athirathram ( film )
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watch athirathram malayalam feature film - full length movie athirathram is a 1984 malayalam action film. it was directed by i v sasi and starred mammootty, seema, mohanlal starring: mammootty, seema, mohanlal, captain raju genre: - action comedy duration: - director: i v sasi producer: john paul subscribe to malayalam no. 1 youtube channel for non - stop entertainment click here to subscribe - - urltoken
ishti is a sanskrit film, directed by dr. g. prabha features thespian nedumudi venu and newcomer athira patel in key roles .
ishti
literally means search for self, yaga, etc. the film is the first in sanskrit with a social theme... . he had earlier made two films, agnaye, a documentary film on athirathram yagna, and akkitham
athirathram is a 1984 malayalam feature film directed by i. v. sasi, written by john paul and starring mammootty, mohanlal, and seema. mammootty' s character tharadas re - appears in sasi' s 2006 film balram vs. taradas. [ 1 ] [ 2 ] [ 3 ] [ 4 ]
athirathram - 2 mohanlal v / s mammootty - malayalam movie (w / english subtitle) - i. v. sasi (1984 )
athirathram - 2 mohanlal v / s mammootty - malayalam movie (w / english subtitle) - i. v. sasi (1984) - youtube
watch: the first film in sanskrit based on social theme cause directed by dr. g. prabha
ishti was the inaugural film in the internation film festival (iffi) goa. it was really a matter of pride. in addition to that, ishti got selection for competition section too. it is first time in the history a sanskrit film got selection for competition in international film competition section. ishti was one of the two indian films selected for that category in which all the other films were foreign .
the film offers an alternative version of the epic battle between two legendary chekavars from the villain' s perspective .
watch: the first film in sanskrit based on social theme cause directed by dr. g. prabha - youtube
despite all appreciations from the audience and film critics, ishti didn’t win any national award. are you disappointed ?
a portrait of the one of our greatest social reformer of our times - ambedkar. the film documents the period between 1901 and 1956. the film delves more into ambedkar' s life as a reformer, ... see full summary »
it is a matter of concern. getting a distributor for a movie like ishti is almost impossible. if it was so, i could have got a producer. you know, i produced this film with the help of my friends as i failed to find a producer. we have got financial assistance from kerala film development corporation. what governments can do is the film developments corporations run so many theatres, like kfdc in kerala. if they will facilitate the release at least in government owned film theatres, it will be great deal .
louis tells us straightaway that his ambition is to become someone in the mould of tharadas from athirathram or sagar alias jacky from irupatham noottand. a few scenes are also used pay tributes to these anti - heroes .
this thin thread is padded up by mammootty' s characterisation. balram the no - nonsense cop of the vintage film avanazhi has by now been promoted to the post of deputy superintendent. he is given the charge of investigating the arms case, which ultimately leads to tharadas, the suave smuggler from the 1980' s hit athirathram. he has by now become an international criminal .
the overall treatment of the film is of the typical masala genre of the 1980s, where every ingredient had a part to play, be it comedy or action .
technically, this film is superior to the other films made these days. it is being touted as the most expensive one to be made in malayalam; the lavishness is there to be seen in the locales. but the action sequences need better choreography and photography; they look tacky when compared to the rest of the film .
i t seems to be the time of reunions in malluwood (the kerala film industry, for the uninitiated) a s old teams come together to cash in on nostalgia .
never! i am not at all. i don’t want to comment on that. i don’t believe that awards sponsored by the governments are the ultimate aim for making a movie. the acceptance among viewers and their appreciation are more important to me. the great sanskrit scholar, poet and jnanpith laureate shri satya vrat shastri was the chief guest in the preview function held in delhi. after the preview, he lauded the movie and shared his reflections with me. being the director, it was a great honour for me. the encouraging words and applause the film received in the film festivals, as i said earlier, gave me confidence and satisfaction. i want to exhibit the movie in various film festivals so that the film can reach out to the mass audience. their response is more valuable than any award .
stands out among the myriad movies being churned out into our entertainment market every year. being the first sanskrit movie with a social theme and the first sanskrit film to be for international competition section in the iffi, etc. ,
the film is set in the first half of the twentieth century. ramavikraman namboothiri, the 71 - year - old patriarch of the illam (brahmin household), is a vedic scholar and a somayaji, one who has the authority to preside over somayag. he yearns to perform athirathram that will earn him the position of akkithiri (agnihotri) and for this he is ready to even sacrifice the welfare of his kith and kin. a yajamanan (chief priest) preserves the fire from the yaga until his death where the fire is used to light the funeral pyre .
