putaani party
jayashree rajagopalan writes about indian children' s films. - putaani party included ...
happy to note that' putaani party' gets mentioned even after six years of its making .
putaani party shown in a school in dehadun on the 19th of april, 2016. thank you sudarshan juyal, taru
m umbai - based p n ramachandra won this year' s prestigious national award for the best children' s film putaani party .
a friend tells me that' putaani party' was screened at the tinsukia orange film festival on 2nd april 2013 in tinsukia, assam .
putaani party (the kid gang) 78mins / 35mm / cinemascope / dolby / kannada / india / 2009. a film by ramchandra pn
an article whose title is' claps, whistles and cheers for putaani party
- reflecting the mood of the children who saw the film recently at mangalore .
enjoy latest south indian kannada full movies super hit children' s comedy adventure movie puttani party (the kids party) starring: sharukh mulla, ranjeeta ...
' putaani party' (2009) directed by ramachandra p. n. , tackled a subject few have ventured to broach with any seriousness or honesty: the right of children to det
had a screening of putaani party at mysore on the 10th of october under the aegis of mysore film society and a intresting post screening discussion after it. thanks manu mysore, vn laxhminarayana
the best children’s film award was shared by putaani party in kannada and keshu in malayalam. jeeva and anba karaus shared the best child actor award. telegu film magadheera bagged awards for special effects and choreography .
17. overview chillar party  chillar party is a 2011 indian children' s film directed by nitesh tiwari and vikas bahl and produced by ronnie screwvala  it also features ranbir kapoor in an item - number. chillar party won the 2011 national film award for best children' s film. 17
the best children’s film award was shared by ‘putaani party’ (kannada) and ‘keshu’ (malayalam). jeeva and anba karaus shared the best child actor award. ‘magadheera’ (telugu) awards for special effects and choreography .
' putaani party' to be screened at kairali theater in tiruvanantapuram at 6. 15 pm on 16th may and 11. 15 am as a part of the kerala at icffk (international children' s film festival of kerala .
democracy is the best we have. but what needs to be seen is whether governance is reaching the grassroot level. we need to have structures that ensure this process. putaani party deals with one such structure that involves children .
trailer of the kannada feature film' putaani party' (the kid gang) ಪುಟಾಣಿ ಪಾರ್ಟಿ produced by: children' s film society, india scripted and directed by: ramchandra pn details of the film putaani party (the kid gang) 75mins / 35mm / cinemascope / dolby / kannada / india / 2009. in a small village in south india, a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .
had a screening of putaani party at chhabildas school at dadar in mumbai this morning for the high school kids arranged by the ngo sujaya foundation - thanks batul for coordinating it. it is always wonderful to have the reactions of kids to the film ...
some are. but communication mostly happens through dialogues so i see no problem. putaani party was also criticised for being dialogue heavy, but i felt those many dialogues were required as it was a film that showcased children initiating a dialogue about issues and trying to find their own voice .
the eminent film maker from mumbai pn ramachandra has made a leap in to a children film titled ‘putaani party’ (the kid gang) that cater to a small village in south india where a group of elected representatives children discover own voice and how they implement their rights is systematic and constitutional .
putaani party is a film that talks about children' s right to self - determination and governance. it has been shot in dharwad and mostly local actors have been used. it has been produced by the children' s film society of india (cfsi). it is my second feature film .
manipal: ramchandra p. n. , an award winning film - maker, delivered a talk on “cinema and censorship” at the school of communication (soc) auditorium on tuesday, august 18, 2015. ramchandra p. n. who is credited for works like ‘suddha’ and ‘putaani party’ educated a packed hall of enthusiastic media students ...
‘putani party’ (the kid gang) has music by vijaya prakash and it is edited by arunabha mukerjee. ranita jadhav, sharad anchatgiri, gurudut jodhi are in the lead cast .
suresh gujar, my associate calls me the other day to tell me that' putaani party' has been screened by cfsi at vasai in mumbai along with a few other cfsi film. happy that it was screened. . still wondering if a system could be worked out by cfsi, the producers and the exhibitors of the film, to keep in loop the concerned filmmakers whenever such screenings happens .
