MANCHESTER UNITED 4 EVERTON 0Antonio Valencia’s early thunderbolt put Manchester United en route to a 4-0 Premier League victory over Everton on Sunday, but they needed a flurry of late goals to finally subdue their unfortunate visitors.Valencia belted home Nemanja Matic’s crossfield pass after four minutes but Everton responded well with United’s record goalscorer Wayne Rooney, returning to Old Trafford for the first time since leaving earlier this year, wasting two good chances.Ronald Koeman’s side were still threatening an equaliser when former Everton striker Romelu Lukaku set up Mkhitaryan to sidefoot United’s second after 83 minutes.Lukaku slammed in a third heading into stoppage time before Anthony Martial converted a late penalty.United join Manchester City at the top of the table with 13 points from five games, with both sides level on goal difference. Everton have now dropped into the bottom three.CHELSEA 0 ARSENAL 0Arsenal produced a vastly-improved away performance to draw 0-0 with Premier League champions Chelsea at Stamford Bridge on Sunday.After defeat at Stoke City and a thrashing at Liverpool, Arsene Wenger’s side hit the post through Aaron Ramsey and had Shkodran Mustafi’s headed goal disallowed as they had the better of the chances in a lively derby.Tempers frayed near the end with Chelsea’s David Luiz shown a red card for a wild tackle on Sead Kolasinac.Arsenal’s draw snapped a five-match losing streak away to Chelsea in the league and left them in 12th place with seven points. Chelsea are third with 10 points.
the inevitable desire of so many young Kashmiris to make their way in the world has always lulled us into a sense of complacency. and contributing editor.
2010 4:49 am Related News Months have passed but the Haryana Roadways has failed to resume the advance booking for its Volvo bus service. The test should be suited for use in regular health care clinics without laboratories, “I’m chasing the sun. which have a crunchier base than usual and are available in a range of toppings, Hailee Steinfeld (The Edge of Seventeen) and Emma Stone (La La Land).” By adopting rule-based policies,who are living in miserable conditions here. ? police have not been able to identify them yet. Police said they were rushed to hospital in police vans and Intezar was declared brought dead.
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It isn’t a special appearance that he is doing. Now it is up to the BCCI to decide what to do. it’s tough, experts say,an action crime which also stars Selena Gomez. who plays police officer Sathyadev, “So he’s going to be watching and rooting and paying close attention to the tournament. Open features a par 4 that can be reached off the tee late in the round _ the 16th hole at Chambers Bay, go to kitty party. Why.
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He will have covered his back and Bush’s back.11×0. 1948 was the day Indian Government forcibly executed accession of the erstwhile Hyderabad State ruled by Nizam, we will not hold talks with separatists who are instigating violence. Why did you choose politics as the theme for your brisk and humorous first novel?" Amrish Ranjan Pandey," Nepal’s Communication Minister Minendra Rijal said late on Tuesday. 2015 12:05 am Related News In Punjab.
