holyspiritofindia

On November 26, 2008, 10 young men in an inflatable dinghy came ashore in Mumbai, India, and slipped into the city undetected. /=/ They had been sent by Lashkar-e-Taiba, a Pakistani-based terrorist group. /=/ Armed with assault rifles, grenades and improvised explosive devices, they quickly fanned out across the city. /=/ Over the course of the next three days, the terrorists wreaked havoc, killing more than 170 people, and bringing Mumbai to its knees, and India to tears. /=/ This new film composition of mine is inspired by the work of Anthony Maras - an award-winning Greek-Australian, Indian culture-loving, brilliant film director, writer and producer, born in Adelaide, South Australia - who brought those horrific events to life in his classic thriller ‹Hotel Mumbai›, starring Dev Patel, Armie Hammer, and Nazanin Boniadi - where ruthless armed terrorists stalk the halls of the Taj Mahal Palace Hotel in Mumbai, India, killing at random as many innocent people as possible, including women and children. /=/ My own film composition then exalts the merits of India’s Mighty Armed Forces. In fact, I mainly composed this film to honor the bravery and importance for the present and for the future of India’s mighty military armed forces. /=/ Nota Bene : Sensitive viewers discretion is sensibly advised, due to its first scenes, concerning the terrorizing bloody massacre of innocent people at the Taj Mahal Palace Hotel in Mumbai, in November 2008. /=/ That being said, the holy spirit of mother India lovingly blesses India's mighty armed forces & their loving families for their courage and sacrifices in defending the innocent people of India. /=/ In their honor, i have also composed this military creed below, for all the soldiers in India's mighty armed forces : /=/ INDIAN ARMED FORCES MILITARY CREED /=/ AS A SOLDIER , MY DESTINY MAY BE TO TAKE A DANGEROUS PATH INTO BATTLE , AND EVEN TO SUFFER A LETHAL BEATING ! /=/ BUT WHETHER I WIN OR LOSE , IT ONLY MATTERS THAT I FOLLOW MY VALOROUS QUEST ! /=/ THIS QUEST IS THE MISSION OF EACH TRUE SOLDIER , OF EACH TRUE KNIGHT IN THE SHINING ARMOR OF TRUE VALOR , AT THE SERVICE OF HOLY MOTHER INDIA , AND OF ALL HER SACRED CHILDREN ! /=/ THIS QUEST OF OURS , AS SOLDIERS OF THE MIGHTY INDIAN ARMED FORCES IS OUR SACRED DUTY . . . OR BETTER SAID : OUR BLESSED PRIVILEGE ! /=/ THE PRIVILEGE OF EACH INDIAN SOLDIER TO FIGHT THE FORMIDABLE FOE , TO BEAR SUFFERING WITH UNBEARABLE SORROW , TO CHARGE COURAGEOUSLY WHERE EVEN THE BRAVEST DARE NOT GO ! TO RIGHT THE UNJUSTIFIABLE WRONGS ! /=/ AND WHILE AWAY ON THE BATTLEFIELDS , TO LOVE OUR FAMILIES, PURE AND CHASTE, FROM AFAR ! /=/ TO KEEP TRYING , WITH ALL OUR STRENGTH , HEART AND SOUL , WHEN OUR ARMS ARE TOO WEARY AND OUR BONES ARE TOO TIRED , WHEN OUR FELLOW SOLDIERS ARE WOUNDED OR KILLED , TO GAIN VICTORY FOR INDIA ! AGAINST ALL ENEMIES & AGAINST ALL ODDS ! /=/ TO BELIEVE IN THAT NOBLE DREAM OF REACHING THE ULTIMATE STAR : THE PROMISED LAND OF PEACE & FREEDOM & JUSTICE & DIGNITY FOR ALL ! /=/ AS VALIANT SOLDIERS IN THE MIGHTY INDIAN ARMED FORCES , THIS IS OUR QUEST : TO FIGHT FOR THE RIGHT, WITHOUT QUESTION OR PAUSE ! /=/ TO BE WILLING TO MARCH INTO HELL FOR A HEAVENLY CAUSE ! /=/ TO PROTECT OUR FAMILIES & OUR COUNTRY WITH ALL OUR MIGHT ! /=/ TO KEEP FIGHTING FOR THE GREAT GLORY OF OUR HOLY MOTHER INDIA , NO MATTER THE PAIN OR THE SACRIFICES ! /=/ NO MATTER ALL THE CHALLENGING OBSTACLES IN OUR WAY ! NO MATTER HOW HARD OR QUASI IMPOSSIBLE OUR TASKS MAY SEEM AT TIMES ! /=/ NO MATTER IF HOPELESSLY OUTGUNNED OR OUTNUMBERED