happy journey ( 2014 malayalam film )
note - happy journey is playing with english subtitles and it is currently into its 5th week of theatrical run .
new issue of [ in ] transition: a journal of videographic film studies 1. 2, 2014
verdict with a better second half, happy journey could have marked its spot in the list of good movies released in the year so far. the movie stays average which can be watched with less expectations. for the last word, the journey which has been termed happy is not that happy by the end .
for his next, rajesh will associate with screenplay writer arunlal ramachandran, who has penned thank you (2013) and happy journey (2014). santhosh thundiyil, the bollywood cinematographer of kuch kuch hota hai (1998), jai ho (2014) and main gabbar (2015), will lead the photography section .
preceding issue of offscreen (18. 3, march 2014) on memory, cinema and time
aparna gopinath is a malayalam film actress and theatre artist who hails from chennai. she debuted in the film abcd: american - born confused desi .
the cast and crew of farah khan' s 2014 film happy new year convened to begin filming in september 2013. they began with a much - publicized shoot and press conference in dubai then came back to mumbai and mehboob studios and environs .
discover the top 50 malayalam movies as rated by imdb users – from all - time favorites to recent hits .
‘happy journey’ narrates the life journey of aaron (jayasurya), his struggles and how his positive attitude towards life makes miraculous changes in his life. aaron is an ardent lover and player of cricket. from his childhood he used to play on the mattancherry cricket ground. even when he lost ...
ttk prestige - vanitha film awards: shobhana, prithviraj win best actor, actress awards. urltoken (2014 - 01 - 20). retrieved on 2016 - 01 - 26 .
anjali menon’s bangalore days, a malayalam film is making waves at the box - office and is turning out to be one of the biggest hits in history of malayalam cinema. bangalore days features the generation next of malayalam cinema actors, dulquer salmaan (superstar mammootty’s son), fahadh faasil (veteran director fazil’s son), nivin pauly, nazriya nazim, parvathy menon, isha talwar and nithya menen .
rajinikanth then worked in p. vasu’s ‘kuselan’, a remake of the malayalam film ‘kadha parayumbol’. the actor did a cameo in the film, however, it performed very poorly at the box office .
but barring these few drawbacks, director sachin kundalkar ‘s happy journey is a largely enjoyable and appealing fare. it is also refreshing to see a marathi film after a while which thankfully does not have children as its protagonists unlike the prevailing trend. as this year comes to an end, i can safely assure that happy journey would easily rank amongst the best marathi films i saw this year. do make that trip to the theater, it would be worth your money and time .
story the story of happy journey is all about aaron (jayasurya) and his life journey. the story unfolds through flashback scenes narrated by aaron to siya sidharth (aparna gopinath), who he meets on a journey to chennai. aaron, son of alice (lena) is a hardcore cricket fanatic. knowing about his passion for cricket, alice seeks the help of john (sunil sukhada), a cricket coach, to train his son .
he was the president of rotary club of delhi ridge for the year 2013 - 2014, and has also traveled to 47 different countries around the world .
ashique usman will produce this venture, under the banner of milestone cinemas. ashique usman, who has funded for movies like arikil oral and happy journey, is said to be the reason behind the tie - up of arunlal and rajesh pillai for this next feature film .
combining the voices of the film critic, director, historian and more simply a malayali film buff, biju’s cinemayude yaathrakal is a happy blend of critical, fan and artiste discourses of cinema. it is uncommonly intriguing for the fascinating insider perspectives on malayalam cinema as also both for what it says and leaves unsaid about the popular .
happy journey is a 2014 marathi drama film directed by sachin kundalkar and produced by sanjay chhabria under the banner of everest entertainment. it features actors atul kulkarni and priya bapat in the lead roles. [ 2 ] [ 3 ] the story is about love of brother and sister, a sister who hardly has seen her brother in her life. so after her death her ghost shares her experiences and helps her brother and finally disappears .
relive some of the behind - the - scenes moments as happy new year moves into the post - production phase .
rajesh raman pillai, one of the most sought after director of malayalam film industry, is in discussions for his next malayalam venture. he has decided to cast his favorite pick kunchacko boban once again, and also he will join hands with jayasurya for the first time, who will play yet another other equally important lead role .
she also acted female lead in mamas' mannar mathai speaking 2 which is a sequel to 1995 cult comedy mannar mathai speaking and boban samuel' s happy journey starred jayasurya. she also acts as a junior journalist in director venu' s film munnariyippu starred mammootty which received rave reviews for her acting skills .
in 2014, a group of malayali nurses was captured when terrorists took over the city of tikrit in iraq. this movie recounts the ordeal suffered by the nurses following their capture .
the film was said to be the most expensive indian film ever made and became the highest - grossing film in the country at the time .
film director anjali menon’s films have been official selections at indian panorama & over 30 international film festivals .
