bommai kalyanam
download bommai songs, download bommai songs tamil, bommai mp3 free download, bommai songs, bommai songs download, tamil songs. former water resources minister basavaraj bommai, also from bjp, said:' the supervisory committee meeting on monday is crucial for karnataka. search for' bommai' on amazon. com. title: bommai (1963) .
free wallpapers download of bommai kalyanam movie, hero, heroine, etc is available in our gallery section .
movie title: bommai, director: sundaram balachander, producer: s. b. creations, music: veenai s. balachander, cast: s. balachander, vasanthi, v. bommai 2 tamil full movie on indian video guru, featuring sudeep, amruta khanvilkar. the music is composed by rahul pandirkar. the movie is directed by. bommai kalyanam (original motion picture soundtrack) bommai kalyanam. bommai kalyanam (original motion picture soundtrack) k .
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bumble bees kids “enacted” bommai kalyanam - typical brahmin marriage style, very similar to gudiya pooja. the kids have performed brilliantly. . hats off to teachers, parents, and trainers who was a part of this show. . a live golu bommai kalyanam play by real bommai’s of bumble bees chennai (k. k. nagar and west mambalam) on 27th march. .
dowry kalyanam movie rating is na / 100 based on reviews submitted by 0 users .
bommai - you. tube. movie title: bommai, director: sundaram balachander, producer: s. b. creations, music: veenai s .
bommai songs, videos, bommai lyrics, bommai mp3, casting my jukebox login: login: password: filmychai videos: bollywood events: movie trailers: new releases: movie. find album reviews, stream songs, credits and award information for bommai - l. r. eswari on allmusic - 1964. the charm of bommai golus. lakshmi murugesan with her six - year - old grandson skanda .
listen to hindi songs - karpoora bommai: urltoken - listen to indian music for free .
saw kadhal 2 kalyanam teaser and looks pretty nice! now you’re going to say, this is news to you. right? !
after playing a trusted friend to many heroes in kollywood and tollywood, sreeman now graduates to become a hero through sorry enakku kalyanam ayiduchu .
bommai had sought some time from the governor to prove his majority on the floor of the legislature and he was denied this. he challenged this order in the supreme court .
watch bommai kalyanam tamil full movie starring: sivaji ganesan, jamuna, mynavathi, chittor v. nagaiah, s. v. ranga rao director: r. m. krishnaswamy producer: m. radhakrishnan, r. m. krishnaswamy music director: k. v. mahadevan subscribe to kollywood / tamil no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
watch bommai kalyanam tamil movie songs starring: sivaji ganesan, jamuna, mynavathi, chittor v. nagaiah, s. v. ranga rao director: r. m. krishnaswamy producer: m. radhakrishnan, r. m. krishnaswamy music director: k. v. mahadevan subscribe to kollywood / tamil no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
dowry kalyanam (tamil: டௌரி கல்யாணம்) is a 1983 indian tamil film, directed by visu and produced by s. suseela. the film stars visu, srividya, s. v. sekhar and viji in lead roles. the film had musical score by m. s. viswanathan. [ 1 ]
the film' s soundtrack consisted of six songs, all written by balachander' s associate ve. lakshmanan. the music for songs, was composed by balachander himself, while the background score was composed by d. b. ramachandran. the philosophical song
neeyum bommai naanum bommai
marked the playback singing debut of k. j. yesudas in tamil cinema. in 2014, when the song was re - used in moodar koodam, yesudas recorded the same for moodar koodam, coincidentally marking his completion of 50 years in the tamil film music industry .
bommai (english: the doll) is a 1964 indian tamil - language thriller film directed by s. balachander. featuring a walkie - talkie doll as the main character, the film had an ensemble cast of newcomers, while balachander, l. vijayalakshmi and v. s. raghavan appeared in prominent roles. the film was an adaptation of alfred hitchcock' s 1936 british film sabotage .
balachander, who was known for his critically acclaimed suspense thriller films andha naal (1954) and avana ivan (1962) made bommai on the same genre. the film was inspired from alfred hitchcock' s 1936 british film sabotage. balachander made a few changes in the script to suit the tamil audience. a walkie - talkie doll, which carries the bomb, played the main character in bommai. to cast the doll, balachander was in search for a long time and even tried one from the united states. incidentally while shopping in parry' s corner, madras, he found the right doll in a roadside shop and bought it. unlike the british film, where the passengers in the bus get killed, the tamil version had the villains who plot to kill the hero get killed in the blast .