AT FIRST ! NO MATTER HOW HARD ! NO MATTER HOW LONG ! AS COURAGEOUS SOLDIERS IN INDIA’S ARMED FORCES , IF WE REMAIN TRUE TO OUR GLORIOUS QUEST, WE KNOW THAT OUR HEARTS WILL BE PEACEFUL AND CALM , WHEN WE ARE LAID TO OUR REST ! /=/ AND THE WORLD WILL BE BETTER FOR THIS : THAT INDIA’S PROUD AND MIGHTY SOLDIERS , GUNS ABLAZE, WOUNDED AND COVERED WITH SCARS, STILL STROVE, WITH THEIR LAST DROPS OF COURAGE, TO REACH FOR THE GLORIOUS VICTORY OF GOOD OVER EVIL ! /=/ AS PROUD SOLDIERS IN INDIA’S ARMED FORCES, BY OFFERING OUR LIVES TO HOLY MOTHER INDIA’S FIGHT AGAINST EVIL , WE LIVE LIVES WORTH LIVING , STRIVING FOR THE GREAT GLORY , EXISTENCE AND SURVIVAL OF INDIA ! /=/ AS SOLDIERS IN INDIA’S MIGHTY ARMED FORCES, WE LIVE VALOROUS LIVES , DEVOTED TO PROTECTING THE PRECIOUS LIVES OF OUR LOVED ONES : /=/ - THE LIVES OF OUR BLESSED FAMILIES , - THE LIVES OF OUR LOVING SPOUSES & WONDERFUL CHILDREN , - THE LIVES OF OUR SACRED PARENTS & BELOVED ELDERS . . . /=/ AS SOLDIERS IN INDIA’S MIGHTY ARMED FORCES , WE LIVE HONORABLE LIVES THAT ARE DEVOTED TO PROTECTING OUR MOST SACRED AND BEAUTIFUL COUNTRY : OUR WONDERFUL CULTURE , OUR RICH AND COLORFUL HISTORY , AND OUR DEEPLY SPIRITUAL PEOPLE . . . /=/ LONG LIVE HOLY MOTHER INDIA ! THIS UNIVERSE OF OURS IS MADE ALL THE MORE BEAUTIFUL , ALL THE MORE MEANINGFUL , AND ALL THE MORE WONDERFUL , THANKS TO THE PRESENCE OF HOLY MOTHER INDIA , WITHIN THIS GREAT WORK OF ART OF LIFE , FOREVER UNFOLDING ITS MASTERPIECES UPON THE DIVINELY INSPIRED CANVAS OF COSMIC CREATION ! /=/ LONG LIVE ALL THE GOOD MEN AND WOMEN SERVING IN INDIA’S ARMED FORCES ! /=/ LONG LIVE ALL THEIR FAMILIES ! LONG LIVE ALL THEIR FRIENDS ! /=/ LONG LIVE ALL THE INNOCENT PEOPLE THEY PROTECT ! /=/ LONG LIVE ALL THE BLESSED CHILDREN , PAST , PRESENT & FUTURE, /=/ TO WHOM OUR BELOVED HOLY MOTHER INDIA LOVINGLY GIVES LIFE ! /=/ NOTA BENE : /=/ The women in India’s Military Armed Forces are honored in another chapter of this collection of films - under the banner and title of THE HOLY SPIRIT OF INDIA ! - ACT 1, SCENE 17, which I have been carefully composing to honor the deeply enlightened people of India, and their country’s rich history and beautiful culture. You can view this other film composition under the title : HOLY SPIRIT OF INDIA ! = ACT 1 - SCENE 17 = BRAVE WOMEN WARRIORS IN INDIA’S MIGHTY ARMED FORCES ! That other particular film composition - Holy Spirit Of India ! = Act 1 - Scene 17 = Brave Women Warriors In India’s Mighty Armed Forces ! - aside from honoring the great woman warriors in India’s mighty armed forces, also deals with violence against women, and against children. /=/ Therefore, sensitive viewers discretion is sensibly advised in that other film as well as this one, due to its first scenes, concerning the terrorizing bloody massacre of innocent people at the Taj Mahal Palace Hotel in Mumbai, in November 2008. /=/ /=/ /=/ FAIR USE - Section 107 of the Copyright Act 1976 /=/ This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. /=/ This video is for educational purposes only; and is offered freely to the public. /=/ In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. /=/ Fair use is a use permitted by copyright statute that might otherwise be infringing. /=/ Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. /=/ I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. /=/ The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. /=/ I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. /=/ Long Live India ! /=/ Sincerely, Teri'irere Ito'arai Film Composer /=/ The Holy Spirit of India !

