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    Reviews

    “A cerebral joyride”
    Karan Johar, filmmaker on REDIFF

    “Among the most charming and creative Indian independent films”
    J Hurtado, TWITCH

    ★★★★✩
    “You don’t really need a big star cast… you don’t even need a big budget to get the techniques of filmmaking bang on…”
    Allen O Brien, TIMES OF INDIA

    ★★★★✩
    “An outstanding experience that doesn’t come by too often out of Indian cinema!”
    Shakti Salgaokar, DNA

    ★★★
    “This film can reach out the young, urban, upwardly mobile, but lonely, disconnected souls living anywhere in the world, not just India.”
    Namrata Joshi, OUTLOOK

    “I was blown away!”
    Aseem Chhabra, MUMBAI MIRROR

    “Good Night Good Morning is brilliant!”
    Rohit Vats, IBN-LIVE

    ★★★✩✩
    “Watch it because it’s a smart film.”
    Shubha Shetty Saha, MIDDAY

    ★★★✩✩
    “A small gem of a movie.”
    Sonia Chopra, SIFY

    ★★★✩✩
    “A charming flirtation to watch.”
    Shalini Langer, INDIAN EXPRESS

    “Interesting, intelligent & innovative”
    Pragya Tiwari, TEHELKA

    “Beyond good. Original, engrossing and entertaining”
    Roshni Mulchandani, BOLLYSPICE

    * * * * *
    Synopsis

    ‘Good Night Good Morning’ is a black and white, split-screen, conversation film about two strangers sharing an all-night phone call on New Year's night.

    Writer-Director Sudhish Kamath attempts to discover good old-fashioned romance in a technology-driven mobile world as the boy Turiya, driving from New York to Philadelphia with buddies, calls the enigmatic girl staying alone in her hotel room, after a brief encounter at the bar earlier in the night.

    The boy has his baggage of an eight-year-old failed relationship and the girl has her own demons to fight. Scarred by unpleasant memories, she prefers to travel on New Year's Eve.

    Anonymity could be comforting and such a situation could lead to an almost romance as two strangers go through the eight stages of a relationship – The Icebreaker, The Honeymoon, The Reality Check, The Break-up, The Patch-up, The Confiding, The Great Friendship, The Killing Confusion - all over one phone conversation.

    As they get closer to each other over the phone, they find themselves miles apart geographically when the film ends and it is time for her to board her flight. Will they just let it be a night they would cherish for the rest of their lives or do they want more?

    Good Night | Good Morning, starring Manu Narayan (Bombay Dreams, The Love Guru, Quarter Life Crisis) and Seema Rahmani (Loins of Punjab, Sins and Missed Call) also features New York based theatre actor Vasanth Santosham (Bhopal: A Prayer for Rain), screenwriter and film critic Raja Sen and adman Abhishek D Shah.

    Shot in black and white as a tribute to the era of talkies of the fifties, the film set to a jazzy score by musicians from UK (Jazz composer Ray Guntrip and singer Tina May collaborated for the song ‘Out of the Blue), the US (Manu Narayan and his creative partner Radovan scored two songs for the film – All That’s Beautiful Must Die and Fire while Gregory Generet provided his versions of two popular jazz standards – Once You’ve Been In Love and Moon Dance) and India (Sudeep and Jerry came up with a new live version of Strangers in the Night) was met with rave reviews from leading film critics.

    The film was released under the PVR Director’s Rare banner on January 20, 2012.