“bankrupts penetrates ones mind and consince with its own taka tak way”. i am sure like his earlier films (suddha and putani party) this film will fetch ram accolades at national and international levels .
my active association with mysore film society dates back to the day they screened' putaani party' in october, 2014. sometime later, in march 2015, v n laxminarayana a retired lecturer in mysore and the motivating force behind the society expressed a desire to screen my new film' haal - e - kangaal' (the bankrupts). he had heard about this film from my bangalore based filmmaker friend ms prakash babu .
12. indian children' s films 12 101 chodyangal abhayam athisayan ayyappantamma neyyappam chuttu baaja balak - palak bari theke paliye bharath stores the blue umbrella (2005 film) care of footpath charandas chor chillar party chithrakuzhal chithrasalabhangalude veedu ente mamattikkuttiyammakku gattu gippi goopy bagha phire elo goopy gyne bagha byne halo (1996 film) hawaa hawaai hirak rajar deshe i am kalam jadu ka shankh jagriti jajantaram mamantaram keshu lilkee mahek makdee manjadikuru manu uncle mr. india my dear kuttichathan naunihal (1967 film) neel rajar deshe oomakkuyil padumbol oridathoru puzhayundu poovarasam peepee putaani party raja aur runk ramayanam (film) rani aur lalpari safed haathi shiva ka insaaf sonar kella stanley ka dabba t. d. dasan std. vi b taare zameen par thanga meenkal thutturi tomchi tora (film) woh ghar yeh hai chakkad bakkad bumbe bo
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i had extensively done such screenings in parts of karnataka with my first feature suddha (the cleansing rites) thanks to an exhibition grant provided by the hubart bals. the children' s film society of india (cfsi), the producers of my second feature' putaani party' (the kid gang) have their own exhibition set up where they screen some of their films in association with the local district administration and the theater exhibitor' s association. yet to gauge audience reactions, i had also screened the film, on my own, in some fifteen alternative venues, again in karnataka .
in their initial days, the villagers were skeptical. but these days they always manage a hot debate each time they screen the film – making people realise the importance of conservation and the need to respect nature. after the screening, they are invariably invited to dinner at any one of the houses. by mid night they are back in the town of tiptur, back to their daily lives. thus relentlessly and ferociously they have been going on for quite some time now. they now want to start a film club, the preview screening of ‘putaani party’ was the first film in their list. it amazed me that they had wanted to screen the film for the tiptur school kids for six months now !
19. market analysis movie year budget box - office rating koi mil gaya 2003 30 crore 80 crore 7. 0 taare zameen par 2007 12 crore 88 crore 8. 6 chillar party 2011 25 crore 63 crore 7. 5 i am kalam 2010 3 crore 6 crore 7. 9 bum bum bole 2009 5 crore 12 crore 7 19
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a group of elected representatives of kids in a small village find their own voice when they outsmart their adult counterparts to set right those things that they think are undesirable to their constituency .
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a' gram panchayat' (village governing body) in rural india facilitates the functioning of the' makkala samiti' (children' s committee). this is a children' s body elected by the children themselves. the committee acts as a pressure group in trying to get the local governance react to various social issues that it raises. guided by a sympathetic school teacher, the children' s honesty and persistence ruffles many feathers among the adults. some of the adults have been using the' makkala samiti' for their own needs. what follows is a subtle cat and mouse game, by the end of which the children hope to get their voice heard .
