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Exploring Bleak Realities Through Cinema

Bhaskar Hazarika’s directorial debut ‘Kothanodi’ won the National Award for Best Assamese Feature Film in 2016…reports Asian Lite News

There are multiple complexities, the other world and darkness always seep into his creations. And that is because National Award-winning filmmaker Bhaskar Hazarika very casually says that he has an extremely bleak view of humanity.

“We are forever ruled strongly by our egos. Why should we assume ourselves to be the most heroic of species — only because we have intelligence? This superiority complex has made us destroy so many other beings in the world. Just because we can walk on two legs does not make us special in any way. All these issues guide me when I make films, precisely why my viewpoint is so cynical,” says the director who runs a small studio that just finished its fourth movie. “Now we are making a Hindi horror film as well and an Assamese one too,” he tells IANS.

Bhaskar Hazarika’s directorial debut ‘Kothanodi’ won the National Award for Best Assamese Feature Film in 2016.

Hazarika, whose 2019 Indian Assamese-language romantic horror film ‘Aamis’ was called by many critics the best film to come from India in years and had its world premiere at the Tribeca Film Festival where it was nominated in five categories in the festival’s ‘International Narrative’ section, says the rave reviews of the movie made him feel “validated”.

“It was a tough film to pitch. Everybody thought it would be heavily censored as it dealt with a taboo subject. Precisely why it was given a pastoral look that nothing much ‘happened’ on the screen. However, the ideas conveyed were radical. Much space was given to the audience to imagine. Now, the Censor Board can cut scenes, but not ideas,” he smiles.

While the director took on board fresh faces in ‘Aamis’, to give it a more realistic feel and the fact that it was a low-budget film, he insists he is not against casting known faces. “It depends on the film. If I’m doing a multi-crore film then I would need to,” says this maker of Assamese-language film ‘Kothanodi (‘The River of Fables’) who is all set to work on a big-budget movie.

Post-writing ‘Players’, he decided to stay away from ‘mainstream’ as he insisted that he experienced much “unlearning” during the process. For someone who believes in writing scripts while Bollywood prefers narrations, he also found that aspect unnerving. And then came the long process of pitching.

“Frankly, I think I did a smart thing by walking away from Bollywood as independent cinema gives one a lot of freedom. You do not have to go around telling your story to everyone. And my first film was mostly crowd-funded and made through grants. Now I would like to make bigger films with good stories and strong budgets.

He stressed that when OTT platforms emerged in India, independent filmmakers like him thought they had cracked the code, but the bubble did not last long. “Our films were picked up rapidly. I recovered the cost of my debut film as soon as it was picked up. However, when their offices were set up in the country and Indians took over, they slashed the payments. Now independent films are not even considered,” he laments.

Both Rima Das and Bhaskar work in the Assamese language, but their films always have a universal appeal. “In Assam, our community is very small. We probably have 80 screens, so it is important to reach out to more audiences. We make films which we know will travel.”

The filmmaker, who was at the recently concluded CineVesture International Film Festival in Chandigarh, feels it is important for audiences to explore diverse cinema and understand that it is not just for entertainment or about big stars. “Schools too should work towards cinema literacy. I have been to many screenings of many fantastic films being shown here. However, it would have been better if attendance by Chandigarh residents was higher,” he concludes.

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Shekhar Kapur’s Journey Through Cinema

Kapur’s film starred Naseeruddin Shah and Shabana Azmi in lead roles along with Tanuja, Supriya Pathak and Saeed Jaffrey. It featured Jugal Hansraj, Aradhana and Urmila Matondkar as child actors. The screenplay, dialogues and lyrics are by Gulzar with music by R.D. Burman…reports Asian Lite News

Internationally recognised filmmaker Shekhar Kapur, who is currently working on a sequel to his directorial debut film ‘Masoom’ (1983) titled ‘Masoom: The Next Generation’ says, “This film portrays the lives of all the characters you saw in the earlier one – all grown up. I am not going to say more, you will need to watch the film.”

The original was adapted from Eric Segal’s 1980 novel ‘Man, Woman and Child’ which was also adapted into a Malayalam movie ‘Olangal’ and a Hollywood movie ‘Man, Woman and Child’.