    Festivals & Screenings

    Mumbai Film Festival (MAMI), Mumbai 2010 World Premiere
    South Asian Intl Film Festival, New York, 2010 Intl Premiere
    Goa Film Alliance-IFFI, Goa, 2010 Spl Screening
    Chennai Intl Film Festival, Chennai, 2010 Official Selection
    Habitat Film Festival, New Delhi, 2011 Official Selection
    Transilvania Intl Film Festival, Cluj, 2011 Official Selection, 3.97/5 Audience Barometer
    International Film Festival, Delhi, 2011 Official Selection
    Noordelijk Film Festival, Netherlands, 2011 Official Selection, 7.11/10 Audience Barometer
    Mumbai Film Mart, Mumbai 2011, Market Screening
    Film Bazaar, IFFI-Goa, 2011, Market Screening
    Saarang Film Festival, IIT-Madras, 2012, Official Selection, 7.7/10 Audience Barometer

    Theatrical Release, January 20, 2012 through PVR

    Mumbai
    Delhi
    Gurgaon
    Ahmedabad
    Bangalore
    Chennai
    Hyderabad (January 27)

    * * * * *

    More information: IMDB | Facebook | Youtube | Wikipedia | Website

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Ooops!

October 6, 2004 · by sudhishkamath

I mean how can I forget Andaz Apna Apna.

But maybe I’ll rank it right on top of best comedies. So here goes.

Top Five — Hindi Comedies

1. Andaz Apna Apna

Rajkumar Santoshi is a great filmmaker, the most consistent, the most varied and also the most under-rated director. Andaz Apna Apna is really a tribute to Bollywood.

2. Jaane Bhi Do Yaaron

I remember how I rolled on the floor laughing watching it when we just had good old DD for entertainment. The problem with growing up is that I don’t find it as funny now but yes, considering I still remember how entertaining a movie it was, I must put it here.

3. The Hero

Sunny Paaji, I owe this one to you. And Anil Sharmaji, I know you laughed all the way to the bank with a bakwaas movie like Gadar, and I’m glad you gave us a chance to with this hilarious piece of cinema. It didn’t run well because you didn’t promote it as a spoof. What next? Amitabh Bachchan ko Sardar bana diya? Hope you don’t replace this slot with Ab Hamara Watan Tumhare Hawale Saathiyon.

3. Awrite, seriously, Munna Bhai MBBS

That’s the last best genuine comedy Bollywood has produced. A brilliant script. Super funny characters. Circuit is my favourite too. And the lingo, bole toh ek dum solid, kya!

It wasn’t just a comedy, beneath all the humour, Rajkumar Hirani did have something to say. It spurned sequels in every South Indian language, including Tamil. Imagine, it was one of the rare films to be reviewed by the British Medical Journal!

4. Deewana Mastana

This certainly has to be David Dhawan’s best. It’s classy, spoofy and the comic timing of Govinda and Anil Kapoor in roles reversed (for once, it is Govinda who dresses sober and it is Anil Kapoor wearing colourful jhatak clothes). Total timepass.

5. Jodi No.1 and Bade Miyaan Chotte Miyaan (Joint winners)

Again, Govinda and Sanjay Dutt’s comic timing save the spoof on Sholay from mediocrity. It is outrageously funny.

And Bade Miyaan Chotte Miyaan because I love the climax. Hilarious. It’s Bad Boys 1 and 2 rolled into one, David Dhawan style!

Post Script:

I hate to admit it, but I also liked Daud, in parts… Really silly movie but I simply loved Paresh Rawal as the villain Pinky, one of his best roles!

Suderman ki Pasand!

October 4, 2004 · by sudhishkamath

This one is about my all-time favourite Hindi fillums. I’m leaving the old classics out, as always.

1. Sholay

Gaonwaalon, if you have not seen this yet, die.

I wouldn’t put it among old classics because it is one of the rare few movies that is still popular among people.

In fact, it is one of those rare films, never really to have gone out of theatres since it was first released in 1975. I could go on about this movie but the link above already has some stuff I’ve written. Dummies, click here.

2. Kabhi Haan Kabhi Naa

Ask Shah Rukh about his best role till date and he’ll tell you. Sunil is surely the one. Five years in the making, this movie is the only thing that clicked for Kundan Shah after he made Jaane Bhi Do Yaaron.