‘go retro’ - this seems to be the mantra ruling the malayalam film industry for the past couple of years. the game plan is to tap into the overflowing feeling of nostalgia of those who grew up in the 1980s and 90s .
i became prosperous only after my marriage. my first film chance came on the sixth day of our marriage. my wife always makes suggestions about my work, but never actively interferes. as a critic of my performances, she can be very severe !
i am so happy that apart from being a movie shot in sankrit, ishti got due recognition as it represented the whole indian cinema in iffi. obviously it was a recognition for the aesthetic value of the movie. so many senior directors and connoisseurs hailed the movie after the screening. the rousing response of the viewers in kolkata international film festival is also worth mentioning. the film received a wide acclamation after its previews in chennai and delhi. the media, both national and international, coverage was also amazing .
nowadays film making is all about making money and it demands huge investment. it is seen that big budget movies dominate the market where quality and art value are marginalized in the supremacy of commercial films. how the films like ishti can survive in this scenario ?
peals of laughter and recurring applause during its screening in the national capital, from an audience that’s not so familiar with the time or the milieu of the plot, have shown that the film has been well - received. then, there are english subtitles to fall back on, if necessary .
it looks a bit odd that a cinema, relatively a new platform for self - expression, shot in sanskrit and all its characters speak this ancient language which is rarely in use but at the same time, the film is widely accepted and hailed by erudite critics as well as common men in the street. how do you describe this ?
the film is a celebration of the feminine spirit that has the power to knock down powerful pillars of patriarchy. the message is loud and clear: the woman is the light of the family, the microcosm of society, and if she decides to exit from the confines, the superstructure will come crashing down howsoever strong its foundations might be .
ishti (meaning search for the self), directed by debutant director g prabha, retired sanskrit professor, has all the elements of a world - class film — minus the money and marketing muscle. in his own words, it’s the product of “20 years of penance” and each frame is a testimony to his eye for details, hard work and craftsmanship .
yes, ishti is a sanskrit film. first of all, for any cinema, the language is not a barrier. our audience enjoys korean, iranian movies even without sub - titles. because cinema communicates through visual language. ishti too conveys the story through that universal visual language rather than through sanskrit dialogues. silence is also given importance throughout the film. it was my experience that viewers would express their apprehensions about the language before watching the movie but they would correct themselves and come out of that delusion after watching it. from their reactions while watching the movie, what i came to conclude that sanskrit didn’t impede them. since all indian languages have sanskrit roots, viewers can follow it even without sub - titles but still we have included english subtitles also .
malayalam film actor mammootty was born to ismail (an agriculturist) and fatima (a homemaker). he had two younger brothers ibrahim and zakariah; and three sisters, ameena, sauda and shafina. he did his high school (pre - degree) at maharaja' s college, thevara and then studied law at ernakulam government law college. it was during his days at ...
the film narrates the story of a kerala brahmin family, as i said early it is set in 1940s. but it is not all about a small section of society. it addresses all sections of society. it is universal in nature. the subjects being discussed in the film have a universal relevance. they are gender equality, women’s empowerment, freedom and education. overall, it is a female oriented subject. this is the story of a woman who tries to revolutionise the society through education. these issues pertaining to women’s freedom and education and gender discrimination are still evident in our society. once women in namboothiri (kerala brahmins) brahmin caste fell prey to all these social evils. though namboothiris have come out of this over the time, these social evils still exist in our country in one religion or another .
watch the superhit movie
athirathram
starring mammootty, mohanlal, seema and shankar. synopsis: tharadas is a ruthless smuggler whose uncle was murdered by rajesh. rajesh is married to thulasi who has dark past with tharadas. tharadas' s cousin kills rajesh and accuses tharadas of the murder. rajesh' s partner prasad and thulasi get revenge on tharadas, and tharadas kills chandu in turn. director: i. v. sasi producer: century music: m. s. viswanathan writer: john paul cast: mammootty, mohanlal, seema and shankar. for more blockbuster super hits movie stay connected and subscribe here: urltoken
of course, i was influenced by so many social reformers of kerala like v t bhattathiripad and akkitham and their literary works. i have made documentary on the life of the famous poet akkitham. despite v t bhattathiripad was proficient in veda chanting he was illiterate. he started learning reading and writing after he was inspired by a girl. such incidents described in vt bhattathirippadu’s autobiography gave me new insights and happened to be inspiration to embark on the very idea of the movie. later, in 2012, i made a documentary on panjal athirathram. based on those experiences, i developed my story further. that’s how the characters ramavikraman namboothiri and sreedevi took shape .
ishti (literally, search for the self) tells a story whose plot set in 1940s’ kerala. ramavikraman namboothiri, the 71 - year - old head of a family, is a somayaji i. e he has performed the somayaga. his aspires to perform an athirathram to become an akkithiri. it is his ultimate ambition. ramavikraman namboothiri’s third wife, 17 - year - old sreedevi (played by newcomer athira patel), is educated. she inspires the younger members of the family, including ramavikraman namboothiri’s eldest son raman namboothiri, to learn how to write and read. soon a conspiracy is hatched against the two. the then orthodox patriarchs allege illicit relations on them that creates unexpected and unconventional twists in the story. the ace south indian actor nedumudi acted as ramavikraman namboothiri .