Kapur’s film starred Naseeruddin Shah and Shabana Azmi in lead roles along with Tanuja, Supriya Pathak and Saeed Jaffrey. It featured Jugal Hansraj, Aradhana and Urmila Matondkar as child actors. The screenplay, dialogues and lyrics are by Gulzar with music by R.D. Burman.

The filmmaker, who till recently was the Director of Film and Television Institute of India (FTII), Pune recalls that though his stint was interesting, he could have done much more. “Owing to Covid, the institute was non-functional for most of my term. There was a lot more that I could give had it been (functional),” he tells.

However, this Padma Shri recipient whose film ‘Elizabeth’ (1998) a fictional account of the reign of British Queen Elizabeth I, which was nominated for seven Academy Awards feels that more than film schools, we need several ‘schools of creativity’ that can impart more rounded knowledge. “See, film schools teach techniques, and they keep changing at a fast pace. Nobody edits like they used to a few years back. Schools of creativity can impart knowledge on how to tell stories and engage people — that should be the core specialisation of every filmmaker,” says Kapur.

Known for films like ‘Masoom’, ‘Mr. India’ (1987) ‘Bandit Queen'(1994), ‘Elizabeth’ (1988), ‘The Four Feathers’ (2002) ‘Elizabeth: The Golden Age’ (2007), and ‘What’s Love Got to Do With It’ (2022), talking about his process stresses that as an artist, he interprets and internalises what is around him and shapes it according to his sensibilities.

“If you are a painter and have witnessed war, you will interpret it with your peculiar metaphors while presenting it on the canvas. I get attracted to stories of moral conflicts. Point is, which conflict attracts me most and stays with me in a particular space of time,” says this BAFTA Award, National Film Award, National Board of Review Award and three Filmfare Awards winner.

In Chandigarh, during the recently concluded Cinevesture International Film Festival (CII), Kapur feels it is extremely important that film festivals do not remain confined to the metros only. “I am glad that they did this festival here. Those living in smaller towns too should get an opportunity to witness cinematic excellence.”

For someone who works both in India and abroad, there is not much difference except the politics of getting to a film and releasing it.

“From calling action to cut, what happens in between is the same everywhere in the world. But yes, working in the West is like going to a supermarket, where everything is well-organised for you. In India, it’s like going to a chor bazaar, you don’t know what you are getting. But remember, chaos can be a great driver of creativity. I can get bored with the idea of absolute organisation and like the idea of chaos to ‘wake’ myself,” he said.

Even as there is much conversation around how Artificial Intelligence (AI) will change filmmaking, Kapur opines that it will be a definite game changer and disrupter.

“It’s the most democratic technology that has hit us. People keep saying that it will kill many jobs. But since the Industrial Revolution, 95 per cent of people do not like their jobs — the boss/employee structure etc. AI is bound to give people an opportunity to explore themselves — their creativity and humanity, and the synergy between the two. This technology will in fact create more jobs. Do you need to learn coding to create an App anymore? Crumbling all pre-established structures, you will hear about a boy sitting in Dharavi with his computer and giving prompts to make something of his life. The same goes for new-age filmmakers who are not able to get a breakthrough in theatres and OTT. AI will devise a new method of distribution,” concludes the 78-year-old filmmaker.

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From Punjabi Cinema to Pan-Indian Acclaim

Vicky recalls that when he was offered the role, he had little idea it would catapult him straight into the big league, considering his next film is with Manoj Bajpai. He stresses that excellent teamwork was a major reason why everything including his acting was received well…writes Sukant Deepak

He recalls the time when a few years back, after earning Rs 5,000 in a theatre production, he took the next train out to Mumbai. Of course, the money did not last long and he was back in one month.

There were minor roles for Suvinder Vicky in Punjabi films — the uncle, the distant relative. He was waiting for his ‘chance’, and knew it would come one day, but doubts had also started creeping in.

Cut to the web series ‘Kohrra’ where his stellar performance made even Karan Johar remark: “I was blown away by Suvinder Vicky’s performance, he is and will be the revelation of 2023 across film and streaming … his silences can launch a million scripts.”

