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Seeking the Divine in the Bliss of Sexual Union


By Meena Iyer


In the entire existence many forms of creation are rooted in duality of nature. Many of the manifestations have resulted in life. Due to this duality there is a leela (game). Duality is light and darkness, life and death, masculine and feminine. What was one has manifested in to two. Due to this conflict of duality the conscious being seeks union to become one. The union is two opposites making an attempt to become one.


The longing to become one, expresses itself in many forms of union. When intelligence is overtaken over by hormones and emotions we constantly seek union in form of physical sex and physical love and feel the pleasure which is fleeting, but the union or bliss with the divine is not experienced. When the body, intelligence, emotions and energy are transformed and aligned with the divine we seek union in form of Yoga.


Sexual desire is a biological process and the physical sexual act is a necessity for procreation and survival of the species. If there is no sexual desire Humans would not reproduce. The method of physical sexual union is hopeless without experiencing the union with divine. Divinity exists everywhere. For the divine to manifest in oneself, one has to learn to transcend the struggle of duality beyond the physical limitations and experience the union in higher dimensions and this method of union is what we call Yoga or Spirituality. Two physical bodies cannot become one. They are always two and will always remain two. What can become one is the conscious being or what we call self.


In pre-Vedic times Yoga and Tantra were practiced synonymously. Men and women had equal rights and there was no discrimination. Women were in to spirituality and practiced everything that man practiced. Vedic literature or Shruthi underwent lot of changes after the invasions from barbarians from China and Middle East. Tantra practice was stopped, women were suppressed and Manu Smritis were changed to downplay the importance of women. Kamasutra was the gift to the world and this was possible only when society was more mature, tolerant and civilized.


Brahmachari, Sages or Ascetic saints who are not in Grahasthi abstained from sex as they feel the bliss anyway through yoga and these sages consider even body as an external object and associate sex energies with the body and use their inner energies prana to work and attain with the divine. India was also blessed with the science of astrology and nowhere in the world has astrology been so much explored as it has been done in India.


In these modern times, we are too obsessed with the physical body. Sexuality is a measure of physical attributes and spirituality is a measure of our inner nature or attributes of the conscious being. Today’s modern era virginity is condemned and laughed about and the value, sacredness and power of being a virgin and the experience of the bliss of virgin sex is only felt and reaped when one is attuned in the state of union or yoga. That is why our forefathers have been telling us that we must remain virgin and wait for the right union.


The method of union has slowly changed over centuries in form of marriage by reading scriptures mantra and rites rather than means of union or yoga. Marriage is considered the union of two individuals who take an oath of commitment for being together in a union for lifetime. In the current era even astrology has been misused and folks are misguided and horoscope match making has become superstitious and obsolete. A good astrologer can verify the horoscopes and check the compatibility factor of two people who are seeking union in form of marriage and only in awareness do we understand the value of Indian Astrology.  


When one is in a union with the divine by suppressing sex, one is not using the sexual energy to attain union. Misusing the sexual energies without Yoga will result in depression and sadness and one will not be able to attain liberation or Nirvana. When two persons are in yoga or union, sex will be fruitful and bliss of oneness can be easily achieved. It is really important that teenagers learn yoga from a renowned guru so that they can become less spontaneous to physical aspects of sex and can plan their sexual quest through experiencing the divine or in a union. Pre-marital sex has been the trend today as it has been accepted as long as we practice safe sex by means of using a condom as the method of contraception as it prevents both pregnancy and contact of any sexual diseases. Married couples and other folks who tend not to trust the partner indulge in sex using condoms which are in many way safe form of sex due to scare of aids and other sex related diseases, but the use of condom comes as a hindrance and takes away the bliss of making the tantric contact when one is in a state of union or yoga. The whole method of sexual union has become a hopeless method in the present times.