It’s one of the few films where Shah Rukh Khan is not Shah Rukh Khan but is actually Sunil. You feel for him, you laugh with him, cry with him and you are reminded of what it is/was to be in love, what it is to get a Yes or No. Second only to Sholay.

3. Jo Jeeta Wohi Sikander

I was very tempted to put Lagaan ahead of this because I’ve read The Spirit of Lagaan by Satyajit Bhatkal. I know the trials and tribulations of the entire unit that made that epic contemporary classic of a movie.

But yet, I would rate Jo Jeeta Wohi Sikander a little higher than Lagaan because this is the first movie which used a sport for a climax successfully. The cycle chase at the end of the movie is sure to have inspired or given Ashutosh the courage to have a match for a climax.

Plus, Jo Jeeta is your wholesome coming-of-age film about discovering love, lust, friendship, family. Pehla Nasha and the birth of Farah Khan as a choreographer, Pooja Bedi’s rise as a sex symbol … this movie still gives me goose bumps. Manzoor Khan is yet to repeat the magic.

4. Lagaan

Even if I was the guy delivering tea to the unit at the sets, I would have been mighty proud of this spirited production whose making is certainly larger than the movie itself. Read The Spirit of Lagaan, people. Must-read for movie buffs.

The movie watching experience in itself was magic. From a tight intro where Ashutosh introduces over a dozen characters in less than eight minutes to gripping build-up which reaches a crescendo when Bhuvan accepts the bet, to the getting together of the team and the explosive finale — the longest climax in the history of Indian cinema, the movie was greeted with cheers. The crowd was on its feet when Bhuvan hits the last ball six and women hugged each other. It’s easier to cheer a real match. To see a fixed one is difficult, but who complained about this one. Now, that’s what you call a movie.

5. Dilwale Dulhaniya Le Jaayenge

This is probably the best movie to have been made by a debutant director. Aditya Chopra, not Karan Johar, was the original creator of the formula of the nineties: International locations, designer clothes and the quintessential ‘hindustani Dil’ and of course, no villain.

The love story of Raj and Simran is one of the most celebrated in Indian cinema because it bridged that gap between modernity and tradition. Fall in love with the girl, but marry only after you’ve won the entire family. It was a formula bound to gain acceptance from the youth and their parents alike.

Post Script

I’m afraid I haven’t mentioned any of Ram Gopal Varma‘s films in these but if I could take the liberty of adding a sixth, it would be Rangeela, Ramu’s only effort in coming up with wholesome entertainment. His rest are all niche movies and of different genres, and they would be in my list of Top Five — in the Mafia genre (Satya and Company, for sure).

Watch out for more on genre-wise ratings.

Suderman’s Favourites!

October 3, 2004 · by sudhishkamath

Yellow Pee-pull!

It’s kinda difficult to rate my top five films for every genre cuz for every good movie I’ve seen there would be five other equally great movies I wouldn’t have seen. So it would be great to find out what I missed and update my ‘Movies to see before I die’ list.

English (Contemporary — Wholesome Entertainment)

Movies with a bit of everything you want from the movies.

1. Vanilla Sky

Yeah, its a remake of the Spanish film Abre Los Ojos. And everyone who seems to have seen the original do say it is much better than this Tom Cruise version.

I am sure it must have been better too. But that does not take away from this brilliant piece of multi-layered storytelling. I’ve heard Mullholland Drive is even better but since I haven’t seen that one yet, this has to be right on top.

It’s a movie I watch to remind me the lessons for life. Sample the lines:

The sweet is never as sweet without the sour.

Every passing moment is a chance to turn it all around.

Great lines, kickass music, super performances, the charisma and chemistry of Cruise, Cruz and Diaz, the whole take on LoveHateDreamsLifeWorkPlayFriendshipSex… that’s what I call wholesome entertainment. My all time favourite.