This original composition was inspired by the film ‹Kabir Singh› Kabir Rajdheer Singh is a young man, who is a bright house surgeon at the Delhi Institute of Medical Sciences. But he suffers from severe anger management problems that gain him the reputation of a bully. After a brawl, Kabir is asked to either apologize or leave. He chooses to leave, but stays upon seeing a new student, Preeti Sikka. Later, Kabir and his friends announce that he has exclusively claimed Preeti. Initially timid, she adjusts to his overbearing attitude, and eventually reciprocates his feelings, developing an intimate relationship. Kabir graduates with an MBBS degree, and moves to Mussoorie for post-graduation. Despite the distance, their relationship strengthens over the next few years. After Preeti graduates, he meets her conservative parents, but her father Harpal catches them kissing, and throws him out. Harpal continues to oppose their relationship, despite Kabir's attempts to assure him about their deep love for one another. Enraged at the father’s unrelenting rejection, Kabir asks Preeti to choose between him and her family within the next six hours, or he will end their relationship. But Preeti fails to reach back to him in time. Feeling abandoned, Kabir injects himself with morphine, and remains unconscious for the next two days. On gaining consciousness, he finds out that Preeti is being forced into an arranged marriage, and gate crashes the wedding party; whereupon, Harpal has him beaten and arrested. After his release from jail, his father, Rajdheer, ostracizes him from the family for his antics. With his friend Shiva's help, Kabir finds a rented flat and joins a private hospital as a surgeon. To cope with his emotions, Kabir starts to severely abuse drugs and alcohol, attempting one-night stands, having casual relationships, buying a pet dog - but none of which are successful to make him live happily again. Within months, he becomes a successful surgeon and a high-functioning alcoholic, both respected and feared by the hospital staff. But Kabir’s self-destructive behavior and obsessive compulsory disorder worry his friends. While hung over from an alcohol binge on a day-off, Kabir is called in to perform an emergency surgery, for which he unwillingly agrees. During the procedure, however, Kabir collapses from dehydration. Suspicious, the hospital staff takes his blood samples, which contain traces of alcohol and cocaine. A case is filed against him in court, and during an in-house hearing, a broken Kabir admits to alcoholism and violation of medical ethics. As a result, his medical license is suspended for five years, and he is evicted from his flat. The next morning, Kabir learns of his grandmother's death. At the funeral, he and his father Rajdheer reconcile, and soon thereafter Kabir resolves to quit his habits. Some days later, Kabir spots a pregnant but dejected Preeti sitting in a park. He approaches her, and offers to raise the child with her, if she is unhappy in her marriage. Initially silent, she bursts into angry tears, yells at him for discarding her, and asks him to leave. Shiva then tells Preeti about Kabir's obsession and self-destructive habits, which she was unaware of. Shocked, Preeti confesses that she left her husband three days after the marriage, and has been working in a clinic to support herself. Overcome with anger, especially after hearing about his casual affair with an actress, Preeti had refused to contact him again. In a plot twist, Preeti reveals that her marriage was never consummated, and that the child was Kabir's. They marry, and reunite with their families, with Harpal apologizing to them. The film ends with them, happily on a beach, in love and with their baby. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This new composition of mine is based on the beautiful and deeply moving 2019 Indian Hindi-language romantic drama film ‹Kalank›, whose epic action and passionate love affairs occur in the midst of violent and bloody riots against Hindus and Sikhs. The original film’s plot involves three main characters within a powerful love triangle. At first we meet Satya Chaudhry, a young woman who is told by her doctor that she has cancer and will die soon. So she goes back to her native village in the Rajputana area, and requests her childhood acquaintance, a lovely young woman named Roop, to provide companionship to her husband, Dev Chaudhry, who runs a liberal newspaper. Roop keeps rejecting Satya's proposal, but later gets convinced by her father, Dharampal, to do so, and therefore agrees, but on the condition that she will marry Dev, to which Satya agrees. Once married, Dev tells Roop that he still loves Satya, and that their relationship will only be cordial and platonic. A depressed Roop takes solace in music, which she begins by learning from the madam of a brothel, Bahaar Begum. She also begins working in her husband's publishing house, to use her education to their advantage. Roop expresses interest in writing about the condition of the locality in which the brothel is located, during which time she meets with a handsome, womanizing blacksmith, named Zafar. The handsome Zafar wants to exact revenge on his parents, Bahaar Begum and Balraj Chaudhry - who abandoned Zafar after ending his extramarital affair with Bahaar - by seducing lovely Roop, since she is married to Balraj's legitimate son, Dev. But Roop misconstrues Zafar's intentions, and actually falls in love with him. Roop also begins to develop a friendship with Dev, much to Satya's happiness as well as sadness. Before dying, Satya urges Dev to give Roop a chance, and to forgive Balraj for his affair. As part of another effort to humiliate Balraj, Zafar instigates communal hatred in his friend, Abdul Khan, by demanding for the partition of India on religious grounds, which Balraj and Dev do not support. When Balraj becomes aware of Roop and Zafar's love, he confronts Bahaar and Zafar. Bahaar, who disagrees with Zafar's approach, warns Roop and tells her about Zafar's real intentions. Heartbroken, Roop consummates her marriage with Dev, but insists that she will never be able to fully love him. As Abdul's political stance gains leverage, riots against Hindus and Sikhs in the city take place, during which the Chaudhrys decide to flee to Amritsar with the help of Zafar. But not before Saroj, the benevolent maid, is brutally stabbed to death. Zafar confesses to Roop that he eventually fell in love with her, despite his early manipulative intentions. While boarding a train to flee the violence in town, Zafar is stabbed in his stomach four times with a dagger by Abdul, while Roop and Dev manage to escape. The story ends ten years later, when Roop and Dev are interviewed about their experience by Aditya, a journalist documenting the partition; with Roop remembering Zafar, and Roop's inner voice saying that the color of both love and hate is red. But that it is love that, alas all too often gets wounded. