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Best known for the exquisitely shot Pakeezah, Josef Wirsching’s talent and innovation with the camera has made him an immortal part of the history of cinematography—and cinema—in India.

Bhuvan Lall



Kamal Amrohi, Meena Kumari and Josef Wirsching.
Kamal Amrohi, Meena Kumari and Josef Wirsching.

In the year 1928, Carl Josef Wirsching, driving from Munich to Rangoon in a Mercedes-Benz, set up his small handheld 35 mm Leica camera to film the Indus River. The talented Munich-born cinematographer was shooting a two-part travelogue of his overland trip. A soothsayer, on the banks of the Indus predicted that the young German would do awe-inspiring things if he stayed in India. This forecast was then repeated by a naked mendicant in Benares while a court astrologer in Jaipur remarked that Wirsching had “returned to the birthplace of a previous life”.

This was Wirsching’s second visit to India. Earlier, he had served as the cameraperson during the production of Die Leuchte Asiens, a silent film on the life of Buddha in the 1920s. The film directed by Franz Osten, a pioneer of the German cinema industry and chief director of the Münchner Lichtspielkunst AG – Emelka Film Company, was shot entirely on location in India. Based on Edwin Arnold’s Light of Asia, it was the first-ever Indo-German cinematic collaboration and the most expensive movie then in India. It was released in 1926 to rave reviews throughout Europe due to its vivid visual authenticity.

Now on his journey to India by road, Wirsching reached Bombay, where film producer and actor Himanshu Rai furnished him with a five-year contract to offer his technical expertise to Indian cinema. Earlier in 1924, Indian nationalist Himanshu Rai, a Middle Temple-trained Barrister in London, had travelled to Munich, the centre of global cinematic excellence in that period. He wanted to lure German filmmaking talent for producing and directing Indian films for the world market. His accidental meeting at a birthday party with Devika Rani, Rabindranath Tagore’s grandniece, changed the course of Indian cinema’s history. An associate of Subhas Chandra Bose, Devika Rani had trained at the Royal Academy of Dramatic Arts and the Royal Academy of Music in London. She had learnt architecture, assisted filmmaker Fritz Lang, met Josef von Sternberg, attended classes by Georg Wilhelm Pabst, and even held the makeup tray for Marlene Dietrich during the filming of Blue Angel to study the fascinating medium of cinema. Despite an age difference of twenty years, Rai and Devika Rani got married and began one of the greatest partnerships in Indian cinema to project and build the cinematic culture of India, then an enslaved nation. After producing three silent films in collaboration with Franz Osten – Light of Asia (1925), Shiraz – Das Grabmal Einer Gorssen Liebe (1928), and Schick Salswurfel – A Throw of Dice (1929) – the couple decided to apply in Indian cinema what they had witnessed at Universum Film Aktiengesellschaft in Babelsburg, Germany. With the transition from silent to sound cinema, Bombay Talkies, India’s first international style film production studio that was listed on the Bombay Stock Exchange, opened its doors in May 1935.

Meanwhile back in Munich, the thirty-year-old Josef Wirsching, now married to Charlotte Mühlberger, worked on a variety of geopolitical films at the Emelka Film Studios. At that time, there was increasing pressure on German filmmakers to produce propaganda film material for the Nazis. The film talent in Europe not keen on becoming propagandists headed to Hollywood. Wirsching, still holding the offer letter from Rai and Devika Rani, toyed with the idea of relocating to India to be part of their ambitious enterprise. Then one day, he packed his bags and, along with Charlotte, set sail for India to work in Hindi cinema. On arrival, he accepted the position of director of photography at Bombay Talkies. The company, managed by the crème de la crème of Bombay’s business tycoons, had built a production facility on Parsi philanthropist Sir Framroze Edulji Dinshaw’s palatial summer estate in Malad on the outskirts of Bombay. The innovative studio with the latest state of the art film hardware including Bell and Howell cameras and RCA sound systems had a sound stage, a recording room, a laboratory, a library, a preview theatre, and even a small school for child performers.