Vicky recalls that when he was offered the role, he had little idea it would catapult him straight into the big league, considering his next film is with Manoj Bajpai. He stresses that excellent teamwork was a major reason why everything including his acting was received well.

“All elements came together perfectly well, each person knew exactly what to do. The atmosphere on the set was relaxed. Yes, I prepared well, and spent much time studying the character,” the actor tells IANS during the recently concluded Cinevesture International Film Festival in Chandigarh.

The actor who had played a police officer’s role in back-to-back several web series admits that it was important to ensure to bring something new to every character.

“Honestly, I did not have much choice. These were the only roles that were offered to me. However, I put in a lot of effort to ascertain I played all of them with different shades. I prepared differently for each role and put in a lot to avoid any kind of repetition. Of course, credit should go to the directors too.”

While ‘Kohrra’ may have exposed him to a wider mainstream audience, Vicky had been doing exceptional work in Punjabi independent cinema.

In Gurvinder Singh’s ‘Chauthi Koot’ in which he played the protagonist Joginder, his haunted eyes said more than words. During breaks, Vicky would sit still for hours while the excellent National-award-winning cinematographer Satya Rai Nagpaul would set up his cameras.

“You know, Gurvinder wanted me to ‘un-act’ during the entire film, he insisted that I needed to speak through silence and my eyes, and not expressions or movements. Of course, it was frustrating sometimes. But I must admit, he has taught me a lot — the art of holding back, taking realism to an entirely different level and coming well-prepared to the set.

Vicky, who also played the lead in Ivan Ayr’s ‘Milestone’ which premiered during the 77th Venice International Film Festival in the year 2020, admits that before his foray into independent cinema, he was just another Punjabi actor.

“In many contemporary Punjabi films, no bound scripts are given to the actors. You are just told to enact a particular scene on the spot. There is no concept of rehearsals, and neither are actors expected to come prepared,” he laments.

While only a few independent filmmakers are working in Punjabi, and most of the films being churned out from the state are slapstick comedies, Vicky feels that we can be optimistic as a lot of new filmmakers are now emerging from the state.

“Let us hope that they strive for cinematic excellence and not just box-office returns,” concludes the actor who has signed several Hindi films and web series after ‘Kohrra’.

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Abhay Deol Embraces Risk in Cinema

Stressing that he has always been disgusted by ‘formula’, the actor says it has always been a deliberate choice to sign films that allowed his authenticity to be reflected on the screen…writes Sukant Deepak

Someone who has navigated seamlessly between parallel and mainstream cinema, choosing scripts that had scandalised his colleagues in the Industry, actor Abhay Deol insists that taking a risk is his formula, and playing safe is not part of who he is.

The actor talked about films like ‘Dev D’ and ‘Oye Lucky! Lucky Oye!’ that made him a darling of independent film followers.

“These were directed by those boasting of a different cinematic language and story treatment. I have always believed in good work and the fact that people are ready to embrace the new. I am glad I was part of that movement where I worked with several debut directors or those who had just started their careers,” says the actor who debuted with ‘Socha Na Tha’ (2005).

Surprisingly, he came in very late for the publicity of the above-mentioned films. “Believe it or not, I was afraid of fame. Of course, now when I look back, I feel I missed out on a lot of hype. Frankly, I found self-publicity very cheap. Though looking back, I feel I could have handled it better and embraced what was coming my way.”

Someone who started watching World Cinema at an early age with filmmaker Stanley Kubrick being his favourite director (“his disgust for war” and making tragic -comedies fascinated me”), Deol, who was recently seen in the web series ‘Trial by Fire’ admits that the Hindi films being made during his growing-up years were all about escaping reality. “And I did not want to escape reality but embrace it,” he smiles.

Now that he has spent nearly two decades in the industry, the actor tells, “It feels the time has gone by really fast — I look back with curiosity; questioning — where I was right, wrong or what learn. In short, these 20 years were eventful and I feel gratitude.”

Stressing that he has always been disgusted by ‘formula’, the actor says it has always been a deliberate choice to sign films that allowed his authenticity to be reflected on the screen.

