CRIMEWATCHIT BEGAN IN A TAXI CAB BEWARE OF WHAT YOU SAY TO THE TAXIDRIVER

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THIS IS HOW OUR MALAYSIAN COURTS PLACES A VALUE ON THE LIFE OF A LITTLE GIRL WHO WAS REPEATEDLY RAPED BY MUSA AHMAD A 39 YEAR-OLD CONTRACTOR.

THIS RAPIST WAS SENTENCED TO TWO YEARS’ JAIL AND ONE STROKE OF THE CANE BY A SESSIONS COURTIN JOHORE BARU AFTER HE PLEADED GUILTY TO THE UNDERAGE GIRL.

MUSA HAD COMMITTED THE OFFENCE AT A HOUSE AT PARIT SENTANG BATU, PARIT SULONG AT AROUND 4AM IN NOVEMBER 2007 AND WAS CHARGED UNDER SECTION 376 OF THE PENAL CODE. THE CHARGE PROVIDES A MAXIMUM OF 20 YEARS’ JAIL AND WHIPPING UPON CONVICTION.

MUSA HAD RAPED THE GIRL AT LEAST 11 TIMES IN NOVEMBER AND DECEMBER 2007.

THE GIRL SUBSEQUENTLY GAVE BIRTH TO A BABY BOY AT HER HOUSE TOILET IN KAMPUNG SEPAH BERUANG, BENUT, PONTIAN, ON SEPT 13, 2008.

A PATERNITY TEST CONDUCTED BY THE CHEMISTRY DEPARTMENT CONFIRMED THAT THE CHILD WAS FATHERED BY THE ACCUSED.

SESSIONS COURT JUDGE NU’AMAN MAHMUD ZAHUDI SENTENCED THE MAN TO TWO YEARS’ JAIL AND ONE STROKE OF THE CANE AND ORDERED THE PRISON TERM TO COMMENCE FROM THE DATE OF CONVICTION.

HOWEVER, IN AN UNRELATED CASE WHICH WAS MENTIONED IN THE SAME REPORT COLUMN IN ‘THE STAR’, A MECHANIC BAHARUDIN OMAR, 35, WAS ACCUSED OF BREAKING INTO A HOUSE ALONG JALAN JENAWI 5, TAMAN PUTERI WANGSA IN NOVEMBER LAST YEAR AND STEALING A LAPTOP AND A ROLL OF WIRES WORTH RM2,000.

HE WAS CHARGED UNDER SECTION 457 OF THE PENAL CODE AND SENTENCED TO FOUR YEARS’ JAIL AND THREE STROKES OF THE CANE BY A MAGISTRATE’S COURT AFTER HE PLEADED GUILTY TO THEFT.

THERE MUST BE SOMETHING WRONG WITH THE JUDICIARY OF OUR COUNTRY IF THE LIFE OF A LITTLE GIRL HAS LITTLE VALUE, IF AT ALL.

HER RAPIST ESCAPES WITH A SENTENCE WHICH IS SIMILAR TO GIVING HIM A RAP ON THE KNUCKLES. HE WILL BE LET OFF AFTER TWO YEARS’ JAIL, POSSIBLY EARLIER, WITH GOOD BEHAVIOUR. HE CAN PICK UP THE PIECES OF HIS LIFE. HE WILL ALSO CONTINUE TO BE A DANGER TO SOCIETY.

IS THIS THE HOW LOW OUR COURTS HAVE DESCENDED TO? STEALING A LAPTOP WARRANTS A MORE SEVERE PUNISHMENT THAN RAPING AN UNDERAGE GIRL, MAKING HER PREGNANT, AND SADDLING HER WITH AN UNWANTED CHILD.

AND WHAT ABOUT THE ILLEGITIMATE CHILD? HE OR SHE HAS TO LIVE WITH THE KNOWLEDGE THAT ITS FATHER WAS A RAPIST.

WHAT ABOUT THE GIRL’S FUTURE? SHE WILL LACK OPPORTUNITIES IN EDUCATION AND A GOOD JOB. SHE WILL HAVE TO DEPEND ON HER OWN FAMILY TO SUSTAIN HER AS HER OWN FUTURE IS BLIGHTED BY THIS RAPIST. SHE MAY ALSO BE SHUNNED BY HER OWN COMMUNITY AND PERHAPS, HER OWN FAMILY. WHAT ARE HER CHANCES OF FORGING A GOOD STABLE RELATIONSHIP OF HER OWN, IN THE FUTURE?