like the protagonist in the film, she may appear meek but in her resides the power, shakti, that can blow the oppressive system asunder. façade of morality and religion can’t save it from falling into the dungeons of despair, destitution and darkness. one of the reasons for the decline of the namboothiri - brahmin dominance in kerala is this unjust social structure that heaped atrocities on women. thus, ishti serves as a warning to all those societies and communities, which want to keep their women wrapped in the veil of tyranny and oppression .
being a sanskrit teacher for decades, i found sanskrit is very rich with many authentic ancient books on aesthetics, like natyashastra, than any other languages. this is the main reason why i wanted to make a film based on a social subject in sanskrit. this is the first sanskrit movie with a social theme. sanskrit as a language was more prevalent among brahmins. so it would sync with the theme if we tell the story of brahmins through sanskrit. it would be convincing too. so it is not like sanskrit for sanskrit’s sake. it was indispensible as far as the theme of the movie is concerned .
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directed by i v sasi, produced by raju mathew in the banner century productions in 1984. lyrics and music kavalam narayana panicker and ms viswanathan, starring by mohanlal, mammootty, seema, captain raju etc. ☟reach us on web: urltoken facebook: urltoken... twitter: urltoken blog: urltoken
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best dialogue delivery by superstar mammootty - in' ee shabdam innathe shabdam'. .
tharadas is a ruthless smuggler whose uncle was murdered by rajesh. rajesh is married to thulasi who has a dark past with tharadas. tharadas' s cousin kills rajesh and accuses tharadas of the murder. rajesh' s partner prasad and thulasi get revenge on tharadas, and tharadas kills chandu in turn .
the music was composed by m. s. viswanathan and lyrics were written by kavalam narayana panicker .
‘sanskrit is not a dead language. for me, it is very much alive’ – the education post
‘sanskrit is not a dead language. for me, it is very much alive’
“from their reactions while watching the movie, what i came to conclude that sanskrit didn’t impede them. since all indian languages have sanskrit roots, viewers can follow it even without sub - titles but still we have included english subtitles also”
“this is the first sanskrit movie with a social theme. sanskrit as a language was more prevalent among brahmins. so it would sync with the theme if we tell the story of brahmins through sanskrit. it would be convincing too. so it is not like sanskrit for sanskrit’s sake”
i would to add one more thing, sanskrit is not a dead language as we term it. for me, it is very much alive. i have been earning my livelihood by teaching sanskrit for the last many years. sanskrit is the language which keeps me alive. and it is nothing but foolishness if someone claims that one can revive a grand old magnificent language like sanskrit with a movie .
“i don’t believe that awards sponsored by the governments are the ultimate aim for making a movie. the acceptance among viewers and their appreciation are more important to me”
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whenever one goes to watch a sanskrit movie — even if it’s with a social theme – seldom would one expect a revolutionary plot. stereotypes that one may associate with the language will fade away as the reel starts rolling and, in no time, one is transported to a real world populated by real men and women. the language won’t impede the overall movie experience or create barriers in establishing an intimate connect with the characters .
ramavarman has three wives. sridevi, the third one, is only 17, almost the same age as his younger daughter, lakshmi. his spiritual pursuits have burnt a big hole in his pocket and the marriage to sridevi is a bid to replenish family’s dwindling resources for his future endeavours .
according to namboothiri traditions, only the eldest brother can marry a namboothiri woman and have children to continue the family line. younger siblings can have sambandham (concubines) in nairs .
ramavikarman’s younger brother, narayanan namboothiri, too, has a concubine whom he visits every night for pleasure. but when the woman asks for money to treat their dying son, narayanan is helpless, as he being the younger sibling doesn’t enjoy rights over the resources of the illam. narayanan’s request for money is turned down by ramavikraman as the child doesn’t belong to the illam. the child dies a painful death. saddened by the loss, the woman shuts the door on the exploitative relationship. frustrated, narayanan cuts his tuft and sacred thread, the symbols of brahmanism, and walks away .
ramavikraman marries his third wife though he is incapable of satisfying the bodily needs of his second wife, who tries her luck at narayanan only to be dismissed. the patriarch has a 26 - year - old son, raman namboothiri, from his first wife who can recite vedas but is illiterate. it is into this claustrophobic family, a graveyard of broken dreams and unmet desires, sridevi comes in as a fresh breeze .
sridevi knows how to read and write and encourages other members in the family, including the womenfolk, to learn writing. raman’s quest for knowledge brings him close to his stepmother sridevi. soon a rumour about their illicit relations becomes a talking point in the community. as the storm gathers pace, raman namboothiri walks out of the household. according to custom, the community elders gather for the dehumanising trial of the ‘sinner’, sridevi, and pronounce her excommunication .
but before that could happen, sridevi storms out of the house cocking a snook at the patriarchy. she throws away all the symbols of oppression and walks to freedom. with her desertion, the sacred fire that ramavikraman preserved all these years dies down .
versatile nedumudi venu as ramavikraman namboothiri gets into the skin of the character effortlessly. athira patel as sridevi has proved that she can handle serious roles with ease. all the others in the cast have played their role well. kaithapram’s background music gels well with the stream of images and adds to overall aesthetics .