“it’s about a young man’s inspirational journey to the big league; a young man who never perceives his disability as a handicap, ” says jayasurya .
the first essay on how malayalam cinema is perceived and evaluated globally is a fine piece of film criticism that does not limit itself to the aesthetics and texts of malayalam cinema but also analyses the bases of its production, circulation and reception. it is a trenchant critique of kerala’s commercial film culture that makes largely formulaic but hugely popular cinema, coming with the necessary rider that one however ought not to confuse the cinema industry with the art of cinema .
asianet best director & best popular film award 2015 vanitha best director & best popular film award 2015 asiavision director of most popular film 2014 national award for best screenplay (dialogues) 2012 kerala state award for best screenplay 2012 kerala film producers association award for best screenplay 2012 p. bhaskaran memorial award for best screenplay 2012 asianet best screenplay award 2012 vanitha best screenplay award 2012 jaihind best screenplay award 2012 reporter best screenplay award 2012 asiavision director of most artistic film 2012 best debut direction by a woman @ sacf new jersey, usa 2011 best screenplay | best director | best film @ south asian international film festival, new york 2009 netpac award for best malayalam film @ iffk 2009 pathbreaking film @ amrita film awards 2009 fipresci award @ iffk 2008 best indian debut director award – instituted by mira nair @ iffk 2008 finalist @ international young film entrepreneurs of india awards – british council 2007 2nd best short film at british film institute imagine - ­‐asia award 2002 kodak awards (5) for student commercials in uk in 2000 & 2001 best narration script by consortium of educational communication, new delhi, 1998
two years after giving the feel - good ‘janapriyan’ in 2011, jayasurya and boban samuel are all set to start their next project together. the film has been titled ‘happy journey’ and will see jayasurya in the role of a blind cricketer named aaron who loses his eyesight in the childhood courtesy an accident. however, he takes up the challenge of chasing his dreams despite his drawbacks .
bangalore days gives some substance to the contention that a new age has dawned in malayalam cinema. challenging the myth that women are only concerned with making issue - based cinema, menon has now created a new box - office record with her film .
the film however belongs to priya bapat. as the bold and outspoken girl who yearns for the attention of her brother, she is outstanding and undeniably holds the film in an author backed role. from playing minor roles in both the munnabhai films to playing secondary but important roles in films like mee shivajiraje bhosle boltoy and now to happy journey, she has indeed matured well as a performer. it would be interesting to see the kind of roles she does from hereon .
not just that, she has broken the myth that in malayalam cinema only a male director can deliver a commercial success at the box - office. in the past, yesteryear actresses vijaya nirmala (kavitha - 1973) and sheela (yakshaganam - 1976) and recently revathy varma (mad dad – 2012) tried their luck with directing films, but failed to create an impact. trade sources say that menon’s film has been able to attract the youth as well as family audiences, which is rare for a malayalam film .
we use cookies to ensure that we give you the best experience on our website. if you continue to use this site we will assume that you are happy with it .
the film, which released last friday (30 may) in 98 screens in kerala and 105 screens across the rest of india (mainly metro cities like mumbai, chennai, bangalore), has earned nearly rs 10 crore at the all india box - office, with a distributor share of rs 4 to 4. 5 crore in the very first week. this is phenomenal by any yardstick, as usually, malayalam films release simultaneously only in a dozen screens outside of kerala. the film has opened up new markets for malayalam cinema. menon has come out with a film which is young, vibrant, colourful and peppy and is attracting youth as well as family audiences .
the interest quotient in boban samuel' s' happy journey' remains the minimum, and at the end of it, its nothing more than a series of disparate scenes that try their best to hold together. it' s a bit sad, since the source material that the maker had in his hands could have evolved into something infinitely better, with perhaps a bit of a shift in perspective .
actors siju wilson, sharaffudeen, justin john and soubin shahir, all of whom rose to fame with their standout supporting acts in last year’s blockbuster romedy premam, star in the lead in happy wedding .
