UG Archive

There Is Nobody There By Jean-Michel Terdjman What U.G. is telling us is not contradictory, incoherent or illogical. It may seem so because we don't know how to take it. We don't know how to take it because what has been called his “teaching” is no teaching at all. U.G. is always enunciating mere statements of fact, in their rawest possible form. He does not provide us with the context, the perspective necessary to see how they fit. The reason this is so is not that he is trying to wake us up from our stupor (in my opinion, he has no agenda whatsoever), but simply that he has no reason of his own to do so. What he says is absolutely true, yet, at the same time, is an expression of history (he says it in English and not in Chinese, and he speaks English with a foreign accent) and of his personality (he is lazy, and full of energy and aggressive inclinations, very gentle with the heart of a butcher, and an anti-Semite to boot – not out of conviction, of course: just to remind hi

“If anyone, anywhere has understood me, it's Goldie.” –UG The Indian Quarterly By Nasreen Munni Kabir The Anand Brothers—Chetan, Dev and Vijay—were a class act. From the late 1940s, they made Navketan (their production company) into one of the most distinctive banners of its time. Not only were their productions popular, they also nurtured new talent and took risks in their choice of film subjects. Vijay Anand (known by all as Goldie) was the youngest brother. A student of English literature, he was a formidable screenplay writer, actor, producer and film editor, but it is his work as a director that has made a special place for him in Hindi cinema history. His first film, Nau Do Gyarah (1957), bears all the touches of a delightful storyteller. His masterly grip over content and form led to a long and varied career. Working with a great team of cinematographers, composers, lyricists and choreographers, Vijay Anand brought out the best in his actors. Few could rival his abilities wh