SRIDEVIPALOOZA: Star-Crossed Lovers, Green Kumkumum and a Bat Grove: Devaragam (1996)

When I first watched the Tamil-dubbed version of this movie back in the late 90s, I was completely entranced. I watched it over and over again, got my best friend addicted to it too, then got our mothers into it as well. It brought about a lot of deep conversations and debates about brahmin culture, feminism, family-bond, tradition, etc. Devaragam was a Malayalam-language film directed by Bharathan, starring Sridevi, Arvind Swamy and Nedimudi Venu. There's some question via online sources whether it released in 1996 or 1999, but the one consensus is that it was a huge flop.

I'm not sure why people disliked this movie. I seriously loved it. The acting was superb, the music gorgeous and the storyline typical of Malayalam films - a tearjerker. The brightest spot of the entire film was definitely Sridevi, as the beautiful Lakshmi.

Though a little Arvind Swamy never hurt anyone either:

RAWR!

The film opens with a young child climbing into a bullock cart and insisting that he also go with the cart to pick up the 'Shavundi' - a person who performs funeral rites and lives amongst the cremation grounds. Though essential to the funeral ceremonies, he is often considered frightening or unlucky. He certainly looks that way too - covered in ash and grime, sleeping in a bat-infested grove and given ominous background music. The 'Shavundi' and child begin talking in the cart ride to the funeral, and then a flashback takes us to meet Lakshmi.

Life for Lakshmi turns head over heels when Vishnu (Arvind Swamy), the new priest's son and priest-in-training, shows up in her village. Lakshmi is instantly intrigued by the new young man in town, as you can see towards the end of this beautiful (albeit not very devotional in nature with all the thumkas) dance, Tham Thanananam(LOVE her expressions at the end, starting at 3:53):



Lakshmi uses all her charm and nakhra to try and attract Vishnu, but he rebuffs her over and over. These scenes are some of the most memorable in the whole movie, and Sridevi is simply perfect in them. She captures the innocence and playful flirtation of a young girl PERFECTLY when she was well-past that age by the time this film was made. The scenes still play in my head as some of the most romantic I can remember in Indian films, I don't know if it's due to the soundtrack which is one of the most hummable tunes ever, or if it's the chemistry between the lead pair, or what. The dhaavani flying through the air, Lakshmi's expression as she offers milk to Vishnu, the amazing display of emotions that cross her face when she finds him watching her create Rangoli patterns, the especially notable "green kumkumum" scene, the way she relentlessly pursues him in such a bold way ... it all comes together in such a natural, appealing way. They tease each other much like the boys and girls in first grade do, pretending to be annoyed with each other when they really like one another. Usually these kind of antics are overdone in Indian movies, and yet somehow, I am totally charmed by these two.

Lakshmi catches Vishnu watching her creating a Rangoli pattern

Pachchai Kumkumum Scene - her acting is INCREDIBLE!

At one point she traps him and tries to force him to tell her what he said about her to a friend, and he launches into this beautiful description of a goddess-woman in Karivari Vandugal ... she is completely caught up in the romance and is literally lifted off the ground with pride ... until she comes crashing back to reality when he says he was singing about the Goddess Mother and not about her. This scene is a MUST watch:



Their love is solidified when Vishnu saves Lakshmi from near-death by tree. Or rather, tries to save her. See, she climbs up a tree to toss flowers down to her chattery group of friends below, when she glimpses Vishnu painting by the river (what a soft, sensitive soul he is!). In trying to get a better view, she slips and knocks herself out but is still stuck in the tree. The friends cry for help, and Vishnu comes a-running. He climbs up to save her, but the branches break and they both fall into the river ... and he lifts her up and carries her out in the cheesiest romance scene style possible, but I'm still all a-flutter because of the gorgeous soundtrack.

Vishnu saves Lakshmi from Death by Tree.