, the first feature film to be shot in the local language of sikkim .
with film scholar richard misek, creator of the feature length essay film rohmer in paris: urltoken. see his short video essay mapping rohmer here: urltoken .
a man comes home when his sister dies, and realizes that he has missed her life, and in many ways his own. he will literally be haunted by his loving sibling until he makes the journey back to happiness .
artist traces the journey of two artists michael agnelo (fahadh faasil), son of a goan businessman, and gayatri (ann augustine), who hails from a conservative brahmin family. gayatri... see full summary »
the second essay raises the pertinent question of why so many films in malayalam given the fact that in 2012 more than rs. 300 crores was spent on making cinema for what biju calls a miniscule state with a population of just 3. 33 crores .
besides exploring the brother sister relationship, the film in parts is a road movie, which is yet another genre that has been pathetically explored in our films. the only notable exceptions to this are perhaps films such as kacche dhaage and north 24 kaatham. road movies are essentially movies concerned with the idea of self - discovery, wherein often the premise of the physical journey undertaken by its protagonists serves as an excuse for them to overcome their demons and rediscover themselves in the process. but given the fact that we, the indian audiences are suckers for emotional manipulation and shallow melodrama, such films often resort to same and end up being preachy too. happy journey thankfully avoids resorting to such clichés or melodrama, though it occasionally resorts to some of it .
menon, born and educated in kozhikode, had moved to dubai and is now settled in mumbai. she started her career in 1997 with television and worked on various documentaries. her first film as a writer and director — manjadikuru (2008), the story of a 10 - year - old boy who returns to his village to attend the funeral of his grandfather — won her critical acclaim and awards. later, she was part of the anthology film kerala cafe (2009). she also directed the short film happy journey which got her recognition as a story teller. but it was with ustad hotel (2012) that she proved that she had the potential to make a commercial entertainer. she won the prestigious national award for ‘best screenplay’ in 2012 for the film .
prasad and sreeja enter wedlock and move to a new place to continue the rest of their lives. unfortunate events begin to take place after prasad, a small - time thief, robs sreeja' s gold chain during a bus journey .
born on january 6, 1966, as a s dileep kumar in chennai, a r rahman had a humble childhood. his father r k shekhar, was a film - score composer and conductor for tamil and malayalam films. as a four - year - old, rahman used to carry lunch for his father and watch him work. rahman’s first composition came at the mere age of nine when he accidentally played a tune on the piano in the presence of his father. later, the recording was converted into a full - fledged song ‘ vellithen kinnam pol’ by his father for the malayalam movie ‘ penpada’ .
a myriad faceted book, it offers an interesting probe into the korean auteur kim ki - duk’s films, the lessons to be learnt from iranian cinema and a comparative perspective of the tamil new generation movies, interspersed with highly original and thought provoking appraisals of malayalam cinema .
sk: you don’t have to work out. the film making itself is a workout .
the film is set mostly at night: the club she attends, the streets she walks, and on the bus she rides. unfortunately, there is not a fairy tale happy ending, but what would most likely occur to someone in a similar situation. on a low budget, dee rees makes bradford young’s photography even more mesmerizing than what he did before in the originally filmed short film of the early 2000s .
interested in blogging for urltoken we will be happy to have you on board as a blogger, if you have the knack for writing. just drop in a mail at toiblogs @ urltoken with a brief bio and we will get in touch with you .
the hard part was getting the movie screened; initially, the film was released in only 35 screens. “i suppose it happens to all small films that don’t have a star cast. theatres here are mighty reluctant to take them on, perhaps fearing bad collections. it was only after word spread about happy wedding [ mostly through word of mouth publicity and social media ] that the number of theatres rose to 130. that shouldn’t be the case. every film, big or small, deserves to be treated equally. there are a lot of talented youngsters out there and they all deserve a chance. the same goes for tv channels. at first they were reluctant to play the songs of our film but later acquiesced when it became a hit, ” says omar, as he signs off, a happy man .
nice review aditya! it was certainly refreshing to see such a treatment given to a marathi film .
in 1983, rajinikanth made his bollywood debut with ‘andha kanoon’ along with amitabh bachchan and hema malini. the film was well received and went on to become the highest - grossing film at that time .
after an award - winning debut, writer - director and co - founder of filmkaravan [ which has supported projects like superman of malegaon, sita sings the blues ] payal sethi is all set to kick off shooting her second film, leeches. the new - york bred filmmaker began her career under the tutelage of veteran director mira nair. she assisted on films as varied as the namesake, monsoon wedding, kabhi alvida naa kehna, before directing her first short, grant st. shaving co. , which won her recognition at film festivals abroad. payal speaks to mansi dutta about her upcoming film, her journey into film - making, what appeals to her about short films and more !