After moving from Munich to Malad, Wirsching went on to work with the biggest film stars and directors in Indian cinema. Bombay Talkies’ first major picture, Jawani Ki Hawa (1935), shot by Wirsching, was a crime thriller featuring Devika Rani as the lead opposite the young, tall and handsome Najmul Hasan. The film, shot entirely on board a train, was a box office success. However, during the shooting of the next film, Jeevan Naiya, a major scandal erupted in the lives of Rai and Devika Rani. Subsequently, Hasan, the lead star of the film was sacked. Rai asked Wirsching to trash all the film scenes shot with Hasan and the search for a new lead actor began. Wirsching’s handsome laboratory assistant Kumudlal Kunjilal Ganguly was rushed into the studio and a hurried screen test was conducted. After filming the shabbily dressed lab assistant, Wirsching was content with the outcome, though director Osten wasn’t. But studio boss Rai persevered, and soon Kumudlal was announced as the hero of Jeevan Naiya. A new screen-name was needed for the lead actor and, finally, the film starring Ashok Kumar, was released in 1936. With this accident of fate, the star system in Hindi cinema was born and soon Ashok Kumar, the shy young lawyer from Khandwa, became the first Indian actor to be paid Rs. 100,000 for each film, a lot more than the Rs. 75 per month he earned earlier as a lab assistant. The St. Stephens College science graduate Rameshwar Dayal Mathur, who had been trained in cinematography and film processing at the MGM studios and the Fox Film Corporation in Hollywood and New York, replaced Ganguly as Wirsching’s assistant at Bombay Talkies. Mathur later went on to shoot the magnificent Mughal-e-Azam.

By the late 1930s, Wirsching had shot sixteen films for Bombay Talkies directed by Franz Osten including Izzat (1937), Jeevan Prabhat (1937), Nirmala, (1937/38), Kangan (1939) and Durga (1939). Wirsching was also behind the camera, filming Bombay Talkies’s Achhut Kanya, the revolutionary film about untouchability, starring the hit pair Ashok Kumar and Devika Rani. The film had a universal resonance in Indian society that was beginning to question the barbarous caste based discrimination. In India, Wirsching came to be known for his characteristic German expressionist cinematography, a dark and melancholy style of filmmaking. The dynamic use of shadow and light became Wirsching’s signature style and his camera worshipped the Indian heroines. He was the pioneer of the most influential camera techniques including playback singing in Indian cinema in those early days. He mostly used the German Arriflex film cameras and suggested innovative changes to the German manufacturers Arnold and Richter. The later models of the cameras were suitably improved based on his practical recommendations. In between films, the soft-spoken cinematographer went out on road trips around India with Charlotte and extensively photographed the nation. This also helped him in location scouting for future shoots. He also photographed the arrival of Subhas Chandra Bose in Bombay soon after his election as the President of the Congress Party in 1938. Meanwhile the Film India magazine protested against the “German experts with their wives and children who had begun to play such an important role in the industry”. On the other hand, Bombay Talkies’ screenwriter Saadat Hasan Manto found the German involvement most natural.

