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The ultra-competitive 150-160cc segment has a lot to offer. Long gone are days when you had to content yourself with conventional machines designed to take you from A to B with nothing to tap. But with the growing popularity of premium sports motorcycles in this segment, you are spoilt for choice.  

How do you choose? We get stressed out when someone asks us what we want for lunch, much less when queried about buying a new 150cc motorcycle. But when you have an admired machine like the new Suzuki Gixxer facelift, you already have an excellent package in terms of styling and performance.     

The earlier Gixxer did create a new benchmark in the segment with its unique styling and excellent performance: a value-for-money package for riders who were after modern looks, comfortable ergonomics, and reliable performance.  Now, the new enhancements will continue to take it even further. Can the updated Suzuki Gixxer 150 still make it big in this highly competitive segment? We find out…

First impressions matter…

The new Suzuki Gixxer 150 facelift ranks among the most handsome bikes in its segment. With its sharp styling and low crouched silhouette, it looks even more stylish than the outgoing model. The new Gixxer is aggressive and muscular from all angles and the trapezoidal body proportions complement its sleek styling.

You get a compact oval-shaped LED headlamp, edgy fuel tanks and extended arrow shaped tank shrouds, updated body graphics, stubby dual exhaust, and a neatly laid out rear. The compact rear gets new LED lights, split-seats, alloy grab rails, and a purposeful rear tyre hugger. Other neat touches include the new end cap design for the dual exhaust as well as the blacked out alloys.

The new Gixxer carries forward the full-LCD instrument cluster from the SF150 and displays all basic information such as current speed, RPM, fuel level, clock, odometer, dual trip meters, and gear position indicator. However, unlike the Gixxer SF, the naked Gixxer misses out on the clip-on handlebars.

The most dominant factor in this ultra-competitive segment is styling. Compact body-size, well-proportioned panels, and modern features appeal to a big chunk of potential buyers. So, if you are someone looking for a stylish street sport motorcycle, the new Gixxer has plenty to offer.

A consistent performer…

The Gixxer facelift carries forward the updated 154.9cc, single-cylinder, air-cooled engine from the previous BS4 model. However, it now comes with a fuel-injection system replacing the carburettor from the previous model. The engine churns out 14 bhp of maximum power at 8,000 rpm, and 14 Nm of torque at 6,000 rpm. It continues to be powered by Suzuki’s SEP technology to strike a balance between performance and fuel efficiency.   

The bike uses a five-speed transmission in a smooth shifting gearbox. Clutch feel is light and the throttle response is likewise—brisk. Open the throttle and power feeds in rapidly throughout the rev band. The motor is known for its broad low-end torque and dynamic mid-range power. The punchy engine truly comes to life between 4,500-7,500 rpm before the power band maxes out at 9,500 rpm. It is suitably tuned for lower and mid-range grunt, adequate enough for a 150cc motorcycle to negotiate urban Kathmandu traffic.

Handling and dynamics…

The Gixxer’s ergonomics have always been comfortable despite its aggressive design language. The well-positioned handlebar and footrests result in a relaxed riding position, and the bike’s compact proportions make it nimble to manage in heavy city traffic.

While the wide handlebars promote a light feel, it does restrict stress-free manoeuvring in tight spaces. Although the new Gixxer is four kg heavier than the previous model (136kg), it is still a very agile motorcycle. Compared to the outgoing model, the seat height has been reduced by 5mm, to 795mm. However, the split seat setup lacks cushioning, and it isn’t spacious either.

Ride quality on the Gixxer is somewhat iffy. Suspension is telescopic forks in front and a monoshock at rear. Although the suspension works well to soak up minor undulations and potholes, it may get bumpy on large uneven roads. However, the new Gixxer offers a good mix of ride and handling, and is stable in a straight line even when you’re overtaking at high speeds. It does feel exhausted when revved hard, with mild vibes kicking in via the handlebars and the footrests. 

The Gixxer facelift rides on grippy 17-inch MRF tires that feel reassuring when you are riding into corners and braking hard. Braking is handled by discs, and supported by a single-channel ABS. The brakes have progressive feel and the single-channel ABS does its job perfectly.

Final thoughts…

Ever since its launch, the Gixxer has gained immense popularity with its powerful performance, and sporty style, making it one of the most successful products in the 150cc segment. The new Gixxer facelift exhibits these attributes perfectly. And the addition of LED lights, fuel-injection system, and a single-channel ABS system makes it an even more attractive.  