“If I do not like a movie, why expect that the audience will accept it? And who says those sitting in the movie theatre are unintelligent? Let us not have such dangerous assumptions. We have such a diverse and vivid culture boasting so many dimensions, so why do our films have to have set parameters? We are not just about song and dance, right? For me, the mainstream was limiting,” asserts Deol who is in Chandigarh for the Cnevesture International Film Festival (CIFF)

Surprisingly, some mainstream actors who have worked in independent projects have always gone back to their roots. Deol observes, that either they are struggling to get to the top or doing the same to maintain the top position. “Precisely why you do not see these ‘stars’ even in independent projects that offer a huge scope to tap their acting prowess,” he says.

The actor adds that there needs to be a change in culture about doing something distinct. “In the US, which is a much younger culture where being a rebel is something great. Here, it can be considered insulting.”

However, one cannot deny the fact that many good independent films are not marketed well. “Yes, of course, the budgets for marketing are low. But one needs to work hard on the publicity bit. Look at ‘Manorama Six Feet Under’, it became a cult hit on DVD but lacked theatre release publicity, ”observes the actor who feels Prashant Nair (the director of ‘Trial by Fire’) is someone to look out for. “I would love to work with him again,” he adds.

The actor says that over the years he has learnt to take a film’s failure better. While earlier he would get into a self-destructive mode, now he looks at the silver lining — perhaps the only way to live. “I have learnt to disassociate myself with both success and failure,” adds Deol who regularly practises meditation, and Yoga and has a strict fitness schedule.”

Smiling that at one point in time, he was fighting against the system, but gradually realised that change can be brought by not disassociating oneself completely from it, Deol says that he had decided not to do any film if the writing was not as strong as in ‘Trial By Fire’. “But then Bun Tikki, directed by Faraz Arif Ansari came my way. It’s an excellent script and should be out later this year,” concludes the actor who now lives in Goa and will be opening a wellness centre there later this year.

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Crafting Cinematic Magic through Improvisation

Even though all her films, be it ‘Village Rockstars’ or ‘Bulbul Can Sing’, which were both premiered at the Toronto International Film Festival and were screened at more than 120 film festivals, winning over 70 awards, Das does not feel any pressure as she is working on her next…writes Sukant Deepak

In almost all her movies, a certain calm envelops everything. Things move at their own peculiar pace, and tales unfold with an otherworldly rhythm. Even as she is completing post-production on the Assamese film ‘Village Rockstars: Echoing Tales’, a sequel to her movie ‘Village Rockstars (2017) that was selected as India’s official entry to the 91st Academy Awards, and won the Best Feature Film award at the 65th National Film Awards, filmmaker Rima Das stresses that stories just come to her, and then characters start making their presence felt all around her.

“And that is when I start writing and shooting. I do not work with a bound script, things constantly change while shooting. Improvisation is the key. I just take my camera and start rolling. I write something, go and shoot… Mid-way I start editing also. Everything is back and forth. But I like that,” she told.

Even though all her films, be it ‘Village Rockstars’ or ‘Bulbul Can Sing’, which were both premiered at the Toronto International Film Festival and were screened at more than 120 film festivals, winning over 70 awards, Das does not feel any pressure as she is working on her next.

“It is always about the art of filmmaking and the drive to grow. The effort is to keep the integrity and purity of the movie. Of course, it is always heartening when people and critics praise my films. But no, I never feel any pressure,” smiles the director, who is at the ongoing CineVesture International Film Festival (CIFF) being held in Chandigarh.

She however adds that with time, she has realised the importance of marketing her movies well.

“With ‘Village Rockstars’ and ‘Bulbul Can Sing’, the buzz was very organic. However, post-pandemic, things have changed for filmmakers like us. While the latest one is going to be the fifth film from my production house, I have understood that a separate budget needs to be kept for marketing the movie well.”

Das, who made a short English film as part of an anthology in Australia last year, besides documentaries in Hindi on Udaipur and teenage cricket in Mumbai, not to mention that she is writing a feature film in Hindi, is a one-woman crew — writing, directing, producing, editing, and shooting her films, besides handling art direction and costume designing. Though not formally trained in any aspect of filmmaking, she does miss going to film school now.