WHY DO OUR COURTS TREAT THE VICTIMS WORSE THAN THEY DO THE PERPETRATORS? INSTEAD OF BEING HELPED, THE VICTIMS UNDERGO MORE HUMILIATION AND PUNISHMENT.

WHATEVER SENTENCE THAT IS PASSED DOWN TO THE RAPIST CAN NEVER BE SUFFICIENT AND WILL NOT UNDO ALL THE DAMAGE TO HIS CHILD. SHE IS THE ONE TO BEAR THE MENTAL AND PHYSICAL SCARS FOR LIFE. HER PARENTS WILL BEAR SOME GUILT FOR WHAT HAS HAPPENED TO HER CHILD.

IT IS IMPORTANT THAT THE ABUSE, SEXUAL OR OTHERWISE OF CHILDREN BE HIGHLIGHTED. THE MAJORITY OF THE MALAYSIAN PUBLIC IS NOT AWARE OF THE SEVERITY OF THIS PROBLEM AND THE EXTENT OF DAMAGE TO, OR THE POSSIBLE LONG-TERM HARMFUL EFFECTS, ON CHILDREN.

MOST CHILD SEXUAL ABUSES ARE NEVER DISCLOSED, BUT IF THIS IS THE SORT OF PUNISHMENT THAT IS METED OUT BY THE COURTS, IT IS NO WONDER THAT FAMILIES OF THE CHILDREN AND THE VICTIMS THEMSELVES, WOULD RATHER SUFFER IN SILENCE.

WHEN WILL THE COURTS ACT TO PROTECT THE VICTIMS OF CHILD SEXUAL ABUSES?

IT IS TIME WE HAD A SEX OFFENDERS LIST SO THAT THOSE WHO SEXUALLY ABUSE CHILDREN HAVE THEIR NAMES PLACED ON THIS LIST FOR THE REST OF THEIR LIVES AND THEIR MOVEMENTS MONITORED BY THE POLICE, ONCE THEY ARE RELEASED FROM PRISON.

IT IS ALSO TIME WE HAD MORE SEVERE PUNISHMENTS WHICH WILL ACT AS DETERRENTS. OUR COURTS ARE FLAWED.

ALTHOUGH BINT CLAIMS, “IF I COULD GO BACK 25 YEARS AND START AGAIN I WOULD,” HISINTERVIEW HITS SOME UNREPENTANT NOTES AS WELL. “WHAT I’VE DONE IS TURNED A LOT OF MY DREAMS INTO REALITY,” HE TOLD THE DAILY MAIL. “I’VE GONE THAT EXTRA STEP. INSTEAD OF FANTASIZING WHAT IT WOULD BE LIKE TO OWN A FERRARI I WENT OUT AND GOT ONE.” DEALBREAKERHYPOTHESIZES ABOUT WHICH IS THE MOST PLAUSIBLE BINT LIE HERE.)

SO, NOW THAT BINT’S (SECOND) JAIL TERM IS BEHIND HIM, WILL HE PLAY BY THE RULES? “…I CAN’T SAY NEVER AGAIN. LET’S BE HONEST, NOBODY WOULD BELIEVE ME IF I SAID WAS GOING STRAIGHT,” HE TOLD THE DAILY MAIL.

MANY MORE DETAILS OF HIS OUTRAGEOUS LIES AND MANIPULATIONS CAN BE FOUND HERE

BBC’S CRIMEWATCH HAS PUT TOGETHER AN INGENIOUS RENACTMENT OF BINT’S DOWNFALL. IT BEGAN IN A TAXI CAB.

FOR EVERYTHING THAT GIVES US COMFORT AND PLEASURE, OBVIOUSLY SHIFTING FROM A LOT TO A LITTLE WOULD BE TOUGHER THAN SHIFTING FROM NONE TO A FEW. SO, IF FOR A WHILE WE SIMULATE A SITUATION THAT DENIES US THE STIMULANT COMPLETELY, THE SHIFT CHANGES PERSPECTIVE.

TAKE A CHILD WHO CRAVES CHOCOLATES ALL DAY THROUGH. TRY AND DECREASE HER SUPPLY FROM FIVE TO ONE AND SHE WILL NOT ACCEPT IT, SO USED IS SHE TO FIVE. STOP HER SUPPLY FOR A FEW DAYS, TELLING HER CLEARLY THE DENIAL IS JUST FOR A LIMITED PERIOD SO AS TO WIN HER COOPERATION. AND THEN WHEN THE TIME COMES, GIVE HER ONE A DAY. COMPARING THIS TO THE TOTAL DENIAL, SHE MAY BE ABLE TO HAPPILY ACCEPT THE NEW SITUATION!