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a gram panchayat (village governance body) in rural india, encourages and facilitates the functioning of a kid’s body elected by children themselves. these kids, unbound by the baggage of personal gains, work with diligence, acting as a pressure group to inspire the adult governing body to act on socially relevant issues. many adults try to influence them for their own personal benefits. but guided by a sympathetic and honest school teacher the children fight back with integrity and persistence. a subtle game of cat and mouse ensues between the children and adults before their voice if finally heard .
tera jalwa jalwa ho tera jalwaa. performance. (hindustan ki kasam). . rashid hussain rgr peer bahora
ermine their own future and quality of life. shot on location at a village named honnapura in dharwad district, the plot concerns a bunch of children trying to form a local self - government body. when their solutions and bracing commonsense make the villagers see reason, their popularity and acceptance rises, to the chagrin and spite of the powers that be. as the balance of power in the village tilts to and fro, the children fight against all odds to get their point across to an apathetic world of adults. the film was widely praised for its deft use of locations, dialects and, above all, of actors most of who had no prior acting experience, let alone on screen. the film was awarded the swarna kamal (golden lotus) for best children' s film at the 57th national awards .
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the indian children’s film industry lacks the attention enjoyed by its adult counterpart, commercial cinema, yet several indian films for and about children have created a distinct space for themselves. this article examines four indian children’s films that delve into contemporary socio - political i…
on 10th oct 2014. friday 6. 00 pm @ namana kalamantapa. all are welcome ph: 09448092049
i am speechless... wonderful movie... excellent in every aspect of﻿ movie making... pramod hassan on you tube
the manipal journal is a news website based out of manipal. started by a dedicated team of journalism students as a blog in 2007, tmj, as it is fondly referred to, has reported stories from manipal for over 9 years, in the right balance and with good intentions .
hailing from karnataka, p. n. ramachandra is best known for making critically acclaimed short films, television serials, documentaries as well as feature films. his first feature film, suddha (tulu), which was filmed in 2004 won the best indian film category at the 2006 osians cinefan festival ...
in a small village in south india, a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .
the director, who earlier won laurels for his tulu film suddha, talks about his award winning kannada film and more .
there have been attempts to empower children in matters relating to them the world over. the powerful makkala panchayat attempt at kundapur is one example and i had even made a documentary on it. i had heard about the bal panchayat experiment in rajasthan and children' s parliament in arnavayil village, tamil nadu as well .
in brazil' s barra mansa also, there is something called the children' s participatory budget council in their municipality. here elected children are allocated a budget where they get to decide on which areas they will spend it on. i felt the need for the spirit of these initiatives to be on celluloid and thus the film happened .
whether one wants or not, a child is made aware of politics at a very young age. what is important is the kind of politics they are exposed to .
cfsi is the distributor and interested people can obtain copies of the film from them. from my side, i am letting people know about the film through the internet. i am also working on sending this film to various film festivals .
take taare zameen par for instance. while i' m not sure if it is really a children' s film, it is considered so. i find that the structure, style and narration of the film are fine tuned to the star who is acting in it rather than the child. the mainstream rarely gets into the children' s film category as its a risky proposition financially .
therefore it has to piggy bank on a star, an animal, a supernatural element or a mythological character. if i want to make a feature film on a child desperate to prepare and eat gobi manchurian - - the dish that he likes - - i find it difficult to find private financiers .
my mantra for any film is to keep it simple, more so in the case of children' s film .
for starters, a separate national award for children' s films is encouraging. also karnataka government' s initiative of giving subsidies to childrens' films is a one of its kind in the country. further cfsi has been consistently producing children' s films over the years. they have also been dubbing them in various languages .
there is freedom in the usage of style and treatment that a director enjoys at cfsi. it also holds film festivals in association with local bodies for children. whether these films have reached a large section of children in india is a different question. there is reluctance on the part of the mainstream film distribution system to pick up films from cfsi and vice versa. this is very sad because the quality of some of the cfsi films is top class .
i decided to get into film - making after i saw girish' s gatashraddha. he has been consistently making films of his choice. his commitment towards the medium is unquestionable. people trust him to deliver. at some point in my life, i would like to achieve this status. he is an inspiration to many of us .
like i said girish kasaravalli. then there is aravindan, bunuel and kundan shah .
i believe that there are two ways of making a film - - either make films on one' s own strength or piggy bank on a popular name and thereby get finance to make the film. i prefer the former for there is little room for maneuvering when compared to the latter .