watch full length tamil movie bommai kalyanam starring: - sivaji ganesan, jamuna, chittor v. nagaiah, p. santha kumari, s. v. ranga rao directed by: - r. m. krishnaswamy produced by: - m. radhakrishnan, r. m. krishnaswamy music: - k. v. mahadevan watch tamil full movie, subscribe to our channel and watch full movies, dubbed tamil movie, new movies, tamil new movie, tamil movies full, new tamil movies, new release tamil movies, dubbed tamil movie, full movie, new movies, tamil full movie, full movie, movies tamil, full tamil movies, tamil dubbed movie, tamil movies with english subtitles, online tamil movies, latest tamil movies we are adding latest regional movies regularly. subscribe us to stay updated. subscribe us: urltoken like us on facebook: urltoken follow us on twitter: urltoken
he was also the human resource development minister in the united front government from 1. he took part in the quit india movement of 1. he also played an active role in the unification (ekikarana in kannada) of karnataka which had been divided into mysore kingdom, bombay presidency and madras presidency, during the british rule. after hegde quit on moral grounds, mr. bommai took charge as chief minister of the state on august 1 .
unique among the dolls are those that explain moral stories, cricket set dolls, and market place scenes. mysore dasara, sri rangam ranganathar, seethakalyanam, panchamukha anjaneyar, valli kalyanam, bishmar set, village set, azhagar atril iranguthal, garuda sevai, aandal jananam, sakkarathalvar, kondapalli dolls, and kolkatta dolls beckon the enthusiastic collectors. a sales target of rs 25 lakh has been fixed for the exhibition this year. n. subbaiyan, district collector, who inaugurated the exhibition on saturday, appealed to people to utilise the opportunity and patronise the cooperative society .
union of india was a landmark judgment of the supreme court of india, where the court discussed at length, the provisions of article 3. constitution of india and related issues. the apex court spelt out restrictions on the centre' s power to dismiss a state government under article 3. instances of imposition of president' s rule have reduced after this judgement. he was elected to the rajya sabha, two times in 1. in 1. 99. 9, after the janata dal split, he sided with the jd (u) faction and later formed the all india progressive janata dal in 2. janata dal. bommai vs union of india on 1 .
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, directed by n / a & music by k. v. mahadevan .
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kai kodutha deivam - sivaji ganesan, savitri, s. s. r, k. r. vijaya - super classic movie
tamil full length movie | kulama gunama | ft. shivaji ganesan, jaishankar, padmini, vanisri
nichaya thaamboolam | full tamil movie | 1962 | sivaji ganesan | jamuna | rajasree | b. s. ranga
pudhumai pithan - tamil classic super hit movie - m. g. ramachandran, t. r. rajakumari
bama vijayam | tamil full movie online | rajasree | t. s. balaiah | nagesh | sowcar janaki
adityamusic (on behalf of aditya music (india) pvt. ltd .), and 3 music rights societies
putta gowri maduve title song mash up with issue based video on child marriage .
kathavarayan│tamil movie 1958 | sivaji ganesan | savithri | t. r. ramanna |
paattum naane bhavamum naane - thiruvilayadal song - sivaji ganesan, t. s. baliah
kandene unnaik kannalae
... rare super song from' naan sollum ragasiyam'
inbam vandu seruma - naan petra selvam - sivaji ganesan & t. p. muthulakshmi
missiamma (1954) - therinthu kollanum penne - a. m. raja, p. leela - s. rajeswara rao
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navarathiri is round the corner and it is time to get ready to do up the house with golu dolls .
as people start dusting old dolls and look for new ones, the thanjavur handicrafts industrial co - operative society has got up a gollu dolls exhibition at sangeetha mahal at the palace complex here .
dolls prepared by artisans from thanjavur, madurai, cuddalore, kanchipuram, and mayiladuthurai are on display at the exhibition .
the exhibition will be open from 10 a. m. to 7. 30 p. m. till october 2 .
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giving him company will be the one who wants to graduate to bigger things in kollywood - - - - swarnamalya. the doe - eyed, innocent smiled actress wants a shot at stardom and she plays the heroine along with gajendra fame flora .
a debutant director sagar, who worked as associate to many directors in tamil and telugu, is wielding the megaphone .
the film' s promos - - - with the two heroines in glamour outfits - - - is already a talking point in the industry. further, the controversies surrounding swarnamalya have also given unintended publicity for the film .
the movie has an adult theme and is a faithful remake of a telugu hit. sreeman says that it is a story about an individual and the problems he faces as he lets his friends have free access till his bedroom .
it is a fun - filled subject. but there is nothing vulgar are debasing about this movie
.
sreeman is playing the hero for the first time. the two heroines are going for broke on glamour stakes. both claim they have very good role in the film .
the director sagar, says ,
it would be a youthful entertainer on the lines of boys and thulluvatho ilamai
.
the theme is for elders, but the fun is for all, he says .
after a long gap, sd, a duo combines to score music in tamil filmdom. siva, music - director deva' s younger brother combines with guitarist dominic for the movie .
jeeva, who worked as an associate to director v sekar, is penning dialogues. the movie is produced by gv, who worked as production executive with noted bollywood producer k c bokadiya .
the shooting is on at exotic locations in kerala and its adjoining areas. the movie would be released in march .