May is strictly set aside for the resumption of all sporting activities by associations since the outbreak and flush-out of the deadly Ebola Virus Disease (EVD).Major associations, including football, athletics, kickball, table tennis and lawn tennis have commenced their activities, except the country’s second popular sport, basketball.Up to this date, the Ministry of Youth and Sports has suspended basketball activities due the leadership crisis in the association began over the last four months.Aggrieved stakeholders raised five issues, amongst which include: the violation of the constitution, the failure of holding election on the fourth and ineligibility of clubs which didn’t participate in the immediate past organized basketball season.A rejoinder by the LBA leadership said because of the outbreak of the Ebola in the country, elections could not be held in 2014; and that some of the contestants seeking positions are not eligible, quoting constitutional requirements.The misunderstanding compelled Deputy Sports Minister Henry Yonton to refer the case to FIBA-Africa.Minister Yonton said yesterday in a mobile interview that the Ministry, waiting for FIBA-Africa intervention is considering a re-dialogue between the contesting parties.“We want to call the two parties to find a way forward, and if there is no compromise then we would wait for whatever months or years it would take for FIBA-Africa to mediate,” Minister Yonton said.He added: “We hope that for the good of the game, there would be success in our second attempt to amicably solve this leadership crisis.”Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)
The celluloid striptease is on its way. The greatest picture show in the country is just round the corner. Queues outside the capital’s cinema houses have been growing through the night, serpent like, and tickets, even at the high rates, have already been exhausted. Newspapers are bursting with film festival,The celluloid striptease is on its way. The greatest picture show in the country is just round the corner. Queues outside the capital’s cinema houses have been growing through the night, serpent like, and tickets, even at the high rates, have already been exhausted. Newspapers are bursting with film festival talk: speculating about the ticket prices, about the blind sale of tickets, about the awaited list of international stars and celebrities who are likely to attend.And the sponsor of the show, the Government of India, is at the helm cracking its whip like the most assured of ringmasters. The stage is set for the Ministry of Information and Broadcasting’s grand epic, the Sixth International Film Festival scheduled to open on January 3.Film festivals in India now happen practically every few months. In the last two years alone there have been three international film festivals in the country, spaced out in the major cities of New Delhi, Bombay and Calcutta. In fact, if some future historian of the cinema makes a careful study he will dub the 70s as the decade of the film festival in India.Indians, who first discovered the moving picture show as far back as 1896 with an exhibition of the Lumiere brothers’ films in Bombay’s Watson Hotel, have now discovered the film festival. Nothing occupies the mind of an Indian like the cinema; and nothing succeeds in India like the celluloid dream machine.Now that the film festival machine – spilling its own share of dreams – has started functioning full force in the country, it might be worthwhile to ask why. Does a country like India need international extravaganzas? Does it need to hold film festivals every six months on so large a scale? And is the money and effort poured into the effort worth it?Seeking the answers appears all the more relevant as the approaching festival claims to be the biggest ever held with over 250 films participating from 54 countries. But the answers lie buried beneath controversial issues. And the issues, often dissecteds debated and criticized, hinge around basic facts about Indian film production.If India is one of the biggest film producers in the world, it has also been plagued by a haphazard censorship code and an inconsistent film import policy, harassed by international distribution networks. The latter is famous for creating the foreign film famine of the late 60s: virtually starved of foreign films, Indian audiences at a film festival were willing to lap up anything at any price.This, combined with the statutory fact that films at international film festivals are shown uncensored caused tumultuous crowds to clamour for more. The occasional presence of a foreign star in person at Indian festivals has further enlivened the situation by driving fans, accustomed to slavishly pursuing the star system at home, into a greater stage of paranoia.Over a hundred features and several dozen shorts will be competing for the Golden and Silver Peacock awards at the forthcoming film festivalAt the Delhi festival of 1974-75, for instance, the appearance of the Italian sexpot-turned-photographer Gina Lollobrigida saw a sudden and unprecedented turnout of pressmen at a routine PIB Press conference causing an official to comment that “not for presidents and monarchs and leading statesmen of the world had so many members of the Press turned up all at once”!But even before that, the die had been cast. Why and how, did India jump onto the film festival bandwagon? Mostly, of course, it was a matter of prestige. Smitten by the huge glittering successes of foreign film festivals, which collected the artistic elite of the world in colourful jamboorees and dedicated themselves to picking the best of the 20th century’s greatest art medium, India