Although the Rs 3.24 lakh price tag makes it the most expensive of the lot, the Gixxer facelift is so much more fun and contemporary than its rivals, making it an enticing proposition. In the segment, the new Suzuki Gixxer competes against the likes of TVS Apache RTR 160 4V, Yamaha FZ-S FI and Bajaj Pulsar NS160.

Satnam ‘Sunny’ Sethi (Vikrant Massey) is an aspiring chef and restaurateur who is desperate to get married in order to meet his father Pappi Sethi’s (Rajiv Gupta) condition. The condition is that Sunny will get to open his own restaurant only after he gets married. Unfortunately, finding a bride is difficult for Sunny as he keeps getting rejected by prospective matches, for no apparent reason.

On the other hand, there is Simran ‘Ginny’ Juneja (Yami Gautam), who is also being pressured into getting married by her single mother Shobha Juneja (Ayesha Raza). But Ginny is still in a complicated relationship with her ex-boyfriend Nishant (Suhail Nayyar) who is now her best friend, and she will settle for no less than love marriage.

By chance, Ginny’s mother is also a wedding matchmaker and when Sunny’s father approaches her to find Sunny’s match, she thinks it is a good idea to get Sunny and Ginny hooked. So Sunny, with help from Ginny’s mother, plans to woo Ginny. The story then continues to create confusion and collisions in the lives of everyone involved, with humor, sarcasm and satire thrown into the mix.

The story of Ginny Weds Sunny is as predictable as a Bollywood romantic comedy can be. In fact, most dialogues and plot changes are also predictable. But the slight difference in this one is the execution. With a talented cast of actors and without superfluous larger-than-life sequences, the film directed by Puneet Khanna is a light-hearted rom-com you can watch while you wait for Season 2 of “Mirzapur.” (No, I don’t get paid to do this. Promoting anything with Pankaj Mishra in it is my self-appointed duty.)

Originally intended for theatrical release but postponed due to the Covid-19 pandemic, the film tries to emulate the success of a string of low-budget family movies that have recently done well in the box-office, the likes of “Subh Mangal Saavdhan” and “Bareilly Ki Burfi”. But the key advantage of originality is missing in this one and hence, Ginny Weds Sunny might not create a benchmark for upcoming films with its clichéd screenplay. Still, it does a better job of entertaining folks compared to many big-banner Bollywood releases that are unbearable to watch.

The cast in Ginny Weds Sunny is natural and instantly relatable. The characters are mostly from Punjabi families that speak in a mixed Punjabi-Hindi dialect without going overboard with stereotyping. Despite an unoriginal script, the entire cast performs its roles with earnestness, making the audience believe what they’re watching is something completely new. This is one of those movies where the whole cast executes a well-coordinated performance instead of banking on the main characters.

And when a movie has Punjabi wedding themes to it, there is bound to be some upbeat bhangra music. In this, the film is below average, with none of its soundtracks leaving a mark. The film does feature a rendition of the classic Punjabi song “Sawan Mein Lag Gayi Aag” written and composed by Mika Singh, which is still not one of the best remixes.

Who should watch it?

So the low-budget Ginny Weds Sunny fails you in some parts and wins you over in others. If you’re looking for some light entertainment without many expectations, this one is for you.

Rating: 2.5 stars

Genre: Romantic comedy

Director: Puneet Khanna

Cast: Yami Gautam, Vikrant Massey

Run time: 2hrs 5mins

My earliest memory of the “Bhagavad Gita” is a worn-from-use, spine-twisted, hardcover copy of the epic my grandmother kept on a dressing table—which would later go on to become a family heirloom. She was always quoting verses and it seemed no matter what we did, there was something in the Bhagavad Gita to either justify or condemn our actions.

My grandmother was forever thumbing through her much-revered copy. She would even run her hands over the words as she watched TV or talked to us. As a kid, I was fascinated by that particular slightly oily copy of the Bhagavad Gita that seemed to hold the universe’s secrets within its pages. Also, that it was a conversation between the avatar of Vishnu, Lord Krishna, and a prince named Arjuna had me wanting to know exactly who said what.

It was only years later, when I was in high school, that it occurred to me that my grandmother was using the Bhagavad Gita as an excuse to get us to behave how she saw fit. Afterall, how could she know for sure what was written in it when she couldn’t read? Everything she said was derived from someone else’s words, interpretations, or whatever she thought was right.