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many great people have made the indian film what it is today, in the 101st year since its birth. the image of v shantaram hovers around the pinnacle of achievements. in the creative span, number of films made, and in the variety of chores he performed in the production of films, he is second to none .
he was associated with the silents, talkies, colour films, stereo sound - track, as an actor, director and producer, carpenter, choreographer and discoverer of new talent .
he was in showbiz for 80 years of his fruitful 90 years, and in films, for an astounding span of 65 years, through 61 films. fortunately, around 40 of these, all talkies, in hindi and marathi, are still accessible .
he made one film in tamil, ‘namnadu’ (1949), and released its hindi version, ‘apna desh’ with telugu songs (by t suryakumari) in andhra, both not traceable today. when he was making kalidas’ ‘abhignyana sakunthalam’ for the second time in 1986, he wanted to make it in telugu also, with nt rama rao in the lead. alas, this did not materialise. neither did the plan to make ‘navrang’ in telugu for which two songs written by kosaraju and sung by k jamunarani were recorded by c ramchandra .
let’s not break our hearts over the unpicked oysters; let’s count the pearls he left behind, pearls of lasting lustre and pervading influence .
the celebrated ‘do aankhen barah haath’ (1958) was first made as ‘pallandu vazhga’ (1975, k shankar) with mgr in the lead, by whose power over the box - office, it just broke even. the next year saw ‘ma daivam’ (1976, ss balan) with ntr in the lead. a damp squib. the film that melded colour, dance, music and lyric to an unprecedented height, ‘navrang’ (1959) was remade as ‘suvarna sundari’ (1984, beeraa mastan rao). ramesh naidu’s pleasant music was lost in the melee created by a new star - cast and inept handling .
in all these films, the adaptations were quite faithful to the originals. the music was created anew and did not lift melodies. and it is not as though the performances were bad; but the magic, the shantaram touch, was absent .
what about stray influences, in framing, treatment, plot - motivation, music et al? these are not skeletons tumbling out of the cupboard, but the genius’ stimuli that led to the re - creation of something worthwhile. the most rewarding of such was ‘jayabheri / kalaivanan’ (1959, telugu / tamil). though its tamil version sank without a trace, not even the beautiful score of pendyala appealing to the public, the telugu version was critically applauded. at least two of the songs, a heavenly combination of lyric / (malladi) and melody, “madi sarada devi” and “rasikaraja”, reverberate in a many a ghantasala homage .
‘matwala shair ramjoshi’ (1947, baburao painter - shantaram) was the matrix. this film in hindi and marathi had the regional folk entertainment tamasha as the background. an essential part of this, the lavni song - dance was not reproduced, in costume, choreography or music in ‘jayabheri’ but an important part of it, a competitive question - and - answer song, was adapted beautifully, and subsequently taken up in telugu social films too, ‘illarikam’ (1959) and ‘zamindar’ (1966) .
‘panthalu pattimpulu’ (1968) directed by kb tilak also had many such sequences, more faithful to the tamasha tradition but that was because it was based on anant mane’s (he supplied the story and collaborated directorially with shantaram in ‘pinjra’ (1972) mega hit ‘kela ishara jata jata’ (1965) .
much before this, the dance form of lavni was utilised in ‘varudu kavali’ (1957) and' rajanandini’, (1958) through the songs “saagi ravoyi bangaru mama” and “ninne ninne”. the way the hero holds the dafli in
siri siri muvva” (1976) is taken from ‘matwala shair’ and hero manmohan krishna’s stance not as people proclaimed then, ignorant of facts, ‘jis desh men ganga bahti hai’ (1960) and raj kapoor .
in the glorious musical ‘annamayya’ (1999), the tail end of “jagadapu chanavula” brings to mind the last fifteen seconds of the holi song in ‘navrang’ (1959) “arey jarey hath” .
in ‘aadmi / manoos’ (1939) and ‘teen batti char rasta’ (1953) shantaram used bits of song in various languages, meaningfully and not as a gimmick. in the first a dancing woman of pleasure is shown catering to clients from various regions and in the second, a man' s wife and daughters - in - law hailing from various parts of india have a happy time extolling their local dance and music (but not claiming,' i' m superior') .
the first telugu film to have a multi - lingual song, was a film with three titles ,
idi ma katha - mangalasutram - excuse me” (1946) and the second, a tri - lingual film ‘strange brothers - apoorva sahodarulu - nishan’ (1950) credited to three directors, acharya, c pullaiah and s s vasan. neither the film with three titles, nor the one with three directors justi - fied it the way the master did .
