Saturday, May 16, 2009
Friday, May 16, 2008
JODHA AKBAR
Jodha Akbar directed by Oscar nominated film (Lagaan) director Ashutosh Gowarikar is a historical love story featuring superstar Hrithik Roshan and Aishwarya Rai Bachchan as Akbar and Jodha. The movie has been in the making for the last 2 and a half years. The first release date was October 12th 2007, but soon postponed to January 25th 2008. Ashutosh suffered from a back problem and again the movie was postponed to a day after Valentines day, February 15th. The movie was also surrounded by a lot of controversy which helped build up the curiosity level. Jodha Akbar is Hrithik Roshan’s first release after Dhoom 2 (2006) and Aishwarya Rai Bachchan’s first release post her marriage to Abhishek Bachchan.
Taran Adarsh of Bollywood Hungama has just published the first detailed review of the movie and rates it 4 stars on 5.
Note:- This is NOT the official Indicine Review. Check out our official review here - Jodha Akbar Review
Jodha Akbar Review
Let’s get one thing straight: You haven’t watched anything so opulent, so magnificent like this in a long, long time on the Hindi screen. It’s not just body beautiful, but there’s soul as well.
It requires courage, prowess, patience, aptitude, knowledge, passion and of course, loads of currency to attempt a movie like Jodhaa Akbar. But more than anything else, it requires your firm belief in the subject, the belief to attempt a historical when historicals are considered an absolute no-no in the industry, the belief to spend almost Rs 40 crore in a film that could go either ways.
Only when you’re convinced yourself can you convince millions of moviegoers. And convinced you are after watching Jodhaa Akbar, a film of epic proportions.
Now let’s clear a few misconceptions pertaining to the film…
It’s blasphemous to compare Mughal-E-Azam and Jodhaa Akbar. While Mughal-E-Azam was primarily about the legendary romance between Salim and Anarkali, a subject that has been attempted quite a few times on the Hindi screen before, Jodhaa Akbar is about the relationship that the young Akbar shared with Jodhaa.
A lot has been said and written about its length [3.20 hours]. Does the viewer of today have the patience to watch a really lengthy film in today’s times? But once into Jodhaa Akbar, the sequence of events, the drama, the romance, the war… every aspect keeps you mesmerized. Oh yes, the length does pinch you at one crucial point [second hour, which is relatively shorter], when a song breaks out. Otherwise, the 3 + hours are very well spent.
When you watch historicals like Mughal-E-Azam and Razia Sultan, the usage of chaste Urdu is difficult to comprehend at times. Not here! The language is simplified - Akbar speaks in Urdu, Jodhaa in Hindi - and it’s easy to decipher.
As a cinematic experience, it would be wrong to compare Jodhaa Akbar to any of Ashutosh Gowariker’s previous endeavors. Why, it would be erroneous to compare the film with any film ever made before in this genre. This one stands out and stands out the tallest.
To sum up, Jodhaa Akbar leaves you spellbound, enthralled, entranced and awestruck. Ashutosh Gowariker makes the legendary characters come alive on screen.
Set in the sixteenth century, Jodhaa Akbar is a love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodhaa. Little did Akbar [Hrithik Roshan] know that when he married Jodhaa [Aishwarya Rai Bachchan], he would be embarking upon a new journey — the journey of true love.
The daughter of King Bharmal of Amer [Kulbhushan Kharbanda], Jodhaa resented being reduced to a mere political pawn in this marriage of alliance, and Akbar’s biggest challenge now did not merely lie in winning battles, but in winning the love of this defiant princess.
One of the prime reasons why Jodhaa Akbar works is because the present-day viewer is unaware of the romance between Akbar and Jodhaa. Sure, we all know of Akbar as a great emperor, but the love story makes for a refreshing subject. And the execution of a number of sequences makes Jodhaa Akbar extremely special.
Some instances:
* The war sequence at the very outset. You realise the scale and magnitude of the film at the very beginning.
* Hrithik taming an out-of-control elephant. It’s hair-raising.
* The two pre-conditions set by Jodhaa, before her marriage to Akbar. Very interesting.
* The confrontation between Ila Arun and Ash at the kitchen, when Ash decides to make the meal herself.
* The immediate sequence, when Ash is asked to taste the food herself by Ila before she’s about to serve the food to the Emperor and his associates. Once done, Hrithik demanding that he be served the meal from the same platter that Jodhaa had used.
* The intermission point, which sows the seeds of a misunderstanding between Hrithik and Ash.
