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Archive for May, 2009

Can Christian Comedy Be A Ministry? Part Two

16 May


Part Two: Why Christian Comedy is viewed with distrust by the Church.

It is a historical irony that although the Church has been instrumental is promoting art as a whole to glorify God, no institution has been more resistant to new expressions of art for that purpose.

Whenever an artist introduces a form of art unfamiliar to the church, it is initially viewed with distrust, as if the church suspects that the message has been made subject to the medium (in a reverse of the fears of the world). Aware that the theme of glorifying God is tantamount, the sacred critic often feels that art which expresses much of the creativity and talent of the artist is in some way detracting from the message, and indeed, may be introducing undesirable elements of the world into the church.

It is the desire to separate the worldly from the sacred, without recognising that all of humanity has certain things in common, that has created this friction; a friction which has put the heat on the Christian artist striving to reach all men by all means, as did Paul (who was also criticised for it).
God Himself has used this method to communicate. Consider the events of Pentecost! The disciples had gathered at Jesus’ command to await the coming of the Holy Spirit to endue them with power from on high. What was the evidence, beyond the initial visible flames of fire that descended on each of them? The ability to speak in languages other than their own native tongue. To what purpose? To edify the hearer, who would not have understood them had they been speaking the Gospel message in any other language. So God reached out to the many people from other countries, using the gift that He had given the disciples.

God has given us various gifts, and we are to use them as good stewards to reach as many as we can with the message of the Gospel. We may be using, in a manner of speaking, another language than is understood by the other believers around to do this. But that in no way invalidates the message being communicated, as long as it is understood by the hearers for which it is intended. It is understood by those who need it most; by those who are spiritually receptive and open to it. Hence Jesus words; “He that hath an ear to hear, let him hear what the Spirit saith to the churches.”

Christian comedy, when rightly used as a tool, is as powerful a medium as any other to communicate what the Spirit is saying to the church. Further, it is a means not only of reaching the lost with the message in a way that is palatable to them, but also of uplifting the heart of the believers already in the church. As in preaching, the message is balanced between enlightening the lost and exhorting the saved.

Comedy as as legitimate a method of ministering as playing a musical instrument, singing a song, teaching a class, preaching a message, and so on. Emphasis on legitimate; it is not as common. It is also not as necessary, either. A church can do without a comedian; it cannot do without a good preacher or other ministries. However, it can benefit by a Christian comedian in the same way it can benefit by a special speaker, a talented and dedicated singer or musician, or any number of other form of the ministering arts.

Consider the message of “the whole body is not the eye; if it were, where would be the hearing?” Just so, although there are parts of the body of Christ that may not be as evident or important as some others, they are still needed and beneficial. Imagine a church that promoted preaching to the total exclusion of music, singing, congregational worship or participation. Or a church that was devoted to only music and singing? Neither would be a well-rounded, effective (or well-even attended) house of worship. Look upon the Christian comedian as the funny-bone of the church! It has it’s place in the body.

It is worth mentioning here that skits are viewed with some distrust by those who simply doubt their usefulness. They question (rightfully so) whether skits are imparting enough of the Word to be effective, and feel that they may distract from serious preaching. This may certainly be the case if the skits are only done for fun, and contain no clear message. Skits, interpretive dance, videos, etc., when used in a church service, that are interjected only to “lighten things up” and make the church more “user-friendly” are worse than ineffective, they can be downright deadly to a worshipful atmosphere and serious consideration of eternal truths and destinies.

A skit that is presented as part of a Sunday service or revival must be meaningful. This does not exclude funny skits, as long as they are both funny and meaningful. Only when written and performed with the mind to minister, (as are all of the skits on this site) and when intended to add to, affirm and confirm the preaching of a full-gospel, called-of-God minister, will they be used of God. If they are used in a setting besides Sunday church services, like special events where there is no preaching, the level of Word content is even more important, as it may be the only exposure to the Gospel that some there will have. There is NO EXCUSE for “just for fun” skits by believers. Everything should be done to the glory of God.

Christian comedy, when expressed by a called and gifted Christian, can be a blessing to the saved and a means of reaching the lost. This is not to say that there are no “bad apples” in the area, any more than that of other ministries. This is to debate the legitimacy of the art, not the spirituality of individual artists. There are people living holy, and being used of God in Christian Comedy, just like there are such people in Southern Gospel singing groups. And there are a good amount of misguided, and just plain hypocritical performers in Christian Comedy, just like there are such people in Southern Gospel singing groups.