of the few recent mainstream kannada films that i have seen, i liked chaitaniya' s crisp narration in aa dinagalu. girish' s kanasemba kudureyanneri also impressed me with its non - linear structure. only girish could have pulled off such a film. also although i haven' t seen vimukthi, i admire sheshadri for having attempted a project like that .
also i have ensured that the dialogues are not the kind that adults would mouth. so i see no problem there. having said all this, i am also not for including dialogues just to create a dramatic edge so as to gain more applause .
yes. right from college days in udupi, i have been associated with theatre. i there on went to study in pune film institute and here i am today .
two feature length documentaries which have been in the making for eight - nine years are now on the verge of completion. meeyaru house is one of them. it is on the demolition of an ancient house and the memories and lifestyle that get buried with it .
the second one is mumbai montage. it is a montage of various personalities who have migrated to mumbai from karnataka. from former defense minister george fernandes to a semi - educated rag picker, many have been featured here .
besides these i am also collaborating on the screenplay of a film being made on the agricultural situation in india. i will also be directing it .
i guess they should do what sudhir mishra calls riyaz. make your film even while you are not making it !
m. s. reddy bhujangaraya sarma m. v. s. haranatha rao (dialogues )
as lord rama. it received the national film award for best children' s film .
the film has all child actors, about 3, 000 in number. they were chosen from 25 - 30 schools in and around hyderabad and secunderabad .
this article is issued from wikipedia - version of the 11 / 29 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
to mk raghavendra greetings. i have today sent you a dvd copy of my new feature film called' haal - e - kangaal (the bankrupts)'. i was wondering if you could see the film at your convenience and give an opinion on it. * * * * * * *
i watched your film and found it very interesting conceptually. but here are some critical comments :
it is a very personal film, i think, about the dreams film students have, the compromises they make and where they finally go. i would say that it is very, very pessimistic. it shows how most lives are actually wasted. 20 years after graduating people are forced to tell lies to those who were once closest to them – to look better than they are. it is also about the end of friendships
its difficulty is that it is too personal. it is like making a film only for those who have gone through the same experiences. there will be very few who will feel what you feel by watching your film – which should be your purpose .
the reason, i think, that you film remains too personal to be effective with any kind of general audience is the format. a film as a conversation between two people is ok but then too much pressure will be put on the actors – which they should be able to handle .
i don’t think your actors are capable of holding the audience’s attention. an outside person will not find them interesting. in a film school and hostel you would have become involved with ordinary people in deep relationships. but such relationships evolve over two to three years. you can’t use ‘ordinary’ people as actors because they have to become interesting to us – hold our attention – from the very first frame. you actors are too ‘average’ as people to do that .
the script is ‘realistic’ in the sense this is the way people actually talk, this is what happens in real life. but cinema cannot be realistic in that way. cinema must also be expressive. it cannot show such ordinary things like people farting and shitting and expect audiences to be interested. you script would have had to be much sharper, come to the emotional gist and give much more emphasis wherever required. there would have to be exaggerations .
there is very little art direction. here again, you seem to be showing people dressing like this and having such a location because that is ‘real’. but this makes the visuals very dull. i am not saying that you should have posh clothes / location but that the locations / costumes have to express something. you should also develop your characters to make them interesting as characters different from each other and dress very differently. here it looks like the actors have come to the location wearing whatever they have. both actors look ordinary and are boring as people .
trips should have been more interesting – given his professed experiences. (is he based on the utpal dutt character in ray’s agantuk ?) but he comes across unconvincingly. no person with so many experiences could be so dull. he does not hold our attention even for a moment – which is necessary. if he is lying, lokesh does not seem disbelieving as he should have .
the story maternity leave is a confusing story and, i think, cannot make a good film script. since so much time is spent relating it, all this time looks badly spent .
to convey what you are trying to say, which is deeply felt, you need to distort, use techniques which are not simply realist. the camera would also need to be used more creatively .
