The hunted turns hunter
 For an opposition party, the Congress is in a strange situation in  Kerala: the party is more on the defensive than on the attack. After  five years in power, the Left Democratic Front led by the Communist  Party of India (Marxist) has effectively revived memories of corruption  scams and sex scandals of the previous Congress-led United Democratic  Front. A former Minister of the UDF, R. Balakrishna Pillai of the Kerala  Congress (B), is in jail after being sentenced by the Supreme Court to a  year's rigorous imprisonment in the Idamalayar hydel project corruption  case. Mr. Pillai was felled by a sustained political campaign and legal  battle waged by CPI(M) leader and Chief Minister V.S. Achuthanandan —  who is now using the success in court to great advantage in the  electoral arena. Another former Minister of the UDF, P.K. Kunhalikutty,  the general secretary of the Indian Union Muslim League, is facing fresh  allegations in the ice cream parlour sex scandal. Moreover, the  Congress is having a tough time fending off charges of corruption  directed at the United Progressive Alliance government at the Centre.  Thus what looked like a one-horse race in October 2010, when the UDF  decisively won the local body polls at every tier, is now developing  into a keen contest. 
 However, the LDF faces the challenge of fighting off the anti-incumbency  factor and voter fatigue. After 1977, when the Congress was voted back  to power, Kerala voters have never given a combine two consecutive terms  in office. There is still a substantial gap for the LDF to bridge, and  to do this Mr. Achuthanandan and the CPI(M) will need to sustain the  newly gained momentum till the very end. The UDF is trying to position  itself as pro-development, a euphemism for pro-industry, in an attempt  to take up the space provided by the pro-labour policies of the LDF  government. But the Cabinet approval for the agreement on the revival of  the much-delayed SmartCity Project in Kochi in February this year might  blunt criticism on this score. Another concern for the CPI(M) is the  factionalism involving State party secretary Pinarayi Vijayan and the  Chief Minister; the LDF will be hoping the bad blood at the top will not  seep down to the cadre level. Mr. Achuthanandan was given the ticket  only at the intervention of the party's Polit Bureau. Whether he can  work up a groundswell of support, as he did in 2006 when he was  similarly nominated after being denied the ticket, remains to be seen.  What is likely is that after two one-sided contests in 2001 (when the  UDF won 99 of the 140 seats) and 2006 (when the LDF took 99) in a State  where ideology and policies matter, 2011 will witness a close finish. 
Liz Taylor: art and allure
 Ask young people what they remember of Elizabeth Taylor and the answer  is likely to be in the form of a furrowed brow. But there is little  doubt they would have heard of her. That is how she left us, more a  creature of the public consciousness than a prisoner of the pictures. As  the stormy spouse of Richard Burton (and six others), she came to  embody the romantic pursuit of lifelong love. As an AIDS activist, at a  time few people were fully aware of the disease and fewer still wanted  to be tainted with its homosexual associations, she came to represent  strength and courage. As an outspoken critic of former U.S. President  George W. Bush's handling of the Iraq war — in protest, she declined to  attend the 75th Annual Academy Awards — she revealed a hitherto  unsuspected political side. As gossip fodder, she, with her reckless  lifestyle, spilling over with yachts and diamonds, virtually birthed the  tabloid frenzy that envelops stars today. And as a world-class beauty,  her name came to stand for physical perfection, even to those who had  never seen a film of hers. It's a pity that these associations today  have overshadowed what she was foremost — a wonderful actress, winner of  two Oscars, co-star to giants such as Spencer Tracy, Richard Burton,  Marlon Brando, Paul Newman, Montgomery Clift, and James Dean. 
 Taylor's cinematic career effectively ended when she won her second Oscar for Who's Afraid of Virginia Woolf,  in which she played a blowsy harridan opposite Burton. She was  terrifyingly convincing as a wife on the brink of a marriage breakdown  and a woman at the edge of sanity. But the public seemed less interested  in her interpretation of Edward Albee's scabrous dialogue than in her  intimacies with her co-star and real-life husband. Were Liz and Dick  simply performing their parts, or were they making thinly disguised art  of their real lives? This voyeuristic cloud completely eclipsed what was  — and still is — a chillingly splendid portrait of the mysteries of  marriage. Thereafter, Taylor's films (many of them with Burton) were  mostly much less memorable, and her fame came less from being a star on  the screen and more from being a regular in the tabloid press. For her  greatest screen roles, we must look much earlier — he luminous  child-aspirant of National Velvet; the pampered socialite of A Place in the Sun; the generations-spanning matriarch of Giant; the tempestuous empress in Cleopatra; and the wide-eyed manipulator of Cat on a Hot Tin Roof,  where she is breathtakingly beautiful, the very embodiment of  temptation that Tennessee Williams dangled, like a ripe fruit, in front  of his physically crippled hero. Few actresses have combined art and  allure with such effortlessness. 
 

 
 










 
 
 
 
 
 
 
 
 