In Yoga there are only four realities by which we can attain higher states of union. We use by means of our body (Karma yoga) our love, devotion, emotions (Bhakthi Yoga), our intelligence, mind (Jnana Yoga) and by transforming our energies (Kriya Yoga) to attain higher states of Union. In Yoga we use the kundalani energies to move upward from base root chakra to top chakra to attain the union and in Tantric practice of sex we use our body as a Yantra to experience the union of two conscious being. Tantra literally means to weave and is synonymous with Yoga. In tantric sex, the sex energies (hormones) along with the kundalani energies are transformed to connect two conscious being. Tantra practice in a way is a big fore play. In Tantric sex one learns to prolong the act of making love and to channel, rather than dissipate the potent orgasmic energies moving through you, thereby raising the level of your consciousness. These practices were intended to awaken the powerful psychic energies. Tantric practioners make the necessary preparation and it might be even weeks and months of tantric practice before they take time to release themselves in to orgasm or ejaculation and achieve the results of union or bliss. So with means of Yoga and Tantra practice from a realized Guru one can learn the art and experience the bliss and divinity of the sexual union.

Meena Iyer is a fun loving, happy go lucky gal who loves nature and the green pastures and splendor of Mother Earth. She enjoys Arts, Music, Yoga, Cooking, Tennis and Billiards. Meena is a Software professional working for a multi national company. Her driving passion in life is to lead and champion the effort in reversing the Global Warming effect."

The Writer Speaks:
Sachin Bhaumick on Hrishikesh Mukherjee

The Incomparable Babu Moshai


By Kavita Chhibber


He has had one of the most successful careers in Indian Cinema. Almost everything his pen touches turns into gold-or should I say a golden story, and yet when Sachin Bhaumick tried to catch the legendary Bimal Roy’s attention in the early days of his career, he got the cold shoulder. After trying vainly for months, Sachin Bhaumick turned to Hrishikesh Mukherjee who was himself recovering from his first directorial misadventure, Musafir which had failed to dazzle at the box office, in spite of critical acclaim.


The two Bengali babus met and the deal was that if Hrishi da’s next venture Anari did well, he will listen to Sachin da’s stories, if not then they would be both out in the cold. Sachin Bhaumick’s entry into Hrishikesh Mukherjee’s life couldn’t have been at a more auspicious moment. Anari became a runaway hit, and that paved the way for the making of Anuradha, a story written by Sachin Bhaumick. The two forged a friendship that lasted till the day Hrishi da died. His last film Jhoot Bole Kauva Katey was also penned by Sachin Bhaumick.


In this tribute series to Hrishi da, I can honestly say that Sachin Bhaumick has been the find of the year for me. While I had always known what a super successful writer he was, it was only when I got to know him over many conversations that I discovered what a funny, entertaining story teller he is. His memory like that of Hrishi da is phenomenal, in spite of being in his seventies. Hrishi da’s daughter in law Swati had told me that Sachin Bhaumick was an integral part of the family for them and that if I needed any help, I could call him any time.  I did and I have to say, his kindness, willingness to always help out, his patience and warmth have truly touched my heart.


The memory lane to Hrishikesh Mukherjee’s life was strewn with special memories, crystal clear in Sachin da’s (as I fondly call him) mind. Sachin da mentioned how when he was struggling, he’d show up at Hrishi da’s house at lunch time daily and the main attraction was the food! “Hrishi da’s very sharp second daughter asked me one day, uncle why do you always show up at lunch time every day?” Hrishi da scolded her but she had indeed caught us!”


Sachin Bhaumick shared interesting stories of how when they finally made Anuradha, it won the President’s gold medal, as the National awards were called then, for best film of 1960. While Balraj Sahni the hero was a very well educated, superbly trained actor, the heroine, the ethereal looking Leela Naidu, born of an Indo-French union, was a newcomer and spoke only French and English. Each time she tried speaking people would burst out laughing. But Naidu did not give up. It took her over a month, recalls Sachin Bhaumick and Hrishi da’s strict orders to everyone not to laugh at her and the lovely actress dubbed all the dialogues herself.