2. Jerry Maguire

Well, it certainly might not be as good a movie as Forrest Gump, but I would rate this ahead because we are rating my favourites here. I love this movie because at some level I could see myself in Jerry. And I know many who see themselves in Jerry.

Jerry is what every man wants to be.

Jerry is what every man almost is. Great at friendship, bad at intimacy.

Jerry is what every man could be. You just need to hang your balls out there.

Jerry is about chasing what you’ve always believed in, it is about maintaining what you have, it is about giving, caring, truth, integrity and personal relationships.

Look at the characters Cameron Crowe (Yeah, he’s my all time favourite director, my idol, my hero) has created. Jerry Maguire. Dorothy Boyd. Rod Tidwell. They are sooo real. I can’t trace the actual quote but Cameron came up with it. He said something about what a movie must really be like. You go to a this place, (movie hall) meet a few people, spend a 100 minutes in their world, get a peek into their lives and then come back affected, with memories for life. So much that you want to go back and meet these people again. How I wish I had the actual quote.

But hey, I found another thing he said:

“In the future, everybody is going to be a director. Somebody’s got to live a real life so we have something to make a movie about.”

I guess that’s the essence of a moviemaking. Making it real and yet as vibrant as life can be. So much that you know everything about every character, everything in their world, every little detail.

Jerry’s Mission Statement costs him his job. We know only about 4 lines of the many pages from the movie. But Cameron wanted to make sure he knew what exactly Jerry wrote that night. And he put it all down. The Mission Statement. Read it here.

And sample the lines:

Show-Me-The-Money!

Shut up, you had me at hello!

3. Forrest Gump



Momma always used to say, Life is like a box of chocolates.

I’m sure every movie buff has heard that before from Forrest himself.

What-a-movie!

Robert Zameckis is another favourite of mine. While Cameron’s strength lies in simplicity of what he says to expressing the most complex of things, Robert’s strength lies in his expressions with what he does not say and yet communicates. Robert makes the simplest statements through the most complex stories while Cameron makes complex statements through simple stories. Cameron uses lines, Robert revels in silence. Take Forrest Gump or Castaway for that matter.

4. Shrek

No explanations needed.

Who does not like Shrek?

5. Life is Beautiful

Again, no explanations needed.

One of the greatest films ever made and the film that made Roberto Benigni a household name.

Post Script

And hey, I’m not going to be rating classics. I haven’t seen too many of them to start rating. What I will rate next is the same category in Hindi and Tamil.

Asta La Vista, Baby!

The Baasha hangover continues…

October 2, 2004 · by sudhishkamath

After all that serious talk about movies, thought I’ll take a breather.

I saw ‘Madurae’ last night and that makes it two of a kind in a week. What else did I see?

I also saw Gaja… Captain’s ‘Gajendra’. Ahem Ahem!

Who says bad movies are an occupational hazard? They’re good. For the simple reason that these are the kind of movies which make me appreciate the good movies.

I liked ‘Baasha.’ Thalaivar movie. So obviously loved it. But I never thought it would be a great movie, a classic. But last night, ‘Madurae’ made me change my mind.

‘Baasha’ is a classic. Yeah, despite its letdown of a climax, it is a great film. Just look at the number of imitations it has spurned. The ‘Baasha’ format has proven to provide the fodder for the film industry over the last decade. In the last six months alone, we’ve seen three. Ajit remade it as ‘Jana,’ Vijay, of course, as ‘Madurae,’ and Captain got together with ‘Baasha’ director Suresh Krissna just to make him repeat the film with ‘Gajendra’.

Now, ‘Baasha,’ certainly among Rajni’s best, wasn’t an original itself. It was inspired by Mukul Anand’s ‘Hum,’ the multi-starrer with Amitabh Bachchan, Rajnikant and Govinda.

As ‘Baasha,’ Superstar was an all-powerful don, the protector of the masses, the hero of Mumbai, who gave it all up to fulfil his family responsibilities. He took to violence only when it was truly warranted, only when it was for the greater good of the society. And as Manickam, he changed himself so dramatically, that you could see the difference.