Then they're all dreamy-dreamy about each other, and the song Ya Ya Ya Yadava showcases Sridevi looking absolutely STUNNING (HOW MUCH did I want her lehengas in this, especially the yellow & purple one) - though I must mention my BFF's mom was amused that they turned a Brahmin into a Yadava for this song, but I didn't mind so much, my heart totally melts when he sings the "Oh Radhayai" part ... le sigh!:



Now somewhere the dreams cross into reality, and Vishnu and Lakshmi have completely fallen in love. The problem is, Vishnu is supposed to be a brahmachari. His time and attention has been devoted to Lakshmi, and this does not escape the notice of his father, who punishes him for coming to a puja ceremony late by making him stand outside in the rain at night and repeat sacred chants. However Vishnu and Lakshmi have already passed the point of no return, and their passion for each other is consumated in the BEAUTIFUL song Sisirakaala:



There is SO MUCH going on here. First of all, they don't just hook up out in the woods - they get MARRIED. Yep, they set a fire burning, make some garlands and exchange them. All you need for a bonafide wedding. And once they are married, they go for a LITERAL romp in the hay. But look at all the symbolism! He breaks her belt (chastity?), and she has her fingers all tangled in his poonal thread, but doesn't break it! She leaves his status intact!

Incidentally, the first time we were watching this movie, the local priest in our community happened to stop by for something or the other EXACTLY DURING THE SCENE THAT THEY'RE GETTING IT ON. WITH ALL THE FOCUSING ON HIS POONAL THREAD. Awkward, yes.

This is most definitely the films turning point - it's all downhill from here. Lakshmi's father's elder sister comes to visit, and as she practically raised him he is very indebted to her and falls all over himself to please her. But this time, her request is for Lakshmi to marry her son Parthasarathy. I know, they're cousins, but this is how things were done back in the day to keep money within the family. It's even still done sometimes in villages. When Lakshmi's father shows hesitation, his sister FREAKS OUT and shows how angry and betrayed she would be if Lakshmi married someone else. Finding himself unable to bear his sister's anger, Lakshmi's father agrees to the match.

Lakshmi tries to tell her father

Meanwhile, Vishnu's father insists that Vishnu himself must conduct Lakshmi's wedding with Parthasarathy, as he is unwell. And when Lakshmi tries to tell her father that she cannot go through with the wedding, that she already loves Vishnu, he locks himself in a room and beats himself in the head with a brass lamp, then practically sets the place on fire. When Vishnu comes to break down the door and save him, he begs Vishnu to give Lakshmi up and to follow tradition. The star-crossed lovers can't fight their fate, and Lakshmi is forced to marry Partha.



A gorgeous wedding song, I even used it for my entry during my wedding in 2005, though I was quite a bit happier than she is. But check out the loser Lakshmi has to marry ... and watch her face when she realizes who is conducting her marriage ... just unbelievable acting. Beautiful.

Now the complications have multiplied even further. To marry your own wife to another man is an utter, complete sin. With all the family pressures built on either side for these star-crossed lovers, can Vishnu go forward and conduct Lakshmi's wedding? Who curses Vishnu to become the 'Shavundi'? And can Vishnu and Lakshmi ever be together? And what kind of dude is Partha???

That is one scary dude.

There is no simple, uncomplicated ending for this tale, and though it does get extremely melodramatic and downright depressing, there is still something hauntingly beautiful about the love between Vishnu and Lakshmi. Also at well-beyond the eleventh hour, it is finally the woman who has to decide that she's DONE with putting up with tradition, expectation and everything else that has put her through so much misery. She blasts out at everyone with the strength she has left in her. But is it all too much too late?

This movie may not be the most astoundingly original story out there, or the happiest ending in the world, but the acting gives it some real meat. Particularly Sridevi in her transition from the wide-eyed, flirtatious young maiden to the hard-worn, devastated mother, makes this movie worth watching. Also the film has a rather snarky, funny portrayal of money-grubbing city priests in the second half that rang very true to me. This is perhaps not Arvind Swamy's strongest work, especially considering Roja and Bombay. His role is more subdued, especially compared to Sridevi's powerhouse performance. Then again, she has that way of stealing the show, doesn't she? Still he'd probably charm me into a romp in the hay too -- check him out:

Post-coital Vishnu ... Anantashayana indeed.

Not to mention the super-cool demonic special effects that denote his being cursed to a life of graveyard shift, literally.

But if none of that entices you, let me just say that Sridevi's wardrobe in the first half of this movie is to DIE FOR gorgeous. Lots of beautiful, traditional South Indian paavadai-dhaavanis, long braided hair with rakodi and malligaipoo (jasmine flowers), gorgeous lehengas in the Yadava dream scene, and gorgeous jewelry too.

