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_krishna-vrinda-vihari---full-movie---romantic-love-story---naga-shaurya-shirley-setia.webp "The premise is impressive. As was established through the trailer, Krishna (Naga Shaurya) hails from a ritualistic Brahmin family where the mother (Radhika Sarathkumar) knows how to have her way. When he moves to Hyderabad to do a software job, he feels liberated. This newfound freedom makes him woo Vrinda (Shirley Setia), a North Indian living in the city, at the first opportunity. Vrinda, to his fortune, is his friendly manager. Much as she loves Krishna, Vrinda is in a bind because she is barren owing to a disorder. Krishna now takes a tricky decision. He pulls the wool over his mother's eyes and marries Vrinda. Least does he realize that this is not going to be smooth sailing.<br/><br/>This film doesn't subscribe to regular notions of masculinity. In this regard, director Aneesh R Krishna must be commended. Naga Shaurya's character doesn't mind being at the receiving end of the raw deal if it makes his girlfriend happy. Like many Telugu cinema male leads, he is mistaken often by those who are supposed to behave better.<br/><br/>Mahathi Swara Sagar's musical flavour sits pretty with the mood of the film. 'Emundi Ra' is enjoyable, although the rest of the songs don't match up to its standard. Sai Sriram's cinematography makes the production values look better. Compared to Shaurya's films like 'Nartanasala', 'KVV' has got a much better visual appeal.<br/><br/>For a change, the story taps into the dynamics of an evolving relationship between a woman and her mother-in-law. In doing so, it makes sense. There are dialogues that sensitize us to the need to empathize with the pulls and pressures faced by working women. Radhika Sarathkumar makes us see her character's point without appearing mean. It's also amusing that she is shown to be someone who has the ability to predict the future accurately.<br/>Shirley Setia makes a vivacious Telugu debut. She looks believable as a North Indian migrant in Hyderabad, drawing the unwarranted attention of a lot of men. Amitabh Pradhan's negative role could have been etched in a better way, though.<br/><br/>The arc of Vennela Kishore's character is funny, with the coma portions standing out. Satya is effortless. Brahmaji can make us enjoy even ordinary lines. Wish Rahul Ramakrishna had got to do better. Annapurnamma is seen as Krishna's granny, while Saranya Pradeep and Himaja have their parts.<br/><br/>The second half is where the actual story takes place. Much of the drama happens indoors. The conversations between three different characters make for a dramatic watch. The climax has the right quantum of simplicity and likeability. The pub scene is not squandered away.<br/>On the downside, the workplace portions should have been constructed in a realistic fashion. The frustrations of Satya and Rahul Ramakrishna are captured well initially. By and by, classist humour and regular tropes like a mean guy creeping up the female lead make their way. Nowadays, the audience are expecting workplace dynamics to be shown in an entertaining way without taking creative lib")
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_time-is-revealing-all-secrets-124124-acharya-prashant-on-guru-granth-sahib-2019.webp "ââïļ Want to meet Acharya Prashant?<br/>Be a part of the Live Sessions: https://acharyaprashant.org/hi/enquir...<br/><br/>⥠Want Acharya Prashantâs regular updates?<br/>Join WhatsApp Channel: https://whatsapp.com/channel/0029Va6Z...<br/><br/> Want to read Acharya Prashant's Books?<br/>Get Free Delivery: https://acharyaprashant.org/en/books?...<br/><br/> Want to accelerate Acharya Prashantâs work?<br/>Contribute: https://acharyaprashant.org/en/contri...<br/><br/> Want to work with Acharya Prashant?<br/>Apply to the Foundation here: https://acharyaprashant.org/en/hiring...<br/><br/>ââââââ<br/><br/>Video Information: Shabdyog Session, 17.04.2019, Advait Bodhsthal, Greater Noida, India <br/><br/>Context: <br/>~ What is time?<br/>~ Where does the time stops?<br/>~ What is beyond time?<br/>~ Who is plundered in life?<br/><br/><br/>āĪāĪĄāĪžāĨāĪ āĪļāĪāĨ āĪāĨāĪŠāĨāĪ āĪŠāĪđāĪ° āĪāĪāĪĻāĨāĪđ āĪāĨāĪŠāĪūāĪē āĨĨ<br/>All the hours are the milk-maids, and the quarters of the day are the Krishnas.<br/><br/>āĪāĪđāĪĢāĨ āĪŠāĪāĪĢāĨ āĪŠāĪūāĪĢāĨ āĪŽāĨāĪļāĪāĪĪāĪ°āĨ āĪāĪāĪĶāĨ āĪļāĨāĪ°āĪāĨ āĪ
āĪĩāĪĪāĪūāĪ° āĨĨ<br/>The wind, water and fire are the ornaments; the sun and moon are the incarnations.<br/><br/>āĪļāĪāĪēāĨ āĪ§āĪ°āĪĪāĨ āĪŪāĪūāĪēāĨ āĪ§āĪĻāĨ āĪĩāĪ°āĪĪāĪĢāĪŋ āĪļāĪ°āĪŽ āĪāĪāĪāĪūāĪē āĨĨ<br/>All of the earth, property, wealth and articles are all entanglements.<br/><br/>āĪĻāĪūāĪĻāĪ āĪŪāĨāĪļāĨ āĪāĪŋāĪāĪĻ āĪĩāĪŋāĪđāĨāĪĢāĨ āĪāĪūāĪ āĪāĪāĪ āĪāĪŪāĪāĪūāĪēāĨ āĨĨ<br/>O Nanak, without divine knowledge, one is plundered, and devoured by the Messenger of Death.<br/><br/><br/>Music Credits: Milind Date <br/>~~~~~~~~~~~~~<br/>")
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