a prostitute seducing a saint, so sensitively and sensuously captured by director - star team of p rama - krishna - a nageswara rao, bhanumathi in ‘vipranarayana’ (1954) is a sprout of a similar situation in ‘parbat pe apna dera’ (1944) .
in ‘maya machhindra’ (1932) a girl dances on a huge drum. this was repeated in ‘we two’ (1947) and multiplied in ‘chandralekha’ (1948). ‘apna desh / namnadu’ (1949) showed prophetically how in just - independent india, a nexus formed between crime and high society. this was regurgitated in hundreds of films. and present day society pays obeisance to shantaram by following the screenplay of the movie in real life !
the co - author of this book, experienced journalist sanjit narwekar, sums up shantaram’s greatness in just one sentence (foreword, page 9) “his greatest contribution as a director was that he understood the role (s) of the various technicians and blended their expertise into the making of the film (s) .
from the book: “shantaram rajaram vankudre was born on november 18, 1901, the second of five sons. his reputation as a good mimic” got him into the gandharva natak mandali, where the ruling triumvirate were govindrao tembe, bal gandharva and ganpatrao bodas. shantaram did not care for the menial chores he was given; and he could not be given important roles as he could not sing. he left the troupe and failed at everything else he tried, schooling, trying for a job in the postal services etc. he did work for a while in a railway workshop but an accident put paid to that .
with some difficulty he found a toe - hold in baburao painter’s maharashtra film co. , in kolhapur, which in time turned out scores of personnel for the nascent industry. “his golden moment came when he played the young farmer in a film that has become a classic (all by word of mouth; no one now alive has seen it) ‘savkari pash’ (1925). after doing roles on screen and odd jobs behind it, he was chosen by painter to direct ‘netaji palker’ (1927) “based on the exploits of shivaji’s trusted lieutenant. his co - director was keshavrao dhaiber” .
the maharashtra film co. gave him everything, including the name shantaram when he did the role of krishna in “surekha haran” (1921), the subject familiar to us as ‘maya bazaar’. baburao pendharkar, also in the concern, felt that his name in the railways, sr vankudre was unsuitable for an actor .
on june 1, 1929, v shantaram, keshavrao dhaiber, vishnupant damle and s fatelal, all working for the company, branched out into their own prabhat film co. they soon shifted to pune, built their own studio, and a reputation for quality that is historical. all kinds of films were made to which all contributed their mite but shantaram directed most of them .
path - breaking films, mentioned earlier, rolled out and shantaram was riding the crest of popularity when a hitch developed. he had to leave because he side - stepped a lakshman rekha of the four, no intimacy with the heroines .
shantaram, already married, left for bombay with this young actress jayshree, floated his own concern, rajkamal kalamandir, built a studio and stabilised himself. here too, he produced, directed and acted. the first was ‘shakuntala’ (1943) and the last, ‘jhaanjhar’ (1984) .
he introduced and encouraged many new directors. amongst them were character actor keshavrao date with ‘bhakticha mala / mali’ (1944) and ‘andhon ki duniya’ (1947) .
but for the first which coasted on splendid music, the other was a write - off. to cousin and photographer v avdhoot, he gave ‘bhool’ (1948); no go. to kumar chandrasekhar, ‘banwasi’ (1948); a dud. to nephew v ravindra “chandannachi choli ang ang jaali” (1975), a worthwhile music - and - dance extravaganza. to son kiran ‘zunj’ (1976), passable effort. to actress sulabha deshpande, a film for children ‘raja rani ko chahiye pasina’ (1979), which turned out a childish exercise .
many of his kith and kin were given small on - screen opportunities; only a few made it big later. first wife’s daughters madhura and charusheela made a baby entry with ‘bhool’ and charusheela made a solo appearance in ‘stree’. both sang in two short films for children released as one programme, ‘kale gore - phool aur kalian’ (1960). son prabhat kumar made an appearance in ‘teen batti’, nephew ravindra in ‘jal bin’, grandson rahul in ‘raja rani’. long - time secretary st eshwar was glimpsed in ‘darchhain’ and ‘toofan aur diya’ .
subsequently a star, rajshree was given a sprightly song in ‘subah ka tara’ but had a baby debut in ‘apna desh’ and her grown - up role was that of a court dancer in ‘stree’. sandhya’s niece ranjana, did a bit role in ‘ladki sahyadri ki’ a longer one in ‘zunj’ and a heroine in ‘chaani’ .
chandrakantha was seen singing a stammering song, a duet with lata, “do haklon ka” and then a vamp bit, in ‘subah ka tara’ and ‘jhanak jhanak’. reshma and vandana (later asha nadkarni) debuted in ‘mausi’ and vandana had the court - dancer’s role in ‘navrang’ .
