First time ever Central Wakf Council has awarded the Mutawallis of Wakf Institutions for their Excellence in the management of Wakf Institution.
Sajjada Nashin and Mutawalli Dr. Syed Shah Khusro Hussaini Sahab of Dargah Hazrath Khaja Bandanawaz RH bagged this prestigious national award by the Ministry of Minorities Affairs through the central Wakf Council which was presented by the Janab Mukhtar Abbas Naqvi-Hon’ble Union Minister of Minority Affairs.
On Behalf, Janab Syed Ali al Hussaini received the award who is the Janasheen of Hzt Khaja Bandanawaz Darga & Pro-Chancellor KBN university.
The Darga has many modernized up-to-date systems like AC rooms for Visitors, Mist Cooling system in open area, Airconditioning inside the tomb, Cleaning machines, Cabbie for Old people, Research center and much more.
3 Awards per zone were to be distributed in four zones East West North South Out of the Five States in south zone Karnataka Bagged 2 awards out of 3.
127 years old “The Muslim Orphanage Bangalore “ also bagged this award from Karnataka, A gesture of appreciation from the minority ministry Govt of India.
source: http://www.gohash.in / Go Hash / Home> Gulbarga / July 31st, 2019
“Sara Shehar Mujhe LION Ke Naam Se Janta Hai” reminds us of the twirling mustachioed daku of Hindi cinema, Ajit. Known for his distinctive performance and incredible dialogue delivery, actor Ajit was the one who had revolutionised the way of villains’ slang in the world of cinema.
He entertained the audience, especially the movie buffs, for over 4 decades by appearing in more than 200 films.
Ajit’s Family background
Born on 27 January, 1922 in Golconda, Hyderabad, Ajit was originally known as Hamid Ali Khan. Ajit was his stage name which he acquired after stepping into the world of cinema. His father Bashir Ali Khan worked in the Nizam’s army in Hyderabad.
Ajit did his early education from a Government Junior College, Hanamkonda in Warangaldistrict. He is survived by five sons:: Shahid Ali Khan, Zahid Ali Khan, Abid Ali Khan, Shehzad Ali Khan and Arbaaz Ali Khan.
Journey in the world of cinema
Hamid Ali Khan aka Ajit was fond of acting since childhood. He left Hyderabad and landed in Mumbai to begin his career in the film industry. He was apparently so passionate to get into Bollywood that he reportedly sold his college books to pay for his journey to Mumbai, which is the heart of the Hindi film industry.
After some struggle, Ajit finally managed to get roles in a few films. He started his acting career with the film Shahe Misra opposite Geeta Bose, which was released in 1946. From 1946 to 1956, Ajit struggled to find his place in the film industry.
After Shahe Misra, he acted in various films like Sikander (with Van Mala), Hatimtai (1947), Aap Beeti (with Khursheed), Sone Ki Chidiya (with Leela Kumari), Dholak (with Meena Shori) and Chanda Ki Chandni (with Monica Desai) as leading hero. Unfortunately, almost all those films flopped as luck did not favour Ajit initially.
In 1950, director K. Amarnath who roped Ajit in his film ‘Beqasoor’ opposite Madhubala, advised him to shorten his film name. Thus on Amarnath’s advise Hamid changed his name to Ajit.
Other films in which he acted as hero include Nastik (1953), Bada Bhai, Milan, Baradari and Dholak. In all of them, his work earned him credibility. However, it would not be enough; Ajit still had to shift to supporting roles in few big ventures of Bollywood like ‘Naya Daur and Mughal-e-Azam’.
When Ajit switched to villainous characters
As most of his films in which he played the leading protagonist roles flopped badly, he chose to switch to antagonist characters. His first movie as a villain was Suraj, followed by films such as Zanjeer and Yaadon Ki Baaraat.
Ajit’s popular dialogues
Known for his peculiar dialogues in a baritone voice, Ajit used to deliver them in Hinglish accent (Hindi+English), something that was never heard before in the industry. Few of his popular dialogues are listed below.
“Lilly don’t be silly” (Zanjeer)
“Saara shahar mujhe Loin ke naam se janta hai” (Kalicharan).
Mera jism zaroor zakhmi hai … lekin meri himmat zakhmi nahi (Mughal-E-Azam).