j) the best moment in the film is when lokesh brushes his teeth and trips says anu doesn' t like the taste of nicotine. that is very expressive .
thank you for taking time off and watching the film and making an effort to write your opinion on it. the sum of your opinion seem to be this: - it has a limited audience because it is a personal film, a pessimistic film, and the format does not work because the actors in the film cannot hold attention. the script, camera, characterization and art direction are realistic with out any exaggeration or distortions; and hence dull. correct me if i am wrong. can you throw some light on what do you mean when you say that your actors are too average as people or look ordinary and boring as people? does it mean they are bad actors, or does it mean their characters are boring and average ?
1. i think the dialogues and actions are too full of the mundane. any artistic venture needs to eliminate the mundane .
2. this handicaps the actors. their personal charisma might have contributed / compensated but they are not able to do this. 3. they may not be bad actors by themselves but they do not give arresting performances - necessary, given the fact that nothing except the two occupy screen time. 4. the actor who plays lokesh sounds / looks better in the youtube clip where he talks abut the film than in the film itself. in the film he could have been more relaxed. 5. when i say that it has a limited audience i mean that it is too private a film. it is unlikely to mean to other people what it obviously means to you .
dear mk raghavendra thanks again for the clarification. i think i now am beginning to figure out what do you mean by realistic / mundane. i did see agunthuk when it was first made. it occurred to me that there could be a bit of similarity when a cinephile friend of mine told me so. the characters in the film are a combination of the characters of a few people, i think, i know. i also am of the opinion that a film need not necessarily mean the same thing to other people what it means to the director. i have a blog, which i write occasionally. can i post this opinion of yours on it ?
so, here is it - the other point of view seen from the prism of film realism .
it is a prism that i had kept at an arms distance, when i was making haal - e - kangaal .
naveen sunag is an independent film maker based out of uk. he is a graduate from the vgik film school in russia. his views after watching the film the bankrupts (haal - e - kangaal): -
the bankruts (haal - e – kangal), a film made by dear friend, film maker p. n. ramchandra effectively narrates the intellectual ,
emotional, ethical, cultural, professional so on and so forth, bankruptcy of the society .
it is a productive piece that shows the decadence of the present world around us. a world of adjustments, easily jumping to conclusion and passing on judgements on one another .
needless to say both actors have done good justice to the characters they have played. in all the film engages the audience well and the content of the film makes them sit back and watch till the end .
thanks ram for making such a beautiful film and let me watch it .
recently, chaitra acharya, asked me a few questions regarding tulu cinema, on which she is doing research. here is the response .
' i do not hold a brief for tulu movies, except the fact that i originally hail from a tulu speaking area of karnataka, i am sympathetic to the cause of tulu films and my first feature film is in this language. i do believe that more and more films should be supported, made and exhibited in regional languages like bhojpuri, awadi, konkani, tulu etc. . - films that reflect the unique multiple cultures that these languages represents .
it is often said that language is inseparable from culture. destroy a language and you have destroyed its culture. the tulu people, though living in only two districts of the state of karnataka in india take pride in their language. among other things, it is a home to a matrilineal system of family, it is rich in its oral traditions especially the epics, the literacy rate here is almost 100% , it is environmentally rich and traditionally, more than the gods that we know of, it is the humane but benevolent sprits who are being worshiped here. despite its negotiations with globalization, the distinct nature of the tuluva culture is still noticeable .
the foot print of the tulu film industry, if there is one, is just two tulu speaking districts .
although there are sizeable number of tulu speaking people in bangalore, mumbai and even in the middle east, these centers could at best be a secondary market for the tulu film industry .
since the money invested in a tulu film would come from its limited local audience, the making costs of such a film too would have to be limited. the budget of many tulu films work around the subsidy that the government of karnataka gives for films made in the state .
of late, i have been told that the making cost of a tulu film has increased and that there are investors who are willing to pump in heavy money, thanks to the monetary success of a few tulu films. i have my doubts if the limited audience the industry has would sustain such heavy budgets in the long run, as we see has happened in bhojpuri films .