On 26 February 1939, the Wirschings had a son and they named him Wolfgang Peter. Then just six months later on the first day of September, as Wirsching was busy on a movie set at Bombay Talkies, World War II began. Within days, the United Kingdom and France officially declared a state of war with Germany. Immediately, ‘Hukumat-i-Britannia’ gave orders to arrest all German nationals living in the British colony of India. Wirsching was detained as an enemy alien and taken to the internment camp in Ahmednagar, then moved to Dehradun, where mountaineer and writer Heinrich Harrer was also lodged. Wirsching was finally dispatched to the Satara internment camp. Secluded and with no camera, film negatives or lenses to work with, the famed master cinematographer of Hindi cinema along with others started a small toy factory known as SAT Toys, manufacturing wooden toys for children. All this while, with all their savings and assets confiscated by the Hukumat-i-Britannia, Charlotte and Wolfgang survived in a small apartment on the first floor of the Bombay Talkies, waiting for the war to end. Released from internment after nearly seven years, Wirsching was reunited with his wife and son. He had plans to retire and move back to Munich but he discovered that his family home was completely destroyed in Allied bombing raids in 1944. Also lost forever was his extensive photography collection, negatives and other documents. As Wirsching entered the gates of his old studios at Bombay Talkies, it too had undergone several changes including new management. During the war years, studio chief Rai had suddenly passed away on 16 May 1940 and Devika Rani had met the artist Svetoslav Roerich, son of the celebrated Russian painter Nikolai Roerich. She wanted to convert Bombay Talkies into an international company with collaborations in Hollywood but her shareholders disagreed. Subsequently, she sold off her shares in Bombay Talkies and retired from films. Wirsching’s original collaborator Osten had returned to Germany to become a director of a spa in Bad Aibling where he died in relative obscurity in 1956. Even though the world as he knew it had changed, Wirsching decided to settle down in India, a nation he had fallen in love with years ago. He moved with his family to a new home near Mount Mary church in Bandra, knowing that his best work in cinema was yet to come.

In the post-war years, Wirsching shot his next film with a young handsome Punjabi boy, Dharam Dev Pishorimal Anand, titled Ziddi (1948). That film launched the career of Dev Anand, one of the most popular stars of Indian cinema. By now, Bombay Talkies had become the go-to place for Indian filmdom’s emerging talents and many youngsters blossomed there, including Raj Kapoor, Dilip Kumar, Lata Mangeshkar, Pran, Madhubala, Leela Chitnis, Khwaja Ahmed Abbas and Mehmood. Wirsching was the man behind the most fabulous cinematography in the haunting suspense thriller Mahal (1949), based on a script written by Kamal Amrohi. This was a landmark film in Indian cinema with its use of live action special effects and compositional techniques. Wirsching’s camera played with shadow and light in an exquisite manner and filmed the striking close-ups of the leading lady Madhubala to create scene after scene full of dramatic tension. With Mahal, Madhubala became a star overnight. Interestingly, famous cinematographer V. K. Murty, who served as a production secretary in Mahal, later filmed Guru Dutt’s classics Pyaasa and Kagaz ke Phool. In 1960, Wirsching and Charlotte, now a part of the inner circle of the Hindi film industry, made a brief appearance on the silver screen along with the young Helen and Om Prakash during the filming of a song, ‘Itni badi mehfil’, in Kishore Sahu’s Dil Apna Aur Preet Parai.

However, Wirsching’s career-best was the opulent masterpiece Pakeezah (1972) the film that took over twelve long years to complete. Working with 70 mm cinemascope and in Technicolor for the first time, Wirsching’s camerawork effectively transported the viewer into a wistful age of bygone formality and grandeur of Lucknow at the turn of the century. With its swirling romanticism and languid, dream-like cinematography, Pakeezah directed by Kamal Amrohi became one of the most extraordinary Hindi musicals ever made. For shooting the famous train scene for Pakeezah, Wirsching decided to take lead actor Meena Kumari near Kasara Ghat railway tracks, where nearly two decades earlier, he had shot scenes of Achhut Kanya with Ashok Kumar. The film’s song visualization with Meena Kumari and Raaj Kumar remain masterpieces even decades later.

The publicity-shy Josef Wirsching did not live to finish the shooting of Pakeezah that was completed by his former assistant R. D. Mathur.  At the age of sixty-four, he died on 11 June 1967 due to a massive cardiac arrest, just a fortnight after he had lost Charlotte to cancer. Their son Wolfgang Peter Wirsching trained as an automobile engineer at Mercedes-Benz and was offered an opportunity to relocate to Hollywood, where the former head of the Bombay Talkies laboratory, Wilhelm (Willie) Zolle rented film equipment, but he preferred to stay on in India, the country that was so lovingly photographed by his father. Five years later, at the star-studded premiere of Pakeezah, Kamal Amrohi introduced him as the son of the man who shot the film.