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ZarinaAn-Julie, 21, as anyone who’s fond of Malaysian soap knows, is the lead of the drama Anak Pontianak. She has already apologized to her fans for these sex pictures, insisting that those were taken when she wasn’t yet a celebrity, and that (in words that echo those of Gillian Chung’s) she was just being naive, like any silly teenaged girl but that is after she lied by saying the photos were superimposed. The hot and scandalous Zarina An-Julie sex pictures were taken for private use but it seems that her boyfriend wanted to share the photos with his friends and they share it with the world. Below are some pictures that have been circulating on the Internet of a hot Malaysian TV3 actress being a slut for her man’s camera. Zarina An-Julie, a.k.a. Anju plays Mia on Anak Pontianak and she has many nude pics circulating on the internet. Below she is naked and having friend with her boyfriend and showing off her 21 year old boobs. Here are her skanky swimsuit pictures that were posted last week. Please send me more naked pictures of this girl at submit@GutterUncensored.com, I want to post them all. Click on pictures to enlarge.
Source: www.GutterUncensored.com

Zarina Ann Julie of the Anak Pontianak movie fame is embroiled in a sex scandal in Malaysia. The alleged photos of her in uncompromising position with her boy friend has recently been circulated on the internet. Zarina Ann Julie vehemently denies that the pictures are hers or her boyfriend. She claims that the photos are ‘doctored’ or ‘superimposed’.

Although Bint claims, “If I could go back 25 years and start again I would,” his interview hits some unrepentant notes as well. “What I’ve done is turned a lot of my dreams into reality,” He told the Daily Mail. “I’ve gone that extra step. Instead of fantasizing what it would be like to own a Ferrari I went out and got one.” Dealbreaker hypothesizes about which is the most plausible Bint lie here.)

So, now that Bint’s (second) jail term is behind him, will he play by the rules? “…I can’t say never again. Let’s be honest, nobody would believe me if I said was going straight,” he told the Daily Mail.

Many more details of his outrageous lies and manipulations can be found here

BBC’s Crimewatch has put together an ingenious renactment of Bint’s downfall. It began in a taxi cab.

“All my life needed was a sense of someplace to go. I don’t believe that one should devote his life to morbid self-attention, I believe that one should become a person like other people.”

Thursday night, the Berlin Film Festival held the world premiere of the 4K restoration of Martin Scorsese’s 1976 classic, Taxi Driver. Not surprisingly, and after many viewings throughout my life, the movie, all red light and red blood and red anger, is still lingering in my mind. And Bickle’s above proclamation, “morbid self-attention” is more relevant today. So much of the picture feels frighteningly prescient. Like The King of Comedy, it seems to speak of an entire oncoming generation — Travis Bickle’s and Rupert Pupkin’s, primping (inadvertently or on purpose) for their 15 minutes of fame and glory. 15 minutes and more. From Bernard Goetz to Reality TV to TMZ to YouTube to Twitter, we love to celebrate or watch or laugh at our misfits, our train-wrecks, our crackheads and… ourselves, ready for their (our) close-ups on … anything. We’re not the Me Decade/Generation, we’re the Look at Me Generation.

Screenwriter Paul Schrader and supervisor of restoration, Grover Crisp, were there to present — Crisp going over the technical details; Schrader to briefly tell us what inspired his screenplay, a screenplay he wrote at a mere 24 years old while he was living in his car. Schrader admitted to feeling like Travis Bickle, and even owning a gun. That he, at one point, realized he hadn’t talked to a single person in a month, and was so alienated by the city, that he felt he was dying a young death in his auto-coffin. He may as well have been a night shift taxi driver. Schrader said that “he had to do something about it.” Much like Bickle attempting to gain advice from the Wizard (and the Wizard’s advice is awful), because he felt like he was going to dosomething… he just didn’t know what, and that he was worried about it (a moment in which we feel terrible for Bickle, reaching out, receiving nothing), Schrader was worried too. He was going to do something.

He took that anxiety and anger and did do something — he wrote Taxi Driver.