i see the development of tulu films in the following possible paths. initially, the tulu films found its support base in chennai, as the entire kannada film industry was based there. the tamil films during those days were know for their melodrama, and the tulu films made by tuluva migrants involved with filmmaking there, mirrored this .
this continued even when the kannada film industry gradually sifted to bangalore, and when tuluva migrants involved in the kannada film industry in bangalore started to make tulu films. there are other set of filmmakers who were the tuluvas working in the action department in the mumbai film industry. they too made tulu films, mainly to be in touch with their culture. so, the films they made were mainly action oriented .
but the imputes to the tulu film industry, i would like to believe, came from within - from mangalore and other centers in coastal karnataka. locals took up to making tulu films, taking this as a semi - profession. they probably has other business or professional interests to look after, but within their own limits they tried to consistently make tulu films .
and finally, off late, there are semi professional theater actors who have ventured into film making, taking off from where they left in their highly successful comic stage plays. they have managed to bring in the audience back to the screens, for they have their own loyal following in theater. how long will this trend last, only time would tell .
i do not believe that there is a tulu way of film making or for that matter a kannada way of film making or a hindi way of film making. there could be an indian way of film making that borrows heavily from natyashastra, the ancient treatise for performing arts .
many of the formal devices prescribed in the natyashastra are found in most indian films, including tulu films - insistence on incorporating all the rasas (roughly translated, emotions) and focusing on one, the characterizations, the structure and even the use of music, song and dance etc ...
as far as the content goes, with some exceptions, tulu films have not really reflected upon the socio - economic and environmental developments of the area, over the years. although there are a few films made based on the tulu folk lore, bringing tulu culture into tulu cinema has normally come to mean that you show tulu landscapes, traditional practices and rituals .
it is only when tulu cinema dwells on the issues that the tulu land is presently dealing with, that there could be a truly tulu way of film making - issues pertaining to indiscriminate use of natural resources, caste equations, the impact the industry has had on environment and the displacement it causes, the growing intolerance in an increasingly polarizing world etc. .'
nostalgia sucks, but for some strange reason, i have cut one frame of the negative film of an unused take of my diploma film that i had done at the film and tv institute of india (ftii) in 1990 and i have preserved it over the years. a diploma film is the final exercise that any student does at ftii .
my film' s name was gotala (the mess) and since it was in black and white, it was 30 minutes in length. the ones who choose color then, had to go only up to 20 minutes .
again for some strange reason, mathi azhagan the cameraman who shot my diploma film had preserved a copy of the script of gotala for all these years. mathi was a faculty in the cinematography department at ftii when i was studying. he had just graduated from the state film school in chennai and he had already shot my song exercise .
in 2009, i had been to the lv prasad film institute to conduct a documentary film workshop. mathi was a faculty here. i had lunch at his house, after which he carefully opened a file from a cupboard and showed me the contents. it was a copy of my script and shot breakdown of gotala. he treated it as something valuable. you can down load the script
i myself see gotala, today, with mixed feelings. believe it or not, the plot goes like this, lord krishna comes down to earth to supply some trishuls (an ancient indian weapon) to a group of fundamentalists who call themselves' pandurangists'. in the process of doing so, he falls in love with a lady and takes her back into the skies .
i wanted a title song recorded for the film, which was supposed to be the anthem of the' pandurangist'. i met a few music directors in pune, but things did not work out. there was a person in udupi, my home town, with whom i had participated in a theater workshop. he knew singing and accompanied it by playing the harmonium .
i went to his house situated in a temple premises in a village near udupi to ask him if he can compose the song. he read the script, looked up with a grim face and sternly said something like this,' you do know what they did to salamn rushdie, don' t you? would you like it if we also do the same thing here? you guys will learn a lesson, if we also do it here .
