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Ever wondered how our tinsel town stars fared at the acting school? Anu Gulmohar caught up with Kishore Namit Kapoor, a little after his visit to Delhi to launch a franchise of Kishore Namit Kapoor Acting (Lab) Institute, and brought back anecdotes galore of stars who look up to him...

Who’s Kishore Namit Kapoor?

Hrithik Roshan, Priyanka Chopra, Kareena Kapoor, Ranveer Singh, Imran Khan, Saif Ali Khan, Sonali Bendre, Perizaad Zorabian, Mahima Choudhary are all better equipped to introduce Kishore Namit Kapoor, as he is the craftsman who helped chisel their talent, and is in part responsible for the stellar performances they have delivered on the silver screen. You might remember seeing him in films like Kranti, Ashanti and Sarfarosh. “In those days art cinema was in vogue, so I was doing a lot of art films. Along with this, for my survival, I started to teach. And that’s when I realised that I’m a better teacher than actor!” he revealed to me. This Post Graduate from Films and Television Institute of India has a rare combination of skills, as he is also a Post Graduate in philosophy. As thoughts of method acting crept into my mind, I asked him if his studies in pilosophy had enabled him to be a better actor, and was surprised by his reply. “I was asked this question by Yash Chopra during an audition. He’d said, ‘You’re a student of philosophy and a Post Graduate and now you want to be an actor?’ I’d replied to him, ‘Shouldn’t actors be educated? After all, you do have to study your characters. And because of philosophy, I can understand my characters very well, for one of the branches of philosophy is psychology, and I did three papers in that subject. Earlier, actors were only judged by their personalities, but today, we have to portray the personality of the character, so we have to understand the psychology of the character. It gave me an edge over others and helped me a great deal.”

Kapoor personally trains every student who comes to him. While he teaches acting, he allows other teachers to coach students in areas like dance, action, language etc. I asked him if everybody can learn to act, after all, the glamour and money associated with the film business does call out to most of us! “Nobody can learn to act!” he dashed my hopes in a second, and continued, “Unless you have the commitment, integrity and passion. And the crucial part is if you have the talent. Only if the seed is there can a tree grow out of it, or only if there is a diamond can it be polished,” he reasons.

The star students

Plenty of star kids have trained with him. I wonder how many starry tantrums he would have had to put up with. “You would be shocked, for on the contrary, because they are born and brought up in the industry they know that glamour is a by-product, and it involves a lot of hard work. Because they have grown up in this environment, they are very humble. They know that they have to learn acting and are very focussed, and very disciplined. On the contrary, I witnessed a lot of attitude in Ranveer (Singh), which is surprising!” A little further into the interview, he did let me in to some rare insight on the young Saif Ali Khan. “Saif in the beginning was very careless and irresponsible. It’s only because he was from the industry that he sustained, otherwise he would have been out. He was so ‘Chhote Nawab’, and initially I had given up on him. I could not work with Saif because he would not come. And when he did come, he would say ‘sir, you’re like a hypno-therapist, and I want to relax for a bit!’ So, he would go up and sleep for six hours straight, because he would have spent the previous night in the disco.”

The so-far undisputed all-time topper of Kishore Namit Kapoor’s class is Hrithik Roshan. Throughout the conversation, Kapoor would keep coming back to Hrithik. Speaking about Ranveer’s attitude he digressed, “I feel you should always be humble. Hrithik especially is very humble.” The exceptionally talented actor and dancer is also the one in whom he has observed the maximum improvement from when he first stepped into his institute. “I would say Hrithik because he was really lanky, he was not muscular, he used to stammer, he had two left feet, he had a back problem and was so self conscious. He is still growing. In Guzaarish, I think he has given one of the best performances ever. He studied this character so much. They’ve given the award for My Name is Khan – Shahrukh is a friend, he’s taken workshops in my classes – but it’s not an absolute character, to believe the kind of character he played to be so well-kept, I can’t understand that,” he trails off, leaving me to conclude the obvious – that in his opinion Hrithik had given the best performance of the year. When I asked him about his all-time favourite student, Hrithik had to finally share the praise with other actors. “Hrithik, Sonali Bendre, Perizaad Zorabian, Mahima Choudhary are among my favourites. They’re intelligent and focussed people. They know their mind. They’re

talented and passionate,” he opined.