* Post-interval, Hrithik returning to Amer to get Ash back to Agra and the welcome ceremony by his mother-in-law [Suhasini Mulay].
* The sword fight the very next morning, between Hrithik and Ash.
* The Azeem-o-Shaan Shahenshah track, when the entire kingdom hails Hrithik.
* The fight in the climax [reminds you of the fight between Brad Pitt and Eric Bana in Troy].
Amazing moments indeed…
Ashutosh Gowariker knows that historicals have to be simplified while narrating on celluloid so that the moviegoer is able to grasp and comprehend the plotline and the sequence of events. Thankfully, Jodhaa Akbar is not in the least difficult to decipher. Gowariker’s handling of the subject deserves the highest praise, for it’s not everyday that you come across a film like Jodhaa Akbar.
A.R. Rahman’s music is not the type that you take to instantly, but yes, it gels beautifully with the mood of the film. Azeem-o-Shaan Shahenshah and Jashn-e-Bahara are the best tracks in terms of tune. In terms of choreography, Azeem-o-Shaan Shahenshah is awe-inspiring, while the execution of Khwaja Mere Khwaja is outstanding. Rahman’s background score is simply extra-ordinary.
There’s no room for dullness in Haider Ali and Gowariker’s screenplay. The writing is tight, the drama keeps you hooked and the romantic track is wonderful. The film also talks of secularism, an issue so vital in today’s times. K.P. Saxena’s dialogues are amazing. At places, soaked in acid. The writer comes up with several gems, yet again. Kiran Deohans’ cinematography matches international standards. The movement of camera at various places, especially in the battlefield, is breath-taking. Also, the D.O.P. captures the grandeur to the fullest. The production design [Nitin Chandrakant Desai] is, again, awesome. Recreating the bygone era requires not just money, but also the vision and Desai proves his supremacy yet again.
Be it the war sequences or the sword fights or general action, Ravi Dewan’s contribution to the film is incredible. Especially noteworthy is the fight between Hrithik and Nikitin Dheer in the climax. It’s simply outstanding! Editing [Ballu Saluja] is perfect, although the romantic song between Hrithik and Ash can be shortened in the second hour. The costumes [Neeta Lulla] as also the jewelry also deserve special mention.
Jodhaa Akbar also works because of the right casting. It’s difficult to imagine anyone else in the role of Emperor Akbar. Hrithik seems born to play this role and he enacts it with such precision, such flourish, such confidence that it leaves you asking for more. A mind-boggling performance without doubt!
Aishwarya Rai Bachchan is superb. Oh yes, she looks ethereal — a compliment she has heard a trillion times before. What’s new in that? But watch her emote in this film. You realise the amazing talent that has hitherto not been tapped by any movie maker. A flawless performance indeed!
Jodhaa Akbar has a host of characters, but the ones whom you carry home, besides Hrithik and Ash, are Sonu Sood [excellent], Nikitin Dheer [fantastic], Ila Arun [electrifying; her finest work so far], Punam S. Sinha [graceful], Kulbhushan Kharbanda [perfect], Raza Murad [effective] and Rajesh Vivek [good]. Amitabh Bachchan’s rich barritone voice adds lustre to the magnum opus.
On the whole, Jodhaa Akbar is, without a shred of doubt, a brilliant film in all respects. This historical has all it takes to prove the first blockbuster of 2008. Very strongly recommended
Taran Adarsh of Bollywood Hungama has just published the first detailed review of the movie and rates it 4 stars on 5.
Note:- This is NOT the official Indicine Review. Check out our official review here - Jodha Akbar Review
Jodha Akbar Review
Let’s get one thing straight: You haven’t watched anything so opulent, so magnificent like this in a long, long time on the Hindi screen. It’s not just body beautiful, but there’s soul as well.
It requires courage, prowess, patience, aptitude, knowledge, passion and of course, loads of currency to attempt a movie like Jodhaa Akbar. But more than anything else, it requires your firm belief in the subject, the belief to attempt a historical when historicals are considered an absolute no-no in the industry, the belief to spend almost Rs 40 crore in a film that could go either ways.
Only when you’re convinced yourself can you convince millions of moviegoers. And convinced you are after watching Jodhaa Akbar, a film of epic proportions.
Now let’s clear a few misconceptions pertaining to the film…
It’s blasphemous to compare Mughal-E-Azam and Jodhaa Akbar. While Mughal-E-Azam was primarily about the legendary romance between Salim and Anarkali, a subject that has been attempted quite a few times on the Hindi screen before, Jodhaa Akbar is about the relationship that the young Akbar shared with Jodhaa.