the men weren’t lucky at all, but for jeetendra, extra in ‘navrang’ and hero in ‘geet gaya’ the rest made no headway at all. satish vyas in “toofan aur diya”, prashant in ‘sehra’, abhijeet in ‘jal bin’, prabhakar panshikar and kumar dighe in “ladki sahyadri ki” were quickly forgotten .
nanda and rajendra kumar, introduced as the romantic leads in ‘toofan aur diya’ were exceptionally successful later on .
around a dozen music - directors worked for shantaram. it is a pity that vasant desai who came out of prabhat to be with shantaram, and did the maximum number of films, a dozen, isn’t mentioned at all in the book. shivram krishna got his chance in ‘surang’, did very well in ‘teen batti’ and got a few c class films outside before fading out. purushottam did ‘bhool’ and two songs in ‘apna desh’ to no effect. ramlal turned out lilting melodies in ‘sehra’ and ‘geet gaya’ but lacked lustre in outside films as ramlal hirapanna. satish bhatia in ‘boond jo jan bayo gayo moti” registered well but was not heard of later .
here are little known facts about shantaram i have unearthed over the years. he was no singer but his voice is heard conversing with court dancer rajshree, ‘stree’, on a 78rpm disc (n53981). in the english version of ‘dr kotnis’, he is heard reciting dewan sharar’s lyric, ‘life isn’t a dream’ as khan mastana’s song “zindagi sapna nahin” is heard in the background. he is heard chanting the words of “ai malik” as the male chorus is singing it in ‘do ankhen’ .
the first sound - track recordings from an indian film were from prabhat’s colour film ‘sairandhri’ (1933). these were made in germany, by telefunken, when shantaram took the colour negatives for processing and printing. it is his hand - writing in marathi and hindi, that is on the record labels .
actor mahipal who plays a poet to perfection in ‘navrang’, actually wrote a song for ‘mali’, “ham to bhole bhale mali” .
the book is understandably reticent about certain domestic developments in shantaram’s life. it does not mention sandhya’s marriage to him and shies away from saying that she was the reason why jayshree moved out from shantaram’s household .
on the whole it gives a consolidated picture of the maestro, the man and the film - maker. it omits to mention he did the choreography, termed ‘mukta nritya’, for ‘navrang’ under the pseudonym of sham, and used a picture of his son - in - law in the promotional brochure of the film. the truth came out when the bombay film choreographers assn. chose to give this work the best choreography award for that year .
for an in - house production like this, it contains too many factual inaccuracies. whether it was ignorance or indifference, it remains inexcusable. here are just a few of the many .
sandhya was not just two films old (69) when she was starred in ‘jhanak jhanak’. apart from ‘amar bhoopali’ and ‘parchhain’ mentioned, she had done ‘teen batti’ for shantaram and the role of parvati in a mythological for an outsider before
in ‘navrang’ every title is not heralded with nine colour pots. actually, the pots are only seven; and they splash colour only at the last two titles, ‘navrang’ in hindi and english .
only one scene is from ‘jhanak jhanak’ and the other is from ‘navrang’. the caption says otherwise (76 - 77) .
‘sairandhri’ was made in 1933, not 1935 (10). this is omitted in the filmography. so is ‘boond jo ban gayi moti’ (1967) .
rajshree does not play the small role of shakuntala’s sakhis in ‘stree’ (89); mumtaz does. rajshree plays the role of the court dancer .
caption for a still (106) says that sushant became a big hit as siddharta in ‘jhanjhar’. no way. this is the least seen film of shantaram .
‘jhanak jhanak’ (1955) was not the first technicolour film (123). mehboob’s ‘aan’ was the first to have prints by technicolour, after being shot on l6mm kodachrome negative. sohrab modi’s ‘jhansi ki rani’ (1953) was the first to be shot and printed in technicolor .
it makes no mention at all of the wholly indian record label, young india, which was patronised by shantaram through ten years and eleven films, ‘aadmi / manoos’ (1939) to ‘andhon ki duniya’ (1948) .
is it true that its hindi version failed to go beyond even the first day and that in some theatres the enraged crowd tore the seats and demanded their money back (102)? it ran peacefully in madras for two weeks .
shantaram wrote his autobiography in marathi, ‘shantarama’ and it was published in 1986, later in hindi. what happened to the promised english version? isn’t it high - time, in the 101st year of the indian cinema, to bring out the life of a truly great man whose life was cinema ?
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kaatru veliyidai, mani ratnam' s latest, seems like an experimental attempt from the master storyteller that treads on thin ice with some brilliant technicalities in place .
