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india today report!

 

prem nazir nte pushparajan etha film ?

 

nerariyan cbi oke max avg alae kanu...

 

Onnum alla...Rapakalinu annathe superhit run und..But profit kuravanu..Nerariyan aanu kooduthal profit aayathu...Rapakalum Nerariyanum Bus Conductorum ok Hit aayi thanne aayirunnu reportsil..

 

March 15, 1990 | UPDATED 16:32 IST



Adoor Gopalakrishan, the internationally celebrated film maker from Kerala, has done it again. This time"it is Mathilukal (Walls) which is all set to make waves with its haunting frames and dialogues.

At one level, the film about an imprisoned writer and his obsession with a female prisoner across the tall prison wall is almost lyrical and simple, and on the other disturbing and complex.


Like Kodiyettam (The Ascent), Mukhamukham (Face to Face), Elippathayam (Rat Trap) andAnantaram (Monologue), Mathilukal also deals with the intricacies of the human mind caught in the pincer of painful reality. But with Mathilukal for the first time, he has adapted a novelette of the same name by Vaikom Muhammed Basheer, 82, a celebrated writer.

Basheer wrote the book in the early '40s while imprisoned at Trivandrum Central jail by the British for sedition. Adoor read it around 30 years ago and remembers being enthralled.

Recently, he read it all over again and found that it had not lost its appeal. Says he: "What interested me was a probe into the writer's mind and not just a romantic episode in the story. By studying Basheer, the script evolved."

Before writing the script Adoor read all the available works of Basheer which were autobiographical in character and took a year to write the script.

He wanted his protagonist to think - not look - like the writer. The other challenge was breathing life into the character of Narayani, a female prisoner who is only heard - never seen - from across the wall. But so complete is Adoor's mastery of the craft, that a mere voice brings across the complex, highly strung character of Narayani.

Mammootty, the number one star of Malayalam films, who plays Basheer, comes up with his best performance ever. This is the kind of role he was searching for ever since he played a smaller part in Adoor's Anantaram.

It is obvious that like his director, Mammootty had done his homework. Basheer comes across as an intense and committed individual, cherishing the small pleasures of life and living through harsh reality with mixed feelings.

Basheer believes he has been unfairly confined for writing about freedom and oppression by the British. Despite all the light hearted banter, he is sliding into a world of his own. His body is incarcerated by prison walls 20 ft tall, but his mind and spirit soar above it.

Suddenly, Basheer's life takes a dramatic turn. He hears a sensuous female voice from the women's ward across the wall. What starts as a mild flirtation becomes an intense relationship, though neither has seen the other. It gives Basheer's life a new meaning, a new direction.

Every day he waits for a twig to be flung over the wall - a sign that Narayani had come again for a rendezvous. In this manner, life in jail becomes more meaningful than the outside world.

Suddenly, Basheer is told by the jail authorities that he is a free man. Is the outside world not another prison, he wonders. Freedom does not have the same meaning for Basheer.

The film is interspersed with humorous quips typical of Adoor films. While Adoor is understandably pleased with the result, Doordarshan too has something to be proud of: it financed the film which will be released commercially before being screened on the national network.

Few could have imagined that the union of the offbeat Adoor and a government-controlled network would produce a work of such mastery.

 

low budget padathinu profit kuravanenn....enthonnade...bus conductor okke report vallom kanum rakshapettenn..rajamanikyam effect karanam initial kitti..njanum pallavur nte verdict kanikkan orennam thappiyeduthath ormayund...flop aanennath vere karyam...athu hit aakkikond ulla balancing angu kayyil vechonda mathi

 

1983

It could be, in the complete sense of the phrase, a case of art imitating life. Even before the first scenes oi Malayalarn film director K.G. George's Lekhayude Maranam - Oru Flashback (Lekha's Death - A Flashback) have flickered on theatre screens, the film has already caused considerable tumult.

As well it might: Flashback tells the story of the rise to stardom of an actress in a corrupt film industry, her scandalous affair with a married man, and her suicide.