The twenty-four feature films, numerous documentaries, and thousands of photographs Josef Wirsching filmed over thirty years made him immortal in Indian cinema. His brilliant painting with light will remain a tutorial in the art of cinematography for generations of filmmakers to come. This German cinematographer is the unsung hero of Indian cinema.

The writer is the author of ‘The Man India Missed The Most: Subhas Chandra Bose’ and ‘The Great Indian Genius: Har Dayal’. He is now writing the biography of Sardar Patel. He can be contacted at

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In an exclusive conversation with NewsX, actor Varun Sharma spilled the beans about his new show ‘Chutzpah’, his working style, and much more.



Varun Sharma will be seen in a new show ‘Chutzpah’. Talking about it, he said, “Internet is now embedded in our blood and system. It is impossible to live without it. The show talks about three to four different stories. The madness, chaos, craziness, relatability, and the reality of the digital world, is what ‘Chutzpah’ has to offer. I am playing Vikas, who is in love with Shikha. The show talks about how they are in a long-distance relationship due to certain situations, and how things change. The feelings and the rush of emotions are the same but because of not being physically there for each other, they are rather connected virtually and the story progresses further.”

Commenting on the comfort level of again working with people he has earlier worked with, Varun expressed, “It felt like a homecoming as it is the same people. Immediately after ‘Ruhi’, this is coming out. Dinesh Vijan had produced ‘Ruhi’ and it was created by Mrighdeep Singh Lamba. Once you work with friends and the people that you are close with, a lot of things become easier. In that sense it was a blessing to be working with them. The interesting fact is Manjot and I did not shoot together. We were working on different stories but we used to keep chatting about how is it going.”

Speaking about the relatability factor of ‘Chutzpah’, he said, “It is very relatable. Two years back, no one thought that everything will go digital. For example, we never thought of doing virtual interviews sitting in our houses. But things have changed. There is a lot of reality in the show which is relatable. Whether it is ‘Fukrey’, ‘Fukrey Returns’, ‘Dilwale’, ‘Chhichhore’, I have always tried to do, relatable projects. People comment that ‘Oh, even I do this, or my friend does this or this guy is the Chucha or the Sexa of our group.’ Playing a relatable character is something I always crave to do when I want to be a part of a project. That is also the same thought I had in mind when it came to ‘Chutzpah’. The show is out and people will witness how relatable the character is and they would want to talk about it.” Varun added, “This show is also going to be an eye-opener for so many relationships, which are long-distance right now. Couples will think, ‘Why are we talking like this? It is not because I don’t love you but because I am not physically there with you for the longest time.’ That’s why the conversations and the interactions are getting shorter. The camaraderie is getting affected. It is not because the love is fading away but the physical presence is not there. If people realise that it may save certain relationships. There are so many relationships around me that have been called off because of the pandemic and two people not being together.”

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Love thy nature to lessen pandemic anxiety



The young but fragile Himalaya is blessed with rich biodiversity. Its valuable resources have traditionally served as the foundation for the economic and cultural life of a vast and vibrant population. 

A few attitudinal differences and climate change developments coupled with variation in soil conservation create striking changes in the terrain having fabulous flora and fauna. Such unique biodiversity not only encompasses ecological, scientific or economic values but it is also a capital of inheritance, passed down over generations, stressing the need for sustainable development.


Developments of past and present indicate extremes of biotic interference. Making wise use of biodiversity inheritance should not be tutored. It has to be felt, imbibed and carried forward when one is confronted with the tentacles of Covid auntie and whims and fancies of the Covid uncle. Without entering into the realm of discussion about the origin of the virus, one should believe that SARS-CoV-2 is an offshoot of the prevailing environment. An environment throttled by one and all.


Coming to judicious utilisation rather than exploitation of floral and faunal wealth, there may be a need for a fresh approach. Not only do farming communities near forests have to be sensitised to extract forest and non-forest timber products properly but they also have to be briefed to leave enough scope for growth and sustenance of grass, shrubs, water bodies etc, vital for the life of animals such as lions, elephants, tigers, and deer etc. While saying so, one is not aiming to touch upon the crucial food chain, rather the purpose is to prick our mind specifically about the plight of gentle elephants, who, being vegetarian, show full loyalty towards their masters.