i was taken aback. he was otherwise very friendly and amicable. but he got offended by this modern version of' krishna leela' or the' play of lord krishna'. it was a time when the implications of different versions of our epics had not yet taken the overt political tone that it has now taken. it was a year since ayatollah khomeini had issued a fatwa calling for the death of rushdie for his wok' satanic verses' .
two years later the babri masjid mosque at the disputed ram janabhoomi (birth place of lord ram) site was demolished in frenzy by right wing groups after a ceremonial procession centered around a chariot carrying the image of ram went all over india and culminated in ayodhya, the place of the site .
i came back to pune, convinced in my mind that there won' t be any song in the film. thanks to my sound recordist chandidas mishra' s initiative, the night before the shooting, we recorded the song sung and composed by nirmal pandey, who also acted in the film. nirmal' s theater stint with bv karanth helped him do this .
i completed the film and went back home, since i was the first one in the schedule. sharmaji was the head of production at that time. when i came back after a few months, he told me that the film will not get a censor certificate because of its content. i do not remember if he meant that the institute did not sent it for certification at all; or if it was sent and was rejected .
without a censor certificate, the film was not considered for the national awards or the international film festival of india. it was shown at the initial versions of the mumbai short and documentary film festival, of which one of the curators was amrit gangar. that was about it, as far as teh film goes .
i had a vhs copy of the film that got fungus infested. after many repairs, my vhs player too stopped working. ever since i dumped both of them, i have been wanting to go to the institute and make a digital copy of the film for myself, if nothing else just to see where is it that i had stared .
the script of gotala, as i see it now, is structurally a bit flawed. but as i read it again, it still haunts me. i am not sure that i can make it today into a feature film without aligning it to the conformist ideology of a film like
' indian cinema - form and content' is an essay i had written twenty six years back, while i was studying at the film and tv institute of india. this exercise was a part of our course, where we had to write something about sociology of indian cinema .
anil zankar was my supervisor on this one. i remember while in my third year he asked me if he could publish parts of this in a marathi language book that he was editing on indian cinema .
i found this in the attic of our house in udupi, my home town. the version uploaded in the one that has been typed, if i remember well, by the tutorial section at the ftii. i have scanned it as i have found it - so it has some typo errors, some spelling errors and the likes .
i am now amused by certain assumptions that i have made, but the essay makes a broad point that indian films over the years have not come out of the mythological framework that has been thrust upon them ever since we have seen and known cinema a century ago, both in form and content. hence, the regressive nature of our mainstream cinema .
i still stick by this broad point, more so when i see recently released films like' bajrang baijaan' or' msg: the messenger' .
it was clear during the very conception of the film' haal - e - kangaal' (the bankrupts) that it would be difficult to find a conventional release for it. despite this, the small crew that the film had, did get enrolled into the making of this film. they found it worth giving their time and effort for the film and i am thankful for them .
we shot the film in 2013, had a rough cut in 2013 itself. i then met a producer who had once asked me to come to him, if i had an edit in hand. it would be easier to for him to' pick' the film because half the work was already done. he met me, heard me patiently and told me that he would be needing a minimum of 25 lakhs of rupees to be put into publicity and marketing for any film to have a conventional release, however limited it maybe .
' if i had that kind of money, i would put it into real estate', he added. very logical. he already had two such small films that he was involved with, as a co - producer - either he had supplied his equipments to the film making team or let them use his post production facilities .
small films act as fillers between two big films in multiplexes. many times they are given non - viable slots for exhibition and sometimes i wonder if even the electricity cost of the exhibitor of that particular screening would be covered at all, with such small films .
so, i participated in the market section of the mumbai film festival conducted by the mumbai academy of motion pictures (mami) in 2013 where i had about twenty meetings with prospective buyers, distributors etc. .
the game was to chase these people during the three to four days the event was held and pitch the film in five - ten minutes, to each of them. some people did take a liking to the project, asked me to follow up and i when followed up, emails were not replied .