Well anyway here we are, with Neetu Singh-Along almost upon us, and I'm still going on and on about Sridevi. I do still want to recap a few more Sri movies, and will definitely keep going, but the Neetu posts are starting very soon and I need to get to work on them. So please do keep an eye out for posts about Neetu and more Sridevi, coming soon!

Thanks for reading and I hope that if you've seen Devaragam, or if you end up watching it, you will share your thoughts with me! I know I'm in the minority when it comes to liking this film!

Addendum SRIDEVIPALOOZA post: Sridevi the (non-classical) Dancer

I completely forgot while creating my post about Sridevi and "Filmi Classical Dance" that I made a YouTube playlist that showcased Sri's version of "Classical" Dance ... so I thought I'd go ahead and share it with y'all. Enjoy!

SRIDEVIPALOOZA: Glittery Bras and Mermaid Outfits: Masterji (1985)

I never knew that all my favorite Sridevi movies from the early 80s were imports from Tamil/Telugu movies by the same director, K. Raghavendra Rao, until this SRIDEVIPALOOZA project, though I knew from the rustic settings of Himmatwala and Tohfa that they were most likely copies of South Indian movies. But one that I definitely knew was a remake was Masterji (1985) starring Sridevi and Rajesh Khanna, along with the usual suspects of Kader Khan, Shakti Kapoor, Asrani, Aruna Irani, etc. The reason I was aware of this was because it's original, the tamil movie Mundhanai Mudichu (1983) starring K. Bhagyaraj and Urvasi, is one of my long-time favorite movies. Naturally we were excited when they remade it in Hindi, and even more excited when we heard that Sridevi would take on Urvasi's role.

The story is a village tale, far-removed from cities and justice systems. In this setting, everything from crimes to domestic spats, is settled by the "Panchayat" - a council of village elders. The story revolves around Radha (Sridevi), the daughter of the Head of the Village Council (Kader Khan). Radha is impetuous, sassy and rebellious.

She spends her days causing mischief along with her three best friends, who also happen to be three young boys (one played by a kid that pops up VERY often in Hindi Cinema, I call him Raju, and the third being Thavakalai, better known as "Little Superstar" the YouTube sensation). Radha is openly defiant of her father, and even accuses him to his face of having a mistress. Her parents want to marry her off as soon as possible, but Radha has her own ideas about the kind of man she is looking for.

*CLICK HERE* to view the song Dam Kham Wala

While gallavanting about the village, Radha and the boys see a young man get ejected from a bus with his child. They come to find out that he's heading towards their village to meet Radha's father, and eventually find out that he's there to be the new Teacher at the village school. Radha, seeing him busy himself with the baby, assumes that the mother will arrive in town once he's found a home and settled in.

RK wears many fabulous outfits like this one, with copious chest hair exposed

The new Masterji soon becomes the target of Radha and the boys pranks, until Radha finds out that he's a newly widowed man, and is raising the child alone. Radha feels terrible about stealing from him, and apologizes profusely. Masterji covers for Radha with her father, and is very kind to her despite her antics.

Radha is shocked to find out Masterji is widowed

We quickly realize how good of a man Masterji is. In his classroom, a child is revealed to be severly abused by his stepmother. Masterji is very upset by this, and clearly thinks that he should never remarry because he doesn't want to risk his baby ever being abused by a second mother. His mother-in-law arrives to visit and urges him to marry his dead wife's younger sister so that the child can have a mother, but he refuses, saying that he alone will be both mother and father to the child.

Also when the abused child is tied up by goons and his stepmother does nothing to save him, Masterji steps in to do some dishoom-dishoom and save him. In doing so, he gets a good whack to the head and passes out in Radha's arms, getting some blood on her chest. Radha gets all swooney about this, and goes into this very psychadelic dream song.

*CLICK HERE* to watch the song "Jab Tanhai Mein Do Badan"

Much like many of the South Indian import songs of this age, there some sort of prop-motif going on. In this case, it's umbrellas.

Rajesh Khanna struggles through the very limited dance moves they put in there, but is looking like a dapper fatherly sort of dude. Sri looks gorgeous in the supremely sparkly, sequins, 80s-tastic dresses, but there is a sort of light missing in her eyes? Did anyone else feel this when they watched her in this song? The Sri spark that's so evident in her other performances is somehow flat here. I remember reading tons of Stardust articles back in the day about Rajesh Khanna and his ... ahem, interactions with his female co-stars. I can't help but wonder if something went down that wasn't too kosher for the Sri during the filming of this song. But she still looks stunning, especially in the green Little Mermaid type outfit.