“I would not mind doing a short course in say cinematography. Technical knowledge about the camera and lighting, etc would be beneficial.”

For someone who likes to work with non-actors as they are seldom “too much into themselves”, said the filmmaker, adding that “They trust me and surrender. However, there is a limit to which you can push non-actors, unlike professional ones who also can get the best out of you. Yes, with professional actors, I need to ‘break’ them, ensuring that they ‘unlearn’.”

Though Das ‘Village Rockstars’ was made on a budget of Rs 20 lakh, she feels times have changed and it is no longer possible to work on that kind of a tight budget.

“Everything has become expensive. Now if I want to use sync sound and keep a considerable budget for marketing, how can I wrap everything in just a few lakhs?” she concludes.

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Vishal Bhardwaj’s Cinematic Poetry

Asserting that the primary concern is “what will work in theatres?”, the eight-time National Award winner said, “The number of independent filmmakers has grown, but where are the producers? We could get financers for the kind of stories we wanted to tell, and the way they were told…writes Sukant Deepak

The enigmatic greys of a Kashmir winter in ‘Haider’, the many tones of black in ‘Maqbool’ — with such visual poetry where each note stands out, Vishal Bhardwaj’s cinema has never shouted ‘independent’ but subtly stood out from the movies of his time.

Not hyper-realistic in its treatment, it is Bhardwaj’s visual poetry that makes the thematic essence pull in reality at its most profound.

“What you call visual poetry in my films emerges from the deep-rooted love for poetry that never leaves me,” Bhardwaj told. “Therefore, there is always an effort to lend a certain rhythm and deeper meaning to everything that happens in front of the camera.”

Together with Anurag Kashyap, Dibakar Banerjee, and Tigmanshu Dhulia, Bhardwaj has been instrumental in ushering in a new era in Indian cinema after the almost traumatic 80s when Hindi cinema hit its lowest. He believes, though, that the independent filmmaking movement of the past two decades seems to be regressing now.

Asserting that the primary concern is “what will work in theatres?”, the eight-time National Award winner said, “The number of independent filmmakers has grown, but where are the producers? We could get financers for the kind of stories we wanted to tell, and the way they were told.

“Many of us did not hire commercially viable stars, but still, there were backers. Sadly, financiers have become extremely cautious now.”

Vidhu Vinod Chopra’s ’12th Fail’, however, has renewed Bhardwaj’s belief in independent cinema in these bleak times.

“I feel this is his best film. There is a certain endearing honesty about the movie which has managed to touch audiences. The movie is getting both critical acclaim and commercial success.

“Its success also proves that there is a committed audience for honest cinema that talks about the soil. Not every film needs to be mindlessly violent as we have been seeing in recent times,” observed Bhardwaj, who made his directorial debut with the children’s film ‘Makdee’ in 2002.

With the digital revolution at its peak in the form of multiple OTT platforms, Bhardwaj said the kind of content being seen now was unimaginable a few years ago.

“Be it ‘Sacred Games’ or ‘Paatal Lok’, who could think of exploring such dark themes back in the day? Of course, there is always the fear that a particular genre may take precedence as some earlier work has been extremely successful,” the filmmaker said in his conversation.

Bhardwaj, however, still believes that the true magic of cinema can be experienced only in a theatre and not in the living room.

Stressing that the theatre allows for focused viewing, he said, “There are so many distractions at home — the noise from the street, the doorbell ringing, family members talking, not to mention so much content — I mostly end up closing the computer’s flap without watching anything.”

Talk to him about the ‘new’ writing in OTT and independent films — with writers willing to tell different stories, differently, and he asserts that this is the best time for those who can write.

“They are being paid well and given the respect they deserve,” he said. “The content being produced is excellent. Again, as I said before, the problem is with financers.”