Hrithik’s success didn’t surprise him though, whereas the band baaja for Ranveer Singh has taken him off-guard. “Success usually doesn’t happen in the industry for people without a godfather or family in films. I kept telling him to keep pursuing films. He is very capable and has won all the awards. This was his very first film. It’s a very pleasant surprise.” Vivek on the other hand, is the actor he laments hasn’t received his due from critics and audiences yet. “There’s a lot of internal politics in the industry. Vivek is a tremendous actor. I don’t know why he is not working.” Perizaad Zorabian is another actor whom he feels is underrated. “She is tremendous,”

he insists.

First impressions

With the hope of making cinema’s superstars more real and human to the public bedazzled by the razzle-dazzle of films, I couldn’t help but egg Kapoor on to reveal how the stars were when they took lessons in acting from him, beginning with Priyanka Chopra. “Priyanka was overconfident, always. She also does not acknowledge people. I don’t bother, for teachers don’t work for acknowledgement, but to also not acknowledge your secretary… She had an attitude from the very beginning.” Clearly, the lady wasn’t this teacher’s pet! Kareena Kapoor fares better in his books. “Kareena used to perform so well that I thought nobody could be more spontaneous than her. Kareena is very sharp. Today, she has confidence,” said Kapoor. This acting teacher has not many glowing words for Aamir Khan’s nephew Imran though. “If he didn’t have Aamir’s support, I think he would have had to struggle for a long, long time. He is not a great actor. For lead, I think Ranbir is a better actor. Imran’s good for romantic roles but he can’t handle other roles. Though he attended all the classes… I think it’s not the right age for him yet…”

Life lessons

“Act as though you are living your life, and live as though you are acting!” is the mantra Kishore Namit Kapoor shares with us. This student of philosophy went on to divulge to us his personal take on the ups and downs in the industry. “Actors are not responsible for flop films. Flops should not bother anybody. Pick up any actor’s record, see Amitabh Bachchan or Dilip Kumar. They saw such terrible periods in their careers. The difference is that these people bounce back. In fact, we show our students a film called The Peaceful Warrior, and everybody must see it. One has to keep moving and be in the present. Whatever happens, happens. No compromises on your work. Love what you do, and do what you love and leave the rest to God,” signs off Kishore Namit Kapoor.

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Subhash k jha reflects on the filmmakers who have captured the mumbai of their times in its many moods and hues on the silver screen

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One of the many remarkable things about Aamir Khan’s wife Kiran Rao’s directorial debut in Dhobi Ghat is the way it uses the city of Mumbai as a central character. So evocative and palpable are the sights, sounds and smells of the city that filmmaker Hansal Mehta, who had moved out of Mumbai because of its noise and competitiveness, has actually moved back into the city.

Says Hansal, “I think Bombay is a city with a multiplicity of complex layers. Class, wealth, poverty, dreams, aspirations, heartbreak, failure, love, hate, crime, politics, division, unity and diversity all exist while seamlessly crossing paths and merging into one another. There are many characters and stories waiting to be told. For me, Bombay is one of the world’s most flawed yet interesting central characters. All my good films have dealt with Bombay... One of my favourite Bombay films is Muzaffar Ali's Gaman... And now Kiran Rao's Dhobi Ghat.”

Mumbai…the hub of dreams, the fulcrum of ambitions. It has been the focus of attention in movies of all hues. In the 1950s, Johnny Walker immortalised the city with the song Ae dil hai mushkil jeena yahan zara hat ke zara bach ke yeh hai Bombay meri jaan in Raj Khosla’s CID. Nearly 50 years later, when the topography and terror quotient, not to mention the city’s name itself, had changed beyond recognition, Nishikant Kamat titled his film on the unnerving aftermath of the 2006 train blasts as Mumbai Meri Jaan. Kamat, like Ram Gopal Varma before him, has located his films in the heart of Mumbai. Kamat’s Marathi film Dombivli Fast was planted entirely in the local trains of Mumbai. Said Kamat, “I’ve been a part of Mumbai’s cosmopolitanism since childhood. I understand the cultural contradictions and dynamics that infuse Mumbai with its furious flavour and energy. I couldn’t think of starting my career as a filmmaker outside my comfort zone.”

