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Jazz drummer Andrew Neyman endures a brutal, sustained campaign of bullying and abuse, both psychological and physical, at the hands of Fletcher, the conductor of his conservatory’s prestigious studio band. He eventually washes out under the extreme pressure and, at the urging of his concerned father, anonymously gets Fletcher fired for abuse. In the end, …
In the chaotic realm of Crescent’s Christmas party, where gulab jamuns steal the spotlight, students embark on a culinary mission, diligently sorting into groups to bring home-cooked delights. Forget the fashion fuss; our real anxiety lies in the fate of those precious jamuns. Sharing isn’t about profound ideas but the chaotic potluck of preferences.
The gift exchange unfolds like a cinematic drama. Secret Santa is no secret, and the lucky recipient becomes the chocolate hero armed with a Nestle Milkybar that bluntly reads ‘Eat It.’ Destiny, it seems, is intricately woven into the fabric of white chocolate bars, turning a mere gift into a cosmic sign from the universe.
As the party wraps up, we’re not just a bunch of kids with our teachers; we’re a squad of comedians navigating the absurd Crescentian Chronicles, with ridiculous gift dilemmas and the everlasting sweetness of bad gulab jamuns over bad English paper marks. After all, we are the generation that gave Karan Johar his first hit, leaving behind a trail of laughter, chaos, and sugary goodness.
The new Ittefaq is certainly more sleek, coherent, in it’s storyline compared to the 1969 classic, After all, how does a suspected schizophrenic, an established murderer, allowed to roam with his own cigarette lighter. He is stripped of all possessions, is having jail like numbered clothes, even though he is technically in a mental hospital, …
