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Growing up poor in Madras, India, Srinivasa Ramanujan Iyengar earns admittance to Cambridge University during WWI, where he becomes a pioneer in mathematical theories with the guidance of his professor, G.H. Hardy.

Dev Patel and Jeremy Irons play real-life mathematicians in this plodding, overly dutiful biopic.

A beautiful mind is reduced to simplified dramatic equations in “The Man Who Knew Infinity,” an easily digestible fish-out-of-water biopic of Srinavasa Ramanujan, the India-born mathematical prodigy whose tutelage under the English academic G.H. Hardy gave rise to some of the field’s more remarkable 20th-century discoveries. As tends to be the case when filmmakers turn their attentions to matters of the mind, the prevailing narrative strategies here are geared almost entirely toward the emotions — and so, despite some duly stimulating discourse between lead players Dev Patel and Jeremy Irons against the hallowed backdrop of Cambridge, this sophomore feature from writer-director Matthew Brown (2000’s “Ropewalk”) emerges an overly dutiful account of physical hardship, cultural prejudice and inevitable tragedy that, in form and spirit, never channels the inventiveness and ingenuity of its subject’s work. Middling specialty-release numbers await.

Audiences hoping to learn more about Ramanujan’s contributions to number theory, continued fractions and other branches of mathematics might do well to consult other dramatic treatments of his life, including last year’s little-seen independent drama “Ramanujan,” various stage adaptations and Robert Kanigel’s 1991 biography, from which Brown adapted the script. Still, it’s rarely a good sign when a picture ends with a celebratory salute to its subject’s accomplishments while leaving viewers with a merely rudimentary grasp of what those accomplishments were. And such is the case with “The Man Who Knew Infinity,” which, for all its weighty-sounding talk of proofs and theorems, effectively pitches its story at an audience whose interest in higher-level math is presumably rather less than infinite. Like last year’s furrowed-brow biopics “The Imitation Game” and “The Theory of Everything,” though with less surface gloss and fewer emotional hooks, Brown’s movie makes the case for its protagonist as a figure of extraordinary intellect —“extraordinary,” of course, being convenient shorthand for “too boringly cerebral for a lowest-common-denominator audience.”

That’s in keeping with the general attitude toward Ramanujan (Patel) when we first encounter him in 1913 Madras, India, as an impoverished 25-year-old whose obsessive, self-taught mastery of mathematics has taken precedent over all other commitments in life, including his job as a shipping clerk and his recently arranged marriage to Janaki (Devika Bhise). While he comes to love his wife over time, their relationship is destined to be a mostly long-distance one: When Ramanujan writes a letter to Hardy (Irons) and sends along some of his notebooks, the professor immediately recognizes the untempered brilliance of the young scholar’s work, and invites him to come to Trinity College and pursue his studies further. Seeking the appreciation and recognition that have eluded him at home, and hoping to be published immediately, Ramanujan leaves behind his teary-eyed bride and his overbearing mother (the rather aptly named Arundhati Nag) to embark on the long, dangerous ocean voyage to Britain.

But neither fame nor fortune are there to greet Ramanujan at Cambridge, where the dons order him to keep off the grass and the dining hall is sadly short on vegetarian options. (In a coup that improves the film’s production values significantly, Brown and d.p. Larry Smith were permitted to film at the real Trinity College.) Worse, the creative impulses that drive Ramanujan’s work seem to have no place in an academic environment characterized by stifling English rigidity at best, racially charged hostility at worst — the latter quality exemplified in particular by the cartoonishly cruel and fatuous Professor Howard (Anthony Calf). The others are not much more welcoming at first, with the friendly exception of John Edensor Littlewood (a fine Toby Jones), the mathematician with whom Hardy will later develop the famous Hardy-Littlewood conjecture regarding twin primes. As it happens, prime numbers are also a source of eternal fascination for Ramanujan, as ever more elaborate and intellectually far-flung theorems issue forth from his pen and into his notebook — the work of a mind operating on pure instinct, if not divine inspiration.

But the one who ironically hinders the flow of Ramanujan’s genius the most, at least initially, is Hardy, who sees and admires his gifts but is rankled by his attendant lack of discipline and formal training. And so he urges the young man to put aside out-of-the-box thinking and focus on his proofs, those meticulous, step-by-step demonstrations of absolute certainty that will hold up to rigorous outside scrutiny. But to Ramanujan, the process feels like safe, tedious busywork. He knows it’s his life’s mission to continually take risks and leap into uncharted voids, and in this he has an unexpected ally in another famous mathematician, Bertrand Russell (Jeremy Northam), who urges Hardy not to hold his protege back.