Move over Ariel.

 There are several side plots woven throughout. One being a totally unnecessary battle between a blackfaced (gahhh!) Shakti Kapoor and Asrani the priest for the heart of Aruna Irani (a flower seller). Masterji also campaigns to have another teacher brought into the village to teach the elderly folk reading and writing, which is met with scorn UNTIL the beautiful, young female teacher (played by Anita Raj) comes to town. Suddenly everyone's signing up for Adult Ed and humming Hot for Teacher.

Radha, seeing Masterji's hard working nature and kindness, is totally charmed and decides she is going to marry him. She proposes, which he brushes off rudely and without much serious thought. She approaches him again and again and he continues to reject her. Meanwhile her little friends fill her head with the idea that Masterji is cozying up with the sexy new teacher in town.

This is Radha's worst nightmare. Cootchie-cooing and chalkboard hearts

 When she refuses to believe it, the kids decide to demonstrate for her what they are doing - in the HIGHLY disturbing song "Galon Par Yeh Kaise Nishaan". The sets for their dream rendezvous include life-size cutouts of famous Indian lovers, tons of instruments and a tota (parrot).

*CLICK HERE* to view the song "Galon Par Yeh Kaise Nishan"

Also, Anita Raj is wearing shortie-shorts and pink fringey boots. A rose plays the guitar, apples play the tabla and her hair plays the sitar. It's all in all a very WEIRD sequence. It ends very symbolically with grapes falling into goblets of milk (or very cloudy water). I have NO IDEA what that means.

Pink fringey boots!

Also highly disturbing is this sequence ... apparently the KIDS are describing all of this to Radha. What is up with these kids' fantasies???

Anita Raj goes behind a screen to undress ...

...and toss her silver glittery bra on the tabla?

 So Radha decides it's time for drastic measures. She carefully tells the kids to pretend that she's said she was going to kill herself, and they bring Masterji running to stop her. They also arrange for the whole village, including the Panchayat to arrive on the scene. When everyone has assembled, Radha claims that she has lost her innocence, and when her family urges her to confess who she's sinned with, she points directly at who?

The next scene is very well done, although it's obviously far better in the Tamil original. Set to a score of heavy drums, the entire village is shown arguing with Masterji and Radha, fingers being pointed, Masterji having a mangalsutra thrust at him and her mother pleading at his feet for him to marry her daughter and save them from shame. I felt my gut twist a little for Masterji when they showed his mother-in-law and sister-in-law arrive on the scene and leave immediately after finding out what was going on.

Eventually the drums stop and Masterji lays his baby on the ground. He states to the crowd that he will agree to marry Radha IF she steps over the child and thereby swears on the child's life that what she's saying is true. Radha is shocked and afraid, but everyone pushes her, saying that if what's she's saying is the truth then she should go ahead and swear on the child. In a dramatic slow-motion scene, Radha does the horrible deed and steps over the child, swearing that her lies are true.

Now there is no other option for Masterji. He ties the mangalsutra on her and she moves in to his home, but that he doesn't mean he has to like it. No he absolutely doesn't accept Radha, no matter what she does. And she does a lot to try and get him to accept her, including a hilarious episode where she tries making an entire meal with drumsticks (vegetable) which is considered an aphrodisiac in some cultures. This leads to a lot of ... ahem ... *discomfort* for Masterji that night, and Radha makes it worse by singing the awful and inappropriate "Aankhen to Kholo Swami". The highlight of this song is the baby in the swami costume.

*CLICK HERE* to watch "Aankhen To Kholo Swami"

From there, the couples goes through a series of melodramatic events, some bringing them together, some driving them apart. With all of the lies and anger that Masterji feels, and with all the fear for his child's future driving him, will it be possible for him to forgive Radha. Can Radha find a way into his heart? And how far will Radha have to go to prove to Masterji that she will love his child as her own and never ill-treat him as a stepchild? And can they squeeze in a few more dishoom-dishoom scenes? Will Rajesh Khanna spend the entire movie looking bewildered about what he's doing in it?