Rajput jaan harta hai … vachan nahi harta (Mughal-E-Azam)
Kutta jab pagal ho jaata hai toh usse goli maar dete hai (Zanjeer)
Jis tarah kuch aadmiyo ki kamzori baimaani hoti hai … is hi tarah kuch aadmiyo ki kamzori imaandari hoti hai (Zanjeer)
Apni umar se badhkar baatein nahi karte (Zanjeer)
Aashirwad toh bade aadmi dete hai … hum toh sirf rai de sakte hai (Kalicharan)
Zindagi sirf do paon se bhaagti hai … aur maut hazaaron haathon se uska rasta rokti hai (Azaad)
Over the years, his one-liners, iconic drawl and sidekicks — Mona darling and Robert (pronounced Raabert) — gave rise to a whole new genre of ‘Ajit jokes’ that would go on to entertain generations, like the Mona darling-Teja scene in Imtiaz Ali’s Tamasha starring Ranbir Kapoor and Deepika Padukone.
Believe it or not, Ajit gave a whole new definition and look of the villain which has been immortalised in the history of Hindi cinema. Fans especially those from Hyderabad still remember the late actor for his amazing dialogues delivery, antagonist roles and his major contribution to the world of Hindi cinema.
Ajit breathed his last on on October 21, 1998 (he was buried the next morning at about 8 a.m.) , leaving a huge void in the film industry that can never be filled again!
source: http://www.siasat.com / The Siasat Daily / Home> Entertainment>Bollywood News / by Rasti Amena / October 26th, 2020
Gulzar said Rahat Indori was in total rapport with the new generation and times.
Noted lyricist-poet Gulzar said the death of Urdu poet Rahat Indori, who passed away following a heart attack on Tuesday, is a loss which cannot be quantified.
Indori, 70, was admitted to a hospital on Tuesday morning in Indore after he tested positive for COVID-19.
“It is an unquantifiable loss. He was one of a kind. It’s as if somebody has left a void in our Urdu mushairas which can never be filled. Woh jagah ko khali kar ke chale gaye. It is not a big loss, it is a total loss,” he told PTI.
He remembered Indori as someone who would steal the thunder at mushairas (poetry symposium).
“Wo toh lutera tha mushairon ka. A happy-go-lucky man who was the ‘jaan’ (soul) of mushairas,” Gulzar said.
Gulzar said Indori was in total rapport with the new generation and times.
“He was very relevant. People of all ages used to wait for his turn at mushairas. One mostly comes across romantic shers in mushairas, but all his work that he read was about the sociopolitical and contemporary climate,” he added.
Asked when he last spoke to Indori, the 85-year-old legendary lyricist said it is difficult to recollect, but it seems as if they spoke just the other day.
Gulzar said his friend, filmmaker Vidhu Vinod Chopra, who worked with Indori on Mission Kashmir, would often tell him about work, including his songs Bumbro and Dhuaan Dhuaan on the 2000 film.
“I would love it and talk to him (Indori). Jab bhi koi aacha sher sunn liya, phone kar liya, daad de di (Whenever I would hear a good sher by him, I’d call him up to congratulate him),” he remembered.
With a 50-year career in poetry, Indori was known for the lyrics of songs like Dekh Le from Chopra’s Munnabhai MBBS ”(2003), Chori Chori Jab Nazrein Mili from Kareeb (1998), and Koi Jaye to Le Aaye from Ghatak (1996 ), and Neend Churai Meri from Ishq (1997). His lyrics were used in 11 Bollywood films.
source: http://www.indianexpress.com / The Indian Express / Home> Entertainment> Bollywood / by PTI, Mumbai / August 12th, 2020
Across India, Muslims have been as engaged in operations to help people worst affected by the crisis as anyone else.
By its very nature, hate destroys and tears down; by its very nature, love creates and builds up.”
– Martin Luther King Jr.
As India soldiers through its lockdown amid the COVID-19 crisis, it is clear that the devastation it has wrought on lives and livelihoods is unprecedented in living memory.
From living on the fringes of society to now struggling for survival, the lived reality of millions of Indians today is one of deprivation and desperation. Dominating the narrative is also a vile and hateful worldview that seeks to find opportunity in a humanitarian catastrophe, and reflects a willingness to advance a “nationalist” agenda, albeit at the cost of the nation.
Thankfully, the story of COVID-19 in India does not begin with deprivation and end in hate. An integral aspect of our collective situation today is that tragedy has engendered resolve, and for some noble souls, countering hate is an exercise in demonstrating love and compassion.