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corporate espionage in the world of dreams makes for a great action stretch buried in a lot of talky tedium. plus, love in the world of the british makes for a reasonably diverting romance .
jul 25, 2010 – the ideal dream - movie maker, to my mind, would be federico fellini. things happen on an apparent whim, in his films, and the only way to keep up is to surrender to his rhythms, just like you have to surrender to sleep in order to begin to dream. take the nightclub scene in la dolce vita, for instance, where a clown with a trumpet steps out of the spotlight and begins to outline a mournful tune. by the time he gets around to kicking balloons into the air, we are in a trance, half - aware that a movie is unfolding before us, and yet unaware exactly how to respond logically. the only possible response is emotional, as if from inside a dream. by the time the clown retreats from the spotlight, his balloons tailing him like the pied piper’s rats, we feel we’ve experienced something profound and also primal. it’s impossible to reconstruct these subconscious feelings with mere words .
in christopher nolan’s inception, the subconscious comes with an instruction manual – filled with words, charts, diagrams, and more words. apart from the stray visual of a cat strolling around a chemist’s counter or the spider - web straps of a blonde’s costume, there is no place in nolan’s world (even his dream world) for the offhand shot and the glancing image – the kind of visuals that appear at the corner of the eye and vanish before we can train our focus on them, leaving us unsure if we did indeed see them, like in a dream. nolan’s visuals are all in the centre of the screen, in the centre of our eyes, daring us to misread them (and in case we do begin to mistake them to mean something else, the accompanying words, the endless explanations in the form of cheat - sheet questions and answers, steer us back to the one - and - only meaning) .
nolan is only interested in the “not being awake” part of dreaming, not in the “manifestation of innermost feelings” part. his dreams, therefore, are less fantastical than functional, woven around the plot of corporate spies who invade businessmen’s dreams in order to extract and implant ideas. these dreams are cold and clinical, extremely businesslike, extremely lifelike. it isn’t that we expect characters to reach their dream destinations by hanging on to the sleepers’ neurons and swinging across, like tarzan on his vines, but couldn’t their travel have incorporated a tiny bit of logistical magic? then again, even when nolan made a movie about duelling magicians, it was less about magic than mechanics, and inception is more of the same, filled with elevators and cars, just like the real world. these dreams are hardly the hothouse mental states that are likely to rouse you in cold sweat (or arouse you with a boner, for that matter). you don’t need freud to interpret these dreams – just a logical thinker .
it’s easier, therefore, to view nolan’s dream world as you would view, say, the moon or mars. it’s essentially a fancy sci - fi backdrop with a unique set of characteristics and rules – or put differently, it’s just the setting for a super - intricate video game. (hence the need for that instruction manual, filled with such directives as, “arthur has about a couple of minutes. we have about 20. ”) we don’t experience dreams in inception, the way we would in a fellini film – we merely leap in and out of them as the “game” keeps ratcheting up to the next level (or the level beneath, as nolan toys with dreams within dreams within dreams). and once we get past the gassy setup – a truly testing tract of tedium – we get the thrilling payoff, the real reason for the film’s being, a mind - bending third - act stretch that instantly slots itself among the great action - adventure sequences of all time .
this is when we realise that, despite the portentous stabs at profundity, inception is essentially a glorified b - movie, an assembled - team heist movie, and that it could have been a great heist movie had nolan not allowed himself to be bogged down by self - aggrandising minutiae (or allowed himself a bit of amusement). despite the recurrence of what could be an auteurist signature or thematic obsession (his protagonists, whether superheroes or sorcerers, are work - bound men haunted by women they’ve lost), his is not so much a cinema of ideas as illusions. his stock in trade is the sleight of hand, and he may well be the cleverest packager of clichés (or cinematic references) in hollywood today. not a single action segment in inception is truly visionary in the never - seen - before sense, and yet, we feel we’ve never seen it before because of the conceit of dream layers – or video - game levels, if you will .
the exasperating thing, though, is that the rules of nolan’s video game are hardly complex enough to warrant all that buildup, all that fuss. anyone who worships at the shrine of the matrix (or any space - time - continuum adventure, for that matter) — and that would certainly cover the core audience for this film — would be able to cotton on such concepts as “the kick” and “limbo, ” without having to endure nolan’s elaborate physics - meets - transcendental - meditation lectures, and a lot of this dead time could have been more usefully spent in detailing the tortured, loose - cannon protagonist. (that would have invested the terrific twist, at the end, with more emotional heft .) but nolan is the kind of filmmaker who likes to tell, then show, then tell us about what he’s just shown. for someone with such a surfeit of smart ideas, it’s baffling he’s so convinced about the dumbness of his audience .
vijay’s madrasapatnam is a reasonably diverting entry in the honourable cinematic tradition known as the epic for dummies, and it takes its cues from titanic, the most famous epic for dummies of all time. as with the waterlogged blockbuster, the period setting – the last days of the british in india, filled with trams and vande mataram - spewing revolutionaries – is merely scenery for a rich - girl - poor - boy love story, and it’s this richly recreated backdrop that distracts us from the obviousness of the proceedings. (there’s also a strong lagaan hangover, especially with the first song being in anticipation of rains .) the aspect that may linger with chennai - ites, though, is that the cooum, at one time, actually flowed. people took boats rides on it. today, the only thing people take on it is a dump. inadvertent or not, it’s a splash of cold water, this realisation that our city was better off in the hands of the brits .