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Indian Cinema: A Bridge and a Barrier for the Global Diaspora

The latest film to be banned in the UAE is ‘Fighter’. Losing the UAE business means a goes chunk out of your recovery, considering that 60 per cent of the Emirates population is from the sub-continent. And, also considering the fact that the film is said to have cost a mammoth Rs 400+ crore…reports Vinod Mirani

The Indian diaspora spread all over the world has mostly stayed connected to its roots. And one of the institutions that keeps this connection alive is Indian cinema. These films could be in Hindi or in any of the South Indian languages. The Indian film market is spread far and wide, but Indian films also have to conform to the local culture and sensibilities, mainly of the religious kind.

We do not make films that are against any other country or its culture, but when it comes to religious sentiments, considering the mixed population we have, Indian films feature characters from different religious backgrounds. Yet, Indian films cannot always please all people. Almost all countries exhibiting films have their own censorship bodies. It is also not uncommon for them to occasionally ban films from theatrical release. The reason could be a vulgarity, nudity or religious sentiments being hurt.

Films are most commonly banned in Islamic countries. Banning vulgar and other objectionable content is understandable, but a factor peculiar to Islamic countries is that a film with content against a friendly country, which means another Islamic country, is frowned upon. Generally, the United Arab Emirates (UAE), a lucrative market, is quite open and liberal about viewing films as just a means of entertainment. But when another Islamic nation objects to a film, the Emirates government respects its sentiments. Besides, which country wants a film to ferment restlessness among its people, especially if it has mostly expatriates from various countries! The latest film to be banned in the UAE is ‘Fighter’.

Losing the UAE business means a goes chunk out of your recovery, considering that 60 per cent of the Emirates population is from the sub-continent. And, also considering the fact that the film is said to have cost a mammoth Rs 400+ crore. The film is not against Islam, but it deals with the fraught relations between India and Pakistan. Still, there’s no reason for one Islamic nation to spoil its relations with another for the sake of one film. Pakistan keeps banning Hindi films off and on, but these don’t always get banned in other Islamic nations. Akshay Kumar’s ‘Baby’, banned in Pakistan, was allowed to be screened in other Islamic nations because the villains in the film were not specifically designated as Pakistani. ‘Udta Punjab’, too, was allowed in other Islamic countries because it focused only on the Pakistani drug trade in so far as it affected India. Also banned in Pakistan, but not elsewhere, were ‘Pad Man’, ‘Raanjhanaa’, ‘Naam Shabana’, ‘Tere Bin Laden’, ‘Mulk’, ‘Raees’, ‘Neerja’, and, of course, ‘Gadar: Ek Prem Katha’ and ‘Gadar 2’! Can’t always find a logical explanation for this banning business, be it in India or Pakistan, or any other country! Other films banned in the Middle East included Salman Khan’s ‘God Tussi Great Ho’, besides ‘Beast’, ‘The Kashmir Files’, ‘Bell Bottom’, ‘Kurup’, ‘The Killer’, ‘Padmaavat’, ‘The Dirty Picture’, ‘Oh My God’, ‘Tiger 3’ (Kuwait, Oman and Qatar), and ‘Samrat Prithiviraj’ (Kuwait and Oman). Can you imagine, ‘Delhi Belly’ was banned in Nepal! Of all the countries, Kuwait found ‘The Dirty Picture’ objectionable for its bold content. And, for whatever reason, Mani Rathnam’s ‘Bombay’ was banned in Singapore. The Rudalis of Social Media There is a new ‘rudali’ (professional mourners) brigade on social media! All along, we have seen bots engaged along with people to promote films and, then, go on posting fake box-office collection figures.

The activity starts from the day a film’s promo is released till the film is hailed as a box-office success / hit / blockbuster, and now, with ‘Pathaan’, ‘Jawan’ and ‘Animal’, the term used is India’s greatest hits, benchmark setters, and so on! Hrithik Roshan’s ‘Fighter’ was expected to be another of those illusionary Rs 500 crore+ blockbusters. And those, warming up to post Rs 50 crore figures with every post till they crossed Rs 700 crore, were lost. More than the cine goer, the film had let the brigade down! So, they have now taken to writing paeans for ‘Fighter’ and insisting that the viewers have done injustice to it, though it was a fantastic film. The same audience who rejected or ignored it, the ‘rudali’ brigade prognosticated, will end up calling it a masterpiece when it is released on OTT! One such ‘rudali’ also goes on to say that people will then realise they failed as an audience (in appreciating a right film?). Yet another so-called film critic posts a message for Hollywood with the poster of ‘Fighter’ in the backdrop: “Hollywood should take lessons from Bollywood on how to make a masala action film!” Hey guys, why do you assume the people who rejected a film in cinemas will watch it on OTT? And rate it as a masterpiece? It is the same audience but more discerning if you checked recently on what works on OTT platforms. Sycophancy seems to have found a new level. Films Vying for Election Season Film releases have been planned in a way that helped them to cash in on festivals and national holidays.