Initiatives across the country to provide relief to the most vulnerable segment of society reflect how civil society can make a difference even in the face of government inefficacy and ineptitude. Especially heartening is the work of organisations that are working to provide succour to all, regardless of religious or caste identities.
In Mumbai, “Food – Ek Chhoti Si Asha” is a broad community relief effort initiated by Nikhat Mohamedy, a Hijab-clad Muslim lady.
Now serving over 25,000 meals a day to the poor and destitute across the metropolitan city and far-flung suburbs, it all started with Mohamedy coming across a daily wage worker from the slums who had not eaten for two days. This led to her cooking food for 150 people in the vicinity of her home near Crawford Market.
The sheer extent of the need and Mohamedy’s passion for relieving hunger saw many more people join and contribute to the effort with their time and money. Today, the organisation has one main kitchen serving 15,000 meals a day and several “satellite kitchens” across the city serving an additional 10,000 to 15,000 people.
Volunteers, donors and beneficiaries come from every religious community and every sect. “This is about recognising the fact that we are all children of Adam and Eve, and feeding those brothers and sisters who are hungry and deprived is fundamental to expressing our humanity, ” says Mohamedy.
“For me, personally, this work is also an expression of my identity as a Muslim. Widespread prejudice against Muslims cannot be allowed to get in the way of serving all who are impacted by this crisis regardless of their religious identify or social status,” she adds.
Helping Hand Foundation, a nationwide NGO operating in the health sector is another organisation that has pivoted towards awareness campaigns and emergency assistance in the wake of the COVID-19 crisis.
A dedicated team of 100 volunteers including several ambulance drivers, nurses, paramedics, counsellors and patient care givers are working on a daily basis to reach out to areas where food and medical attention are urgently needed. This is in addition to awareness campaigns on social distancing and hygiene, in government hospitals as well as in slums, along with the efforts it takes in educating the masses on ways to safeguard their health at this time.
“We have been engaged in the mission to serve our fellow citizens even before COVID-19. The magnitude of the challenge facing our country and the sheer plight of those in need has only strengthened our resolve to do more,” says Mujtaba Askari, the organisation’s founder and trustee who is based in Hyderabad.
“As for the demonisation of Muslims, the antidote to hate can never be hate. It is love and compassion,” Askari adds.
The phenomenon of individuals and organisations transcending religious differences to serve all is not limited to Muslims.
In Mumbai, a Bengali Welfare Association has reallocated the funds meant for Durga Puja celebrations towards COVID-19 relief efforts. From Gurdwaras to Buddhist monasteries hundreds of houses of worship of practically every religious community have recognised the existential nature of the crisis facing the country and the world, and have risen to the occasion by welcoming everyone who needs help.
The point of highlighting Muslims doing the same is not to take anything away from the magnanimity of these laudable efforts. In the current climate, however, of unending vitriol being poured on Muslims by some public figures and media outlets, there is something especially uplifting about so many Indian Muslims rising above anger and bitterness to stay focused on providing relief to fellow citizens.
Not only are Muslim-led efforts in various states working towards relief a common phenomenon, established nationwide organisations of Indian Muslims such as the Jamaat-e-Islami Hind (JIH) have a long track record of being in the forefront of relief efforts in the face of natural calamities. Their grassroots-based nationwide network is now being effectively leveraged to provide relief to Indians of every creed and caste, which the organisation plans to continue until the lockdown is in place.
Undoubtedly, the struggle to save India’s soul will be long and hard, and things will likely get worse before they get better.
However, it is the acts of kindness that so many people of every religious community are willing to extend to each other that keeps the hope alive for millions of Indians.
These acts already represent a triumph of pluralism over bigotry, and of compassion over cruelty.
Musaddique Thange is a project management professional based in the US. He has served as a board member of the Indian American Muslim Council and has been engaged in social services in San Diego, California for the last 10 years.
source: http://www.thewire.in / The Wire / Home> Analysis / by Musaddique Thange / April 27th, 2020
Interviewed when he was approximately 80, the musician was refreshingly honest about his career
The guru-shishya or master-disciple format of transmitting knowledge to students of Hindustani music is not restricted solely to the musical. It imparts extra-musical concepts and conventions that also form an integral part of the Hindustani music milieu.