' work - in - progress' lab at the international film festival in goa did not select this film. the few existing international post - production grants followed suit; the nerves started getting into me .
i had shown this film to a few friends, who were fired up after watching the film. some said, it was too verbal, but it portrayed the reality of the film industry, the subject matter of the film. others said, it was a bit too long. some liked one actor' s performance, while some others preferred the other actor. some liked the unsettling structure that was employed in the film, some asked me,' why?' .
taking this interactive process to the next level, i showed the rough cut of the film to the second year direction students at the film and tv institute of india, thanks to sandeep chaterjee, head of the department of direction at the institute; and to the manipal school of communication students who were conducting a film festival under the guidance of hs shubha .
based on the reaction and feedback that i received, i made certain changes in the film, mainly incorporating certain jump cuts into the structure of the film .
satisfied, i finalised the sound in march 2015. that' s when i gathered the courage to send the film to film festivals. while i was waiting for some of these film festivals to respond, it occurred to me that i should arrange some screenings of this completed film, albeit at alternative screening venues .
so, i thought i should have a whirlwind tour of karnataka with' haal - e - kangaal' (the bankrupts) using the same network .
, into screening the film in kalamandira, one of the biggest halls in mysore. they took aid from the karnataka chalachitra academy. the academy helps film societies in karnataka to screen movies that are deprived of mainstream theaters .
so, on 13th of august 2015 the bankrupts (haal - e - kangaal) had its premiere in mysore .
lakshminarayana lauded the techniques used in the film, opined that there were many extraneous elements that were packed in the film. later on during dinner time, i asked him if these extraneous elements overshadowed the main concern of the film, he vehemently denied, saying that these were essential to the very nature of the film and to what it proposes to says .
the next day, there was one a show in bangalore at the indian institute of human settlement (iihs). filmmaker subasri krishnan heads the media lab of iihs. when i wrote to her to ask her if they would want to screen the film at the iihs, she had instantly agreed. i was pleasantly surprised as i thought they have a history of showing documentaries and not fictional work .
matthu kanaja' (fig fruits and the wasps) is making its film festival rounds presently, helped arrange a screening at the' kv subanna aapta mandira' (kv subanna intimate theater) at bangalore on the 16th of august, through the film study circle run by samuha gopinath.
putaani party ( kannada : ಪುಟಾಣಿ ಪಾರ ಟಿ , english : the kid gang ) is a 2009 kannada language feature film . produced by children 's film society , india , the film was shot in a village called honnapura situated near the town of dharwad in south india . the film uses local actors , most of them first timers who are new to the medium of films . the film has a particular dialect of kannada that is spoken by a few in that part of india . this film has been scripted and directed by ramchandra pn , a graduate of the film and television institute of india , pune . his earlier film suddha had won the best indian film at the osian 's cinefan festival of asian films , new delhi , 2007 . putaani party is his second feature film and his first in kannada language . 
putaani party (kannada: ಪುಟಾಣಿ ಪಾರ ಟಿ, english: the kid gang) is a 2009 kannada language feature film. produced by children's film society, india, the film was shot in a village called honnapura situated near the town of dharwad in south india. the film uses local actors, most of them first timers who are new to the medium of films. the film has a particular dialect of kannada that is spoken by a few in that part of india. this film has been scripted and directed by ramchandra pn, a graduate of the film and television institute of india, pune. his earlier film suddha had won the best indian film at the osian's cinefan festival of asian films, new delhi, 2007. putaani party is his second feature film and his first in kannada language.
putaani party (kannada: ಪುಟಾಣಿ ಪಾರ ಟಿ, english: the kid gang) is a 2009 kannada language feature film. produced by children's film society, india, the film was shot in a village called honnapura situated near the town of dharwad in south india. the film uses local actors, most of them first timers who are new to the medium of films. the film has a particular dialect of kannada that is spoken by a few in that part of india. this film has been scripted and directed by ramchandra pn, a graduate of the film and television institute of india, pune. his earlier film suddha had won the best indian film at the osian's cinefan festival of asian films, new delhi, 2007. putaani party is his second feature film and his first in kannada language.