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This composition is inspired by an eighteen-year-old, named Jamal Malik, an Indian Muslim from the Juhu slum of Mumbai, who becomes a contestant on the nationwide televised show ‹Kaun Banega Crorepati›, and is one question away from the grand prize. However, before he can answer the ₹20 million question, he is detained and tortured by the police, who suspect him of cheating. Through a series of flashbacks, Jamal recounts the incidents in his life that provided him with each answer. His memories begin when he is five years old, when Jamal managed to obtain the autograph of Bollywood star, Amitabh Bachchan, after jumping into a cesspit. Jamal's elder brother, Salim, later sells the autograph. Their mother is killed during the Bombay riots, and as the brothers flee the riot, they meet Latika, a girl from their slum. Salim is reluctant to take her in, but Jamal suggests that she could be their "third musketeer", a reference to the Alexandre Dumas novel The Three Musketeers, which the two brothers had learned about in school. The brothers refer to themselves as Athos and Porthos, but do not know the third musketeer's name. The three children are found by Maman - a gangster woman, who trains street children to become beggars. When Salim learns that Maman is blinding the children to make them more effective beggars - « blind singers earn double» -, he escapes with Jamal and Latika towards a running train. The brothers successfully board the moving train, but Latika is unable to keep up. Salim grabs her hand, but purposefully lets go, leaving her to be recaptured by the terrible Maman. For the next few years, Salim and Jamal travel around on top of trains, making a living by selling goods, picking pockets, washing dishes, and pretending to be tour guides at the Taj Mahal. At Jamal's insistence, they return to Mumbai to find Latika, where they discover that she is being raised by Maman to be a prostitute. The brothers rescue her, Salim shooting the terrible pimp Maman deader than a door nail ! Salim then gets a job with Javed - a rival crime lord. In their room, Salim orders Jamal to leave him alone with Latika, presumably to sexually assault her. When Jamal refuses, Salim draws a gun on him, and Latika persuades Jamal to leave. Years later, Jamal, now working as a chaiwala tea server in a call centre, searches the centre's database for Salim and Latika. He learns that Salim is a high-ranking lieutenant in Javed's crime organization, and confronts him. Salim pleads for his forgiveness, and Jamal lies his way into Javed's residence to reunite with Latika. But although he professes his love for her, she tells him to forget about her. Despite her refusal, Jamal promises that he will wait for her every day at five o'clock at the Victoria train terminus. Latika eventually attempts to meet him there, but she is captured by Javed's men, led by Salim. They cruelly cut and scar her face as they drive away. Jamal loses contact with Latika, and in a final attempt to reach her, he decides to become a contestant on the Kaun Banega Crorepati television show, because he knows she watches the show. Jamal is extremely successful on the show, and becomes popular across India, much to the dismay of the show's host, Prem Kumar. Kumar attempts to trick Jamal by feeding him the wrong answer to the penultimate question. However, Jamal uses his 50/50 lifeline, and answers correctly, raising suspicion that he is cheating. When the episode ends, Jamal is arrested. After an initial beating, the police inspector listens to his explanation of how he knew each answer. Finding his stories "bizarrely plausible", and that he must admit to himself that Jamal is "too truthful" to be a liar, the police officer allows him to return to the show. Latika sees Jamal on the news. In an effort to make amends for his past behavior, Salim gives Latika his phone and car keys, asking her to forgive him, and to keep the phone near her at all times. After Latika leaves, Salim fills a bathtub with money, and sits in it, waiting for Javed to realize Latika is free. For the final question in the nationwide televised show, Jamal is asked the name of the third musketeer. He laughs at the irony, and admits he does not know, but chooses to try to answer the question anyway. So he uses his "Phone-A-Friend" lifeline to call Salim, because it is the only phone number he knows. Latika answers the call, and tells Jamal that she is safe, but that she does not know the answer. Javed hears Latika on the show, and realizes that Salim betrayed him. He and his men break down the bathroom door, but Salim kills Javed before he is shot and killed himself by the rest of the evil gang. Relieved about Latika, Jamal guesses, and picks the first answer, Aramis ! He is correct ! And thereby wins the grand prize. Jamal and Latika meet on the platform at the train station, and kiss, free to be together and to love one another, without all the dangers that once surrounded them mercilessly. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This original heart-warming composition is based on the true story of the "Flying Sikh" - the world champion runner and Olympian from India, Milkha Singh, who overcame the bloody massacre of his family during the cruel India-Pakistan partition civil war; as well as years of rejection, poverty, despair and homelessness, to nevertheless become, thanks to his courage, his determination, his skills, his deep humility and his unwavering integrity, one of India’s most iconic and respected athletes. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India !

