Skip to main content

Chapter 2: Travelling by Metro in Bangalore

Regular readers of this blog (numbering to about one), may have noticed that I've started using the style of 'chapters'.  This is to indicate that this is part of the series of articles I've written about 'Getting around in Bangalore'

This time, I'm writing about my observations while travelling in 'Namma Metro'. It's a medium of transport that I use often, and like it too. So in no particular order, here are some observations, thoughts and facts:


  • Once you enter the metro station, you are subjected to a security check. Which amounts to putting your bag through the scanner and going through a metal detector body search. While this is fine, what I find obnoxious is that many times, I've found the security personnel not even looking at their computer screens! What kind of screening is that?
  • One can either purchase a token for the journey or a travel card (costing Rs. 50). I find the travel card easier to use, since it's just a tap
  • Signage is weak. For example:
    • Name of station - is at very few places. Once inside the train, not easy to know which station has arrived
    • Route map - a static route map which has very small fonts. Very difficult to read from even a short distance
    • No electronic signage inside the coach
  • The announcement system inside the coach is horrendous to say the least
    • Heavily accented while speaking English.
    • Wrong grammar. Should be 'Train arriving AT MG Road', instead of 'Train arriving IN...'
    • Why have such long sentences? When the train is approaching the station, you can simply say 'MG Road' and that's good enough
  • Please make use of specialists for announcements. This sounds like a cost cutting initiative
  • The coaches don't stop at exactly the area marked for entry and exit. Therefore, people get in even as people are getting out
  • Not enough dustbins
  • What's the protocol if one finds suspicious items in the metro? What does one do?
However, I still like the metro. You know why? They're always on time and the people working there are great.



Comments

Popular posts from this blog

Nuggets of Sholay: One - Oont Pahad Ke Neeche

Nuggets of Sholay #1: One Oont Pahad Ke Neeche Nuggets of Sholay #1: One Oont Pahad Ke Neeche (ओँट पहाड़ के नीचे) I must confess, starting this series of Nuggets of Sholay has been immensely joyful. Every line I researched, every scene I analyzed, brought me closer to the genius of Salim–Javed. Muhavra: One Oont Pahad Ke Neeche (ओँट पहाड़ के नीचे) This proverb literally means “a camel under a mountain,” describing something impossible or absurd. In Sholay , this phrase was delivered with perfect comic timing. The story behind the muhavra: Once upon a time, there was a proud and arrogant camel. He strutted around the village, convinced that no creature could be taller, stronger, or more important than him. Every other animal bowed, every human smiled nervously, and the camel’s ego swelled bigger with each passing day. One day, the camel’s owner decided it was time for...

Nuggets of Sholay: Three - Loha Garam Hai, Maardo Hathoda

Nuggets of Sholay #3: Loha Garam Hai, Maar Do Hathoda | Sholay Proverb Explained Nuggets of Sholay — Three: Loha Garam Hai (लोहा गरम है, मार दो हथौड़ा) The third nugget in the Nuggets of Sholay series is another muhavra — and a shining example of Salim–Javed’s brilliant writing. Muhavra: Loha Garam Hai, Maar Do Hathoda literally means “Strike while the iron is hot.” Timing is everything — the English equivalent would be “Seize the moment.” In the film, the line appears around 1h 49m . Girija from Pipri brings word that Gabbar’s nomadic arms suppliers — Hira aur uske saathi — have been spotted nearby. Thakur predicts Gabbar’s next move and says, “ Loha garam hai, maar do hathoda. ” The phrase originates from the craft of the lohar (blacksmith) — who must strike the iron while it’s red-hot. Once it cools, it loses its shape. The brilliance of Salim–Javed Why Thakur uses it: He senses the perfect timing. Who bri...

1/31: Why I loved Pather Panchali (1955)

Pather Panchali (1955) Review | Satyajit Ray’s Poetic Debut Pather Panchali (1955): Satyajit Ray’s Poetic Debut Why on earth had I not watched any Satyajit Ray film till now? Puzzles me. But I'm setting out to watch every film made by the great man. Pather Panchali is my kind of cinema. Simple, yet complex. Subtle, yet bold. Rambling, yet assertive. The story is quite loose and banal, but it is the telling of the story that makes an impact. What drew me to the film is the play of characters, and the attention to detail. Your heart goes out to each of the pivotal characters — Sarbajaya , the forced matriarch; Durga , the dreamy daughter; Apu , the boy turning into a man; and Indir , the penniless beggar. Each of them tells their own story, not through words, but through their eyes and body language. Usually, in a film, you can make out the star of the show, but you can'...