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the bjp has managed to occupy the opposition space by decimating the congress and the trinamool congress in tripura .
references to popular films, television shows or a line from a hit song of those times, characters sporting hairstyles and costumes from that era and glimpses of various nostalgia - inducing things like tape recorders, make their dutiful appearances. not that it is a bad thing .
even films set in current times use these tricks to showcase the growing up years of the protagonist. kohinoor, directed by vinay govind, is set entirely in 1988, a year which the narrator tells us is remarkable for various political and cinematic reasons .
marking that year on screen are vcr rental shops, background music with triple drums and disco elements and slightly over - the - top outfits worn by the men .
haider (indrajith) hatches a plan to steal some diamonds from a racket run by a textile group .
not being talented in the art of stealing, he gets nicholas (chemban vinod) and freddy (vinay forrt) to do the job .
they in turn sub - contract it to a small - time thief aandikunju (aju varghese), who gets his friend louis (asif ali) too involved .
all through, it stays true to the heist movie template seen recently in sapthamashree thaskaraha, with emphasis on situational humour .
in a delightful scene, two of the characters are shown watching the aamir khan starrer qayamat se qayamat tak, with one of them dismissing the boyish hero and predicting doom for his career .
it might not have sounded funny in 1988, but in 2015, it certainly is .
the proceedings before interval, which focusses on the planning of the heist, are marked by aimlessness .
things pick up post - interval especially in the long sequence set inside the textile shop .
the quick twists and turns come together in the end to make an average heist movie in the end .
if it was mohanlal and satyan anthikad with rasathantram recently, now it is the turn of mammootty and i v sasi to come together as a team after a 15 - year gap, with balram vs tharadas .
first and foremost, we have to commend the audacity of the veteran director for bringing together two legendary characters and try to make it work .
the next question must be: does it work? the answer will be a qualified yes .
balram vs tharadas does work, and it brings with it the old style of filmmaking that we felt has been missing in recent years - - the old - world charm of changing locations, numerous characters with significance to the story, and all that .
the most difficult task for the makers was to weave a cohesive storyline around these two characters. they have pulled it off quiet well .
the circumstances that bring the two together (or should we say against each other) are convincing and the plot topical. there is a cache of arms discovered at a construction site. then it leads to typical criminal - police - politicians nexus .
the characterisation of tharadas leaves us unsatisfied; he looks superficial without depth or emotions. even his love for supriya, the starlet played by katrina kaif, seems to be artificial. there are no high points in the love angle; just a song picturised in dubai to underscore the romance .
mammootty' s performance cannot be said to be top class, but that he pulls off playing both parts without faltering is enough for us. one only wished that the confrontation scenes between the two were a little more imaginatively written .
kaif is just reduced to being eye candy. she has nothing much to do .
the supporting cast of mukesh, jagadeesh, kalpana and others as balram' s subordinates gets noticed. young actor arun, politician - actor rajmohan unnithan and siddique on the other side play their parts well .
finally, balram vs tharadas needs to be seen just for re - living the nostalgia of good old days, if not for anything else .
what is a r rahman doing at a dubai mall? reader talib sends us a picture .
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the music was composed by m. s. viswanathan and lyrics were written by kavalam narayana panicker .
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tharadas plans to kill rajesh to avenge the murder of his uncle. their lives get complicated when rajesh marries thulasi !
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athirathram is a 1984 malayalam crime film directed by i.v. sasi . the film stars mammootty , mohanlal , and seema in major roles . the movie was the 3rd biggest blockbuster of 1984 . the central character tharadas ( mammootty ) re-appears in sasi 's 2006 film balram vs. taradas . 
athirathram is a 1984 malayalam crime film directed by i.v. sasi. the film stars mammootty, mohanlal, and seema in major roles. the movie was the 3rd biggest blockbuster of 1984. the central character tharadas (mammootty) re-appears in sasi's 2006 film balram vs. taradas.
athirathram is a 1984 malayalam crime film directed by i.v. sasi. the film stars mammootty, mohanlal, and seema in major roles. the movie was the 3rd biggest blockbuster of 1984. the central character tharadas (mammootty) re-appears in sasi's 2006 film balram vs. taradas.