A lot has been said and written about its length [3.20 hours]. Does the viewer of today have the patience to watch a really lengthy film in today’s times? But once into Jodhaa Akbar, the sequence of events, the drama, the romance, the war… every aspect keeps you mesmerized. Oh yes, the length does pinch you at one crucial point [second hour, which is relatively shorter], when a song breaks out. Otherwise, the 3 + hours are very well spent.
When you watch historicals like Mughal-E-Azam and Razia Sultan, the usage of chaste Urdu is difficult to comprehend at times. Not here! The language is simplified - Akbar speaks in Urdu, Jodhaa in Hindi - and it’s easy to decipher.
As a cinematic experience, it would be wrong to compare Jodhaa Akbar to any of Ashutosh Gowariker’s previous endeavors. Why, it would be erroneous to compare the film with any film ever made before in this genre. This one stands out and stands out the tallest.
To sum up, Jodhaa Akbar leaves you spellbound, enthralled, entranced and awestruck. Ashutosh Gowariker makes the legendary characters come alive on screen.
Set in the sixteenth century, Jodhaa Akbar is a love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodhaa. Little did Akbar [Hrithik Roshan] know that when he married Jodhaa [Aishwarya Rai Bachchan], he would be embarking upon a new journey — the journey of true love.
The daughter of King Bharmal of Amer [Kulbhushan Kharbanda], Jodhaa resented being reduced to a mere political pawn in this marriage of alliance, and Akbar’s biggest challenge now did not merely lie in winning battles, but in winning the love of this defiant princess.
One of the prime reasons why Jodhaa Akbar works is because the present-day viewer is unaware of the romance between Akbar and Jodhaa. Sure, we all know of Akbar as a great emperor, but the love story makes for a refreshing subject. And the execution of a number of sequences makes Jodhaa Akbar extremely special.
Some instances:
* The war sequence at the very outset. You realise the scale and magnitude of the film at the very beginning.
* Hrithik taming an out-of-control elephant. It’s hair-raising.
* The two pre-conditions set by Jodhaa, before her marriage to Akbar. Very interesting.
* The confrontation between Ila Arun and Ash at the kitchen, when Ash decides to make the meal herself.
* The immediate sequence, when Ash is asked to taste the food herself by Ila before she’s about to serve the food to the Emperor and his associates. Once done, Hrithik demanding that he be served the meal from the same platter that Jodhaa had used.
* The intermission point, which sows the seeds of a misunderstanding between Hrithik and Ash.
* Post-interval, Hrithik returning to Amer to get Ash back to Agra and the welcome ceremony by his mother-in-law [Suhasini Mulay].
* The sword fight the very next morning, between Hrithik and Ash.
* The Azeem-o-Shaan Shahenshah track, when the entire kingdom hails Hrithik.
* The fight in the climax [reminds you of the fight between Brad Pitt and Eric Bana in Troy].
Amazing moments indeed…
Ashutosh Gowariker knows that historicals have to be simplified while narrating on celluloid so that the moviegoer is able to grasp and comprehend the plotline and the sequence of events. Thankfully, Jodhaa Akbar is not in the least difficult to decipher. Gowariker’s handling of the subject deserves the highest praise, for it’s not everyday that you come across a film like Jodhaa Akbar.
A.R. Rahman’s music is not the type that you take to instantly, but yes, it gels beautifully with the mood of the film. Azeem-o-Shaan Shahenshah and Jashn-e-Bahara are the best tracks in terms of tune. In terms of choreography, Azeem-o-Shaan Shahenshah is awe-inspiring, while the execution of Khwaja Mere Khwaja is outstanding. Rahman’s background score is simply extra-ordinary.
There’s no room for dullness in Haider Ali and Gowariker’s screenplay. The writing is tight, the drama keeps you hooked and the romantic track is wonderful. The film also talks of secularism, an issue so vital in today’s times. K.P. Saxena’s dialogues are amazing. At places, soaked in acid. The writer comes up with several gems, yet again. Kiran Deohans’ cinematography matches international standards. The movement of camera at various places, especially in the battlefield, is breath-taking. Also, the D.O.P. captures the grandeur to the fullest. The production design [Nitin Chandrakant Desai] is, again, awesome. Recreating the bygone era requires not just money, but also the vision and Desai proves his supremacy yet again.