Manickam was a peace loving autodriver, one-among-the-masses, who in spite of the nastiest of provocation, does not hit back. And mind you, it was Thalaivar doing that role… every time Thalaivar as Manickam, does not hit back, the more expectant it made you for the moment when he actually would and curious about what held him back. So finally when he did hit back, you felt gratified. When you finally knew about his history, you felt satisfied.

That gratification and satisfication made the film the super duper hit it was. The imitations, however, lack that punch for one basic reason — both ‘Madurae’ and ‘Gajendra,’ even in their undercover avatars are superheroes, who can beat the shit outta the bad guys. So there wasn’t too much difference in the two shades of the same character. Which is why I think that these remakes will never create that euphoria which ‘Baasha’ created.

But yeah, seeing Vijay do that role does remind you of Superstar. The ‘Ilaya Thalapathy’ sure seems set to get into Thalaivar’s shoes. (To digress a little, The villain KTR, for his ingenious, should have been director of IIT or something. Or at least the IIM. Consider that he sells 5.4 lakh mobile phones for Rs.20 OVER NIGHT, all with a chip-bomb, which will get activated when his automated system calls the subscribers at eleven the next morning. And Madurae should of course, be made director of RAW for cracking it and preventing that many bombs from going off. What does he do? Watch the movie, dodo! I don’t want to be the only one laughing my ass off!)

As for ‘Gajendra’, er… no comments. He he!

What’s wrong with our movies?

September 27, 2004 · by sudhishkamath

The answer to this question depends on how you see yourself and from whose point of view you watch a movie.

A critic?

An educated movie buff?

A casual movie watcher?

A reluctant movie goer?

I personally hate to watch it from the critic’s seat though I’m asked to do the job often. Simply for the reason that I love cinema. Everything about it. Even the so-called flaws. I believe nothing is perfect. Sometimes, it is that imperfection which gives a movie its character.

Movies that way are like women. Aishwarya Rai is beautiful, almost perfect, near flawless in appearance. She’s a doll. In fact, that’s a problem. I don’t want a doll. I want a real person. That ‘real’ character is what makes our movies the fillums that they are. Colourful. Exciting. Engaging.

If we find being goofy cute, why not the same with cinema?

So, being a movie lover, I can only see the good things. I don’t want to pick faults. It’s the half-empty, hall-full logic, how do you see half a glass of milk? Or beer, if it pleases you to see alcohol, even if it’s just on print.

Most movie critics see the glass half-empty. Those who have some academic qualification to be a critic would understand that film appreciation is the ability to see the glass as hall-full. The positive side, the brighter side.

That was for you guys, if you see yourself as critics.

Now, if you are an educated movie buff, you would watch anything. You would be able to appreciate Iranian cinema as much as admire Superstar Rajnikant or even Captain Vijayakant or someone like Govinda or Salman Khan in their David Dhawan-created avatars. You will find everybody from Spielberg to Soderberg, and everyone from the Wachowski Brothers to the Farelly Brothers equally interesting. You will be able to appreciate Amrish Puri as much as you admire Om Puri.

The more you’ve seen, the more you know what the world looks like. The more you know to take the best from every world you’ve seen. The more you become an authority on cinema. You understand that cinema is just another way of expressing something you want to say, whatever it may be. A comedy is an extension of a joke. A social flick is an extention of a statement. An art film is an extention of a poem. A thriller is an extention of a riddle and so on.

As an educated movie buff you really don’t care too much about what is wrong about a movie because you know that every filmmaker has the right to say what he wants. It’s a free world. No one’s forcing you to watch a movie, right?

Next, if you see yourselves as a casual movie watcher. Then you walk in with a purpose. Which sometimes may just be having a good time out with your friends, sometimes maybe cuddling up with your girlfriend or sometimes to be simply entertained by the illusion created.