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great set of thoughts on inception. . par for the course for you. .
on madrasapattinam the trailers did make it look like ‘mangal pandey for dummies’! but i am still interested in this kind of ‘masala’. love your final line here !
@ brangan: i do hope you had something better to do while you churned out these two 😀 hardly a few sentences on the tamil film and a para or three about inception (and a few stock brangannite phrases on the monthly priyan rubbish). working on another script are we ?
re inception, like i said in my blog, it feels more like a business strategy paper submitted to management by a consulting company than a movie. it was too practical. calling inception a “dream” film would be like taking the martin luther king “i have a dream” speech literally .
i perfectly agree with you regarding your views on what inception doesn’t offer but why do you want to thrash the movie by comparing it to something like one from felini’s when nolan didn’t intend to make a dream movie. to me his intention was to make a movie purely based on logistics with almost no plot holes in it, in which he was fairly successful. i don’t think we should compare a movie to one of felini’s which has a dream reference in its story, why can’t we judge the movie based on its own merits. nolan’s views on dreams are his own as were of felini’s but did felini ever wanted to show gravity defying stunts in the dreams or lots of fistfights and gunfights - no, but nolan wants to and gives a good enough reason for them in his movie. the point i want to make is that both nolan and fellini or any other director are very different in their styles of filmmaking and according to me we should enjoy their different works and pov’s instead of comparing them .
i’ll say the same thing that i said over at the last bitty ruminations post: the dreams in “inception” aren’t supposed to be surreal — they’re specific creations by people who designed it in the real world — which means that they aren’t going to be the same as they are in a fellini (or lynch) film .
i do agree with the parts that you point out as a weakness — the over - explanation was not needed — but i disagree with that first criticism that a lot of film critics have been making with regards to this film .
“not a single action segment in inception is truly visionary in the never - seen - before sense, and yet, we feel we’ve never seen it before because of the conceit of dream layers – or video - game levels, if you will. ”
while this may be true (to an extent) — i still feel that the anti - gravity sequence is easily one of the most astonishing we’ve seen in years .
absolutely agree – this is a so - so caper movie disguised as a mind - bender. i have no idea why this has been touted as a seriously complex movie – for big chunks i felt i was trapped in a badly given physics lecture on discovery. and the grand objective of the caper took my breath away in its sheer banality. all this for planting this idea? good grief! the action was also so - so – i can’t think of a single scene which even had the paisa - vasool dhamaal effect of say, mission impossible. i think the woman - lost angle was also so overplayed that i got completely impatient and wanted to give cobb and his wife an ots by the end of it. they came across as such self - absorbed jerks – all that time in limbo and they could only make an unpopulated crumbling city? at least saito had fun in limbo recreating his empire, guntoting goons and all. and what a waste of such stars like ken watanabe – michael caine had a sneeze - and - miss - it role and poor postlethwaite had to content himself with a brief drooling role. sigh .
thanks. perfectly encapsulates what irritated me about inception’s conceit. even the characters’s quips like how someone shoulda dreamed up a beach instead of a snow fortress (which is exactly what i thought before the line comes) and such like…its like nolan threw in those in - jokes and other cheat sheets almost defensively to override the questions the audience would’ve asked…and what further riles me is all the other reviews using the ‘original’ buzzword…the idea, just about, but the execution no way .
ps: dunno if i missed it but the falling van causes the characters in the next level to float but is there some explanation given as to why it doesnt spill over to the other levels? and the scene where cobb reaches the old saito seemed to happen instantaneously…looked like a cut dunno .