that film did not work out but ratnam signed him on for a new film which was to be produced by the veteran tamil director k balachander for his respected ‘kavithalayaa’ banner. that film was ‘ roja’. the tune rahman had played on meeting ratnam would become the song ‘ tamizha tamizha ‘ in ‘ roja ‘ .
a westerner' s appreciation for indian film - the stories, songs, and stars - without spoilers .
so have i lost it? why am i getting nostalgic instead of sharing my thoughts on a film? don’t worry but if you end up watching alphonse putharen ’s premam, there is no way that you can escape going back to your days in school, college and even beyond, most importantly remembering the various occasions when you probably were in ‘love’ in some form or the other. with his debut film neram (based on his own short film of the same name) alphonse putharen had created quite a stir by making a fun entertainer which worked equally well both in malayalam and tamil. so when his second film premam was announced with nivin pauly in the lead once again automatically the expectations were bound to be reasonably high. nothing much was revealed about the film as such during the making. and later from the promos and songs that were unveiled we could only gather that it could be a fun film and that nivin was playing the part of a teenager, nothing more than that. considering that even in a film like 1983 nivin had easily pulled off a role which saw him age gradually from 15 to 40 so wonderfully, this seemed to be quite in his zone indeed .
raindance has been delivering film training since 1992. a wide range of open classes to a 2 year hnd level 5 btec in moving images to a postgraduate film degree are delivered to students on five continents, both in person and online .
she spent two years serving as the ceo of jtpac kochi, and designed shows involving many celebrities. during her tenure there, she coordinated the biggest show for kochi city police called “aspirations” in addition to the “kochi music festival”. she also directed the 1 billion rising – a fight on atrocities against women and included participation from malayalam playback singers and other personalities from bollywood and cricket .
, although she remembers him fondly and misses his presence. often putting his family first and not being able to fulfil his personal desires has also made niranjan cynical and bitter. several years later, niranjan and janaki meet under some unusual circumstances giving them a chance to rediscover their relationship. they decide to embark on a roadtrip with the intent to mend their relationship and have an adventure of their own. what happens along the journey forms the crux of the film .
on his 50th birthday, we wish the musical magician a very happy birthday and hope to hear more of his soulful music for many many years to come! here’s a lovely interview of rahman from 1992, from the hugely popular dd series surabhi, which aired before he won his first national award for mani ratnam’s roja .
the deeply ironic essay on the relevance of cinema in film festivals, while offering a scathing criticism of the carnivalisation of film festivals, the vested interests of selection committees and flawed state machinery, puts forward opinions in a rather uncivil and individualistic tone .
‘basha’ went on to become a huge blockbuster and gained cult status, making him a demigod to his fans and followers. his film ‘muthu’ was the first tamil film to be dubbed into japanese as ‘muthu: the dancing maharajah’ became very popular in japan .
on her casting coup of bringing together the hot and happening young guns of malayalam films, menon said ,
all my actors were fabulous to work with as each of them knew their roles and there was terrific chemistry between them which showed on screen. i think i was able to package it well with the aid of a good technical team like music director gopi sundar and cameraman sameer thahir .
the honeymoon period continues for director omar lulu. his debut movie, happy wedding, for better or worse, is the sleeper hit of the season in mollywood. the no - brainer comedy is still running to packed houses across the state a month after its release and that’s without a star actor to push up the stakes at the box office .
dp: i think everyone has their own journey, their own ups and downs. everyone has their own challenges and i don’t know what it would be like for someone who has come from the film industry. i think i’ve been really fortunate. i’m glad that i was patient and waited for the right kind of films to come my way. shah rukh and gauri [ khan ] offered me on om shanti om at a point on my life and career that i thought i was ready to do films .
however, music soon became the only source of joy for rahman. dedicated and hard working, he learnt how to play several musical instruments under the guidance on m k arjunan (malayalam composer and close friend of his father) and began spending several hours with his musical instruments. as a kid, he was seen in doordarshan’s wonder balloon where he got popular for being the kid who could play four keyboards at once .
director boban samuel’s film, starring jayasurya as a visually challenged sportsperson, is a story of courage and resilience in the face of adversity .
shepitko’s last film before her death was this black and white soviet drama film—winner of the golden bear award at the 27th berlin international film festival in 1977. said to be one of the finest war films ever made, the ascent is set in the bleak winter of 1942, during world war ii, and follows two young soviet partisans as they search for food in a belarusian village, which was occupied by nazis .