This film composition, which I recently composed for fun in my quest for beauty, romance, love, courage, brave action and true depth, is based on «Ram-Leela», a 2013 Indian Hindi-language, tragic romantic action film, whose love story is is akin to William Shakespeare’s Romeo and Juliette. This complex love story centers around a certain Gujarati village, infamously known for its uninhibited manufacture and sale of arms and ammunition, and two of its most powerful clans - the Rajadi, and the Sanera - that have been at odds with each other for the past ... 500 years, no less ! A violent altercation between the two clans occurs after Bhavani, a Sanera, fires at the young son of Meghji Bhai, a Rajadi chieftain. In return, Bhavani is almost killed by Meghji Bhai. But Ram, Meghji Bhai's younger brother, intervenes and saves Bhavani. On top of this, all the Rajadi elders are irked by Ram being a vagabond, who deals in stolen cars, and especially with his mindset of making a truce with the other clan. During the festival of Holi, Ram boldly enters the house of the Sanera heads, and flirts with Leela. Meanwhile, Leela's mother, Dhankor Baa, the chieftain of the Saneras, is busy arranging a match for her daughter to marry a simple-minded man, but from an important family. Leela's elder brother, Kanji Bhai, is angered by Ram's entry into the sanctity of their house, and bribes the local police to raid Ram's house. Ram, however, manages to convince the policemen to leave in exchange for a set of his special blue films. Ram and Leela soon develop a romance, and plan to elope. But a grim turn of events follows when Kanji accidentally kills Meghji, Ram's brother, and is, in turn, killed by Ram. To escape the suffering, Ram and Leela elope and marry. But just as they are about to consummate their marriage, Ram's friends trace them and betray him by inebriating him, and informing Leela's family of their location. The next morning, Leela is forcibly taken back home by Bhavani, her cousin; while Ram is hailed as a hero by the Rajadis for soiling Leela's reputation. He is rewarded by being made the new chieftain of the Rajadis. Meanwhile, Dhankor Baa arranges the engagement of Leela and the man from the important family, much to the chagrin of the pair. Leela refuses, citing that her finger is already occupied by the ring from her marriage to Ram. In her anger, Dhankor Baa chops off her daughter Leela's finger ! Upon learning of this, Ram does the same to his own finger, and visits Leela while she is asleep. Leela still retains faith in Ram and sends Rasila, the widow of Kanji, to give Ram an ultimatum to take her away and save their honor and their love. Rasila is assaulted by Ram's friends, and when Dhankor Baa learns of this, she sends Bhavani and other men to assault Kesar, Meghji's widow, who manages to evade them. In response to the attempt on Kesar, Ram storms into Leela's house and incapacitates the guards single-handedly. He then requests Dhankor Baa to consider negotiation for peace, and so she invites him to celebrate Navratri with the Saneras, but with the malicious intention of having him killed. However, at the event, Bhavani secretly shoots and seriously injures Dhankor Baa to place the blame on the Rajadi. Consequently, Leela is made the new chieftain of the Saneras, while tending to her mother's recovery. She bitterly carries out a negotiation with Ram, equally dividing the travel routes and trades, with the condition that the Saneras and Rajadis will not interact with each other ever again. Bhavani, who does not tolerate this development, deceives Leela into blindly signing a document that orders the unrestrained killings of all the Rajadis. During the holy festivities of Dusshera, as the Ramlila parade is ending, many of the Rajadis are killed, and the village is on the brink of war, which Ram senses. Much to everyone's chagrin after the deed, Ram and Leela decide that they are each other's soulmates, and they end up by shooting one another dead; all the while oblivious to the fact that Dhankor Baa has undergone a change of heart, and has killed Bhavani, and promptly ordered that peace be made with the other clan. In the end, the two warring clans come together to cremate the bodies of the the two passionate lovers. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public worldwide. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to all other members of the public worldwide. Sincerely, The Holy Spirit of India !