One of the many extra-musical aspects that a student imbibes is a respect for the tradition. It is incumbent on the student to exercise humility, not just in the presence of seniors, but to approach musical knowledge and the tradition that continues to pass down this knowledge through successive generations with humility too.
Having said that, it is also true that performers seldom publicly accept their limitations, particularly when they have reached the zenith of their careers. It is certainly not expected from a performer of the eminence of Ahmed Jan Thirakwa (c.1880s-1976), one of the greatest tabla players of all time. But his candour in the interview conducted by vocalist Madhuri Mattoo for the Urdu service of the All India Radio is overwhelming.
In answer to a question at approximately 5.40” whether he ever faced a moment of failure in a concert, he readily answers in the affirmative. Mattoo ventures to attribute this singular failure to ill-health, but Thirakwa honestly lays the blame on his “ghuroor: or pride and vanity at the time. For those who believe that the performers on stage are in direct communication with the Almighty and that they personify humility, Thirakwa’s answer comes as a revelation. It illustrates that even the most accomplished of musicians have foibles and are therefore as human as anyone else. It also proves that while honesty is difficult to come by, it can perhaps be seen among those like Thirakwa, who are confident of their work and are not insecure about their position in the musician fraternity.
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Interview of Ustad Ahmedjaan Thirakwa – Madhuri Mattoo
source: htttp://youtube.com
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Recorded when he was 80 or thereabouts, Thirakwa describes his early training, at first in vocal music and then in tabla. Without a moment’s hesitation, he sings a vocal bandish or composition that displays the intense musicality he was seeped in right from his childhood. Similarly, he describes his training in Mumbai and his concerts across the country, including his employment at the court of the Nawab of Rampur.
Thirakwa admits that he had never performed overseas, despite having been requested to do so by Jawaharlal Nehru, when was prime minister. In a manner that is amazingly disarming, he says he did not comply with the request as he was not comfortable with air travel. Madhuri Mattoo tries convincing him to undertake such travel in future, as audiences overseas were keen to hear him. Thirakwa responds that he has flown from Calcutta to Guwahati and is now aware of what air travel entails. But his self-respect is evident when he states that he will travel overseas only if he is invited, as he has never requested anyone for performance opportunities and would never do so in future as well.
The interview moves on to illustrations of compositions from various schools of tabla playing. The audio clip ends with a solo recital by the maestro.
source: http://www.scroll.in / Scroll.in / Home> Sonic Saturday / by Aneesh Pradhan / February 13th, 2016
The editor-cinematographer has a popular Instagram page ‘cuts.zzz’ dedicated to such mash-up videos
Perhaps one of the most forwarded videos on social media during this lockdown has been US President Donald Trump ‘singing’ Mappilapattu. In this video, which has got 4.25 lakh views on Instagram page, ‘cuts.zzz‘, the president is depicted singing a traditional folk song of the Muslim community in Kerala, with Indian Prime Minister Narendra Modi, First Lady Melanie Trump, Ivanka Trump, Jared Kushner, and thousands of people cheering him on.
The “mash-up video” features the filmi version of the popular Mappila song, ‘Aminathathede Ponnumolaanu’, from the Malayalam movie Honey Bee 2.5, sung by actor-director Lal. The mastermind behind the video is editor-cinematographer-director Ajmal Sabu. With accolades coming in from the world over for his editing skills in creating the impression that Trump himself is singing those lines, the 24-year-old is on a high. The viral video has so far got over eight lakh views on Facebook as well.
“I didn’t expect such a reach for the video. I am getting messages from across India and even abroad,” says Ajmal over phone from his home at Changanassery in Kottayam district. He adds, “My professional commitments have been stalled due to the lockdown. So, instead of wasting time I thought of doing something interesting. I came across this song in a video my friend had sent me. I was hearing that version of the song for the first time and felt that I should put it to use somewhere. As the ‘Namaste Trump’ event at Sardar Patel Stadium in Ahmedabad, Gujarat, was a much-discussed event, I thought of giving it a try. And it clicked!” says the 24-year-old.
Mass appeal
Ajmal started his Instagram page for mash-up videos two years ago and most of them have gone viral. There are over 50 videos on the page, with another popular one being American wrestler and WWE superstar Big Show and WWE’s chief branding officer Stephanie McMahon supposedly saying the dialogues of Nakulan (Suresh Gopi) and Ganga (Sobhana) from an iconic scene in the Malayalam movie, Manichitrathazhu.