since their first film together, rajinikanth and amitabh bachchan have shared a great friendship and worked together in hindi films such as ‘geraftaar’ and ‘hum’ .
a propaganda film considered by many as one of the best documentaries ever made, leni riefenstahl chronicles the 1934 nazi party congress in nuremberg, which was attended by more than 700, 000 nazi supporters. riefanstahl won instant international fame with this and the other propaganda films she directed in the 1930s. she was considered a pioneer of film and photographic techniques; after she filmed triumph, she was labeled by many as the greatest female filmmaker of the 20th century. her personal association with hitler (who actually commissioned this film) ruined her film career after germany’s defeat in world war ii .
film studies for free' s author interviewed film studies writer and thinker extraordinaire adrian martin. our conversation took place in the quietest spot we could find in the historic center of milan late on a world cup match night. we were both visiting that city for the conference of the network of european cinema and media studies (necs), and had been part of a workshop panel that day on videographic film studies, or
audiovisual approaches to audiovisual subjects .
we discussed adrian' s turn to audiovisual essays (many made with cristina álvarez lópez) as well as his work more generally, and talked about his new book mise en scène and film style: from classical hollywood to new media art (forthcoming from palgrave macmillan, later in 2014). adrian' s latest de filmkrant column' serve yourself' offers an extract from the book as a preview of it: the column is on - line here: urltoken. in the interview, adrian talks in detail about a particular audiovisual essay - - intimate catastrophes - - which he co - edited with cristina álavarez lópez for the transit: cine y otros desvíos website. also see
after mirabai films, i became a freelance ad, working on a friend soman chainani’s thesis film, and then karan johar’s kabhi alvida naa kehna. in the us, being an ad is a professional career track, unlike in india where it’s a stepping stone to directing. for about two years after kank, i worked on some incredible film festivals, including tribeca, ifp, hamptons & the ny indian film festival, in various capacities, from programmer to industry manager. the exposure to current films from all over the world was an immersion that cemented my passion for film - making .
ratcatcher is the debut feature film from scottish director lynne ramsay. set in a glasgow tenement block in the 1970s, against a backdrop of garbage accumulating during a “dustmen’s” strike. the film follows a young boy, james (william eadle), through a series of more or less connected episodes .
edited by christian keathley, the new issue examines some of the formal parameters in emergent videographic film and moving studies. it contains the following entries :
biju’s brief for art house cinemas and its crisis is poignant, especially in the light of rising commercialism and the politicisation of film associations and collectives .
who is the audience that you think this film will engage? this is not a documentary or a social - issue film in the sense that i use sham marriage merely as the backdrop for a story about a young girl & her fierce love for her sister. but since this is no ordinary girl her actions drive the plot towards strange & unpredictable outcomes, and the climax, well, i hope you will watch the film & see for yourself .
a. r. rahman a. sreekar prasad aamir khan academy award aditya chopra akshay kumar alia bhatt amitabh bachchan amit trivedi anthony anupam kher anurag kashyap anushka sharma bengali cinema bijibal bollywood brahmanandam deepika padukone dhanush dvd eros international fahadh faasil farhan akhtar film g. v. prakash kumar gopi sunder hollywood home entertainment services by sony dadc india indie films irrfan khan kannada cinema karan johar kareena kapoor malayalam cinema mami mammootty mani ratnam marathi cinema mff mohanlal movie review movies mumbai mumbai film festival naseeruddin shah nassar nawazuddin siddiqui nivin pauly phantom films prakash raj pritam prithviraj priyanka chopra ranbir kapoor ranveer singh rishi kapoor saif ali khan salman khan santosh sivan shah rukh khan siddharth roy kapur sonakshi sinha sony dadc srk tamil cinema telugu cinema trailer utv motion pictures vijay sethupathi vikramaditya motwane yash chopra yash raj films yrf yuvan shankar raja
the music of ‘ roja ‘ was a runaway success. and the rest, as they say, is history. the film won rahman the rajat kamal award for best music director at the national film awards. this was history in itself, with the honour being given the first time ever to a first - time film composer. since then, rahman has gone on to win the national award 3 more times, the most ever by any music composer .
from and through all of this, we felt the sense of love, camraderie, joy and enthusiasm for creating a film experience that is truly special .
however, the film failed to live up to the expectations of his fans due to a weak script, which was written by rajinikanth himself. this was rajinikanth’s second failure as a screenwriter after ‘valli’. though the film covered its budget, it was considered a huge loss when compared to his other work .