That’s a question which has the key. Why do you go to the movies? The purpose.

Now, each commercial movie is made for an audience. Think if that movie is made for you. Kill Bill may not be an ideal movie for a peace-loving ‘I-cannot-swat-a-mosquito’ Aunty to watch. Because, it was not a movie made for her. Similarly, make a Tarantino fan watch a movie like ‘Mitr,’ and rest assured, he would have shot Revathy. Let’s face it, not every film can be a Lagaan or a Shrek. Which is why the likes of Lagaan or Shrek are much celebrated.

If you cannot relate to song and dances in streets of Switzerland, do not go for a David Dhawan film and crib about it. A lot of casual movie watchers end up going for movies not made for them and end up cribbing about the money they wasted. Oh, and if you are a critic, this is a personal request, please do not review movies not made for you.

Methinks that a casual movie watcher could do with a little bit of homework before going for those few movies he watches with friends. But then, if you are out with friends, you do not have much of a choice do you? In such cases, pull up your friends, not the filmmaker.

The reluctant film-goers. Hmmm!

You guys sure have a reason why you don’t like movies. You’ve probably have seen some really bad movies. And yes, just like there are bad jokes, bad poems or riddles, there are bad movies too. Which is why the role of a critic or a reviewer is sacred. They influence public opinion, especially of people who watch movies rarely or selectively.

It is true that some movies give the others a bad name. The Tamil film industry (with maybe the exception of Kamal Hasan, Mani Ratnam or Shankar) especially throws up (yeah, that’s the pun) plenty of movies with ugly stars, fat heroines, crass lines and chauvinistic ideologies. But the wisdom lies in understanding that these were not made for you. They were made for a Tamil speaking average movie watcher who likes his heroes dark or with a moustache, they like some skin, and some more of it, which makes the producers cast voluptous women, which in turn motivates wannabe starlets to put on weight.

The film industry is an industry at the end of the day. It only churns out products for which there is a buyer. Just like how you deal with other products, it is up to you to choose what you want to buy. Or what you want to see. There are plenty of other movies made which you can see. Movies that are made for people like you. Just like there is a girl made for every boy somewhere in the world. You need to find those movies. And be patient. Because, at the end of it, it surely will be worth the watch. Maybe a Rolex or something! He he!

What Next?

September 27, 2004 · by sudhishkamath

What do we do about the rest of our lives?

That’s the question which pops up every now and then in the minds of almost every young thing on two legs.

What do we really want from life?

What determines what we want?

What makes us different from the rest?

What is the price we are willing to pay to get what we want?

These are the issues we try to figure out through the story of Sunil (Abbas), Vishal (Cary Edwards), Prashant (Kunal) and Zebra (Ranvir Shorey) in this coming of age feel good comedy, That Four Letter Word.

Me and Murugan, buddy from school, wrote the script about five years ago. A lot might have changed between then and now but we found that these core issues are still relevant. Which is what makes us believe that we do have something to say. Something that will reflect contemporary urban lifestyle, youth and their aspirations.

A story which traces the lives of four distinctly different guys of the same gang with dreams ranging from the real to the ideal to the surreal and the bizzare. In this global world where everything seems so standardised, human still continue to defy definitions for one simple reason: We are all diffferent people.

That Four Letter Word tries to exploit those differences to explore the psyche of contemporary global youth, irrespective of whether they are from New York or New Delhi. It is also an attempt to study issues which connect people and tries to uncover what is so common in our seemingly different lives.

Is being young just about falling in love as we often see in the movies? Or is every young thing a son of a rich industrialist, businessman or household, like we saw in the much-acclaimed Dil Chahta Hai starring Aamir Khan, Saif Ali Khan and Akshaye Khanna. Contemporary youth have more aspirations than just love. This movie tries to capture those dreams and emotions which define who we are and what we become.

