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Extra info for Learning The Heart's Way

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Apart from a watching a good film — I’ve always enjoyed both so-called art cinema as well as commercial flicks - I love discussing its various aspects. That one expression of the actor which conveys a hundred words, that one visual with which the story ends, that one camera shot which brings a new meaning to a frame, that one score which haunts you for several days — I think I just love the film experience. The film review section of the newspaper was one of my must-read sections and I envied film critics who got to see all kinds of movies from differ-ent countries and were even paid for it!

I saw films made by some of the best directors today — Shyam Senegal, Aparna Sen and Saeed Mirza. It was my first experience of sitting among film enthu-siasts and film makers while we discussed different aspects of the film. I got to see and understand the thinking behind serious cinema. Documentaries are always boring — or so I thought. The black and white jaded photography; a steely-lifeless narrative evoked immedi-ate yawning — until I saw Anand Patwardhan’s films. In a two-day film festival organized in Chennai, I saw about four of his films — Narmada Diary, Ram ke Naam, Father, Son and Holy War and Bombay, Our City.

What is most amazing about architectural origami is that the three dimensions of a model emerge not by cutting paper, but by simply making appropriate slits and folds. There is absolutely no loss of paper, though the piece itself may give the impression that large chunks have been cut out. Mr. Natarajan would slice the paper at the right places with a paper cutter and start working adeptly with his fingers and before you could say abracadabra, he had produced an artistic staircase, a cute little house or even a dream mansion.

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