The arguments between Ramanujan and Hardy form easily the most absorbing aspect of “The Man Who Knew Infinity,” as their eloquent clash of wills is shown to be not just intellectual but ideological in nature. Hardy, an atheist, is presented as a slave to rational thought, but for Ramanujan, a human calculator with the soul of a poet, the beauty of math is inextricable from its fundamental mysteriousness; proofs can only go so far to explain the inexplicable, and he sees the face of God reflected in every equation he writes. It’s a stirring sentiment that would ring truer if Ramanujan’s work, presented here in elegantly indecipherable lines of script, served more than a purely decorative function. Brown seems wary of putting his audiences to sleep, but a measure of brainy, concrete exegesis here would not have gone awry.

From his breakout turn in “Slumdog Millionaire” to his subsequent performances in “Chappie,” the two “Best Exotic Marigold Hotel” movies and HBO’s “The Newsroom,” Patel has a lot of experience playing smart individuals who get thrown into the deep end and manage to succeed through a canny mixture of earnestness and opportunism. The familiarity of that type, however, at times works against his attempts to exude the sort of singular intelligence that’s called for here; in any event, he’s unable to convey something that hasn’t been adequately grounded in the script. Irons, deliciously plummy as ever, fares better as the stubborn, sometimes short-sighted but ultimately loyal and generous Hardy, and his performance has a sharpening effect on Patel’s own, bringing out a welcome level of engagement and gravitas in his younger co-star.

But even their largely absorbing rapport can’t ward off the movie’s slow descent into a rhythmically and dramatically plodding cycle of misfortune. Ramanujan’s health steadily worsens, as signaled by a nagging tubercular cough, accompanied by regular cutaways to Janaki despairing from thousands of miles away, with no one except the mother-in-law from hell for company. (Well, that and the soundtrack, which tends toward overly exoticized crooning whenever the movie drifts southward.) “The Man Who Knew Infinity” builds to a moment of hard-won recognition from Ramanujan’s peers at Cambridge, followed by the sobering acknowledgment that he was taken from the world far too soon; if this towering intellectual had lived, just imagine how many more of his accomplishments might have been relegated to a cursory mention in the closing credits.



Antman and Wasp Releasing on July 6-“Size Do Matter”




Hope van Dyne and Dr. Hank Pym had arrived to present a new mission leaving the Ant-Man fighting alongside The Wasp.The superhero couple fights their way through mysteries of their past.We shall witness drummer ants,deceiving sizes,records broken and of-course a typical villain capable of manipulating quantum space and inter-dimensional material frame-works.

Tributes to Marvel Entertainment


Directed by

Peyton Reed

Writing Credits

Chris McKenna (screenplay by) &
Erik Sommers (screenplay by) and
Andrew Barrer (screenplay by) &
Gabriel Ferrari (screenplay by) and
Paul Rudd (screenplay by)
Stan Lee (based on the Marvel comics by) and
Larry Lieber (based on the Marvel comics by) and
Jack Kirby (based on the Marvel comics by)


Evangeline Lilly Evangeline Lilly Hope van Dyne / The Wasp
Paul Rudd Paul Rudd Scott Lang / Ant-Man
Hannah John-Kamen Hannah John-Kamen Ghost
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Raazi-An Inspirational True Story on Patriotism and Espionage




Tributes to Dharma creations

Raazi is an upcoming espionage thriller mixed with cat and mouse intrigues blended with ample decree of action.

Meghna Gulzar’s spy thriller Raazi, starring Alia Bhatt and Vicky Kaushal, had its trailer flourishing Youtube recently. Juggling between the chores of a dutiful wife, an servile daughter, and a dauntless patriotic spy.

The film is inspired and adapted by Harinder Sikka’s novel named Calling Sehmat and critical viewers are suggested to look into Calling Sehmat,which is a real incident.

Calling Sehmat- THE BOOK

Sehmat is an Indian Kashmiri woman, who married an officer from Pakistan, when her father instructed her to do so.The event is set in the 1971 Indo-Pakistan war.

Opening with her death,the story is set long time after she has carried out her mission. Samar,her son enters the room,watching her laid down,covered by the Indian flag, which resembles: “protecting her against the rays of the sun.”