during one of his onstage performances at the institute, tamil film director k balachander noticed him and advised him to learn tamil, which rajinikanth followed without delay .
it is now 2005 and george is in college along with his buddies koya and shambu and they are the typical back benchers, visible more outside the classroom than inside. ever eager to get into a fight and move around carefree, things take a different turn for george the very moment he meets their new guest faculty member malar (sai pallavi), who hails from kodaikanal. george doesn’t try anything heroic in front of malar; he is happy for a change to simply be seen around by malar and slowly even she appears to be looking at him as more than just her student. just when things were looking perfect, an unexpected disaster strikes, leaving george shattered. time flies and now we quickly cut to the present where a 30 year old george is a successful entrepreneur, running a cafe in fort kochi. his friends are still around him, and his journey continues .
4. the passion of joan of arc (not rated; 82 minutes; silent film w / english or french captioning) made in 1928, this masterpiece of a film was lost until it was rediscovered in a mental institution in the early 1980s. this silent film features a beautiful (and optional) orchestral soundtrack by richard einhorn that was inspired by this film and plays throughout. like with any silent movie, it helps to be plenty awake and alert before attempting to watch it, but this film is so spectacular that it ranks highly in my list. the camerawork was (and still is) revolutionary, with much of the film made up of extreme closeups of maria falconetti’s face as she portrays st. joan (the only role she ever played). the emotion she is able to convey without speaking is a miracle in and of itself. the plot for the story is taken directly from the “transcripts” of the trial of st. joan of arc .
35 shots of rum is described by some as “an intimate family study. ” the film tells the story of widower lionel, a rer driver in paris, and his isolated life with his daughter josephine, with whom he shares a very special bond. the two dwell in an apartment building in the suburbs in which another “couple” also live; the film drives the audience into questioning the relationship and interactions between the four of them. claire denis doesn’t treat this film as a lesson because the film’s diegesis is a world to which everyone can relate. it is a treat for the audience to observe these characters without the necessity of a conventional plot .
genial actor jayasurya is riding high on two successive hits – philips and the monkey pen and punyalan agarbathis. naturally, he is gung ho about this film too .
raindance’s ‘top 25 films by women directors’. . and mine - [... ] the 25 best films directed by female film directors [... ]
a lover of all things creative and happy, sanchari is a biotech engineer who fell in love with writing and decided to make it her profession. she is also a die - hard foodie, a pet - crazy human, a passionate history buff and an ardent lover of books. when she is not busy at the better india, she can usually be found reading, laughing at silly cat videos and binge - watching tv seasons .
after film school, i started working with mira nair as her assistant, and slowly grew through the ranks of mirabai films, over four lovely years. i had declined admission to the columbia mfa to work with her, because the dean at the time assured me it would be the best film school for me. he was very right .
sk: yeah, i think being from outside the film industry, i had no method to become a movie star, i just did whatever made me happy. doing a little bit of english theatre – to me i just wanted to act. i did a love story after six / seven years of being in the film industry which is normally the starting point for most people. so it turned out well for me and i truly believe – and that’s the maxim i go by – having seen both sides of the world – i come from a lower - middle - class background – having seen both sides of the world, i’ve been treated in a very special way because i’ve become a movie star and being very ordinary. so i truly believe in the maxim that it’s not special to be special, but it’s special to be ordinary. and that’s what this film and every aspect of work is, an extension of a personality, and i believe that .
the director insists that the success of his film is not a fluke. “we had an inkling that the film would do well while we were filming itself. the cast and crew used to crack up with laughter whenever we filmed a comedy scene. the same happened when the film went in for post production and it had the editing / sound team in fits, ” says omar. a native of mundur, thrissur, omar is a civil engineer and construction firm owner, who taught himself direction through online tutorials .
set in tokyo, lost in translation tells the tale of an aging actor named bob harris (bill murray), who travels to japan to film an advertisement. while there, bob meets charlotte (scarlett johansson), the lonely wife of a celebrity photographer on assignment. the film struggles with two different situations that slowly lead to a friendship .
aarsa world premiere 2016 | india | 18 mins | english cast: aditi bhagwat, manav chauhan, charudatta bhagwat, parthaa akerkar, suhita thatte synopsis: the story of raju, an unnoticed dance studio caretaker whose love for a beautiful dance instructor ignites his journey of self identity about the director: kawa hatef was born in kabul, afghanistan in 1983 during the soviet invasion. in 1986 he and his family immigrated to california as refugees. he received his ba in film & digital media studies at uc santa cruz (' 07). kawa has worn many hats in the film world, mostly as an editor on short films, assistant editor on award winning documentaries (watcher of the sky) and even as the producer of the off - broadway play (wish i had a sylvia plath). recently kawa traveled to afghanistan to develop and shoot his short film for honor, and to mumbai, india where he made the short film aarsa. his experiences as an “outsider” influence many of his stories. he has a great love for nature and history and is incredibly passionate about telling stories about those often neglected and hopes to always tell interesting stories, about interesting people, in an interesting way .