Of 27,000 Asian Elephants in India, 21% reside in Assam. Due to the loss of forest habitat, they are increasingly coming face to face with humans. Every year, around 100 of them, unfortunately, get killed. They are also misused in the Tourism industry. The Wildlife (Protection) Act, 1972 bans the sale of captive and unregistered elephants.

The mere fact that they live, eat and move in groups or clusters, goes on to show their strong family instincts, something reflected glaringly in:

A) Episode of 18 elephants in Nagaon, Assam in May 2021 crushed by lightning

B) Freak, directionless walk of over 500 km by 15 elephants in Kunming area of Yunan province of China in June 2021.


Despite the inherent friendly attitude of the elephants and many other animals often the reports of entry into the human habitations hit the headlines. There has to be some reason for such an entry. What they get in return is hectic, irrational, and merciless action. The facial expression of the fauna in such a situation shows their state of helplessness. The onlookers, nevertheless, get sarcastic pleasure in having an exciting glimpse. Whether it is a case of entry by the loveable monkeys, leopards, tigers or the elephants into towns of different states, these should not be considered as an intrusion by the animals.


 It is felt that such behaviour has to be viewed as a valiant act of assertion of rights by certain species to counter the actual intrusion into their bonafide habitat by shrewd human beings. There should be no justification to suppress or subjugate the innocent animals either by mechanical or muscle power.

Will our Forest Service friends wake up and take requisite action especially during the current wave of Covid-19 pandemic, when almost two dozen ‘positive’ tigers and a couple of similarly infected lions have already left the world? Lingering threat to pets and domestic animals who soothes our feelings when we are tired, and exhausted, also fill the atmosphere, time and again.

 Having stated so, I may humbly submit: “When the animal instinct among the humans crosses conceivable limits, the actual and bonafide sons and daughters of mother earth are left with no alternative but to react vehemently or justifiably.”


It is not only the competition or tussle factor for habitat between the animals and human beings but it is a question of displaying adequate love and care for the natural endowments, indiscriminately gifted by the Almighty.


It may not be out of context to remind ourselves about the basic Hindu philosophy of emphasising reverence to the flora and fauna right from childhood. For generations, plants, such as peepal, banyan, tulsi, banana, mango etc. and the animals namely, cow, bull, lion, tiger, elephant, monkey, rat, cobra snakes etc. were being worshipped. Also, the morning ritual of offering water to Sun God, tulsi plant and peepal tree not only has given the requisite faith and confidence to the worshippers but it can also teach us again the forgotten lesson to do everything possible to Preserve flora and fauna.

To sum up, if we are mandated to avoid Social Interaction due to coronavirus and the more lethal third wave, how can we afford to undermine similar ‘social’ instincts among the animals?

Their state of hunger and helpless facial expressions during the last two rounds of lockdowns, calls for improving our overall attitude towards them. The timely food intake and sound health of fauna not only can improve their internal social behaviour but may also ensure a refined attitude towards their human handlers, caretakers or masters.

Even if we get rid of Covidity clinically, the love and affection displayed by the pets may prove much more valuable if not decisive in reducing our anxiety and depression. It may ultimately facilitate satisfactory healing of the community.

The writer is former Chief Secretary, the Government of Sikkim. The views expressed are personal.

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Article 51-A (g) says that citizens must be compassionate towards all living creatures. Also, there are several wildlife protection Acts. Yet, we have betrayed our moral failure towards voiceless animals.



India, being the land of sages, has always believed in ahimsa and equality for all living beings. The Constitution of India itself lays down in Article 51-A (g) that Indian citizens must be compassionate towards all living creatures. In the furtherance of it, the Prevention of Cruelty to Animals (PCA) Act, 1960 was enacted along with Wildlife (Protection) (WP) Act. However, in the past few years, we, as humans, have betrayed our moral failure towards voiceless animals. The testament to this is the growing reports of animals being subjected to sexual abuse, being burnt alive, acid and pebble attacks, thrown off from the rooftop, lit crackers on their tails, and even cutting them down in marble cutter, the list is endless and horrendous. How have we stooped down so low that we are finding our entertainment in torturing voiceless beings? 


