Andhra Pradesh excise minister calls beer a ‘health drink’, gets heckled. Tipplers troubled by the ongoing anti- liquor protests across the country have found a kindred soul in Andhra Pradesh prohibition and excise minister Kothapalli Samuel Jawahar, who recently termed beer as a “health drink” and promised to aggressively promote its consumption. The minister, who was discussing the new state excise policy on a popular Telugu television channel, said the government will take steps to promote beer because it is a healthy beverage on the lines of toddy. Jawahar, however, said consumption of hard liquor should be curbed. Watch Allied HDQ.

When the anchor enquired about the manner in which the government would showcase beer as a health drink, the minister said: “Come to me, and I will prove that beer is healthy. How can I prove it in a television debate?”The minister’s comment evoked strong reactions from Opposition parties. YSR Congress party legislator RK Roja wondered if the Chandrababu Naidu government would encourage the sale of beer in medical shops, considering that it has now been given the “health drink” tag. Accusing the government of audaciously promoting liquor consumption, she said: “They have even decided to de- notify national highways for keeping liquor outlets open. This shows that the government cares only about excise revenue, not women or the anti- liquor struggle. We will agitate for the closure of liquor outlets and bars on highways.”Jawahar told HT that his comment on beer was completely blown out of proportion.

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I was reacting to a question on promoting liquor as part of the new excise policy. I said the government does not encourage liquor consumption, but tries to control it.

Since it is practically impossible to prevent people from drinking, I said it would be better to encourage consumption of beer instead. Beer is a healthier option compared to other forms of liquor because it contains very less alcohol,” he said. Jawahar said the government plans to encourage the sale of “neera”, a fresh and unadulterated form of toddy, as an alternative to hard liquor in the new excise policy that came into force from July 1. At the same time, the government intends to allow the establishment of exclusive parlours that serve non- branded beer – which contains only a minimal amount of alcohol – instead of branded ones.

Is that not healthy, when compared to other forms of liquor that have a huge alcohol percentage?” he added. The minister asked his detractors in the social media to quit behaving like hypocrites. Let’s be frank. Is it possible to stop people from consuming liquor? We have set up de- addition centres to treat drunks, but not a single person has been admitted here.

We can only control liquor consumption,” Jawahar said, adding that he was a teetotaler too. Watch Dead Souls Online. Watch The Eddie Black Story Online Earnthenecklace. Jawahar – who represents the Kovvur (SC) assembly constituency in West Godavari district – was inducted into the cabinet by chief minister N Chandrababu Naidu in April.

Lean on Pete' Venice Review. What reads on the surface like an archetypal tale of a boy and his horse becomes an affecting snapshot of the contemporary American underclass in Andrew Haigh's lovely, slow- burning drama Lean on Pete.

Poverty and broken families are less a subject of this delicate film than an integral part of its texture. Adapted from the novel by writer- musician Willy Vlautin, this is a compassionately observed story told with unimpeachable naturalism and without a grain of sentimentality, propelled by a remarkable performance from Charlie Plummer that's both internalized and emotionally raw.

The triple launch platform of Venice, Telluride and Toronto festival slots should help build critical momentum for A2. Set in Oregon and, in the sauntering developments that follow, in cross- country locations en route to Wyoming, this melancholy vision of the New West is something of a departure for Haigh. But the common element in the British writer- director's work is his nuanced exploration of connections and the unexpected paths they can take. That applies whether it's a gay hookup that suddenly yields deeper possibilities in Weekend; a youthful love, literally thawed from the past to pierce the present and call an entire marriage into question in 4. Years; or the tricky terrain of commitment navigated by three gay San Francisco men and their friends in the HBO series and wrap- up movie Looking.