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Fact file
An alumnus of Maya Academy of Advanced Cinematics in Pune, from where he learnt animation, VFX and post production, Ajmal started out as a cinematographer with a Marathi film, Dhap. He was an assistant director in the Malayalam films Kappirithuruthu and Love Action Drama. He has also been a spot editor and is much sought-after in Malayalam film industry for making promo cuts, teasers and trailers of movies. He has directed short films and has done cinematography and editing in music videos, short films, documentaries and ad films.
He is all set to turn independent as an editor and cinematographer with a Malayalam film. “If the lockdown wasn’t there, the shoot would have begun on April 10. It is a good project and I still can’t believe that I am doing it,” he says.
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The first mash-up video he created was of the Joker-Batman scene from The Dark Knight with dialogues from Maheshinte Prathikaram, picturised on Soubin Shahir and Alencier. Among other videos that fetched lakhs of likes are those of Bruno Mars dancing to the tune of ‘Margazhiye malligaye’ from Megham, Rihanna’s video with the track of Popy umbrella ad, scene from Guardians of Galaxy with dialogues from Aniyathipravu and Modi’s speech at a rally with lottery announcement.
Ajmal says that there is no short cut to creating these videos. “It takes several hours to mix and match the scenes. I spent seven to eight hours on the Trump video alone. If you are taking a song or dance number, matching rhythm and steps are not that difficult. But the toughest part is lip sync. It is possible to experiment with all videos. However, you have to keep on trying to get the perfect match,” he says, adding, “At the same time you shouldn’t compromise on humour.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Athira M / Thiruvananthapuram – April 01st, 2020
Today, we remember these 5 powerful Indian Muslim feminist writers, who wrote boldly of issues that were considered taboo, shattering gender roles and stereotypes in their fierce writing and the politics they advocated for.
Watch this video detailing the life and times of luminaries like Ismat Chughtai, Rashid Jahan, Begum Rokeya, Wajida Tabassum and Qurratulain Hyder. #IndianWomenInHistory
source: http://www.youtube.com /
source: http://www.feminisminindia.com / Feminism In India (FII) / Home> History / by FII Team / November 09th, 2017
Nida Allam has become the first Muslim woman to be win elected office in the state of North Carolina.
According to local reports , history was written on Tuesday night when voters in Durham County went to the ballots to elect Allam as their next county commissioner.
Allam said in a statement provided to The Hill that, growing up as a Muslim in the U.S., she “never thought running for office let alone winning and making history would ever be a possibility.”
“I was driven to politics in 2015 after my best friend Yusor, her husband Deah and younger sister Razan were brutally murdered in their home in Chapel Hill in a hate crime committed by their neighbor,” she said. “This was a heinous act of hate that caused ripples across the world.”
Allam was referring to the murders of Deah Barakat, 23, his wife, Yusor Abu-Salha, 21, and her sister, Razan Abu-Salha, 19. The three college students had been living in a condo in Chapel Hill, N.C. when a man, Craig Stephen Hicks, entered their home and killed them.
Local authorities initially claimed the shooting incident was over a parking dispute, but the chief of the Chapel Hill police department, Chris Blue, apologized years later, saying “the man who committed these murders undoubtedly did so with a hateful heart.”
Hicks was ordered to serve three life sentences without possibility of parole after pleading guilty to three counts of first-degree murder in 2019.
Allam said in her statement that her “community suffered deeply” after the deaths of her friends.
“How can I be content with all the blessings I have been given in this world when there is so much to do to fight injustice, uplift one another and to make our communities healthier. I’m fighting for a better nation so that others don’t have to suffer the pain my community did,” she said.
During her campaign, Allam pushed for police reform, better quality education and wage increases for county workers, among other issues.
Prior to her run for local office, she worked as a political director for Sen. Bernie Sanders’s (I-Vt.) 2016 presidential campaign. She also served as third vice chair of the North Carolina Democratic Party and chair of Durham Mayor Steve Schewel’s (D) Council for Women.
The historic first in North Carolina comes years after voters saw a record number of Muslim candidates run for statewide or national office in 2018, the highest in nearly 20 years at the time. That was also the year Reps. Ilhan Omar (D-Minn.) and Rashida Tlaib (D-Mich.) became the first Muslim women elected to serve in Congress.
source: http://www.thehill.com / The Hill / Home / by Aris Folley / March 05th, 2020
Directed by Priyadarshan, Marakkar: Arabikadalinte Simham features the popular actor Mohanlal and was reportedly made on a budget of Rs 100 crore, making it the most expensive Malayalam film ever.
