Wednesday, November 25, 2009

Kerala Varma Pazhassi Raja


Making a historical film is not something everyone can do. Hariharan who is the director of ‘Oru Vadakkan Veera Gadha’ is back with his trump card M.T Vasudevan Nair and effectively supported by Mammooty in the new venture Kerala Varma Pazhassi Raja has graced theatres this morning.

The Film is about Pazhazzi Raja’s fight against British East India Company to withdraw Company’s power and army from the state of Kottayam. Kerala Varma questions the logic of Foreigners who came as traders are now collecting tax and governing the country. The amount fixed as tax by Company was unreasonable and people didn’t have the capacity to pay that much.

People gave stiff opposition to the company on the tax issue. The film starts with Veeravarma played by Thilakan making a letter to company that he will collect taxes on their behalf. In the latter part Thilakan disappears from the film and Pazhayamveedan Chandhu played by Suman gains prominence. Pazhassi who does guerilla warfare provide great defense and creates atrocity to British. So Company makes a treaty with Kerala Varma which was later not followed by the former. This provokes Kerala Varma to start war.

Mammooty has taken effort to portray his character.

Sarath Kumar is Edachena Kunkan as the right hand of Kerala Varma is a delight to watch. His manliness and devoted character provides an air of dignity when ever he is onscreen.

Kaniha as Pazhassi Raja’s wife Makkam adds glamour. Manoj K. Jayan has showed his acting capabilities. Suresh Krishna as Kaitheri Ambu gets chunk of a role in this film. Suman and Jagathy were good.

Lalu Alex as Emman Nair, Captain Raju as Unni Mootha gives good support to Pazhassi. Actors who acted as British East India Company’s employees did well. Peter Evans as Major James, Harry Key as Thomas are to be specially mentioned.

The song ‘Aadi ushas sandya’ starts with Kerala Varma Pazhassi Raja’s white horse coming through water, which can be considered as one of the most beautiful shot in Malayalam cinema.

The negatives are, Padma Priya who appears as an Adivasi girl has dubbed herself and a foreign slang is noticed. In individual fight scenes, the choreographed action (rope) looks awkward. This film can’t be said to be thoroughly entertaining. It doesn’t bring the spirit of fighting. Historians may say the story is manipulated history.

The film has successfully recreated 18th century. Art director and his crew have done great work. Unlike other films this film starts with out showing technicians name.

This incomparable movie is three hours fifteen minutes long. Quality wise the film can be compared with Hollywood movies. Putting a mark for this film will be my ignorance as we can’t compare gem with gold.

Applause goes to Hariharan who captained this ship. Writer M.T Vasudevan Nair is one of the key brains behind this artwork. The camera by Ramanth Shetty is classic. Sound design by Resul Pookkutty stands out. Ilayarajas scoring may not be very well received.

Pazhassi Raja which is made at a gigantic budget by Gokulam Gopalan is worth spending every dime

Tuesday, January 27, 2009

Eyes Of Latin America

Tomás GUTIÉRREZ Alea





Nationality: Cuban. Born: Havana, 11 December 1928. Education: Studied law at the University of Havana; attended Centro Sperimentale, Rome, 1951–53. Career: Worked with Cine-Revista newsreel organisation, late 1950s; following establishment of Instituto Cubano del Arte e Industria Cinematograficos (ICAIC) by revolutionary government, began making documentaries, 1959; later collaborated with younger filmmakers, in keeping with ICAIC policy. Awards: Union of Writers of the URSS Award, Moscow International Film Festival, for Historias de la revolucion, 1961; Grand Coral—First Prize, for Tiempo de revancha, 1982; Grand Coral—First Prize, for Hasta cierto punto, 1983; Silver Berlin Bear Award and Teddy Award, Berlin International Film Festival, Golden Kikito, Gramado Latin Film Festival, ARCI-NOVA Award, FIPRESCI Award, Grand Coral—First Prize, OCIC Award, and Special Jury Award, Sundance Film Festival, for Strawberry and Chocolate, 1994; Grand Coral—Second Prize, shared with Juan Carlos Tabío, Havana Film Festival,

Tomás Gutiérrez Alea
Tomás Gutiérrez Alea
1995, Jury Award, Ft. Lauderdale International Film Festival, 1996, Golden Kikito, Gramado Latin Film Festival, 1996, and Latin America Cinema Award—Honorable Mention, Sundance Film Festival, 1996, all for Guantanamera. Died: Of lung cancer, Havana, 16 April 1996.

