live on it.' Everyone wants to rise above earthly attachments (at some point of time in each one's life). Kapila Vasudeva discoursed to his mother Devahuti on the importance of devotion (bhakti) which leads to true liberation. He also says that to attain bhakti, one should seek the feet of an acharya, who alone can help a person develop (and grow) bhakti in one's mind and heart. The sight of a lotus blooming under the morning sun in a pond is fascinating to look at, due to the sheer lustre and freshness it emits. The same lotus, when plucked and thrown outside the pond, loses its sheen, lustre and beauty even though the sun is still beaming down upon it. Why does this happen? For the lotus, the pond is like an acharya: if one leaves the feet of a guru, the jivatma too will wilt. The stature of a guru is exalted. Lord Krishna performed so many miraculous deeds in His soujourn on earth, but He was happiest when performing the role of a jagathguru. He donned the role of a guru to Arjuna and delivered the Bhagavad Gita to the Pandava prince as a discourse on the battlefield. Likewise, Krishna discoursed to Uddhava who was inconsolable upon learning that he would be parting from Krishna. The ever merciful Lord gifted His paduka to Uddhava as an assurance that there is no parting for those who surrender to His feet.