The plot seems to parallel the story of the late Urvasi Award-winning actress Shoba, her affair with cameraman-director Balu Mahendra whom she married and her mysterious and untimely suicide. The parallel is so uncomfortably close that Shoba's mother Prema has vowed to sue director George for defamation.
Flashback is a hard-hitting indictment of the life and mores of Kodambakkam, the bustling film city near Madras. George, who won an award for his Yavanika (Curtain) last year, has pulled no punches. The opening shot sets the atmosphere: an Indian News Review black-and-white clip of the funeral procession of Urvasi Award-winning actress Lekha, with the commentator saying that Lekha's suicide has shocked the entire Madras film industry.

There are huge crowds and several stars play themselves paying homage to Lekha. After the news review ends the film shifts to colour and the story proper begins as a flashback.

Cover Story: The plot is quite simple. Visalekshmi, played by Shubha, wants to make daughter Lekha, played by Malini, a star. From a village in Kerala they come to Kodambakkam. However, the director who had assured them that he would give Lekha a break goes back on his word. Visalekshmi vows to make her daughter a star; her husband wants to go back to the village. In the end, the mother has her way.

By and by, mother and daughter fall into the hands of an assistant director and a powerful film journalist. Producers tell Lekha they will give her roles only if she sleeps with them. Meanwhile, the assistant director, pretending to be in love with her, takes her to bed and later presents her to a producer who has promised him his first film as director.

This episode is a watershed in Lekha's life. Her drunk father deserts the family and only her mother's iron will and determination stop Lekha from running back to Kerala. A successful pimp, Ramaiah - played superbly by Tamil stage comedian C. Sreenivasan - takes them over.

Then her luck changes; after a visit to the Karumari Amman temple, which is a favourite with the film crowd, she becomes a top star. The ageing superstar of the industry, Prem Sagar, played by Mamutti, signs eight films with her. Her mother makes her work day and night. Her father returns with a host of relatives who start living off her.

The rest of the film shows Lekha's developing relationship with Suresh Babu, played by Gopi, the cameraman-director and art film maker, who is married and has a son. At the pinnacle of her career, after she wins the Urvasi Award for her performance in one of Babu's films, she elopes with him.



Visalekshmi has hysterics and confronts her daughter in heavy, melodramatic scenes. Babu's wife and son blackmail him emotionally. Finally, Babu breaks off with Lekha who commits suicide.

The outstanding performance in Flashback comes from Shubha as Visalekshmi, Lekha's shrewd, avaricious and ruthless mother. Stage actor Tilaman is excellent as the journalist who puts Lekha on the road to superstardom. Marnutti, the current rage of the Malayalarn screen, successfully apes the mannerisms of fellow actor Prem Nazir in his Prem Sagar role. The camera work is excellent.

Controversy: But the story is what has made people sit up and take notice. George vehemently denies that the film has anything to do with Shoba or her mother Prema and says that he has based Flashback on the suicide syndrome in the industry; according to him, four top actresses including Shoba have committed suicide in the last five years.

Says George: "It is a dog-eats-dog industry, full of whores and pimps." He also denies that he made the film in consultation with Balu Mahendra, as alleged by Shoba's mother, who, for her part, is extremely upset. Says she: "K.G. George's film has depicted me as a prostitute and I will take legal action against the release of the film."

Mahendra himself was very reluctant to talk - he says he has not seen the film - but asserted that he had nothing to do with Flashback and had not discussed the film with George. Said he: "All these rumours started because when George was shooting in Ooty for the film, I was also there." Even as the charges and counter-charges fly back and forth, Flashback has already received all the pre-release publicity George could have hoped for, and looks all set to be a smash success.

 

Rapakal Houly Potur produce cheythu Swargachithra distribution edutha padam aanu..Family film aayirunnelum athra low budget film onnum allayirunnu Rapakal..Distributor aaya Swargachithrak aanu profit kuranjennu paranjath..Annu profit ok almost entirely dependent on theatrical run..!Annathe superhitinte run und..


Bus Conductorum malabarile superhit perfo kondu hit aaya padam aanu..Athu pinnem low budget aanu..Etavum low budget Thaskaraveeran aanu..Athu vare annu budget recover cheythirunnu..