Diwali, Eid, Independence Day, Republic Day and the Christmas week have been the most favoured for film releases. They assured decent opening collection figures. In the last decade or so, even the themes of films are such that they pander to nationalism, patriotism and social issues promoted by the ruling dispensaton. And films such as ‘The Kashmir Files’ and ‘Kerala Story’ worked with both the critics and the box office. So a lineup of such films was to be expected. Now that the national general election season is here, some more filmmakers are ready to roll out films along the same lines. A string of new releases has been announced in the hope that they would get noticed at a time when the political atmosphere will be surcharged. These include films such as ‘Palayan Kab Tak’, ‘Mirg’, ‘Article 370’, ‘Veer Savarkar’, ‘Sabarmati Express Report’, ‘Accident Or Conspiracy: Godhra’, ‘West Bengal Diary’ and ‘965’. And they all expect to stir up some media attention during the pre-election season.

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Sam Bahadur: A Riveting Tale of India’s Military Legend Comes to UK Cinemas

The much-anticipated Bollywood film “Sam Bahadur” has made its grand debut worldwide in cinemas on Friday, 1 December. This cinematic masterpiece pays homage to Field Marshal Sam HFJ, Manekshaw, MC, a name synonymous with valour and strategic brilliance in Indian military history. A feature by columnist Riccha Grrover for Asian Lite International.

Starring in this monumental film is Vicky Kaushal, who vividly brings to life the title role of Sam Bahadur with his power-packed and unique performance. Alongside him are the very talented Fatima Sana Shaikh, Sanya Malhotra, Neeraj Kabi, Edward Sonnenblick, and Zeeshan Ayyub, each contributing to the film’s rich tapestry of characters.
Directed by the acclaimed Meghna Gulzar, known for her impactful storytelling in films like “Raazi” and “Talvar,” and produced by the visionary Ronnie Screwvala, “Sam Bahadur” is more than just a biopic – it’s a tribute to a man whose life shaped the geopolitical contours of South Asia.

India’s first Field Marshal, Manekshaw, led an extraordinary life. His career spanned from the tumultuous times of World War II to his pivotal role as the Chief of Army Staff during the 1971 Indo-Pakistan War. This conflict not only altered the course of history but also led to the creation of Bangladesh.

Vicky Kaushal as Sam Manekshaw

“Sam Bahadur” delves deep into Manekshaw’s dynamic personality, showcasing his unyielding spirit and strategic genius. The film is crafted with a narrative that intertwines personal triumphs and professional milestones, bringing to light the essence of a no-nonsense army commander affectionately known as “Sam Bahadur” by those he led.

The screenplay, penned by Bhavani Iyer, Shantanu Srivastava, and Meghna Gulzar, take the audience on a journey through the life of a legendary leader, a man of principle and valour. The musical score of “Sam Bahadur” is crafted by the renowned trio Shankar Ehsan Loy, with soul-stirring lyrics by the legendary Gulzar, adding depth and emotion to this epic narrative.

“Sam Bahadur” isn’t just a film; it’s a slice of history, a story of leadership, and a tribute to a man who became a legend.

“Sam Bahadur” has released nationwide in cinemas through Bakrania Media on Friday, 1 December.

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‘Let Cinema and Critiques Have Their Own Journey’

A film’s success is not based on reviews and the best is allow the reviews and the cinema go their own way,” said Mammootty…reports Asian Lite News

A films’ success is not based on reviews and hence, the best bet is allow the two aspects go their own way, superstar Mammootty said here on Monday.

He was reacting to the present impasse in the film industry over reviewing of Malayalam films.