Be it the war sequences or the sword fights or general action, Ravi Dewan’s contribution to the film is incredible. Especially noteworthy is the fight between Hrithik and Nikitin Dheer in the climax. It’s simply outstanding! Editing [Ballu Saluja] is perfect, although the romantic song between Hrithik and Ash can be shortened in the second hour. The costumes [Neeta Lulla] as also the jewelry also deserve special mention.
Jodhaa Akbar also works because of the right casting. It’s difficult to imagine anyone else in the role of Emperor Akbar. Hrithik seems born to play this role and he enacts it with such precision, such flourish, such confidence that it leaves you asking for more. A mind-boggling performance without doubt!
Aishwarya Rai Bachchan is superb. Oh yes, she looks ethereal — a compliment she has heard a trillion times before. What’s new in that? But watch her emote in this film. You realise the amazing talent that has hitherto not been tapped by any movie maker. A flawless performance indeed!
Jodhaa Akbar has a host of characters, but the ones whom you carry home, besides Hrithik and Ash, are Sonu Sood [excellent], Nikitin Dheer [fantastic], Ila Arun [electrifying; her finest work so far], Punam S. Sinha [graceful], Kulbhushan Kharbanda [perfect], Raza Murad [effective] and Rajesh Vivek [good]. Amitabh Bachchan’s rich barritone voice adds lustre to the magnum opus.
On the whole, Jodhaa Akbar is, without a shred of doubt, a brilliant film in all respects. This historical has all it takes to prove the first blockbuster of 2008. Very strongly recommended
Thursday, May 15, 2008
FLYING KURUVI
Alas! It’s a great disappointment for not just Vijay fans, but for audiences who expected a lot from Director Dharani. Director who earlier rocked with blockbuster flicks like Dhill, Dhool and Ghilli has completely presented us with a film that has nothing attractive. All throughout the film, you have the lots of absurdities that will get you annoyed. Well, we are sure even the surest fans of Vijay would been greatly discomfited. Vijay jumping from the height of 150ft bridge and getting hold of a running train at high speed.
The film opens with tycoon Suman and Ashish Vidhyarthi as local MLA at a village in Andhra Pradesh troubling a big group of lay people as their slaves for digging diamonds from the ground illegally. Manivannan is one among them and unable to bear the suffering, he bursts out in anger assuring the baddies that his son will surely get it retaliated.
The scene immediately switches over to 20 minutes of visual kind of advertisement for Car racing, where we have the hero Vetrivel (Vijay) winning it and then followed by a title song where he shakes his leg with Malavika. But sooner, trouble falls on his way when a stranger along with his group asks him and his family to vacate the house.
Situations force him to fleet for Malaysia along with his friend played Vivek as a carrier and over there he has to face unexpected sequences that will let the hidden dark mysteries revealed.
Getting on with the performance, Vijay does a stupendous job when it comes to stunts and dance, but you know something? A person jumping from a long height, breaking a tree by kicking it is something that will make you laugh instead applause for. If Vijay continues to go for same kind of stuffs, then we are sure that Ilayathalapathy will overtake Telugu Superstar Balakrishnan who does more unbelievable comedic stunts like Kicking the track and re-routing the train from one platform to another and Mahesh Babu who breaks the wall into bricks just with a fist of hand.
Trisha on the other hand has nothing when compared to Jyothika’s performance in Dhool as directed by Dharani. Her dance is horrible and emoting to the situations are also not up to the expectations. Vivek is the only convincing part for the film and he makes you laugh to peak with his rib-trickling comedy tracks right throughout the first half. But the greatest flaw is Dharani putting an end to him in the second half.
Suman looks so bubbly that he is not apt for the negative role and it would have been nice if he was termed with starting lines of the song ‘Molu Molunu’.
Though couple of songs has been tuned in well like title song ‘Dandana Darna’ and ‘New Year Song’, other songs aren’t placed properly and it looks odd and makes you yawn with few. And you get vexed with the stunts, for they form major portion of the film. If stunts in the film are extracted, then duration of the movie would be hardly for 60mins.
Few traces of Telugu movie Bangaru directed by Dharani and stunt scenes imitated from Mahesh Babu Starrer Nandu are easily blatant.
As a whole, Kuruvi is a movie that can be watched for those who love lots of stunts without a gripping story and screenplay. A treat for diehard fan of Vijay and nothing special from Dharani who raised our expectations and now dashing it all.