This short film, which I recently composed for the collection of films under the title "The Holy Spirit of India", is based on an epic love story between a ferocious Maratha general, Bajirao, and his beautiful second wife, Mastani, a warrior princess. The full Hindi film, 'Bajirao Mastani', recounts the many obstacles the two lovers must face, as well as the ultimate sacrifices they must go through to uphold the passion and integrity of their ardent love affair, and to protect their lives and their children from their cunning enemies. Bajirao Mastani is an epic love story between a ferocious Maratha general, Bajirao, and his beautiful second wife, Mastani, a warrior princess. This Hindi film recounts the many obstacles they face, as well as the ultimate sacrifices they must go through to uphold the passion and integrity of their ardent love affair, and to protect their lives and their children from their cunning enemies. The action occurs in the18th century, and begins at the noble court of the Maratha Kingdom, who nominates Bajirao as its Peshwa, having won everyone's hearts by his skills. Bajirao later he marries the lovely Kashibai, and they have a son. However, during one of his war campaigns, Bajirao meets a warrior woman, named Mastani, who is a princess from Bundelkhand, and the beloved daughter of the Rajput king. Mastani saves Bajirao’s life in a battle, but she is almost killed in the process. Saving her life in return, Bajirao gifts her his dagger during the Holi festival - not knowing at the time that for the Rajput symbolizes a marriage proposal. When Bajirao consents to marry Mastani, and they have a son, Bajirao’s first wife, the lovely Kashibai, seeks to have both Mastani and her son killed. A born cavalry leader, Bajirao was unequaled for the daring and originality of his military genius. He once told his brother: "Remember that night has nothing to do with sleep. It was created by God, to raid territory held by your enemy. The night is your shield, your screen against the cannons and swords of vastly superior enemy forces." With respect to the beautiful warrior princess Mastani, the daughter of Raja Chattrasal and his Persian wife Roohani Begum, besides her fine military combat skills, she was also a wonderful expert dancer and highly skilled singer. After their meetings on the battlefields, and their mutual saving of each other’s lives, their destinies are united onto an adventurous, dramatic and tragic course, where their passionate love relationship will remain unstoppable by war, by treachery, by their families, or even by death itself. Bajirao Mastani is wonderful epic love story, well worth watching in full: the likes of Padmavati, Ramleela, or Romeo & Juliette. FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational philosophy, and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever, and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely to the public. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Sincerely, The Holy Spirit of India !

I composed this new original film in honor of a great warrior lady in India’s rich history, who came to be known as : Manikarnika ! What a woman ! Any real man would have loved to have her as his spouse, or his sister, or his mother, or his daughter; or among his ancestors or future descendants yet to be born … In the almost 150 years since she belatedly committed herself to the revolt known as the Indian Mutiny, Manikarnika - whose real name at birth was Lakshmi Bai, the beautiful and mighty Rani Hindu queen of Jhansi -, has been the only leader in India’s history to be described in positive terms by her adversaries ! True, some reviled her as a villainess, a Jezebel, and more so a Joan of Arc. But others admired her as a mighty warrior queen. Indian nationalists of the early 20th century were less divided in venerating her as an early symbol of resistance to British empire’s tyrannical rule, which cost the lives of hundreds of millions of Indians and cast their country into poverty for over 150 years; out of which India in modern times is finally beginning to emerge from, especially under the guidance of its recent prime ministers. Concerning Manikarnika, the future Rani was at first born to a high-caste, prominent Brahmin family in Benares (now Varanasi) in northern India on November 19, 1827. Formally named Manikarnika, she was affectionately called “Manu” by her parents. Alas, her mother, Bhagirathi, died when Manikarnika was but 4 years old. Under the care of her father, Moropant Tambe, Manikarnika’s education included horsemanship, fencing, archery, hunting, close combat self-defense, and shooting. In 1842, the strong and beautiful Manikarnika became the second wife of Gangadhar Rao Niwalkar, the childless Raja of Jhansi, a principality in Bundelkhand, who deeply fell in love with her. Renamed Lakshmi Bai, the young Rani Hindu Queen bore them one son in 1851, but sadly he died four months later. In 1853, following a serious illness, Gangadhar Rao adopted a distant cousin named Damodar Rao as his son. Similarly, Gangadhar, and the brother who had preceded him on the throne, were also adopted heirs. The adoption papers and a will naming the 5-year-old boy as Rao’s heir, and the Rani Hindu Queen, Manikarnika, as regent, were presented to a Major Ellis, who was serving as an assistant British political agent at Jhansi on November 20, 1853. Gangadhar Rao died the following day. Ellis forwarded the information to his superior, Major John Malcolm, a Scottish soldier, and the East India company representative in charge of the region, then controlled by Britain’s East India Company. Ellis was sympathetic to the Rani’s claims, and even Malcolm, who did not support her regency, described the young widow in a letter to India’s Governor-General, James Andrew Broun-Ramsay, 1st Marquess of Dalhousie, as «a woman highly respected and esteemed, and I believe fully capable of doing justice to such a charge.» Under Lord Dalhousie, the British government had adopted an aggressive policy of annexing Indian states. Charges of mismanagement often offered an excuse for further oppression and repression. Another justification, applied with increasing frequency after 1848, was the Doctrine of Lapse, which placed any sovereign Indian state as