Here’s the back-story of the restoration via the Berlinale:

In order to restore the film in spring 2010, the original 35mm negative was first read by a high resolution 4K scanner. The film was also re-graded and digitally restored in 4K: the media files were restored by Sony Pictures in California under the supervision of Grover Crisp; Scorsese’s cinematographer Michael Chapman supervised Scott Ostrowsky as he created a colour matched version that was approved by Scorsese. The 4K files were subsequently given a digital clean up by MTI film in Los Angeles. This involved removing scratches, stains and tread marks from the archived negative. Some scratches proved especially difficult to remove without altering the underlying imagery, particularly the faces of characters. The restoration of the sound was equally extensive and involved the production of a new multi-track stereo soundtrack from the film’s original recordings. The final version of the restored film was approved by Martin Scorsese in January 2011.

To see the film on the big screen (which I hadn’t viewed, writ large, since college), was a revelation. There’s been much debate about the restoration of the picture — that it might take away the grit of Travis Bickle’s New York City — a city that he discusses in terms of filth and scum (which made me wonder, while Bickle was telling his surprise cab fare Senator Palantine the needed changes to the city, if this had been Mayor Giuliani’s favorite movie). But watching the movie, I believe the right balance was achieved. Never once did you feel like you weren’t in NYC 1975, never once did you think the vibrant reds took away from the dirty streets, the garbage, in fact, they only seemed to highlight them more. I always though that even Betsy’s dresses, often red striped or pure white, were an interesting counterpoint to the junkies and lowlifes (who were also, incredibly vibrant, even before restoration) — she is, of course, an “angel,” as Travis proclaims her. But soon, to him, like all the rest of them.

And the film, as gritty as it is, was always beautiful. Just the shot of the cab in the mist… like something from a dream. Or Matthew (Sports) slow-dancing with Iris, a sick moment of pimp manipulation set to the romantic Bernard Herrmann score (on their phonograph), that manages to be creepy/gross and lovely all at once. And there with that bright red — Matthew’s red polished fingernail clutching Iris’s hair.

So many moments of the movie you notice even more on the big screen, and in such crisp detail. Bickle’s clear racism is more apparent and disturbing. And even the humor, which does exist in Taxi Driver, is funnier. And not just in the Albert Brooks moments. There’s something about Travis not understanding “The Pilgrim” by Kris Kristofferson (“I’m no pusher… “) that’s amusing (this beautiful woman is giving him a supreme compliment and he can’t see it). And yet, he buys the record, a lonely, heartbreaking moment. He doesn’t even bother to listen to it. (Also interesting that Schrader was raised in the tradition of the Pilgrims — Calvinist — this can’t be a coincidence).

And yes, the final messy shoot-out is gloriously, horrifyingly gory, and hasn’t been scrubbed to death to save our stomachs (or worsen them). It still combines a kind of grindhouse blood (so red… but in some cases, a repulsive brownish red), among the cheap plaid suits and Iris’s hot pants, and remains so recklessly real and beautifully composed all at once.

And finally, putting aside the restoration — there’s the story. The fall and rise of Travis Bickle. “God’s lonely man.” Critics and viewers often discuss the golden age of 70s filmmaking — and Taxi Driver is certainly one of the era’s highest achievements. But it goes so far beyond that. It’s so incendiary, that I don’t think it could be made today. And not only because of the advent of the blockbuster or the uber popularity of 3D or the idea that “real” characters have been wiped out of popular cinema, but because the movie, like some of the greatest art, feels so potently combustible. Oddly, not once did I think of John Hinckley during the movie  — I thought of the world and I thought of myself. 

Taxi Driver makes you ponder the world we live in, beyond New York City and now, and then, as a perfect character study, it makes you ponder yourself. Your soul searching, fucked-up, boot clad Cowboy and your soul searching, fucked-up, mohawked Indian. Because, truth be told, it’s tough to not relate to Travis Bickle — shy and disturbed, angry and self-hating, valiant and violent, and, in brief moments, with that weirdly winning grin, charming — just trying to get organezized.

“Taxi Driver” (1976). Directed by Martin Scorsese. Written by Paul Schrader. Starring: Robert De Niro, Jodie Foster, Harvey Keitel, Cybill Shepherd, Albert Brooks and Peter Boyle.

Sultry beauty Kashmera Shah has joined the Bollywood bandwagon of dare-bare hotties, as she’s posed topless for an exclusive calendar, to be launched in the first week of March.
20 Aug, 2009

Confirming the news, Kashmera said, “Yes, I have gone topless in one of the pictures for the calendar named Kashessentu.” Here’s a picture from her to-be-launched calendar.
22 Feb, 2011

According to Kashmera, her topless act ‘will now be a benchmark for anyone who thinks of doing a calendar’!

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