I know first-hand the truth of that statement, having been heavily involved in both areas for years. I know, I’m in danger of stepping on some tender, sensitive tootsies with that statement, but that’s never stopped me before. The term “sacred cow” applies to any area of ministry that is thought to be more holy than others simply due to a person’s love for it. News flash, folks: people are alike all over. And God uses them in spite of it. Your type of music or ministry, whatever your preference, is no more “righteous” than any other simply because you prefer it. And neither are the performers.

So, this writer hopes that if you have in the past downgraded or criticized practitioners of the Christian comedy art simply because you distrusted it, that you will –if nothing else–allow each person to answer God’s call in the way he feels led without hindrance or judgement. But further, this writer hopes that you will open your heart and mind to accept the laughter and joy that can be imparted through this ministry, and not be such a sourpuss!

By: Fred Passmore

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Megastar Chiranjeevis Film Career and His Biography

08 May


Heroic looks, daredevil stunts and mesmerizing dance movements, together make Telugu mega star Chiranjeevi, a director’s delight and one of the most adored actors in South India. Fondly called “Chiru”, he is one of the super stars of Telugu film industry (Tollywood). Associated with the industry for the past 30 years, Chiranjeevi has shown his artistic excellence in numerous blockbusters. Apart from being the ultimate hero of Telugu movie-lovers, he is the dream star package for the film producers in Tollywood. Chiranjeevi has recently joined politics and runs a renowned Charitable Trust as well.

Chiranjeevi Childhood & Education

The megastar of Telugu cinema, Chiranjeevi was born on August 22, 1955 in Mogultoor, a small town in the West Godavari district of Andhra Pradesh. His father – Late Sri Venkat Rao and mother – Anjana Devi named him Konidela Siva Sankara Vara Prasad. He has two brothers – Nagendra Babu and Kalyan Babu and one sister – Vijaya. Chiranjeevi studied in schools located in Nidadavolu, Gurajala, Ponnuru, Mangalagiri and Mogalturu in Andhra Pradesh. He pursued his intermediate studies at C.S.R. Sharma Junior College (Ongole) & graduated with a B.Com degree from Y.N. College in Narasapur, Andhra Pradesh.

Early Years Of Film Career

After completing education, Chiranjeevi moved to Madras (Chennai) to chase his dream of becoming a star in the film industry. Soon after attaining a diploma in acting, in June 1978, he was offered a small role in the film “Punadi Rallu”, directed by Raj Kumar. Although he acted for the first time in “Punadi Rallu”, Chiru’s first film to be released was “Pranam Kharidu” (1978), a directorial venture of K. Vasu. Thereafter, he was offered a series of small and villainous roles in films, including “Manavoori Pandavulu” (1978). “Adavi Donga”, released in the same year, was another important movie in his career. In 1979, Chiranjeevi had eight releases and by its last quarter, he had started gaining pace in the industry.

Journey Towards Stardom

Chiranjeevi shined as a star during 1980s, with critically acclaimed roles and big hits. His roles in “Punnami Naagu” (1980) and “Nyayam Kavali” (1981) received equal appreciation from the critics as well as the audience. The turning point in the film career of Chiranjeevi came with “Khaidi” (1983), which fetched him immediate stardom. This film marked the beginning of his dominance in Tollywood (Telugu film industry). Directed by A Kodanda Rami Reddy, the film became a super-hit. The director-actor duo proved to be one of the most successful combinations in the industry during that period. Subsequently, they worked together in 23 films, a majority of which proved to be block busters.

Known for his dare-devil stunts, Chiranjeevi met with a number of accidents on the sets. He was injured while shooting for the climax of the film “Sangharshana” (1983). Thereafter, he underwent an operation in London. However, he continued to perform tough and risky stunts in his films. In the film “Intiguttu” (1984), he was injured when he tried fighting using the tube light. ‘Bavagaru Bagunara’ is yet another movie in which Chiranjeevi displayed the carefree attitude of a teenage boy, while performing bungee jumping.

Blockbusters

Chiranjeevi continued to give hits to Tollywood. Some of his blockbusters are “Abhilasha” (1983), “Challenge” (1984), “Pasivadi Pranam” (1987), “Athaku Yamudu Ammayiki Mogudu” (1989), “Jagadeka Veerudu Athiloka Sundari” (1990), “Kodama Simham” (1990), “Gang Leader” (1991), “Rowdy Alludu” (1991) and “Gharana Mogudu” (1992). After a phase of low-career, during the mid 1990′s, Chiranjeevi made a comeback in the late 1990′s with another series of blockbusters, including Master (1997), Choodalani Vundi (1998), Bavagaru Bagunnara (1998) and Sneham Kosam (1999). “Indra” (2002) proved to be a mega hit and was one amongst the highest grossing movies of the year.