The Constitution imposes a fundamental duty on us to safeguard the wildlife and have compassion for all living creatures as a result of which the PCA Act was laid down as a measure to give rights of freedom and living to animals. The act was made in 1960 shows how little has been done since then. Unfortunately, in our country, the discussion related to animal rights revolves around political arcades, primarily cow slaughter or beef ban and protection for endangered species. Many animal lovers have been helping by rescuing and providing shelter homes, medication, and food to the tiny beings but for a collective measure, a well-executed law has to be made to safeguard the interest of animals.  

The PCA Act in Section 11 defines cruelty and lists a series of offences and prescribes punishment for the same. However, the act lacks basic connotation with today’s time and needs strict amendments. Disturbingly, the punishment for treating animals cruelly is punishable with a fine of Rs 10 that may extend to Rs 50 on first conviction. On subsequent conviction within three years of a previous offence, it is punishable with a fine of Rs 25 that may extend to Rs 100 or imprisonment of three months or with both. Performing operations like Phooka or any other operations to improve lactation which is injurious to the health of the animal is punishable with a fine of Rs 1,000 or imprisonment up to two years or both and experimentation on animals is punishable with a fine up to Rs 200.

The WP Act too provides lists of species of both flora and fauna which need to the protected from increasing commercialisation of animal goods in form of trading of endangered species, uses of their skin for beauty products, selling off their horns in the black market and further being used in medical by-products. The law brings all these malpractices under its supervision. The act also controls the hunting of wild animals, protection of national parks and sanctuaries, restrict the illegal trade of wild animals, and articles. Section 39 specifies that any wild hunted animal found, killed, fed, alive, or dead shall be the property of the state government. Likewise, Section 9 of the act prohibits the hunting of wild birds.


Our legislative provisions and judicial pronouncements make an effective case for animal rights. But since no rights and laws can be absolute, regulation of animal rights is a must. Therefore, time and again judicial pronouncements have become voices of the animals and their rights.

In 2014, Supreme Court’s landmark judgment in decisions banning the bull-taming festival ‘Jallikattu’ can be described as a watershed moment in terms of animal rights. It not only recognised that animals have a constitutional right to life under Article 21 of the Constitution as well as the right to dignity and fair treatment.

In a landmark judgement of Punjab and Haryana High Court, it was observed that “entire animal kingdom including avian and aquatic are declared as legal entities having a distinct persona with corresponding rights, duties and liabilities of a living person”, touching the matter of animal rights in the purview of Fundamental Rights.

The latest judgment by Delhi High Court states that stray dogs have the right to food and citizens have the right to feed them. The Court observed that “we have to show compassion towards all living creatures. Animals may be mute but we as a society have to speak on their behalf. No pain or agony should be caused to the animals. Cruelty to animals causes psychological pain to them. Animals breathe like us and have emotions. The animals require food, water, shelter, normal behaviour, medical care, self-determination.”

In 2006, the Bombay High Court passed an important ruling, wherein any film meant for public viewing in which animal is used or filmed, has to obtain a certificate from the Animal Welfare Board of India. It safeguards animals from being exploited or ill-treated during filmmaking.

In 2014, Supreme Court banned the illegal transport of cattle to Nepal for the Gadhimai festival that played a crucial role in bringing down the number of animals sacrificed that year.


The Central government has already initiated the process of amendment of the PCA Act and other viable alternatives are being made for safeguarding the interest of animals at large. Some of the observations are as under:

In the present scenario of Covid-19, when every country is researching making successful medication and vaccines to end this pandemic, millions of mice, cats, dogs, rabbits etc are the ones on whom the trial is being done. This kind of horrible environment exposes animal cruelty. Through the Drugs and Cosmetics Rules (Second Amendment) 2014, animal testing for cosmetic products was prohibited all over India. But this subject needs more attention in today’s time. The present legislation in India needs to be modified by making more stringent laws.