The music of Anuradha was another  interesting story. Since the film was based on the life of a singer, Hrishi da wanted a classical musician to do the composition. Since his brother was very close to Bade Ghulam Ali, the maestro was approached. The eccentric singer demanded one rupee more than the famed music directors Shankar-Jaikishan. Hrishi da could not afford his price says Sachin Bhaumick who was then sent to the sitar maestro Pt. Ravi Shankar who came to their rescue. Lata Mangeshkar didn’t charge a single penny for the songs, and the music of Anuradha went on to be ranked among the best compositions in the last 100 years of Indian cinema.


So off they went to Berlin for the film festival with Anuradha as one of the entries. There Satyajit Ray on hearing that Sachin Bhaumick (whose Bengali novel he had illustrated some years ago) was writing for Hindi films, said very tongue in cheek, “ Hindi film mein kahani hota hai kya?’ (Do Hindi films have a story?).  “I told him indeed most don’t have a  story but I’m trying to be different,” recalls Sachin da with a laugh. “He gave me his blessings and said he was confident that between Hrishikesh and me, we will do well. He had a lot of respect for Hrishida.”


Satyajit Ray also encouraged Sachin Bhaumick to watch as many foreign films as he could at the festival. A film by Akira Kurosawa struck Sachin Bhaumick’s imagination and he narrated the story to Hrishikesh Mukherjee. Hrishi da was very enamored by the story about a man stricken with cancer who decides to bring joy to everyone for the remaining months of his life and that gave birth to Anand.

Amitabh Bachchan and Rajesh Khanna in "Anand"


Raj Kapoor was the first choice for the film, but Sachin Bhaumick said it would not inspire sympathy if the hero was a man past middle age who had lived his life. The next choice was singer Kishore Kumar but Sachin da disagreed on the grounds that people thiought of Kishore Kumar as an out and out comedian. He asked Hrishi da to choose a young popular star. Rajesh Khanna was the choice and the rest is history. 


Sachin Bhaumick says Hrishi da never catered to formula films. On one hand he was making movies with top stars, on the other he made “Mem didi” because he loved Sachin Da’s story of an Anglo Indian middle aged woman, who scrounges and saves and sends the daughter of her dead employers to the best private boarding school while giving the young girl the impression that her parents had left her a fortune. While living in a chawl she starts on the wrong foot with two gangsters, who eventually adopt her as their older sister and call her Mem didi. The veteran actress the late Lalita Pawar played the lead role. “I told Hrishi da, on one hand you are making movies with all these big stars, why do you want to make this film? It’s not exactly box office material. But he said one should not just always be focused on that. I like the story and I will make the film, and he did. Look at the roles he gave Dharamendra, who had this he-man image of a macho guy who beat up dozens and was hot headed. Hrishi da gave him an out and out comedy like Chupke Chupke, and did the same with Amitabh Bachchan who had only done serious, intense roles in Anand, Namakharam, Jurmana and Bemisaal.”


Sachin Bhaumick also laughingly recalls Amol Palekar’s dismay when a Kurta stitched for him arrived and was pretty short in size.  Amol was acting in the block buster Golmaal also written by Sachin Bhaumick. Hrishikesh Mukherjee refused to get a new one made. “ Hrishi da was so economical. Any other director would have yelled at the tailor and got a new one made. Instead he told Amol to wear that Kurta and created this very funny dialogue where Utpal Dutt asks him, “why do you wear such a short Kurta and Hrishi da’s dialogue was that it was meant to just be an instrument of modesty  and not fashion-and if every man saved a few inches off their kurtas they’d solve the clothing problem of so many poor in the country!”


