IN: "Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon-McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes. "

Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock. Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
QUESTION: Did it get any positive reviews?
IN: Vijay Dhondopant Tendulkar was born on 6 January 1928 in Girgaon, Mumbai, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six. He grew up watching western plays and felt inspired to write plays himself.

Tendulkar began his career writing for newspapers. He had already written a play, Amcyavar Kon Prem Karnar (aamcyaavrr konn prem krnnaar Who will Love us?), and he wrote the play, Grhastha (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again. Breaking the vow, in 1956 he wrote Srimant, which established him as a good writer. Srimant jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to "buy" her a husband in an attempt to save his social prestige. Tendulkar's early struggle for survival and living for some time in tenements ("cal/chawls") in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theatre. Tendulkar's writings rapidly changed the storyline of modern Marathi theatre in the 1950s and the 60s, with experimental presentations by theatre groups like Rangayan. Actors in these theatre groups like Shriram Lagoo, Mohan Agashe, and Sulabha Deshpande brought new authenticity and power to Tendulkar's stories while introducing new sensibilities in Marathi theatre. Tendulkar wrote the play Gidhade (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, Gidhade proved to be a turning point in Tendulkar's writings with regard to establishment of his own unique writing style. Based on a 1956 short story, Die Panne ("Traps") by Friedrich Durrenmatt, Tendulkar wrote the play, Santata! Court Calu Ahe ("Silence! The Court Is in Session"). It was presented on the stage for the first time in 1967 and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar's collaboration as the screenplay writer.
QUESTION:
was the film successful?