“A film’s success is not based on reviews and the best is allow the reviews and the cinema go their own way,” said Mammootty.

The superstar was interacting with the media ahead of the release of his upcoming film ‘Kaathal’.

“The film-goers watch a film of their choice without being influenced,” he said, adding that film “review” is different from “roasting”.

His statement comes a few weeks after the Kerala High Court directed the state police chief to have a closer look at the vested interests playing truant especially in the social media when new films are released and the Ernakulam Central Police last month registered the first case on this and charged nine persons.

Those charged include social media giants Face book, You Tube and seven others and the police has begun its probe into this.

The Ernakulam Central Police registered the FIR based on a complaint by film director Ubaini Ebrahim after he found that the social media was flooded with negative reviews of his recently released Malayalam film ‘Rahel Makan Kora’.

Incidentally, the High Court in October acting on a petition filed by Mubeen Rauf, the director of the film ‘Aromalinte Adyathe Pranayam’ said that he believed his film got a negative impact due to the alleged foul play by vloggers and sought action.

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Article 21: A Heartfelt exploration of education and social Injustice

Article 21 belongs to the genre of socially committed films, prioritising production quality over meticulous craftsmanship…writes Rafeek Ravuther

Article 21, directed by Lenin Balakrishnan, delves into the poignant theme of upholding the fundamental rights of the marginalized and underprivileged in society. At its core, the film emphasizes the transformative power of education in the lives of those struggling on the streets.

The narrative follows Thamarai, a Tamil immigrant grappling with homelessness, and her two sons, Muthu and Dalapathi. Scrap collection sustains their livelihood, but a chance encounter with a school bag ignites a spark of desire in the younger son to learn. The film chronicles the family’s endeavors, aided by compassionate well-wishers, to secure an education for the children.

Initially, the film provides a detailed glimpse into the family’s daily struggles, hinting at a deeper exploration of their journey. However, the climax pivots towards serving as an awareness campaign, simplifying the story’s complexity and substituting genuine storytelling with an unrealistic optimism. The predictability of certain plot developments also hampers the film’s impact.

Lena delivers a commendable performance as Thamarai, exuding authenticity through her body language and dialogue delivery. The youthful enthusiasm of Leswin and Nandan Rajesh, who portray the children, resonates well with their characters. Yet, occasional artificiality in dialogue delivery detracts from the immersion. Aju Varghese and Joju George contribute effectively, with George’s cameo standing out.

Director Balakrishnan captures the family’s life with intimacy initially, but as the story progresses, the pacing becomes rushed. Notably, the scene depicting the family’s joy at encountering a bathroom showcases the level of detail that could have elevated the entire film. Unfortunately, an overreliance on punch dialogue-driven solutions diminishes the authenticity and depth. Visually and aurally, the movie maintains a superior production quality.

“Article 21” falls into the category of socially committed films that prioritize production quality over thoughtful craftsmanship. It ostensibly champions a noble cause but falters in its execution and narrative finesse.

The heart of the film lies in Article 21-A of the Indian Constitution, mandating free and compulsory education for children aged six to fourteen. Balakrishnan’s debut work seeks to shed light on the lack of effective implementation, without singling out any particular entity for criticism. The film’s journey faced challenges due to the pandemic-induced lockdown during post-production.

Balakrishnan’s intent is clear – to inspire change and raise awareness about Article 21-A’s unfulfilled promise. The film’s genesis stems from a poignant photograph that sparked a reflection on societal disparities. Although the film tackles a pressing issue, it refrains from overt political commentary, instead aiming to foster societal change.

Lena’s remarkable transformation into Thamarai garnered well-deserved praise, while the film benefits from Gopi Sundar’s music and Renganath Ravee’s sound design. The meticulous attention to Lena’s makeup and her immersion into the character’s nuances contribute to the film’s authenticity.

Despite its imperfections, “Article 21” serves as a poignant reminder of the unrealized potential within society’s education system. While not flawless, the film raises pertinent questions and encourages viewers to ponder the meaning of true social change. As director Balakrishnan gears up for his next project, his dedication to meaningful storytelling remains evident, promising potential for future cinematic endeavours.

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