Neil Nitin Mukesh, who shot Pradeep Sarkar’s Lafangey Parindey on the streets of Mumbai, says the film gave him a chance to rediscover his city. “Since I live in South Mumbai, I’m mostly cut off from the rest of Mumbai. We shot Lafangey Parindey in the most crowded areas of Mumbai, often post-midnight. It gave me a chance to discover the city like never before, and it was fun.”

Neil sounds like a character out of the late L.A Abbas’s Bambai Raat Ki Bahon Mein, the city-adventure saga featuring Persis Khambatta. The film was one of the earliest attempts to explore the night-life in Mumbai.

Aamir Khan says being in Bandra he had never been to Muhammad Ali Road and Chowpatty before he shot there for his wife’s film. Mumbai does that to you. It creates several cities within the city. It’s up to the movies to project a microcosmic view of Mumbai. To get the city’s inner workings on celluloid, filmmakers often spend time in areas that are alien to them. Sudhir Mishra actually took Shabana Azmi and Om Puri to the slums of Dharavi for a film of that name. They stayed in the slums, got to know the locals first-hand, just like Danny Boyle and crew did many decades later for Slumdog Millionaire and Chandan Arora did for Striker, which was shot in the slums of

Malvani.

No wonder Sudhir proudly says, “My Dharavi was a precursor to Danny Boyle’s Slumdog Millionaire.”

Now, Sudhir shoots his films outside Mumbai, mostly in Delhi. The capital has lately become a popular venue for Bollywood locations. Habib Faisal, who wrote 2010’s hit rom-com Band Baaja Baraat and directed the critically-acclaimed Do Dooni Chaar, both located in the heart of Delhi, feels the influx of Delhi-based films is a sign of the expansion of the entertainment industry beyond the ‘concept’ of Bollywood. “I understand the rhythms language and flavour of Delhi. But tomorrow if I get a chance to make a Mumbai-based film like Shaad Ali’s Saathiya, I won’t hesitate.”

In the 1970s, the breezy comedies of Basu Chatterjee like Rajnigandha and Choti si Baat were shot on the streets and in the trains and buses of Mumbai. This was then known as romancing the middle class. Years later, Ram Gopal Varma shot the gritty and real Satya on the blood-soaked streets of Mumbai. By then Mumbai had become a sinister and dangerous place, as far as our filmmakers are concerned.

Sanjay Gupta, who produced the edgy real-time real-life Mumbai thriller Shootout At Lokhandwala says he likes the way ‘Bombay’ was portrayed before it became ‘Mumbai’.

Says Gupta, “To me, the ultimate portrayal of the city was in Kundan Shah’s Jaane Bhi Do Yaaro. In recent times, I like Nishikant Kamat’s Mumbai Meri Jaan. I think these films have touched and showcased just the tip of the iceberg. Mumbai has so much to give. I am waiting for the film on Suketu Mehta’s Maximum City.”

While Slumdog Millionaire director Danny Boyle is all set to adapt Suketu Mehta’s novel Maximum City to the screen, Paul Schrader will film X-Treme City for producer Anubhav Sinha. There are striking similarities in the two projects. Both are stinging takes on present-day Mumbai, its splendour and stench as seen in the same line of vision. The directors Danny Boyle and Paul Schrader have already visited Mumbai several times and also met Aamir and Shah Rukh, who have reportedly agreed to be part of the respective films.

Irrfan Kamal, whose Thanks, Maa captured the poignant odyssey of a little boy through the city looking for an infant’s mother, feels Mumbai is invariably the city of dreams. “Everyone comes to the city with dreams in their eyes. I genuinely feel there’s always so much more of Mumbai to put on screen. As a filmmaker I can never get enough of Mumbai. Or give enough back to the city.”

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Thousands of Oriyas engaged in Surat's textile industry return home as strikes and closures take toll on the poorly paid workers

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Pratap Sahu of Bhetamingi village under the Shergarh block of Ganjam district in Orissa left for the textile city of Surat in Gujarat in search of work. It was three years back. Though just a matriculate, he landed a job within a few days. Little did he know what was in store.

Life in the slums of Surat is tough for the workers from Orissa. The exploitative nature of the power loom owners and the extreme hard labour involving 12 hours of non-stop work in standing position take their toll. In some cases, workers hi-re rooms just to sleep for a couple of hou-rs. The unhygienic surroundings of the cupboard-like rooms make life worse.