This blog is for recording the ‘making of this movie’.

A ‘making’ that has turned out to be larger than life, quite ironically for a slice of life film.

It’s a ‘making’ that has now completed five years from when it was conceived, two years after it was last shot. It’s a ‘making’ which has changed the lives of every single person in the cast and crew, including mine.

It’s a ‘making’, which, in spite of having seen broken hearts, bruised egos, shattered dreams, injured knees and irreparable damage has seen an invincible spirit, the most unshakeable faith, unflinching conviction, unbreakable bonds and unconditional commitment. Ahem Ahem! He he! But seriously, we are talking about stuff that inspires people. I love my team. And I think I owe it to them to try and record every possible detail that I can dig out of my memory.

And all those who have been a part of this movie, do post or mail me things we can add to this ‘Making of the movie,’ which at some point in time could be developed into a book. I’m sure that all the learning we did in the process of making this movie will enrich many out there who want to make their first movie.

I also hope that with time, we are able to expand our family from just the cast and crew to include our audience.

Here we go now.

Cheers!

Sudhish Kamath

Director of That Four Letter Word

Wild Side of Chennai!

September 24, 2004 · by sudhishkamath

My dear Mad-raasas and raasaathis!

Well, I still prefer Madras to Chennai.

Got this huge debate in my workplace after me and a friend wrote about the dark side of the night life in this not so sleepy city, post the Stephanie incident.

Well, some of the women believe that the story indulges in moral policing. That was not the intention of the piece at all. But yes, me and Mani both of us do believe that it is not appropriate for anyone below 18 to drink. The women, however, argue that even at 15 or 16, you do know what you are doing and are well aware of the consequences, be it drinking or sex.

Yes, it is all cool to make such seemingly politically correct and activist statements but can you handle it if a little girl you know very well, is getting drunk in the company of her friends, men or women? Now, how comfortable will you be if she has just her boyfriend for company, privacy of his car or home and the excuse that “We were drunk, we didn’t know what we were doing?”

Is it really okay for boys and girls below 18 to be allowed inside our nightclubs?

The police and the government do not think so.

The clubs were shut down early on Saturday night. The managers are asking just one question: Was it drinking that killed Stephanie or was it drunken driving?

Yellow, Pee-pull!

September 20, 2004 · by sudhishkamath

That’s the Suderman greeting!

But first, history.

Who is Suderman?

Suderman is Sudhish Kamath’s split personality (cos he’s forever wanting to split). As Sudhish Kamath, he’s a serious, righteous, journalist reporting the truth (ahem ahem!).

As Suderman, he’s exactly the opposite — he’s never serious, left-back, superhero faking it till eternity.

To place him in comicbook context, Suderman is Superman’s ‘cousin-brother’/ nemesis/ rival/ caretaker of Supergirl’s object of affection.

Suderman is Founder Partner, Just Lust Pvt. Entertainment Unltd.

Mission Statement

To make love available free or at a sudsidised cost to the poor, needy and the greedy (Ladies/Hawt Women only).

Suderman in First Person



Just Lust Pvt. Entertainment Unltd is a non-profit non-government organisation committed to uplifting women (below 80 kilos and 28 years of age only). Women with boyfriend/s, crushes, other preoccupations, wat are doing here? (Bad girls, bad girls!) And others, wat are you waiting for? Life is like a movie. And it’s ought to be lived like one. Minimise the soppy scenes (they’re good for soaps on TV, bad for a shower in reality), add a little naach gaana daance waance, some masala, some spice… some sweet and some sour… For the sweet is never as sweet without the sour, rite? (Watch Vanilla Sky, people or die!).

That’s how I got here. To meet the sweet (I’m the sour)!

Just one more thing. Don’t take me too seriously. But if you are a hot chick, take me. Seriously. Like NOW! He he!

Pliss Note: This site has no/few fans because it is fully air conditioned. I mean can’t you feel the cool?

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