Films as Director:

1947La Caperucita roja; El Faquir
1950Una Confusión cotidiana
1953Il Sogno de Giovanni Bassain
1955El Mégano
1959Esta tierra nuestra (+ sc, ed)
1960Asamblea general; Historias de la revolución (Stories of the Revolution) (+ sc)
1961Muerte al invasor
1962Las Doce sillas (The Twelve Chairs) (+ sc)
1964Cumbite (+ sc)
1966La Muerte de un burócrata (Death of a Bureaucrat) (+ sc)
1968Memorias del subdesarrollo (Historias del subdesarrollo; Inconsolable Memories; Memories of Underdevelopment) (+ sc, ro)
1971Una Pelea cubana contra los demonios (A Cuban Fight against Demons) (+ sc)
1974El Arte del tabaco
1975El Camino de la mirra y el incienso
1976La Última cena (The Last Supper)
1977De cierta manera (One Way or Another) (+ sc); La Sexta parte del mundo
1979Los Sobrevivientes (The Survivors) (+ sc)
1984Hasta cierto punto (Up to a Certain Point; Up to a Point)
1988Cartas del parque (Letters from the Park) (+ sc)
1991Contigo en la distancia (Far Apart)
1993Fresa y chocolate (Strawberry and Chocolate)
1994Guantanamera (+ sc)

the man of malayam films


adoor gopalakrishnan






Satyajith Ray's role in revolutionising Indian cinema during 1950s with his first film Pather Panchali was taken-up by Adoor Gopalakrishnan in Kerala to create a drastic change in Malayalam cinema. Adoor's first film Swayamvaram (1972) pioneered the new wave cinema movement in Kerala.

While making films I am not concerned about strictly contemporary, day-to-day issues. Any good film has to survive the period of its making. It has to go beyond today to be relevant tomorrow. I am very particular about that. As a result these films also don't age, I hope. They remain contemporary.














It was his interest in drama, which lead Adoor to take up the direction course in 1962 at the FTII at Pune, thinking that it would help him to enhance his skills in stage productions. But there he found that stage plays and cinema are entirely different mediums.

Notable 'literary' films like Neelakuyil, Chemeen and Oolavum Theeravum produced before Adoor's first film, but all had the regular ingredients of popular cinema, highly dramatic plot and song-dance sequences. Swayamvaram was a rejection of all these populist formulas. This radically different film was reluctantly taken by the mass. Only a minority eagerly waiting for a change in this powerful medium welcomed the film.

Apart from his films, Adoor's major contribution towards introducing a new cinema culture in Kerala was the constitution of the first Film Society in Kerala, 'Chitralekha'. He also took active part in the constitution of 'Chitralekha', Kerala's first Film Co-operative Society for film production. These movements triggered a fresh wave of good films, often termed 'art films' by directors like Aravindan, P A Becker, K G George, Pavithran, Raveendran etc.

Before Swayamvaram Adoor had made his first short film The Myth of 50 Sec duration for a festival in Montreal. His second short film And Man Created was Chitralekhas first production. He also directed numerous documentaries for different government organisations before he started his first feature Swayamvaram.

All the ten films he directed, from Swayamvaram to Oru Pennum Randaanum, were screened at several International film festivals and won him several National and International awards. He won the British Film Institute award for Elepathayam. He also won National Film Awards four times and several State Film Awards. Adoor received the Padma Shree in 1984 and the Padma Vibhushan in 2006.

The Nation honoured Adoor for his valuable contributions to Indian cinema by awarding him the highest cinema award of India, the Dabasaheb Phalke Award for the year 2004.

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