Despite the hardship, people stuck it out. Income was handsome as per the standards of rural Orissa. The worker's family, back home, did not have to worry about feeding its members.

But it seems human endurance and desperation has seen its limits. Pratap Sahu, along with other young co-workers, disembarked at the Berhampur railway station on January 31, never to go back again. Many looms have been shut down since January 18 due to labour unrest. “We no more feel safe in Surat. Mill owners and local workers are hostile. The situation has become more tense following the killing of a worker from Mangalpur village in Ganjam,” he told TSI.

Pratap’s is not an isolated case. Thousands of young workers are coming back to their native villages. The following trains, Ahmedabad-Puri express and Okha-Puri express, bring majority of the migrant workers back to their native land. Thousands of youths with their bedding and luggage including trunks, typical of workers from Surat, are arriving at the Berhampur station every day.

A Berhampur station official told TSI that around 3,000 people arrived every day. Since the mass returns started from January 18 onwards, one can safely put the total number of the returnees at over 50,000. The number keeps growing with every passing day.

There is relief written on their faces. After all, they are back among their own in the land of their own. But there is an unmistakable layer of anxiety too, possibly in anticipation of an uncertain future for themselves and family members.

“Presently, the mill owners pay us just 85 Paise for every metre of cloth work. We demanded an increase of 15 Paise. The owners did not agree to our demand and closed the mills,” said Niranjan swain, another migrant who was returning back to his village of Bhetasinghi. More than two hundred of his fellow villagers had migrated to Surat, TSI learnt.

Workers went on strike from the middle of January. Work at more than 25,000 units was stopped. At a few units, workers demanded a 20 Paisa per metre hike. Some workers called off the strike on January 21 after a meeting with textile mill owners. But even after that, many have not returned to work. According to an industry estimate, Surat weaving units turn out three crore metres of cloth every day. That figure has plummeted.

Migration from Ganjam dates back to the 1860s after a great famine ravaged the land. However, over the last two decades, migration of workers has gone up manifold with the growth of the textile industry in Surat where around 30,000 power looms and more than 6,000 dyeing units are functional. Most of these units are located in the Katargam, Kapodara, Varachcha, A.K. Road, Pandesara, Sach-in, Kim and Bamroli areas of Surat.

District labour officials don't have proper data about their numbers. Ganjam district labour officer N. Misal told TSI that a majority of them migrated on their own through local agents and workers already working in Surat. He added that a large number of people migrated from interior pockets - from blocks like Beguniapada, Polasara, Hinjili, Shergarh, Belguntha, Kabisuryanagar, Purushottampur, Digapahandi, Khallikote and Buguda.

Informal estimates puts the total number of migrant workers in Surat from Orissa at around 9 lakh of which more than 6 lakh are from Ganjam alone. About 30 per cent of these people are seasonal migrants. Put together, these workers remit around Rs 3,000 crore to the state through local hawala channels every year.

“We earn around Rs 10,000 per month,” stated Mithun Pradhan of Koudia village in Shergarh block. Mithun, along with his 18-year-old brother who is illiterate, spent quite a few months in Surat. Surat is one place where they, without formal education and qualifications, can get reasonably well-paid jobs.

“We are now back as the power looms are closed down. But eventually, we will have to go back. We can’t earn that much in our village,” said Mithun while adding that they didn’t have any alternative though they owned agricultural land. With mounting migration, fertile agricultural fields are left unattended.

Migrant workers frequent brothels in Surat and some contract the killer AIDS virus. Around 5,000 Sex workers in Surat mainly live off migrant workers. The virus is fast spreading in Ganjam. More than 300 cases of death from AIDS have been reported so far from the district, making Ganjam one of the eight most AIDS-prone districts in the country.

Despite their huge remittances to native Orissa and contribution to the industrial growth of Gujarat, this labour force is denied civil and political rights. The Inter-State Migrant Workman Act of 1979 is not being enforced. Acts like Workmen Regulation Act and Bonded Labour Act, too, are not implemented effectively. Surat mill owners even do not allow the migrants to form any labour union there. “We face a lot of problems. We are not organised and, thus, lack collective bargaining power. No leader from Orissa has come to Surat to help us,” lamented Panchanan Gouda of Subudhipalli vilage under Buguda block.