 

Reel life

If Bombay's cinematic fare plagiarises Hollywood. Malayalam film makers in Kerala have hit upon a better formula: transposing real life into reel life.

If Bombay's cinematic fare plagiarises Hollywood, Malayalam film makers in Kerala have hit upon a better formula: transposing real life into reel life. And not just general themes but specifically related to contemporary state politics.

Avanazhi (The Quiver of Arrows) - the biggest grosser last year - is about a policeman wrongly accused of murdering a college student and politicians using the police force to their ends. For all its fictional embellishments, the film could not escape comparison with the infamous Rajan case during the Emergency when an engineering student mysteriously disappeared from police custody, causing a furore that led to the fall of the Karunakaran ministry.

Avanazhi's hero is a circle inspector called Balaram - played by Malayalam superstar Mamooty - a composite of then deputy inspector general of police (now inspector general) Jayaram Padikkal and sub-inspector (now circle inspector) Pulikoden Narayanan, accused and later acquitted in the Rajan case. The film - which cost Rs 21 lakh - is expected to gross more than Rs 1 crore.

Of the five big Malayalam hits last year, at least three - Avanazhi, Rajavinte Makan andVaartha - had overtly political themes, parodying events and politicians in a manner that left little to the imagination. Producer-director Thampy Kannanthanam's Rajavinte Makan, though obviously inspired by Sidney Sheldon's Rage of Angels, was based on real events.

While the original's heroine is shown torn between a top US senator and a mafia chief, this version has her vacillating between the home minister and a liquor baron. Though the characters are supposedly fictitious, the likenesses are uncomfortably close to former home minister Vayalar Ravi and liquor baron Chandrasenan. The film, which cost Rs 16 lakh to make, is likely to gross Rs 75 lakh. Says Kannanthanam, who is flooded with offers now: "The political masala films have saved me from bankruptcy."

Vaartha too uses Kerala politics as a backdrop, though the focus is on investigative journalism. Its hero - played by Mamooty again - is a well-meaning caricature of Monu Nalappad, poetess Kamala Das's son who took over as editor of the state's second biggest daily Mathrubhumi and added to its popularity with several scoops. The film's producer is P.V. Gangadharan, the newspaper's biggest shareholder.

Both Avanazhi and Vaartha were scripted by T. Damodaran and directed by I.V. Sasi, who have a string of such films behind them. Sasi, 40, who shot to fame with the highly suggestive Her Nights in 1978, and Damodaran, 51, a confirmed Marxist, launched their partnership in 1981 with Angadi (The Market), inspired by the labour unrest during former chief minister E.K. Nayanar's regime.

This was followed by Eenadu (This Country) on the Nayanar government's fall and the Karunakaran coalition's rise to power. Damodaran and Sasi - who both hail from Calicut, the cradle of communism in Kerala - are now working on Athirti (Boundary), set against the backdrop of trade unionism and drawing heavily on real incidents and personalities. Says Sasi: "I always have a rough commercial framework for my political films, Then I look around and talk to a lot of people about current political happenings. These, when mixed in the right proportion can give you an instant hit."

The recent box-office success of contemporary political melodrama has also sparked off a revival of films with straight political themes. Director Lenin Rajendran's film,Meermmasathile Sooryam, on the peasant uprising in Kayoor in the early '40s. languished in the cans for a year because no distributor was willing to touch it. But when released recently, the film was not only a box-office hit, it also went down well with the communists, with former chief minister and CPI(M) strongman Nayanar recommending it as a 'must-see' for all comrades.

For all practical purposes, the trend seems here to stay, at least for the time being. The occasional scandal will continue to provide grist to the film mill. As dissident Congress(I) leader Vayalar Ravi says: "The present coalition in Kerala has given enough story ideas for a long time to come, if it continues to be rocked by scandals, script-writers Damodaran and Dennis will become millionaires." Art imitating politics?

@Inspector Balram @Mayavi 369

 

oho...appo flop mambazhakkalam poster dande