“a lot of this dead time could have been more usefully spent in detailing the tortured, loose - cannon protagonist. ” i thought there was more than enough information supplied to keep us invested in the emotional stakes of the protagonist. were you looking for nolan to show us a more screwed up version of cobb’s subconscious ?
dude the dreams were interwoven, that’s why they needed all the other people, so the person would dream what they wanted him to dream. there wasn’t much space for the experience of a random dream, cos it was all planned. they created a world for the person inside his dream. the third dream sequence did make it sort of campy, but i wanted to know if it over shadowed the rest of the movie for u, like it did for a few others. also, a lot of the audience that left the theater did not understand much of it… after a one time watch, i’m still struggling with a view concepts, to be honest. the explanation he gave was needed for most of us, i’d guess
the perils of being a movie critic i suppose? you can’t just kick back and enjoy the beauty of inception for what it is. its not a glorified b - movie, or a heist flick, it is a beautiful love story about loss and redemption .
not a big fan of nolan are you! remember your between reviews column for ‘the dark knight’ – you were not very impressed then, though everyone was going ga - ga. have you reviewed batman begins / memento / prestige – if yes, can you please give me the link. ‘epic for the dummies’ – lol !
your review of inception capturted the uneasiness with which i left the theatre. . that nagging feeling that it there was a large lacunae - your review precisely detailed that lack of surreality that one would hope to experience…even the camera work during the dreamsequences were a series of special effects…where one would have expected some dali - like moments .
satyam; wow. i’m going to have to set aside some serious time to read that. thanks .
akshay ahuja: i wasn’t comparing the two filmmakers at all. i was saying that a dream movie would be like fellini’s. and that it’s more useful view nolan’s world as “a fancy sci - fi backdrop with a unique set of characteristics and rules…”
radhika: also, it looked like nolan wanted to go freudian with that bit about “the need for father’s approval” and all that. but in the end he didn’t go that way, opting instead for spectacle. i did like the action a lot, though .
arun: ah, but indian films have to be “emotionally involving, ” you see. we don’t hold foreign films to the same standards 🙂
senthil: i guess i was just looking for more of him – alone — like in shutter island. most of what we saw of him was with his wife, and after a while that got monotonous .
pr3m: once the dream sequences began to unfold, i was quite gripped — campy or not. also i’m saying that there should have been an entire dream that was “random, ” as you call it. but those little flourishes like the cat and the spider - web dress — those “random” extras might have added to the off - kilterness of the world. because they do say that one part of the dream is what they deliberately construct, while the other part if from the subject’s subconscious. i saw only the former in the film .
raj balakrishnan: oh, i’m a big fan of memento, inception and prestige. didn’t mind the two batman films, just didn’t think they weer all that great .
@ arun: > > dunno if i missed it but the falling van causes the characters in the next level to float but is there some explanation given as to why it doesnt spill over to the other levels? yeah, i also had that doubt. and if the logic is that time is expanded in the next level, then even if not exaclty floating, there could have been the sense of a slight moonwalking experience .
@ brangan: just keeping you on your toes 😛 also, i find that some formatting has got screwed up in some of the blogs that you imported (case in point, your” the prestige” review) or maybe it’s just me … .
@ radhika / arun: i am not really sure but i read somewhere about how the perception of physical sensation rippling down drops with each level down. like how saito will feel lesser pain as the levels go deeper. so that explains the perception of gravity too i believe .
br: i am not really buying the fellini comparison. i think you’re comparing a literal dream world with some sort of surrealistic cinema. again, like how many have pointed out, these are planned / created dreams with a predetermined architecture and all that with no room for fantasy. i mean nolan does choose to show it’s possible with that ellen page sequence on how they walk with the city folding down etc. but yes, i agree with the whole talky tedium part .
bala: did i review prestige? i can’t even remember that far back. damn, my gray cells are dying 🙂
gradwolf: not comparing the two at all. see my response to akshay ahuja .
becauseat some point the subconcious manifests itself as the id and not the superego .
you’ll notice that di caprio’s inner dreamscape was completely silent and unpopulated, while murdoch jr’s dreamscape, at its lower levels was cold and cruel .
inception didn’t work for me the way eternal sunshine of the spotless mind did (as far dreams / surreal / reality swapping movies go) and you laid it out in great prose the problems that inception gave me (barring the action sequences). somehow i could never feel for cobb or anyone till the end whereas jim carrey breaks your heart with his memory retention issues. did you “eternal sunshine of the spotless mind ” or any other kaufman creation?
bommai kalyanam ( english : fake wedding ) is a 1958 tamil language romantic drama film directed by r. m. krishnaswamy . the film features sivaji ganesan , jamuna and mynavathi . the film , had musical score by k. v. mahadevan and was released on 3 may 1958 .
bommai kalyanam (english: fake wedding) is a 1958 tamil language romantic drama film directed by r. m. krishnaswamy. the film features sivaji ganesan, jamuna and mynavathi. the film, had musical score by k. v. mahadevan and was released on 3 may 1958.
bommai kalyanam (english: fake wedding) is a 1958 tamil language romantic drama film directed by r. m. krishnaswamy. the film features sivaji ganesan, jamuna and mynavathi. the film, had musical score by k. v. mahadevan and was released on 3 may 1958.