a vassal state under British rule through the East India Company. The British already exercised their self-appointed right to recognize the monarchical succession in Indian states that were dependent upon them. As a corollary, Lord Dalhousie claimed that if the adoption of an heir to the throne was not ratified by the government, the state would pass by «lapse» to the British. In spite of the Rani’s arguments for the legality of the adoption, and Ellis’ favorable statements on her behalf, Lord Dalhousie refused to acknowledge Damodar Rao as Gangadhar Rao’s heir. Consequently, the new British superintendent, Captain Alexander Skene, took control of Jhansi under the Doctrine of Lapse without opposition at first. The Rani Manikarnika, was allowed to keep the town palace as a personal residence, and received an annual pension of 5,000 rupees, from which she was expected to pay her husband’s debts. The young regent, Damodar Rao, inherited the Raja’s personal estate; but he was unfairly granted neither his kingdom, nor his title. On December 3, Lakshmi Bai submitted a letter contesting the Doctrine of Lapse, with Ellis’ approval, but Major John Malcolm did not forward it. So the Rani Manikarnika submitted a second appeal on February 16, 1854. After a consultation with British counsel John Lang, during which she declared «Mera Jhansi nahim dengee» ( I will not give up and betray my Jhansi people ), Manikarnika submitted yet another petition on April 22; and she repeatedly continued to resubmit petitions until early 1856. All her appeals were rejected. Meanwhile, discontent had been building among the Indian soldiers - known as Sepoys - within the British East India Company’s army. The General Services Enlistment Act of 1856 required all recruits to go overseas if ordered, an act that would cause a Hindu to lose his caste. Rumors began to spread that the cartridges for the newly issued Enfield rifles were greased with either cow or pig fat, regarded as abominations by the Hindu or Muslim Sepoys, who would tear them open with their teeth. Assurances that the cartridges were in fact greased with beeswax and vegetable oil were not as effective as rumors of a systematic British effort to undermine the Sepoys’ faith, and make it easier for the missionary British priests to convert them over to Christianity. In Meerut on May 9, 1857, 85 Sepoys who refused to use the Enfield cartridges were tried, tortured and put in irons. The next day three regiments stormed the jail, killed the officers and their families, and marched on Delhi, 50 miles away. This incident started what became known as «The Indian Mutiny !» Thousands of Indians outside the army had grievances of their own against the oppressive and repressive, unjust and cruel, tyrannical British rule. Reforms against the practice of Suttee ( the act of a widow throwing herself onto her husband’s funeral pyre ), and marriage permitting widows to remarry, as well allowing converts from Hinduism to inherit family property, were seen as attacks on Hindu religious law. Furthermore, land reform in Bengal, further benefiting the British empire, had displaced many landholders. Violence soon spread through north and central India as leaders, whose power had been threatened by the British, took charge and transformed the mutiny into organized resistance. On June 6, 1857, troops of Jhansi mutinied, shot their commanding officers and occupied the Star Fort, where the garrison’s treasury and munition magazine were stored. The city’s European populace took refuge in the fort under the direction of Captain Skene. The fort was well designed to withstand a siege: It included an internal water supply, but food was limited, and about half of the 66 Europeans were women and children. On June 8, Captain Skene led the British out of the fort, but they were massacred. On June 12, 1857, the mutineers left Jhansi for Delhi. Given Lakshmi Bai’s long-standing grievances against the government, the British were quick to blame the rising in Jhansi on her. But evidence of her involvement was thin. Captain Skene’s deputies and personal servants reported that when the British asked the Rani for assistance, she refused to have anything to do with the «British swine.» A Eurasian clerk’s wife, who claimed to have escaped from the fort with her children, reported that the Rani had promised the British safe conduct. Her testimony has since been thoroughly debunked by a prominent Indian historian, in his thoughtful study titled «1857». But the idea that she had betrayed the community inflamed British imaginations. Lakshmi Bai herself sent an account of the massacre to Major Walter Erskine, the commissioner at Sagar and Narbudda, on June 12, 1857, as such : … the govt. forces, stationed at jhansi, thro’ their faithless, cruelty, and violence, killed all the european civil and military officers, the clerks and all their families, and the ranee not being able to assist them for want of guns, and soldiers as she had only 100 or 50 people engaged in guarding her house she could render them no aid, which she very much regrets. … that they, the mutineers, afterwards behaved with much violence against herself and her servants, and extorted a great deal of money from her. … that her dependence was entirely on the british authorities who met with such a misfortune the sepoys knowing her to be quite helpless sent messages to the effect that if she, at all hesitated to comply with their requests, they would blow up her palace with canon guns. … taking into consideration her position she was obliged to consent to all the requests made and put up with a great deal of annoyance, and had to pay large sums in property as well as cash to save her life and honour. … knowing that no british officers had been spared in the whole district, she was, in consideration of the welfare and protection of the people, and the district, induced to address perwannahs to all the govt. subordinate agency in the shape of police, etc., to remain at their posts and perform their duties as usual, she is in continual dread of her life and that of the inhabitants. … It was proper that the report of all this should have been made immediately, but the disaffected allowed her no opportunity for so doing. As they have this day proceeded towards