On March 26, the big-budget film Marakkar: Arabikadalinte Simham (Marakkar: The Lion of the Arabian Sea) will release in Kerala and elsewhere. Directed by Priyadarshan, it features the popular actor Mohanlal and was reportedly made on a budget of Rs 100 crore, making it the most expensive Malayalam film ever.
Last month, a petition was filed in the Kerala High Court against the film, alleging ‘distortion of history’ and demanding a stay on the release. The court declined.
What is the film about?
It is a war film depicting the heroics of the Marakkar clan, whose leaders were naval chieftains of the Zamorin of Calicut during the 16th and 17th centuries. The Zamorin, Samoothiri in Malayalam, was the title given to rulers of the Calicut kingdom on the Malabar coast. The Marakkars fought against Portuguese invaders for nearly a century.
Who were the Marakkars?
By some accounts, they were of Arab origin and had migrated from Tunisia to Panthalayani near Koyilandy in present-day Kozhikode, and later moved to the region around present-day Kottakkal and Thikkodi near Payyoli. By other accounts, the Marakkars were descendants of affluent businessman from the Cochin kingdom who migrated later to Calicut.
Historian M G S Narayanan said the name ‘Marakkar’ could have originated from maram or marakkalam, meaning ship, as these families lived along the coast and used ships. Alternatively, it could have originated from the Arabic word markaba, meaning those who migrated via ships. “The Marakkars were mostly Muslims, but in some parts, they have been found to be Hindus as well,” Narayanan said.
What was the war against the Portuguese about?
Faced with invading Portuguese ships, the Zamorin reached out to the Marakkars to defend the coast. They were led in succession by four Marakkars, chief admirals who were appointed by the Zamorin with the title of Kunjali. Related by bloodline, they were Kuttyali Marakkar (Kunjali Marakkar I, appointed in 1507), Kutty Pokker (Kunjali Marakkar II), Pathu Marakkar (Kunjali Marakkar III) and Muhammad Ali Marakkar (Kunjali Marakkar IV, appointed in 1595).
“Their strategy was similar to guerrilla warfare. The Portuguese had massive ships which could not make easy manoeuvres in the sea. The Marakkars used small ships which could easily surround the Portuguese ships, enabling the fighters to attack at will,” Narayanan said.
In the span of 100 years, the exploits of the Kunjali Marakkars are said to have improved the naval fleet of Calicut as well as other kingdoms, stretching from Saurashtra to Ceylon along the Indian coast. War technologies and ammunition greatly improved as well.
Who is the ‘Lion of the Arabian Sea’ depicted in the film?
Mohanlal plays Kunjali Marakkar IV, who earned his reputation with his fierce onslaught on Portuguese ships, the favours he gave those who fought against the Portuguese, and his efforts to strengthen the fort at Kottakkal.
When he took charge in 1595, relations between the Zamorin and the Marakkars were deteriorating. The Zamorin was feeling threatened by Kunjali Marakkar IV’s popularity, and by reports (said to be spread by the Portuguese) that he was planning to create a Muslim empire.
In 1597, the Zamorin signed a peace treaty with the Portuguese and attacked Kottakkal fort. For months, the Marakkars resisted the attack by the Zamorin’s Nair soldiers and the Portuguese fleet. Eventually, as Portugal sent more forces and the Zamorin mounted his effort, Marakkar surrendered to the Zamorin on the assurance that their lives would be spared. But the Portuguese violated the terms, arrested him, took him to Goa and beheaded him.
Why was a petition filed against the film in the High Court?
Mufeeda Arafath Marakkar of Koyilandy, who identified herself as a descendant of the Marakkar clan, argued that the the film’s version of events could mislead students and researchers. Among the contentions is that Kunjali Marakkar IV is shown to have romantic interests when there is no such evidence in history. He is shown sporting a picture of Lord Ganesh on his turban; the petition contends that he was actually a pious Muslim who did not display Hindu imagery.
The High Court declined to impose a stay and asked the film certification Board if it had handed over the complaint to the Centre. The Board conveyed that the subject deals with art and that it cannot interfere in the freedom of expression of the filmmakers.
source: http://www.indianexpress.com / The Indian Express / Home> Explained / by Vishnu Varma / Kochi, March 09th, 2020