According to the Gujarat labour department and state employee insurance planning department, only 1.25 lakh workers in the Surat textile industry are registered. It means that 80 per cent of the workers do not have recourse to any gratuity, pension or other retirement benefits. Only 1,200 workers are registered under the State Employment Insurance Scheme. “Some mill owners do not even pay bonus despite our hard work,” said Pushpa Kumar, another mill worker.

Wages vary too. Some mill owners pay the workers Rs 1.60 for a metre, some pay Rs 0.90 for the same. Typically a worker, who works on a simple machine, gets between Rs 7,000 and 10,000 per month. A Jecard machine worker gets between Rs 10,000 and 15,000.

A mill owner from Kapodara, a suburb of Surat, told TSI, “Though it was not the best of times as recession had just hit the sector, I gave my workers a hike of 10 Paisa per metre last Diwali. I had a hunch they just might strike work. I also wanted to keep them in my unit during the Diwali vacation as most of them go home for long vacations.”

Former deputy Speaker of Orissa Assembly Ram Chandra Panda feels that the mass return of migrants may lead to huge socio-economic problems in rural Ganjam. He also fears a possible spurt in crime. “The Orissa government should either negotiate with its Gujarat counterpart to rehabilitate these migrants in Surat or Orissa should take steps to engage the labour force in the upcoming industrial projects. After all, more than 50 memoranda of understandings have been signed,” the man advised.

The scale of the return of migrants has not gone unnoticed. The chief labour commissioner of Orissa took up the matter with his Gujarat counterpart last week and requested redressal of the Oriya labourers' problems. Pushpendra Singhdeo, Orissa minister for labour and employment, told TSI, “The government is taking this matter seriously and I have personally written to the Gujarat chief minister, Narendra Modi, requesting him to address the issue at the earliest.”

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The path of love might just lead you up the alleyway of emotional atyachar, Prakriti Raj and Vikas Chaudhary discover

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The naysayers to Valentine’s Day and those who object to the manner of expressing love on the said occasion can breathe easy. Not because those in love will henceforth have qualms about declaring it, but because there will be a greater number of those who’ve been ditched in love remonstrating in their own way. Lovers too can be content doing their own thing because the ones in the news will be those who have turned love into cheating or a business proposition.

If you doubt this, just look at some shows currently being aired on UTV

Bindaas galloping ahead in the TRP race. If you view Emotional Atyachar Season 2 and Love Lock-up without the titillation angle, you will be forced to concede that Valentine’s Day accounts for little now. It’s no longer love that makes the news, it is rather an open display of cheating in love and making an exhibition of it that is the fashionable new trend.

A UTV Bindaas spokesperson Abhishek admits that the channel’s ratings have zoomed since the said two shows were aired. Season 1 of Emotional Atyachar pushed up the channel’s rating points by 26 per cent. Season 2 has seen the show registering a 35 per cent increase in viewership over the previous year.

Mansi and Avinash (names changed) are from Delhi. They met about three years ago and it was love at first sight. Two years into the relationship, Mansi began to suspect that Avinash was no longer as loyal to her as before. To diagnose the infection that was eating into her love story she decided to get a loyalty test conducted on her boyfriend. The test is Emotional Atyachar’s diagnostic tool for love as much as blood and urine tests aid doctors to get to the root cause of a disease.

The “loyalty test” can be conducted by either private detectives or by reality TV shows. The young of today consider only that love as true which passes the requirements of a loyalty test. In that it merits as much respect as say an ISI, Agmark or Hallmark stamp. Mansi approached the channel to test her boyfriend’s loyalty.

The channel's investigative team swung into action almost at once. It got out of Mansi all information about her relationship and boyfriend. The first step in the test was arranging a meeting between an undercover agent Veena (name changed) and Avinash at a Delhi pub where mobile numbers were exchanged. As the two became closer the investigative team kept a watchful eye on all their activities.

What was caught on camera removed all doubts. That Mansi meant little to Avinash became clear. Avinash was caught kissing the undercover agent. Both then went into the bedroom and lay together entwined in each other’s arms. When Mansi caught Avinash the following day with the help of the television crew, Avinash declared that there had been no wrongdoing on his part and that Mansi was his past while he was looking for a future with the new girl.

It did not take Mansi long to realise that her relationship had reached the terminal stages of that disease called LSD (love, sex and dhokha) from which recovery was impossible.