I used to tell my mother that I would one day read the entire epic, in Sanskrit, and thus be able to challenge my grandmother when she would, invariably, quote it wrong. I couldn’t wait to squash her ‘can’t-eat-what-she-touches-because-she-belongs-to-a-lower-caste-family’ and ‘daughters-need-to-be-demure-because-the-gods-created-us-that-way’ mindset.

As the years passed, I returned to and abandoned my promise (to myself) of reading the English translation of the Bhagavad Gita countless times. I’d start reading, intent on finishing, but it would either be too heavy and thus kind of morbid or I wouldn’t understand the point a verse was trying to make and I’d put it aside. It wasn’t well until my 30s that I actually picked up the Bhagavad Gita and stuck to it.

The first time I simply read the verses. The second time I delved deeper, trying to understand the message of each verse and its applicability in daily life. I don’t remember how many times I’ve read it thereafter. Now, I dig into it randomly, choosing to read a few pages every now and then. I like the Penguin editions (and there are many) because they are reader friendly. Recently, I also got a copy of the ‘Saral Gita’ by the Gitapress—this is the Nepali version.

I primarily read the Bhagavad Gita because I wanted to be knowledgeable enough to contest ideas, especially when people got all gung ho in the name of God. “That’s not what’s said in the Bhagavad Gita,” I wanted to be able to say. However, having read it quite a few times now, that need has been sidelined. I’ve started to like what I learn from it. Every time I pick it up, it inspires a new idea, a new thought.

Earlier everything was either black or white for me, but now I realize nothing is that obvious. The Bhagavad Gita does not prescribe one particular path or solution for life. What you take away from each of the 700 verses is entirely up to you. The wisdom of the Gita isn’t only for the devout seeking to guarantee a place for themselves in heaven (which is actually what a close friend seems to think I’m doing). It’s for those of us who are trying to change, be a little better every day, but desperately need help in doing that.

I still hope I’m able to impress (or offend) people with my knowledge of the Bhagavad Gita someday. But I would like to think I’m now wise and mellow enough to not be upset if that never happens.

No garment is perhaps as controversial as the headscarf. Many women choose to wear it—it signifies who they are and what their culture means to them. In an interview, Pakistani writer Sabyn Javeri said that women wear the hijab for different reasons—some to be able to move around freely, without scrutiny, and others to assert religious identity. There are also women who actually feel sheltered by the headscarf. But a large part of the society sees it as a patriarchal conditioning of women.

It is this idea of the headscarf and what it stands for—which is unique to each woman—that Javeri explores in her collection of short stories, ‘Hijabistan’.  The 16 short stories also delve into what it means to be a woman—more specifically a Muslim woman searching for identity—and the hijab is used as a metaphor. Set across Pakistan and London, the stories aren’t only about a piece of clothing. They are about the desires and dreams of women in different circumstances and of what they are capable of doing.

‘The Adulteress’ is about a woman torn between her sense of duty and desires. ‘Under the Flyover’ is about a married couple sneaking in some private moments before heading home to their crowded flat. In ‘The Hijab and Her’, a Pakistani exchange student in America gets picked on by her professor during a discussion on post-colonialism which leads to her choosing a different path in life. In another story, a British Muslim girl is on her way to Syria, contemplating the jihad.

Some stories are also about the struggles an immigrant faces while trying to fit in and staying true to one’s roots. For instance, in ‘The Good Wife’ the protagonist tries to assert her identity by wearing a hijab and ‘Only in London’ is about reinvention of the self by not dressing as the Muslim religion mandates. 

Javeri’s prose is smooth and her writing empathetic. None of the stories feel unnecessarily drawn out or pretentious. You will be able to relate with the many characters in the anthology whose age range from 13 to 50. Some stories might feel a little off but you are never bored or disappointed.

Rather, these are stories that make you think—about women who have kept quiet for far too long and all the sacrifices they are forced to make, for their families, in the name of religion, and simply because they are women.

Hijabistan is Javeri’s second book. Her first, ‘Nobody Killed Her’, published in 2017, was a fictionalized tale of a female prime minister’s assassination.  

Short Stories

Hijabistan

Sabyn Javeri

Published: 2019

Publisher: Harper Collins

Language: English

Pages: 216, Paperback