The film opens with tycoon Suman and Ashish Vidhyarthi as local MLA at a village in Andhra Pradesh troubling a big group of lay people as their slaves for digging diamonds from the ground illegally. Manivannan is one among them and unable to bear the suffering, he bursts out in anger assuring the baddies that his son will surely get it retaliated.
The scene immediately switches over to 20 minutes of visual kind of advertisement for Car racing, where we have the hero Vetrivel (Vijay) winning it and then followed by a title song where he shakes his leg with Malavika. But sooner, trouble falls on his way when a stranger along with his group asks him and his family to vacate the house.
Situations force him to fleet for Malaysia along with his friend played Vivek as a carrier and over there he has to face unexpected sequences that will let the hidden dark mysteries revealed.
Getting on with the performance, Vijay does a stupendous job when it comes to stunts and dance, but you know something? A person jumping from a long height, breaking a tree by kicking it is something that will make you laugh instead applause for. If Vijay continues to go for same kind of stuffs, then we are sure that Ilayathalapathy will overtake Telugu Superstar Balakrishnan who does more unbelievable comedic stunts like Kicking the track and re-routing the train from one platform to another and Mahesh Babu who breaks the wall into bricks just with a fist of hand.
Trisha on the other hand has nothing when compared to Jyothika’s performance in Dhool as directed by Dharani. Her dance is horrible and emoting to the situations are also not up to the expectations. Vivek is the only convincing part for the film and he makes you laugh to peak with his rib-trickling comedy tracks right throughout the first half. But the greatest flaw is Dharani putting an end to him in the second half.
Suman looks so bubbly that he is not apt for the negative role and it would have been nice if he was termed with starting lines of the song ‘Molu Molunu’.
Though couple of songs has been tuned in well like title song ‘Dandana Darna’ and ‘New Year Song’, other songs aren’t placed properly and it looks odd and makes you yawn with few. And you get vexed with the stunts, for they form major portion of the film. If stunts in the film are extracted, then duration of the movie would be hardly for 60mins.
Few traces of Telugu movie Bangaru directed by Dharani and stunt scenes imitated from Mahesh Babu Starrer Nandu are easily blatant.
As a whole, Kuruvi is a movie that can be watched for those who love lots of stunts without a gripping story and screenplay. A treat for diehard fan of Vijay and nothing special from Dharani who raised our expectations and now dashing it all.
Sunday, May 11, 2008
THE LOVE
To wake up with you every morning by my side,
Knowing not matter what happens,
I'll be able to come home to your loving arms.
All I want to do is share everything with you...
To talk to you about our ideas, our dreams,
The little everyday things that makes us laugh,
And the not-so-little things we can't help worrying about.
All I want is to give you my love...
As a place you can always come to for acceptance,
Or the simple comfort that silence brings
When things left unsaid are still understood.
All I want is to grow old with you...
To watch our life unfold,
Our dreams, one by one, come true.
All I want is to love you forever!
Thursday, May 08, 2008
I feel you creepin', I can see you from my shadow.
Wanna jump up in my Lamborghini Gallardo.
Maybe go to my place and just kick it, like Taebo.
And possibly bend you over.
Look back and watch me
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore
Smack that, oooh.
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore,
Smack that, oooh.
Up front style. Ready to attack now.
Pull in the parking lot slow with the lack down.
Convicts got the whole thing packed down.
Step in the club. The wardrobe intact now.
I feel it. Go on and crack now.
Ooh, I see it. Don't let back now.
Im'a call her. Then I put the mack down.
Money? No problem. Pocket full of that now.
I feel you creepin', I can see you from my shadow.
Wanna jump up in my Lamborghini Gallardo.
Maybe go to my place and just kick it, like Taebo.
And possibly bend you over.
Look back and watch me
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore
Smack that, oooh.
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore,
Smack that, oooh.
Ooh! Looks like another club banger.
They better hang on.
When I throw this thang on.
Get a little drink on. They goin' flip.
For this Akon shit. You can bank on it.
Pedicure, manicure, kitty cat claws.
The way she climbs up and down them poles.
Lookin' like one of them Pretty Cat Dolls.
Tryna hold my woody back through my drawers.
Steps off stage, didn't think I saw her.
Creeps up behind me and she's like, you're -
I'm like, yeah I know, let's cut to the chase.
No time to waste. Back to my place.
Plus from the club to the crib's like a mile away.
Or more like a palace, shall I say.
And plus I got a pal. Every gal is game.
In fact he's the one singing the song that's playing!