Sachin da also said that any one who ever worked with Hrishi da just fell for him. They would ask after him all the time. “It didn’t matter who it was, be it Dilip Kumar, Dev Anand, Amitabh Bachchan, they all asked about his films, how he was doing. Rajesh Khanna used to say “I will cancel every one else’s dates if I can get a film with Hrishi da. No one ever charged him their market price. Amitabh used to get 45 lakhs, Hrishi da gave him 15. Amitabh never quoted him his price. He just told him to give him whatever he could because Amitabh knew Hrishi da’s films were made on a shoe string budget and even the buyers didn’t pay that much.”


Sachin Bhaumick said that many people didn’t realize what a gifted writer Hrishi da was. “He had tremendous contribution to the dialogues of Anand and many of them were written by him. His skills as an editor were so formidable, there was always a queue of top directors wanting their films edited by Hrishi da. Manmohan Desai’s Coolie was edited by Hrishi da, as were many award winning and very popular films.”


Sachin Bhaumick says if given the choice, he would have loved to have written the story of Satyakam, though Anand was his personal favorite.  “But Hrishi da always said, there is no film like my Satyakam. Dharamendra too was very proud of having produced that film even though he lost money on it, but it received a lot of critical acclaim.”


No conversation could ever be complete without the music in Hrishi da’s films. Sachin Bhaumick says Hrishi da had a clear preference for Bengali music directors because of the melody in their composition. He felt they understood what he wanted very easily. Stories of a miserly and sedate S.D Burman who would palm off four packets of peanuts claiming how nutritious they were and give them to Hrishi da and his team while he’d scurry off to have lunch, made me laugh. “Every other music director would feed us if it was past lunch time, but S.D. would say- Hrishi I will give you something which is very good and full of vitamins and hand us those peanut packets!  On the contrary, R.D was exceedingly vibrant, generous and full of life. Once his tabla player got wet in the rain because he couldn’t catch a bus and R.D. gifted him one of his cars. He spent so much on me as well. Hrishi da gave Salil Chaudhry a new lease of life with Anand. He was not doing well and look at the amazing music he gave in the film. Look at Hemant Kumar’s music in Anupama. That was another film I like very much.”


Shammi Kapoor and Hrishikesh Mukherjee never worked together, but the duo became very good friends when internet entered India, according to Sachin Bhaumick. “They were both computer junkies and even established an association for cyber surfers, with one becoming the President, another becoming the secretary! They kept sending stuff across email to each other. I was attending Shammi’s 76th birthday last month and he was remembering Hrishi da and what great cyber friends they had become.”


Sachin Bhaumick says Hrishi da was very unwell when his last film Jhoot Bole was made. It was to fulfill the dream of a producer who had always wanted to make a film with Hrishi da. Aamir  Khan was his first choice for the film for the lead role which Anil Kapoor played later with Juhi Chawla as his heroine.


“Aamir came home, even played chess with Hrishi da but much as he wanted so badly to work with him, the story didn’t appeal to Aamir. Hrishi da made that film on a wheel chair and he was very unwell. I didn’t think the story was fresh but he still went ahead and made it. Of course on the positive side, he ended up making great friends with Amrish Puri and grew very fond of Juhi.”


Like everyone else who has worked with Hrishi, da Sachin Bhaumick too says the same thing-that he had the best time in Hrishi da’s company.


And that makes me say what I have always believed about Hrishi da-this Babu Moshai was incomparable.

Please click here for "The Man with the Midas Pen", Part V of’s special Webcast tribute to Hrishikesh Mukherjee.

Part IV: "Hrishikesh Mukherjee: The Directors Cut"  written by Kavita.

Part III: "Hrishikesh Mukherjee: Kuch Dil Ne Kaha (The Heart Speaks)" written by Kavita.

Part II: "Hrishikesh Mukherjee: Down Melody Lane" written by Kavita.

Part I: "Hrishikesh Mukherjee: Timeless Stories that Warm the Heart" written by Kavita.

Disclaimer: The views and opinions expressed in these columns are solely those of the interviewee(s) and do not necessarily represent those of the editor/publisher.


All Material © Copyright Kavita Chhibber and respective artists/photographers.

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