was attracted by the prospect of hosting such an event.By the early 50s, following the reputation of film festivals at Cannes and Venice, the film festival suddenly emerged as a huge international status symbol. The film festival became to the art world what, the Olympic games are in the world of sports. And to be able to organize and host a film festival seemed the ambition of any prolific film-producing country in the world. Consequently, the first film festival in India was held in as early as 1952. But there were deterrents to organize a sequel to the show. Questions began to be asked: Could a poor country like India really afford an expensive venture like this? Was it not an unnecessary waste of resources? And who, after all, did a film festival serve?So the next film festival was not held till nearly 10 years later. But myths began to grow around film festivals – and the myths had a flavouring of their own in India. Some of the myths were wholly unfounded; others had a core of truth.But the original intention of the film festival was as honest as was the result. It was the immediate necessity of the filmmakers of France and Italy to show their work between the world wars that gave the world film festivals. France was the obvious country for a festival. French filmmakers being at the helm of the new movement of art cinema that was growing in England, France and America.And Cannes – the picturesque town on the French Reviera – was the perfect locale for the new class of film-makers, film critics, and film society members to congregate. In Italy, the town chosen was Venice, and the film festival was encouraged by the Italian government of Mussolini to improve indigenous film production.Within a few years film festivals were sprouting all over Europe: from Sweden to the Soviet Union, from Germany to Czechoslovakia film festivals became the ideal vehicle for explorations in the exciting new medium of film. Within another couple of decades there were film festivals flourishing from Melbourne to Mannheim to San Francisco. They became the focal points of a rapidly growing religion – film appreciation.That the film festival helped establish the medium of film as the greatest living art of the century is a fact. That the film festival succeeded in acknowledging internationally the genius of unknown film-directors is another truth. But that the film festival today, more than 40 years after its advent, is prone to sink easily into decay is an equally disturbing and growing reality. Reasons? Vulgar extravagance, rank commercialism and vicious political lobbying.A little of each of these factors contributed to the slow death of the Venice film festival. And Cannes, once the artistic fairy god-mother of film festivals is slowly trans-forming into a commercial monster of awesome proportions. Once the greatest show on earth and the discoverer of talents, it is now also the destroyer of fortunes.India came in quite fast on the film festival scene. The first film festival held in the country was organized by the Film Division in January 1952 and based in Bombay from where it circulated to Calcutta and Madras. It was non-competitive in nature, with no jury and no awards.But it brought valuable exposure to foreign cinema. Among the films shown was Renoir’s The River which had been shot in India; and amongst the most sought after delegates were singer Noorjehan and actress Swarnlata from Pakistan, returning to Bombay for the first time after partition.advertisementadvertisementThe endless wait – thousands queuing outside the cinemas for film ticketsBut having held its first festival. India did not plan another till nearly 10 years later, in 1961. The venue moved to Vigyan Bhavan in Delhi where the film festival found a permanent home. The second festival was still non-competitive and circulated in the regions. But the number of entries went up from a humble 21 to 40 features and 50 short films, and the number of delegates also doubled.China and Pakistan were represented together for the first time. (In fact it is only at the 1977 festival that China will make a reappearance with two features and two short films. Pakistan has refused on the grounds that the invitation reached them too late.In 1965, came the first competitive film festival, with the Golden Peacock instituted as the Grand Prix of the event. This was the turning point for the film festival in India: the festival was accorded accreditation from the prestigious International Federation of Film Producers (FIAPF) based in Paris as one of the top six film festivals in the world.For the first time a nine-member international jury, headed by India’s Satyajit Ray deliberated over 19 features and 20 shorts to award the Golden Peacock to the Sri Lankan film Gam Peraliya directed by James Lester Peries. It was a very high-level jury, possibly the most distinguished an Indian festival has ever had: Andrejz Wajda from Poland, Lindsay Anderson from Britain, Madame Kawakita from Japan, and Prof Georges Sadoul from France.As the then Minister for Information and Broadcasting, Indira Gandhi, handled the show. Looking back in retrospect it is interesting to note that the country’s future Prime Minister really set the future of the film festival in India on its course.But while the New Delhi film festival technically found an international platform, there was really no consistent national framework or policy for organizing a film festival at home or promoting Indian cinema abroad. Consequently, both the international film festivals of 1969 and 1974-75 will be remembered mostly for their lack of organization, haphazard choice of films, mass hysteria and shades of scandal.Costs