It's difficult not to view this movie without comparing it to it's Tamil original, which is definitely superior. K. Bhagyaraj's Masterji is much funnier and more pathetic, so you definitely feel sorry for him throughout the film. And Urvasi's Parimala is incredibly innocent as compared to Sridevi's cheeky Radha. In fact, Radha's character overall is not likeable. She's spoiled, selfish, arrogant and disrespectful. Yet somehow with all those character flaws and despite the EXTREMELY messed up way she lied to get what she wanted (which bites her in the a$$ later), Sridevi gets you to root for Radha. The overall environment has a distinct South Indian feel. The overtly sexual innuendos and situations seem more ... vulgar ... somehow, in the Hindi version. And Thavakalai, who obviously could not be replaced or recast, has great difficulty with dialogue delivery in Hindi and his lines don't have the natural humor that they did in Tamil (he's still awesome though).

I'd still recommend it for the funny moments. And though Sridevi's performance overall isn't as convincing as Urvasi's (which I attribute to script/direction and not her abilities), she still managed to get me a bit choked up in certain scenes. And look at how gorgeous she is!

Though SRIDEVIPALOOZA ended on August 20th, there are still a few entries trickling in, so check out our Delicious and Tumblr links to stay updated!

Also we're all in preparation for Neetu Singh-Along! organized by Beth Loves Bollywood, A Fairy Filmi Ending, and Totally Filmi. I've got my Neetu movies all set, so I hope you will check back in between September 13th and 20th for a plethora of Neetu-pyar.

Song of the Day: Sri's most WTF video ever (SRIDEVIPALOOZA)

Though I was a big fan of the Sridevi-Jeetendra jodi, they did perhaps peak around 1984, because some of the stuff that came out after that time was very questionable. I didn't get to watch many of their films together post 1985, and after watching this video, I'm not sorry.

This video was SO full of WTF-ery I just felt miserable for Sri that she had to be in it. From the 1985 film Balidaan, here is "Aaja Ek Hoja".



First of all, someone explain to me the big giant shower rooms with only a half-wall separating them? And then there's a convenient chunk of wall missing for Jeetendra to get his Peeping Tom on?

Also, I hope someone has seen this movie and can explain them entering these giant shower rooms with their clothes on? Sridevi seems to have a special bathing dress inspired by Satyam Shivam Sundaram on (with a faboo silver belt, I hope it doesn't tarnish!), but Jeetu is in red shortie-shorts!!! AAAGGGGH my eyes!!!

The the wall separating them disappears back into the wall?! This must be the Prefect's Bathroom at Hogwarts.

Then we're jetted off to a dream set, which is another giant shower room, but this one is tricked out with greek columns, statues, arches and stained glass windows. And of course they had to put poor Sri in a white sari.

At around 3:45 we're transported off again into a giant bubble bath of WTF. Jeetu seems to have jumped in wearing his tennis shorties, because he's still got his socks on. Looks damn uncomfortable. And inexplicably, there are showerheads running all around and above the bubble bath. I keep looking around for Helen because it looks like the kind of place she'd hang out.

It doesn't seem like any of the usual suspects have blogged about this movie, and I can definitely see why. I'm curious because this video makes absolutely NO SENSE, and this coming from someone raised on Bollywood WTF-ery. I'd definitely love to hear from someone who saw this movie that could possibly tell me about the plot points leading up to this song.

Anyway, Sridevipalooza continues though the official dates have ended! I'll be reviewing Masterji soon so keep an eye out!

SRIDEVIPALOOZA: Sridevi the (non-Classical) Dancer

So SRIDEVIPALOOZA 2010 has officially ended, but many of us are still going. The links will continue to be posted, so definitely keep sending any Sridevi-related posts my way!

I wanted to explore something that's a bit problematic for me, because my inner-Sridevi-fangirl doesn't want me to in any way imply that Sri is anything BUT perfection. But that's not necessary as a true fan. It's kind of like recognizing your parents or loved ones shortcomings but loving them regardless. I'm Sri's unconditional fan.