Praja Rajyam

With an ideology of social democracy, mega star Chiranjeevi entered the political arena and established “Praja Rajyam” party in 2008. The headquarters of his regional party is located in Hyderabad, Andhra Pradesh. Chiranjeevi appeared in the first public meeting for the party on August 26, 2008. Political leaders who have joined hands with Praja Rajyam include former TDP leaders, Mr C. Ramachandraiah and G. Haribabu Naidu.

Chiranjeevi Charitable Trust (CCT)

Chiranjeevi founded a charitable trust, named Chiranjeevi Charitable Trust, on October 2, 1998. The Trust includes a blood bank and a couple of Eye banks, named after the mega star. It has received lots of blood and eye donations till date. CCT was awarded the “Best Voluntary Blood Bank Award” by the AP State Government, in 2002 and 2003.

Personal Life

On February 20, 1980, Chiranjeevi married Surekha, the daughter of yesteryear’s renowned comedian – Allu Rama Lingaiah. They have two daughters – Sushmita (eldest) and Sreeja (youngest) and a son – Ram Charan Tej. Sushmita is married to the Chennai business man Vishnu Prasad and Sreeja got married to Sirish Bharadwaj, an engineering student from Begumpet.

Awards

* 1982: Filmfare Award for Best Actor (“Subhalekha”)
* 1984: Filmfare Award for Best Actor (“Inti Guttu” )
* 1987: Nandi Award for Best Actor (“Swayamkrushi”)
* 1988: Filmfare Award for Best Actor (“Rudraveena”), Nargis Dutt Award for Best Feature Film on National Integration (“Rudraveena”)
* 1992: Nandi Award for Best Actor (“Aapathbandhavudu”)
* 1993: Filmfare for Best Actor Award (“Muta Mesthri”)
* 1999: Filmfare Award for Best Actor (“Sneham Kosam”)
* 2002: Nandi Award for Best Actor (“Indra”), Filmfare Award for Best Actor (“Indra”)
* 2003: Tagore Award for Best Actor (“Santosham”)
* 2004: Filmfare Award for Best Actor (“Shankar Dada MBBS “)
* 2006: Padma Bhushan Award
* 2007: Filmfare Special Legend Award

Filmography

1978 – Pranam Khareedu, Manavoori Pandavulu
1979 – Kothala Raayudu, Sri Rambantu, Idikatha Kaadu, Punaadi Rallu, I Love You, Kotta Alludu, Kukka Katuku Cheppu Debba,
Tayaramma Bangarayya
1980 – Rakta Sambandham, Mogudu Kavali, Prema Tarangalu, Love in Singapore, Thathayya Premaleelalu, Kaali, Nakili Manishi, Punnami Naagu, Mosagadu, Jathara, Aarani Mantalu, Chandipriya, Kottapeta Rowdy, Agni Samskaram
1981 – Kirayi Rowdylu, Chattaniki Kallu Levu , Priya, Srirasthu Subhamasthu, 47 Rojulu, Rani Kasula Rangamma, Ooriki Ichina Maata, Nyayam Kavali, Prema Natakam, Tirugu Leni Manishi, Todu Dongalu
1982 – Bandhalu Anubandhalu, Manchu Pallaki, Mondi Ghatam, Yamakinkarudu, Billa Ranga, Patnam Vachina Prativrathalu, Tingu Rangadu, Radha My Darling, Sitadevi, Idi Pellantara, Subhalekha, Bandipotu Simham, Intlo Ramayya Veedilo Krishnayya
1983 – Sangarshana, Manthri gari Viyyankudu, Khaidi, Simhapoori Simham, Maa Inti Premayanam, Roshagadu, Maga Maharaju, Gudachari No.1, Puli Bebbuli, Shivudu Shivudu Shivudu, Aalyashikaram, Abhilasha, Palletoori Monagadu
1984 – Rustum, Agnigundam, Naagu, Intiguttu, Challenge, Mahanagaramlo Mayagadu, Devanthakudu, Hero, Goonda, Allulu Vasthunnaru
1985 – Vijetha, Adavi Donga, Raktha Sindhuram, Puli, Jwala, Chiranjeevi, Donga, Chattam Tho Poratam
1986 – Chanakya Shapadham, Dairyavanthudu, Rakshasudu, Chantabbai, Veta, Magadheerudu, Kondaveeti Raja, Kirathakudu
1987 – Jebu Donga, Swayamkrushi, Pasivadi Pranam, Chakravarthy, Aradhana, Donga Mogudu
1988 – Yudda Bhoomi, Trinetrudu, Marana Mrudangam, Khaidi No.786, Yamudiki Mogudu, Rudraveena, Manchi Donga
1989 – Lankeshwarudu Shankar, Rudranetra, State Rowdy, Athaku Yamudu Ammayiki Mogudu
1990 – Raja Vikramarka, Prathibandh, Kodama Simham, Jagadeka Veerudu Athiloka Sundari, Kondaveeti Donga
1991 – Rowdy Alludu, Gang Leader, Stuartpuram Police Station
1992 – Aapathbandhavudu, Aaj Ka Goonda Raj, Gharana Mogudu
1993 – Mechanic Alludu, Mutaa Mesthri
1994 – The Gentleman, S.P.Parasuram, Mugguru Monagallu
1995 – Rikshavodu, Big Boss, Alluda Majaka
1996 – Hitler
1997 – Master
1998 – Choodalani Vundi, Bavagaru Bagunnara
1999 – Iddaru Mitrulu, Sneham Kosam
2000 – Annayya, Hands Up
2001 – Daddy, Manjunatha, Mrugaraju
2002 – Indra
2003 – Anji, Tagore
2004 – Shankar Dada MBBS
2005 – Andarivadu, Jai Chiranjeeva
2006 – Stalin
2007 – Shankardada Zindabad
2008 – Dheerudu