Over the years illegal trafficking and poaching of animals across the borders have led to overexploitation of certain species to the point that their survival has become difficult and caused further cruelty to them. Wildlife resources must be managed sustainably and conserved by the law. For which the Indian Penal Code, 1860, under sections 428 and 429 constitutes that killing, poaching or torturing animals is a cognisable offence and is required immediate FIR and rigorous imprisonment which may extend to up to five years or fine or both.  

There should be finer and stricter rules implemented for the transportation of livestock in India. The amended motor vehicle rule is one such step in this direction which provides that vehicles without special licenses for such transportation should not be ply on roads and a healthy and safe environment should be provided to these animals. The excessive overloading of animals, permanent partition for transportation of individual animals, health checks up can be some of the additions. 

Shelter homes are the need of the hour. An animal that has been mistreated needs support and sometimes immediate for which there should be shelter homes with viable facilities. There should be proper checks and regulations with timely inspection of these shelter homes.

There should be 24/7 medical centres for animals, especially domesticated pets.

The PETA India suggested some regulations mandating the use of anaesthetics before castration and replacement of cruel practices. 

The PCA Act needs refined and stern punishment. The drafted bill has increased the fine three times the cost of animals or Rs 75,000 with the imprisonment of three years that may extend to five or both, has been proposed. 

Steps should be taken for the protection of ‘’dignity of the creature’’ like the law laid down in Switzerland which deemed activities degrading to the dignity of animals forbidden by law.

In many cases reported in India, the barking of dogs has been a cause of beating them and often owners try to stop dogs from barking. This should be considered illegal and pet owners should learn how to take care of their pets.

Registration of pets has become a mandate across the country. This is a huge step for making society pet friendly. Effective implementation of registration should be done and non–compliance to register should be met with dire consequences. People too should be responsible and help the government in this.

As per WP Act, there are some wild and endangered animals not just lions and tigers but a lot of exotic animals are banned to pet or keep domesticated. The reason for this is that these animals enjoy their natural habitats and can’t survive or properly nurture at our homes. We should not play down with the rule of the land and also report such incidents to the authorities at the earliest. 

The issue of animal rights revolves around the question of whether animals should be given the same protections as humans. They should be treated with the utmost respect, care, and love. Animals should not be considered helpless and voiceless beings. In a society, where we all talk about how to be civilised, we buffoon the idea that animals are meant to be caged. There are a lot of things we can do to protect animals. You don’t have to own a pet to help in the cause. Let’s all be the voice they wish they had, and make the choice they wish they could. Stop animal cruelty.

The writer is an Advocate at Punjab and Haryana High Court, Chandigarh. The views expressed are personal.

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I WANTED TO BUILD A PLATFORM THAT COULD HELP OVER A MILLION PEOPLE: RANGANATH THOTA is the only crowdfunding platform in the world that funds social causes, products and creative ideas, said its founder and CEO Ranganath Thota during an exclusive interview with NewsX.



Ranganath Thota is the Founder & CEO of FuelAdream and is doing social entrepreneurship via this platform. Thota in an exclusive interview with NewsX India A-list said “The objective is to try and build something that could help over a million people and the only way you could do it is through this concept called Crowdfunding. Crowdfunding means the act of several people coming together to fund something that they believe in.”

The switch from a media person to a social entrepreneur was because of a turning point that happened six years ago. Thota said, “I used to be in the corporate world for about 30 years where I worked across consumer products, media, worked in India, China, South-east Asia. About six years back, I realised I was making a lot of money and it was not as gratifying as I thought it should be. I realised that helping others was more satisfying and meaningful. I sold everything and decided to start this crowdfunding platform. I read about it for half an hour, discovered what it is and moved to Bangalore six years back.”