a film - maker that inspires you the most? i could never pick just one, because there are aspects of each person’s film - making technique that inspire me. here are some, in no particular order. mira nair, cristian mungiu, asghar farhadi, pedro almodovar, emir kusturica, jeunet & caro. i could go on and on .
the film is being produced by aashiq usman, under the banner of milestone cinemas. mahesh raj is the cinematographer and gopi sundar is the music director. stills are by antony .
a westerner' s appreciation for indian film - stories, songs, stars. if you' re new to bollywood, this is a great place to start. no spoilers .
sk: i think because our films – the popular part of cinema – about 900 films, 50% would be the popular part of it. it requires a lot more in one film – you know we don’t have a linear style of storytelling or character - driven films all the time. like i said, there’s a cabaret system of film - making .
the film deals with the story of one of the most dreaded black magicians in the world, odiyan, who ruled the darkness of night during the pre - electrification era in kerala .
rajinikanth’s next release, ‘kochadaiiyaan’, was announced in november 2011. directed by the superstar’s daughter soundarya, the film is said to be the first of its kind in the country and expectations are sky - high, especially since its release has been postponed more than just a few times. and this will be his comeback film after a long hiatus of almost three years .
chytilová wrote and directed this czechoslovak comedy - drama film and turned it into a milestone of the nová vlna (czech new wave) movement, making it the second film by the only female in it. it follows the story of two girls named marie who engage in a series of adolescent adventures. there’s really not much of a plot, as the director’s hand in it clearly wishes to make the film itself an experience, with brutally colorful imagery, random sequences with no apparent structure, music and sound often randomly appearing with no reasoning within a scene .
he made a comeback with ‘billa’, which was remake of bollywood film, ‘don’. his double role made the film a huge commercial success. ‘billa’ was followed by a row of hits like ‘murattukaalai’, ‘pokkiri raja’, ‘thanikattu raja’, ‘naan mahaan alla’, ‘pudukavithai’ and moondru mugam. k. balachander’s first home production, ‘netrikan’ proved to be yet another milestone in rajinikanth’s career .
the hitch - hiker was her first fast - moving film, a film noir about two fishing buddies who pick up a hitchhiker while on a trip to mexico. based on the true story of psychopathic murderer billy cook, the two men must survive a hostage situation where escape seems impossible. (an incredible detail is that they are located in the desert, but are constantly confined to small spaces .) arguably, hitch - hiker is lupino’s best film, and the only true noir directed by a woman, with emotional sensitivity and class performances by the three protagonists .
there’s a background story to this film that is particularly interesting: the creators gathered children from bombay and interviewed them about their lives, experiences, and the places they lived. these children weren’t taught how to act, but how to behave naturally in front of a camera. the film chronicles their day - to - day life thus it needed to be as real as possible .
that brings us to the three ladies in the film, all of whom enter george’s life at different periods in time. while anupama parmeshwaran is effective as the school going mary george who has all the boys in her neighbourhood vying for her attention, madonna sebastian (a popular singer) plays celina with a lot of grace and charm. and then there’s sai pallavi who plays malar so effectively that you cannot but feel happy seeing george falling head over heels in love with her. an acclaimed dancer herself, alphonse putharen makes use of her talent, weaving it into the plot in a very natural manner. of the three it is malar who leaves the best impression, both on george and the audience, remarkable for her debut film. it wouldn’t be a surprise to see anupama, sai and madonna being in demand from hereon, kudos to alphonse putharen for providing them with a base .
the catholic church and the movie industry have a relationship that goes back almost 100 years, to the beginning of film itself. beginning with the legion of decency, the church has long played an impactful role in hollywood that continues to this day, with a priest serving as a member of the appeals board of the motion picture association of america. even the united states conference of catholic bishops has partnered with catholic news service to create the office for film and broadcasting, where movies are reviewed and rated according to their morality. but the church does not merely stand apart from film, casting judgment. the church is frequently the topic of film – for good and for ill. for this article, i decided to focus on films that portrayed the lives of saints .