There is no doubt for anyone that Sridevi is a spectacular dancer. She's been touted for many years as being one of the best dancers in Bollywood. I absolutely adore Sridevi and think she is tremendously talented, but the one point that makes me a bit uncomfortable is when people state that she is a good CLASSICAL dancer. Being a good dancer, and being a classical dancer are quite different. Being the daughter of a renowned dancer and having been trained in Bharatanatyam since the age of 2, I'm quite critical when it comes to dance. Ok, I admit, I am VERY critical when it comes to dance. And I also get VERY irritated by the fake classical dance that's often featured in Bollywood, or when classical dance costumes are worn by dancers doing weird hip-shaking, thrusting moves. I feel it's disrespectful to the style that my mother, and so many others, have dedicated their lives to.

So when people try to tell me that I must like Sridevi because she's "such a good classical dancer", I bristle a little. She has openly admitted in many interviews over the years that she is not a classically trained dancer.

She's most certainly a good dancer in general! She does great at your typical Bollywood fare, and she made the odd choreography of whoever created those madcap Sri + Jeetu aerobic routines look good. That is no ordinary feat! She could take the silliest moves, and make them look classy. That's one of the things I loved about her ... the way she could pull just about anything off!

But CLASSICAL dance is different. Having a background in classical dance makes any dancer a better dancer overall. I've seen it in real life too, in the community I grew up in (the Detroit suburbs) ... whenever the girls of the community got together and danced to film songs, the ones that truly stood out were the ones with classical dance training.

So too are the best dancers in Indian Cinema the ones that have classical dance background, including Vyjayanthimala, Padmini, Hema Malini, Meenakshi Seshadri, Madhuri Dixit and Aishwariya Rai. In the South, there's Jaya Prada, Bhanupriya, Amala and Shobhana just to name a few. Even Urmila Matondkar, who I know took dance from my own dance Gurus in Mumbai (the one and only Sri Rajarajeshwari Bharata Natya Kalamandir in Matunga!), has a defined classical dance style, so much so that she sometimes looks like she's doing Bharatanatyam when doing Hip-Hop type moves. Let me clarify that I am not saying in any way that they are superior actresses or that I like them better. Sridevi is my absolute favorite actress of all time. But their classical training makes their movement more refined, more graceful and more exact. It makes a difference! You can always tell when a dancer has had classical training, no matter what style of dance they are doing.

Now before the haters go crazy, let me say another thing. I believe that Sridevi had all the potential to be an AMAZING classical dancer. Without any training, she became famous for "Tandav" dance pieces in many movies, particularly Chandni and Chaalbaaz, and did a spectacular job in the popular "Mein Teri Dushman" song from Nagina. Items like "Jhanjhanana" from Nazrana, "Suraj Naache" from Patthar Ke Insaan, and the fabulous "Naan Vanangugiren" from Guru (video below) showcase her natural talent.



She is an extremely talented dancer and I believe has the unique ability to imitate very, very well, which helped her pull off a lot of the filmi-classical numbers she did over the years. If she had classical training, she would most definitely beat out ALL of the actresses I mentioned above (ok, maybe not Vyjayanthi, but everyone else) as the best dancer in Indian Cinema, hands down. She has inherent talent as a dancer, and would have picked up classical dance very quickly and easily.

And if you watch Sridevi's interview on Baaje Payal (posted below), she makes a VERY valid point. With dance, sometimes your expressions can mask any technical imperfections. This is why classical dancers spend so much time studying Abhinaya and training our faces to convey a myriad of emotions. I always say, a dancer can be the most technically gifted person in the world and the athletic prowress to leap from one end of the stage to the other, but if they can't make me feel any genuine emotion, then I'm not interested in watching them. Indian Classical Dance is spiritual in nature, and the whole idea is to connect with the divine through dance. Abhinaya, or the codified study of expression, is CRUCIAL to a dancer's success.



In that respect, Sridevi is tremendous. Her expressions are awe-inspiring, and I think far more powerful than let's say for example Aishwariya Rai, who is indeed a technically superior dancer, but her face often freezes in an overly-bright smile. Sridevi's expressions are always genuine and certainly are a highlight of her dancing.

Another great point she makes is that she loves to dance and enjoys it, and that might be why everyone likes her dancing. That is absolutely true. When someone genuinely loves what they are doing and expresses that joy outwardly, it is impossible not to enjoy watching them. That is one of the reasons I much prefer watching Sridevi to many of the other classically trained dancers, like Jaya Prada or Hema Malini. Sridevi's joy and exuberance is unbeatable!

For more SRIDEVIPALOOZA posts, visit either my Delicious or Tumblr links! There are many more Sridevi-themed posts to come!