When asked what sets it apart from other competitors, he said, “What we discovered is that when people fund creative and innovative ideas, they are overwhelmed and passionate about it and that’s why they support it. Similarly when they fund something for a social need, then they have compassion. You have compassion at one end and passion at the other. But in many cases, people are the same. So, for example, we could fund the education for a child and also something as an electric bike.”

Speaking about one of his innovations, Thota said, “For example, there is a smart wallet with a chip in it that connects to the phone. If you lose your wallet you can call it with your phone and if you lose your phone you can call it with your wallet. You can use the phone camera and take pictures using the wallet. This project was funded four years ago. But the same person will help people with cataract surgery and education. So the same person can be driven by compassion and passion.”

He added, “The second thing is about giving behaviours. In social media, we talk about the food we eat, the holidays we take and the pictures we like but we never talk about giving. It is never understood. But there is a huge science in consumer behaviour related to giving which is very different. Crowdfunding also has a science and has four key elements that go into it. It includes storytelling, technology, consumer behaviour and most importantly, communication. Unless you know all this, you cannot do crowdfunding. The other thing we do is teach crowdfunding to a large number of people. They could be corporate people, students, etc.”

When asked about how he builds rapport, Thota said, “Nine out of ten people don’t know how to crowdfund even if their intention is good. They need a lot of hand rolling and that is where I and my team support them. The other important thing is raising funds. There are a lot of things that we need to understand about the projects that need fundraising. A lot of people come to us with great projects but what they don’t realise is that if they raise five times the amount that they are planning to, they actually cannot execute it. Unlike other platforms where you can start a campaign in an hour, with us it takes two days.”

Talking about the success rate he said, “typically it is about 70%. But if some projects don’t work well it is simply because the person doing it doesn’t manage it well, it is not like the story is not good.”

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JERUSALEM: Israeli Defence Minister Benny Gantz will meet his French counterpart in Paris this week for talks that will include an “update” on the Pegasus spyware scandal, his office said Tuesday. A Ministry statement said Gantz will leave Wednesday for talks with French Defence Minister Florence Parly on topics including the crisis in Lebanon, nuclear negotiations with Iran and the Pegasus malware made by the Israeli firm NSO, which was allegedly used to target President Emmanuel Macron. Pegasus, which is able to switch on a phone’s camera or microphone and harvest its data, is at the centre of a storm after a list of about 50,000 potential surveillance targets was leaked to human rights groups. Amnesty International and French media nonprofit Forbidden Stories collaborated with a clutch of media companies, including the Washington Post, the Guardian and Le Monde, to analyse and publish the list. Macron had to change his phone and number. Israel’s defence ministry must approve NSO exports given the sensitive nature of the sector. Israel’s defence establishment has set up a committee to review the firm’s business, including the process through which export licenses are granted. Pegasus’s list of alleged targets includes at least 180 journalists, 600 politicians, 85 human rights activists and 65 business leaders. NSO insists its software is only intended for use in fighting terrorism and other crimes and says it exports to 45 countries.

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SEOUL: North and South Korea restored their cross-border communication lines that had been severed for over a year, the South Korean presidential office said on Tuesday.

An official statement said that the two Koreas decided to resume their direct communication hotlines as of 10:00 am local time. This comes 13 months after North Korea cut off all communication lines with South Korea in protest over Seoul’s supposed failure to stop activists from sending anti-Pyongyang propaganda leaflets into the communist nation, Yonhap reported.

Since June last year, the Democratic People’s Republic of Korea (DPRK) cut off ties in protest against Seoul’s inability to stop civic activists from sending anti-Pyongyang propaganda leaflets into the DPRK.

South Korean President Moon Jae-in and DPRK leader Kim Jong Un have exchanged personal letters several times since April to communicate about issues on the restored inter-Korean relations, the statement said.

Moon and Kim agreed first to restore the severed inter-Korean communication lines, the statement read. The two leaders also agreed to restore mutual trust and enhance inter-Korean ties at the earliest.

Seoul said the resumed inter-Korean communication lines would play a positive role in the improvement and the development of inter-Korean relations.

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