As the novel rings up the tone, the story narrates upon her college days and then focusing on her training days as an Indian spy. Later the focus zeroes in on the naval warfare during the 1971 war.

By keen rendering on enemy positions,troop translocations and strike blueprints after she informed on them saved lakhs of Indian soldiers from losing their lives, with the aid of carefully devised methods…All on her own.

According to the book, Sehmat is an emblem of secularism, praying to Jesus, Allah, Krishna and Wahe Guru. By the whole the author is trying to telltale that neither religion nor terrorism count, only faith and service.


It was the time of a 2008 interview to The Hindu, Sikka elaborated on his method of uncovering Sehmat.He admits his disillusionment biased entirely towards patriotism in the midst of Kargil war.

One day he came across a woman whose name he refused to share, as her existence could end her life.

Thus For his readers, she became Sehmat Khan.

At Maler Kotla, Punjab, Sikka found the mystery woman after considerable effort.

“But she would not speak much. Slowly, she opened up but I still don’t know how she managed to take out such secret information from Pakistani intelligence. All the information she passed on from there matched with the Indian intelligence report here,” he replied.

He added, “Though I found out that she used to tutor General Yahya Khan’s grandchildren.”

The Pakistan’s plan of sinking INS Viraat was the most crucial array of information that Sehmat filled into India, saving millions of lives.

Inorder to avert any threat to her family Sikka had taken eight years to fictionalise her story. Neither her son is in the army, nor Sehmat in this world.

Raazi means ‘sehmat’, which means, to agree,Meghna Gulzar added in an interview. This perfectly fits into the story, especially coming from the director of Talvar.

Directed by

Meghna Gulzar

Writing Credits

Harinder S. Sikka (based on the book ‘Calling Sehmat’ by)
Meghna Gulzar (screenplay) &
Bhavani Iyer (screenplay)
Meghna Gulzar (dialogue)


Alia Bhatt Alia Bhatt Sehmat
Vicky Kaushal Vicky Kaushal Iqbal Syed
Jaideep Ahlawat Jaideep Ahlawat Khalid Mir
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Marvel’s “Venom” to be released on October-Trailer Out!




Academy Award® nominated actor Tom Hardy as the lethal protector Venom,one among the most lethal,badass and complicated entity in the marvel cinematic universe.

Given below is the trailer of the film set to air on October.

Thanks to Sony Entertainment

VENOM-PROFILEQuote1 Been to many worlds, but none of them this strange.

Understood feelings before, but simple feelings – like colors, bold and bright. Happy. Sad. Angry.

Then… met Spider-Man. Feelings got complicated. Learned guilt. Also the first time I felt fear. Felt agony. Learned feeling: Betrayal. Learned first words they called me. Monster. Parasite. Bad.

[…] Felt good to be a hero. Did do bad things, too. Can’t deny. 

Mac Gargan was bad. Thoughts like poison stingers. It was a thrill to kill. Knew it was bad. Didn’t care. Gargan made it easy. Got to punish Gargan for what he did. He was evil and afraid.

 Lee Price was not afraid. He was a soldier. Hurt and desperate. I trusted him. Talked to him. But Lee was too strong. Didn’t want to talk. Didn’t want to be a hero. Wanted power. Couldn’t stop the bad things he was doing. Lee was bad. Hurt me.

 Eddie hurts me too, sometimes, but Eddie is different. Eddie never means to.[…] if Eddie is good, why do we disagree? if disagree… am I a monster? parasite? bad? can’t be bad.

Wasn’t bad with Flash. Fought with heroes. Was a hero. Trained another symbiote. Got to learn. Got to teach. Flash called me partner. Was never afraid like Spider-Man. But Flash is gone… and heroes don’t hide. Not from anything… especially their mistakes. Quote2

 Venom Symbiote 
source-Venom vol 1-154

Eventually Venom is someone who sways from one spectrum of insanity to the other.From him came carnage,then antivenom and finally a potpourri of a heinous scientific experiment-Toxin was created.

If properly directed future of venom is lit enough to get above 7/10

Isaac: What the hell are you?

Venom: [emerges] WE… are Venom.

Directed by

Ruben Fleischer

Writing Credits

Kelly Marcel (screenplay by) and
Will Beall (screenplay by)
Scott Rosenberg (screenplay by)
Todd McFarlane (based on the Marvel comics by)
Jeff Pinkner
David Michelinie


Michelle Williams Michelle Williams Anne Weying
Tom Hardy Tom Hardy Eddie Broc




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