we use cookies to ensure that we give you the best experience on our website. this includes cookies from third party social media websites and ad networks. such third party cookies may track your use on filmibeat sites for better rendering. our partners use cookies to ensure we show you advertising that is relevant to you. if you continue without changing your settings, we' ll assume that you are happy to receive all cookies on filmibeat website. however, you can change your cookie settings at any time. learn more
indian cinema has hardly depicted the character of a younger sister beyond the hackneyed and clichéd norms of our cinema, giving such characters little or no personality at all. rarely has indian cinema explored the brother sister bond as well as this film does. this is one of the foremost reasons why the film largely works. be it sharing the most intimate secrets or helping to pursue the woman you love. there is a refreshing honesty in the way the bond of the siblings has been depicted in the film. never before has the character of a sister depicted in such a way, especially in marathi movies. it is often said that your siblings are one of your best and the first friends you ever make in your life. the film also puts across this point rather subtly through its proceedings .
um, what? not one mary haron film? american psycho, probably one of the most visually stunning and difficult endictments of the extreme sexism of an era. why does a film have to be a documentary or a drama or a war film to be
inspiring ,
? why can' t women be inspired to create works of art across genres? i feel like this list perpetuates the stereotype that
women can' t be funny .
i guess when we look at genre films, women comedy directors and women directors of suspense and horror films are pretty thin on the ground .
some of his hits in the 80s included ‘padikkathavan’, ‘thee’, ‘velaikaran’, ‘dharmathin thalaivan’, ‘mr. bharath’, and ‘maaveeran’. his 100th film ‘sri raghavendra’ saw him playing the hindu saint raghavendra swami .
you went the traditional way to fund your first film / short. it was backed by mira nair. why did you choose to crowd - fund this one? actually, we crowd - funded the post - production of my first film as well, through fiscal sponsorship, which we received through fractured atlas. we just didn’t know it was crowd - funding back then. mira was one of the first to pitch in, and with an incredibly generous contribution. her support to grant st. shaving co. was wonderful, on so many levels. [ you can watch her short film here ] .
this exceptional war film, which portrays the story of a three - man bomb disposal team during the iraq war, guaranteed bigelow’s accomplishment as first woman to win the academy award for best director in 2009 .
by placing itself squarely in the middle of many of the key debates in contemporary film cultures and practices in kerala, this book makes itself a must - read for the common reader and the academically inclined .
in fact, he says, he’d never even been to a film set before he started work on happy wedding. “i’ve always been a huge fan of cinema and have always wanted to be a part of the industry. while in college my friends and i used to make shorts and that’s the only experience i have had, really. several of the world’s best directors have uploaded masterclasses on the art of direction, all of which i studied diligently. also, nowadays, many apps for filmmaking are available, which guide you with everything from positioning down to the lighting of each shot. it helped that the producer (nazir ali) was a friend and allowed me much leeway. the actual filmmaking was actually the easy part, ” he explains .
jayasurya is on a high these days after giving successive hits through ‘philips and the monkey pen’ and ‘punyaalan agarbathis’. the film has been scripted by arun lal who had penned for 10. 30 am local call .
anjali menon’s films have been official selections at indian panorama & over 30 international film festivals in uk, usa, canada, france, netherlands, germany, switzerland, ireland, turkey, uae & south africa .
sethu, that’s a fine review. does this film has a tamil version or is it released with english subtitles. however talented nivin is, don’t you think he’s typecast as this fun loving school college kid ?
born to a linguistics lecturer and a journalist, paakhi a. tyrewala has worked behind the camera as well as in front of it. she has been part of the indian film industry as an actor and writer.
happy journey is a 2014 malayalam drama film written by arunlal ramachandran and directed by boban samuel , starring jayasurya , aparna gopinath and lal . the film is produced by ashiq usman under the banner of milestone cinemas and features music composed by gopi sunder , whilst cinematography is handled by mahesh raj and is edited by lijo paul . 
happy journey is a 2014 malayalam drama film written by arunlal ramachandran and directed by boban samuel, starring jayasurya, aparna gopinath and lal. the film is produced by ashiq usman under the banner of milestone cinemas and features music composed by gopi sunder, whilst cinematography is handled by mahesh raj and is edited by lijo paul.
happy journey is a 2014 malayalam drama film written by arunlal ramachandran and directed by boban samuel, starring jayasurya, aparna gopinath and lal. the film is produced by ashiq usman under the banner of milestone cinemas and features music composed by gopi sunder, whilst cinematography is handled by mahesh raj and is edited by lijo paul.