(Akon!)
I feel you creepin', I can see you from my shadow.
Wanna jump up in my Lamborghini Gallardo.
Maybe go to my place and just kick it, like Taebo.
And possibly bend you over.
Look back and watch me
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore
Smack that, oooh.
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore,
Smack that, oooh
Eminem's rollin', D an' them rollin'.
Boo an' Oh Marvelous an' them rollin'.
Women just hoin'.
Big booty rollin'.
Soon I be all in them an' throwin D.
Hittin' no less than 3.
Block will style like wee, wee.
Girl, I can tell you want me, 'cause lately.
I feel you creepin', I can see you from my shadow.
Wanna jump up in my Lamborghini Gallardo.
Maybe go to my place and just kick it, like Taebo.
And possibly bend you over.
Look back and watch me
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore
Smack that, oooh.
Smack that, all on the floor,
Smack that, give me some more,
Smack that, 'till you get sore,
Smack that, oooh.
MY HOSTEL LIFE
Hi every one it was nice to be back after long time, and these days life was nearly different .i was put in to a boarding school named st judes public school in kotagiri.when I went to the hostel I was so sad I was crying for one week .I was home sick .I punched the wall, I scratched my hand with compass in anger use to cry every night one day I and one fellow planned to run out from the hostel. first my friend jumped out of the school my geography teacher saw him I got afraid and ran inside the dormitory after fifteen minutes they caught my friend they took that fellow to the principal that fellow said that I planned to jump out of the school and principal beat me and that fellow nicely and after beating she gave us one sweet I took that fellow to one room and I trashed him my friend saw me fighting he went and said to every seventh standard student the whole seventh standard saw me fighting and got afraid of me from that time no one will tease me fight with me the whole seventh standard became my friends then I used to fight every girls except some Thailand girls. then one Nepal fellow named Susan rai became my friend I liked him very much we both will be roaming together the whole seventh will call us the hip-hop brothers after some days I did n’t listen my teacher words I started playing every time at exam time only I will study first time I failed in the school my teacher scolded me I got angry on that teacher and I started to back answer every teacher from that time no teacher will beat me then my .my hostel life was going on and annual exams was coming we stopped playing and started to learn we didn’t talked to each other after last exam me met to getherand enjoyed I retuned home sadly then I use to mail to my friends now I joined in madras Christian college higher secondary at present I am in my brother jeevan’s houseHOSTEL LIFE IS MORE HAPPIER THAN BEING IN A HOUSE
Saturday, December 22, 2007
Mixed songs of aravind
AFTER HEARING THIS SONG DON’T THINK THAT I AM A MAD
SONGS JUSSSSSSSSSSS! FOR YOU
SONGS JUSSSSSSSSSSS! FOR YOU
| songs of Aravind.m... |
Thursday, January 11, 2007
THE STORY OF THE PRINCE AND THE FROG
LONG LONG AGO THERE WAS A KING AND A QUEEN AND A PRINCESS THE PRINCESS NAME WAS BEAUTY ONE DAY THE BEAUTY WAS PLAYING WITH HER GOLDEN BALL SHE FLEW IIT IN TO THE AIR AND GOT IT AGAIN ANOTHER TIME SHE THREWED INTO THW AIR THE GOLDEN BALL FELL IN TO THE WELL SHE WAS CRYING HELPLESSLY AND SHE HEARD A FROG VOICE THEN SHE ASKED THE FROG TO JUMP IN TO THE WELL AND TAKE THE BALL THEN THE FROG TOLD IF I TAKE THE BALL FROM THE WELL YOU SHOULD TAKE ME TO YOUR PALACE AND I WILL EAT IN YOUR GILDEN PLATE AND SLEEP IN YOUR COTTON PILLOW THEN THE FROG JUMPED IN TO THE WELL AND TAKE THE BALL THE PRINCE TOOK THE FROG TO THE PALACE AND THE PRINCE REFUCED TO GIVE THEGOLDEN PLATE TO THE FROG AND THE FROG ATE DELIOUS FOOD WHILE ITS GETTING DARK SHE WENT TO THE BED ROOM THE FROG ALSO WENT AND SLEPT IN THE COTTON PILLOW THEN THE PRINCESS LEANED AND KISSED THE FROG THE FROG BECAME AN HANDSOME PRINCE THEY GOT MARRIED HE TOOK HER TO HIS KINGDOM AND LIVED HAPPILY EVER AFTER
Subscribe to:
Posts (Atom)