delhi, she loses no time in writing … In a subsequent letter, the Rani reported that there was anarchy, and she even asked for orders from the British. Erskine forwarded both letters to Calcutta, with a note from himself saying that her account agreed with what he knew from other sources. And he authorized the Rani to manage the district, until he could send soldiers to restore order. Faced with attacks by both neighboring principalities and a distant claimant to the throne of Jhansi, Lakshmi Bai recruited an army, strengthened the city’s defenses and formed alliances with the rebel Rajas of neighboring Banpur and Shargarh. Her new recruits included mutineers from the Jhansi garrison. The positive assessment of local British officials was not enough to overcome the British belief in Calcutta that Lakshmi Bai was responsible for the mutiny and the massacre. Her subsequent efforts to defend Jhansi confirmed their beliefs. In January 1858, Major General Sir Hugh Rose marched toward the city. As late as February, the Rani told her advisers that she would return the district to the British when they arrived. On March 25, 1958, General Rose laid siege to Jhansi. Threatened with execution if captured by the British, Lakshmi Bai resisted. In spite of a vigorous defense, however, by March 30, most of the Rani’s guns had been disabled and the fort’s walls breached. On April 3, the British broke into the city, took the palace and stormed the fort. The night before the final assault, Lakshmi Bai lashed her 10-year-old adopted son to her back and, with four followers, escaped from the fortress. Her father was less fortunate. He was captured and summarily hanged by the British, who sacked Jhansi for the next three days. After riding some 93 miles in 24 hours, Lakshmi Bai and her small retinue reached the fortress of Kalpi, where they joined three resistance leaders, who had become infamous in British eyes for the atrocity at Cawnpore : Nana Sahib, Rao Sahib & Tatia Tope. The rebel army met the British at Koonch on May 6, 1958, but was forced to retreat to Kalpi, where it was defeated again on May 22-23. A statue in Solapur, India, depicts Manikarnika's legendary escape from British soldiers, as they torched her city in retaliation for her assumed role in the Indian mutiny, which many agree was yet another false flag, in typical style of the British empire. On May 30, 1958, the retreating rebels reached Gwalior, which controlled both India’s major thoroughfare, the integral Grand Trunk Road, and the telegraph lines between Agra and Bombay. Jayaji Rao Scindhia, the MahaRaja ( grand ruler ) of Gwalior, who had remained loyal to the British, tried to stop the insurgents, but his troops went over to their side on June 1, forcing him to flee to Agra. On June 16, 1958, General Rose’s military armed forces closed in on Gwalior. At the request of the other rebel leaders, Lakshmi Bai led what remained of her Jhansi contingent out to stop them. On the second day of the fighting at Kotah-ki-Serai, the Rani, dressed in male attire, was shot from her horse and killed, and perished in a blaze of fire. Gwalior fell soon after, and organized resistance collapsed. Resistance leaders Rao Sahib and Tatia Tope continued to lead guerrilla attacks against the British, until they were captured and executed. Nana Sahib mysteriously disappeared, and became a source of legend. British newspapers maliciously proclaimed Lakshmi Bai the «Jezebel of India.» But Sir Hugh Rose compared his fallen adversary instead to : «Joan of Arc!» Reporting her death to William Augustus, Duke of Cumberland, Sir Rose said : «The Rani is remarkable for her bravery, cleverness, and perseverance. Her generosity to her subordinates was unbounded. These qualities, combined with her rank, rendered her the most dangerous of all the rebel leaders.» In modern India, Lakshmi Bai - Manikarnika - is regarded as a national heroine. Statues of her stand guard over Jhansi and Gwalior. Her story has been told in ballads, novels, movies and the Indian equivalent of Classics Illustrated Comics. Former Prime Minister Indira Gandhi even appeared as Lakshmi Bai in a political commercial in the 1980s. «Although she was a lady,» Sir Rose wrote, «Manikarnika was the bravest and best military leader of the rebels. A mighty woman among the mutineering men.» His praise is echoed in the most popular of the folk songs about her : «How well like a man fought the Rani of Jhansi! How valiantly and how brave !» It is to her memory that I dedicate this new film composition on her life and values. Sincerely, Teri'irere Ito'arai Film Composer The Holy Spirit of India ! FAIR USE - Section 107 of the Copyright Act 1976 This is a non-profit video that I personally composed solely for the purpose of study, review, research, self-expression, experimental analysis, creative research, humorous contrasting, cultural and educational arts and sciences synthesis; and basically for the love of artistic creativity itself, without any intention for any commercial uses whatsoever - and fully and absolutely for non-profit public display. This video is for educational purposes only; and is offered freely, with my respect and love for the people and culture of India, to the public worldwide. In composing this audio-visual film video, I am respecting the Copyright Disclaimer Under Section 107 of the Copyright Act 1976, whereby allowance is made for fair use, for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use, thankfully tips the balance in favor of fair use, thus promoting both the original work and other possible creative derivatives. I made use of images in this composition that do belong to other film and music production firms. However, such a composition is unique and original in its full assembly, and is for educational and non-profit purposes only. The original film production images and original music melodies in this film remain the property and copyright of its rightful owner, or owners. I claim no ownership whatsoever on any of the materials I have used in creating this new audio-visual composition, except those that are my own to improve the state-of-the-art, and that I offer freely to the public worldwide. Long Live India ! Sincerely, Teri’irere Ito’arai Film composer The Holy Spirit of India !