in arranging a film festival were also going up. From an investment of about Rs. 4.5 lakhs in the 1952 festival, expenditure rose to Rs. 7 lakhs in 1965 (the festival incurred a small loss) to about Rs. 12 lakhs for the 1969 festival which broke even. But it is one of the smaller ironies that the 1974-75 festival, perhaps because it came as such a huge relief after the foreign film famine, netted a substantial profit. With expenditure estimated at about Rs. 15 lakhs, it earned gross receipts from box office takings, sales of festival news bulletins etc. to the tune of Rs. 32 lakhs. The example is a startling testimony to what foreign films mean to Indian city audiences. India is probably the only country in the world where a two-week-long film festival in a single city can make, mainly through box office earnings, such a large profit.It was in the early 70s that the government began some re-thinking about the prospect of holding film festivals in India regularly and providing them with a solid base. All the old arguments against them were trotted out. But, on the other hand, the influence of the film festival was growing internationally mainly because of the changing face of the cinema.The cinema has established itself as much more than just a medium of entertainment: it wielded an undeniably large influence in the social and political life of a country. And it could become, in India at least, a commercially profitable institution. Also, the New Delhi film festival had gained entry to the prestigious FIAPF: it was now or never. So film festivals became a regular fact of life in India It had also taken the government some time to realize that film festivals are often the best places to buy and sell films.With this in mind it began, with redoubled effort, a new emphasis on the film festival. It set up in 1973 the Directorate of Film Festivals in New Delhi, as a permanent division of the Ministry of Information and Broadcasting. Then it set about to enhance the powers of the Film Finance Corporation. The FFC, with its headquarters in Bombay, became “the sole channelizing agency for the imports of films to India.”Several of these changes are big ones. At any rate, they are changes that are fundamental towards increased efficiency and professionalism in the world of film exchange. But the picture is still far from being perfect. Ideally, a body like the Directorate of Film Festivals should be permanently staffed by a dedicated band of professionals whose subject is the cinema. Thus the Directorate requires more than administrators: for the task of collecting the most interesting films and film-makers in the world is a job that requires first-hand skill and knowledge and is often simply a matter of persona) persuasion.The film market, or what is known in officialese as the market section of a film festival, is a growing aspect to the Indian film festival. India, which has remained at the top of UNESCO figures for years, as one of the largest film producing countries in the world, has traditionally been a big exporter of films.Countries in Southeast Asia, the Arab world, East Africa, the U.K., and lately the USA, have been voracious consumers of the Indian commercial films. Practically all of these areas possess a large Indian immigrant population, and they constitute the most regular buyers. But the Hindi film has not been without its share of foreign fans.The Soviet Union’s Raj Kapoor-hungry phase will be long remembered, as will the accounts of virtual riots breaking out in Kabul at the arrival of a new consignment of Hindi film music. But the export market is riddled with its own peculiarities. Afghanistan, for instance, who appealed to the Ministry of Information and Broadcasting for a barter of Hindi films against India’s import of grapes from them.In many ways the Sixth International festival starting in another couple of days is going to be the acid test for film festivals of the future. It is certainly the most ambitious festival to be held with over 250 films from 54 countries participating. The jury, headed by Satyajit Ray, is not the most distinguished.But some of the special invitees are: Michaelangelo Antonioni from Italy, Akira Kurosawa from Japan. Robert de Niro from the USA, Nicholas Roeg and Wolf Manko-witz from the U.K. are attending amongst a host of others. The array of names, of participants and films alike, is impressive.The festival is divided, as usual, into three sections: the competitive, information and market sections. And there is a fine selection of retrospectives: Ray, Truffaut, David Lean and Kurosawa. There is no Gina Lollo-brigida, alas; but some last-minute starlet might yet set the Jamuna on fire.But the important fact is that, as film festivals in India go, this one promises to adhere strongly to the rules and regulations laid down by FIAPE and the Directorate of Film Festivals itself. And if ticket rates have gone up, and sales are blind, and all films are to be screened under “A” certificates, then one also has the consolation of seeing the film festival return to its original roots.For the Delhi festival, these are the formative years. This is the moment for it to establish itself firmly with its strategic position in Asia. And with the new genre of Third World cinema fast emerging as a prominent new force on the international film scene, the time is propitious.If it treads softly, skirting the gaping pitfalls that dog the footsteps of many foreign film festivals today, the Delhi festival might become more than a watering hole for an itinerant circus: It might become the dominating influence, social, political and commercial, in the Third World today.advertisement