A recent meeting with an old friend further removed any illusions that there might have been nursed about love. I asked him if he was married. His response was that he had neither married nor had any children. My surprised retort to that was, when you are not married how does the question of children arise. He said the fact had to be underscored because his sister was unmarried but had a child. So much for the advances in the universe of love. Things have moved beyond live-in relationships. And the red banner in this universe is that people don’t shy away from publicly discussing such issues.

There was a time when betrayal in love was a matter of shame. Now it is the subject of proud exhibition. Reality television on the issue is born out of this willingness to exhibit. Films are being made, MMS clips are being filmed and sold and in many instances blackmailing is also part of the picture. Betrayal is big business, an excellent means to easy money. Private detectives never had it so good because they succeed in almost every single instance. Nearly every 'doubtful' is proved unfaithful. Those who watch this on television neither lament it nor are surprised by it. This shamelessness and unfaithfulness forces one to think whether this is all there is to love now or that true love still exists.

This fall of accepted social norms makes one wonder whether it is all concocted just for the channel’s TRPs. We spoke to the crew of the show and on condition of anonymity they said that whatever was telecast was completely true and that they don’t invite anyone to the show but that people approach them of their own volition.

‘Don’t expect quality in the era of competition.” This adage can often been seen hanging at shops. It is the same with relationships. For today’s youth to have two or more partners is a status symbol and girls are as adept at this art as boys. Girls are no longer averse to one night stands or live-in relationships. This does not require the kind of national survey we have had conducted. Just peep into the homes of upscale neighbourhoods in big cities and you will have your answer.

However, there are certain aberrations to this nascent trend. Some have found another way to make their love tick. They walk with the times and make the best of both worlds. Bangalore-based Suneetha and Anil adopted this path which is essentially a deal. Both are about to be married. Their love has a green signal but they were careful to choose partners from the same caste.

Suneetha and Anil met each other as colleagues in a private firm. Their common Malayali background brought them together. Friendship grew and quickly turned into love. Their meeting everyday in office as colleagues worked as a catalyst for their love. On Suneetha’s birthday Anil invited her for a movie. The next day Suneetha spoke to Anil about their relationship status. After sharing their feelings the love and friendship grew stronger.

“I did not consult my parents before accepting Anil as my life partner. But I had confidence that my family would approve of him. I saw his caste and nature and decided to take the next step. If he was from a different caste, there would have been problems at home. My parents were from different castes. They suffered a lot because of their inter-caste marriage. The pain and problems we all as a family went through made me think twice before making a final decision about who my life partner would be," says Suneetha.

Old-fashioned know-alls assert that love is a bit like homeopathic treatment. It is always better to let it blossom slowly and reveal its results gradually. But times have changed and today’s generation prefers the thirll of instant gratification. They prefer love to be like allopathic medicines which show quick results but often lead to far-reaching, even damaging, side effects.

Whether it be social mores, the spectre of inflation or simply love, the debate whether this era is better than the era gone by will always continue. Love is a costly bargain, hence it should be examined well. Another Valentine’s Day is round the corner. Do be careful, lest you are at the receiving end of any emotional atyachar. Amen.

“Everybody has the right to test the depth of a relationship”

Pravesh Rana, Host, Emotional Atyachar

After breaking hearts in Emotional Atyachar, how will you do just the opposite in Love Lock-up?

It is not like that. Both have their own importance. Love Lock-up will give couples an opportunity to solve their problems. It will help those that are facing a rough patch.

How real is Emotional Atyachar?

Whatever you see is real. Those who want to test the loyalty of their partners come to us.

Is is true that you change many things on the show?

It's a compulsion. We cannot see everything that happens. Moreover, certain things that happen do not deserve to be shown.

What is the reaction of your family members to your show?

They say, how do you tolerate all these things.

After seeing your show it seems love has become an object that can be bought and sold.

You are absolutely right. But such people are very few. Most people love with a true heart. And Valentine remains in the heart of lovers. Love is like a fragrance forever.

Most of those who come to your show fail the loyalty test. Are true lovers an extinct species?

Yes they fail but that does not mean everybody is morally depraved. We have tested just a few people. No definite conclusion can be drawn from such a small sample.

How important is the loyalty test for a partner?

It is everybody's right to know the depth of a relationship. But the loyalty test is not the only way available. Trust is the second name of love. And when trust is lost, love dies for good.

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