In Lean on Pete, the lingering connection that exerts a strong hold over 1. Charley (Plummer) is his childhood memory of an estranged aunt, the closest thing to a loving maternal figure he has ever known. But even more central to the story is Charley's bond with the aging quarter horse whose name gives the film its title, a gentle nag that Charley is determined to save from the slaughterhouse once it has been run into the ground by its shady owner. That plot could have provided the bones of a conventional coming- of- age family film about the sustaining warmth found by a lonely boy in an unlikely friend. But Haigh's sensitive take on the material ends up being more akin to, say, Kelly Reichardt's almost unbearably poignant Wendy and Lucy, a quiet masterwork about the comforts of animal companionship on the outer fringes of economic and emotional desolation. There also are echoes of another distinctive Oregon movie with a road component, Gus Van Sant's My Own Private Idaho. Like those films, Lean on Pete begins in the Pacific Northwest, soon after Charley and his single father, Ray (Travis Fimmel), have relocated from Spokane, Wash., to a dump of a house in Portland in their latest bid for a fresh start.

Ray in his rough- edged way is a caring dad, but he's also an overgrown kid, too willingly distracted by beer and women to offer a stable environment. Charley's mother exited their lives early on, and Ray's friction with the kid's beloved Aunt Margy caused them to sever ties years earlier. Indie- film stalwart Amy Seimetz makes a brief appearance in the opening as a married secretary from Ray's warehouse job, whose fling with him will have turbulent consequences. Meanwhile, Charley, a runner who dreams of getting back on the football team at a new school, is drawn to Portland Meadows racetrack. Irascible horse owner Del (Steve Buscemi) gives him work tending the animals and preparing them for races, also offering a cranky kind of camaraderie that makes him pass for an avuncular figure.

The boy proves a natural, establishing a special rapport with five- year- old Lean on Pete, whose track days are winding down, just like the low- end racing circuit on which he competes. Jockey Bonnie (Chloe Sevigny), while remaining evasive about Del's dodgy professional methods, warns Charley not to get too attached to the horse: "You can't think of them as pets. They lose too much, they get fired."But as his home life deteriorates and his father's absence leaves him fending for himself, Charley's affection for the animal takes on almost primal importance. It's to Haigh’s credit that he conveys this profound bond with a minimum of pointed cutaways to the soulful- eyed steed.) When Pete's latest loss seals Del's decision to sell the injured horse, Charley embarks on an impulsive and often perilous course of action to save him. With the shift in locations as Charley sets out to find Aunt Margy, Danish cinematographer Magnus Jonck's canvas opens up from the muted tones of the city to the richer colors and wide- open, epic landscapes of the interior, an American West whose hardships and threats are vastly different to those of lore.

Vlautin's 2. 01. 0 novel drew comparison to literary portraits of disenfranchised drifters by Steinbeck and Denis Johnson, and Haigh's pared- down style here echoes that unforced affinity for down- on- their luck protagonists in hardscrabble existences. Deft use of composer James Edward Barker's understated score also enhances the minimalist dramatic means. One of the key strengths of the film is its small windows into human need and kindness — the intuitive questioning of a waitress on whom Charley has pulled a dine- and- dash; the boy's sympathetic exchanges with a sad girl he meets along the way, stuck in a thankless existence with her abusive grandfather; the simple act of payment for an honest day's labor when Charley finances his journey by joining the itinerant Mexican workforce. Haigh has a knack for infusing these humane moments with unspoken feeling, via subtle visual details and dialogue that never feels too written. Haigh's script shows no need to overemphasize the precarious balance from which an at- risk youth can tumble into abandonment, homelessness, danger and violence, and yet from the start, the stakes for Charley — and by extension, for a whole class of vulnerable Americans just like him — are all too real. That aspect is addressed head- on in a section late in the action when he encounters the street- smart Silver (Steve Zahn) at a food program for the homeless, and the easygoing stranger's convivial solidarity hides a streak of self- serving cunning.

There's not a false note in the performances. Neither the screenplay nor Fimmel sugarcoat Ray's fundamental weaknesses as a father and provider, and yet in his few brief scenes he shapes an appealing mess of a guy, proud of his son's resourcefulness.