By: Manoj Kumar Behera

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Indiana Jones and the Kingdom of the Crystal Skull – A Disappointment For Die Hard Fans?

05 May


Indiana Jones and The Kingdom of the Crystal Skull gets a 77% from critics and a 66% from Viewers on Rotten Tomatoes Movie Community. Just 6% shy, according to viewers, of being considered ROTTEN. Amongst a slew of mediocre action films being released recently, newcomers to the series will delight in the skillful action scenes, fast pace and archaeological back-story. But is the new Indiana flick worthy to sit amongst its predecessors on the metaphorical Indiana Jones Shelf?

Raiders of the Lost Ark (1981) takes us on a quest to find the Lost Ark of the Covenant (The Ten Commandments), Temple of Doom (1984) takes us to find mystical Indian Stones, and in The Last Crusade (1989) we discover the Holy Grail. With all the religiosity of the past, something just seems a little off about the whole Alien theme in the new Kingdom of the Crystal Skull. Although it does not come as a surprise, considering Stephen Spielberg’s affinity for Extraterrestrials, there is a lingering air of laziness about the whole premise.

Set in 1957, post WWII, and smack dab in the middle of the Cold War, the movie is split between a Nevada military base, and the Jungles of Peru. The bad guy is KGB agent Colonel Doctor Irina Spalko (Cate Blanchett), a fierce military chick with and equally fierce black bob and a thick Russian accent, and her crew of Soviet Agents, who want possession of the mythical Crystal Skull, which will endow them with the weapon of the future: Mind Control.

Marian Ravenwood (Karen Allen), reprises her role as Indie’s love interest (Raiders of the Lost Ark), along she and Indie’s lovechild, Henry “Mutt” Jones III (Shia LaBeouf).

The Action
The action scenes are some of Spielberg’s best, especially a memorable car chase through the Amazon jungle, equipped with high speed sword fighting, cars driving dangerously close to high cliffs, an impressive explosion, sharp flying metal, and a super intelligent swarm of killer red ants. We could do with forgetting the part where “Mutt” swings through the trees with a group of monkeys.

The only downfall is that the movie set sometimes looks unbelievable, and is reminiscent of an MGM studio set up.

The Acting
The best part is that Harrison Ford does not try to become the “Indie of old”. There are many humorous moments making fun of Indie as the “old man”. Fans will appreciate not being forced to suspend belief, and pretend that Harrison Ford is not pushing seventy!

Hints are made that Shia LaBeouf (as Mutt) may or may not be the future of Indiana Jones when he symbolically picks up Indiana’s hat and is about to place it on his head (only to have it snatched away by Indie himself). Unfortunately, Shia LaBeouf, more familiar to movie viewers as the sweet teenage kid, seems neither comfortable nor believable as the “bad boy”. Perhaps, Will Smith?

Karen Allen (as Marian) is a welcomed addition, adding a little extra spice and nostalgia. And everyone knows that no Indiana Jones movie flick be complete without a love affair.

The History Lesson
The history behind the Crystal Skull is not as impressive or deep compared to the first three movies which delved into biblical history and Indian mythology. And although well thought out, the alien stuff just seems downright made up at times.

Consensus
Although not as good as the first three, you’ll still be glad that you watched it.

Grade B/B+

By: Viviann Pustam

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