samar ( 1999 film )
the film won the 2000 national film award for best film on family welfare .
after five film releases in three years - samar in 1999, kuch khatti kuch meethi and bollywood calling in 2001, sur and kaante in 2002, content company pritish nandy communicationshas pinned an... ...
plot summary: samar uses the film - within - film style with ironic humour and self - mocking wit to expose the reality of caste prejudice .
samar movie rating is na / 100 based on reviews submitted by 0 users .
shool (hindi: शूल, english: thorn) is a 1999 hindi crime drama film written by ram gopal varma and directed by e. nivas. the film portrays the politician - criminal nexus and the criminalization of politics in the state of bihar, and its effect on the life of an honest police officer. the film starred manoj bajpai as inspector samar pratap singh and sayaji shinde as the borderline psychopath criminal - politician bachhu yadav. the film won the national film award for best feature film in hindi .
samar (hindi: समर, urdu: سمر, translation: conflict) (1999) is an indian feature film directed by shyam benegal. this movie is based on the book unheard voices: stories of forgotten lives by harsh mander. [ 3 ] it was produced by national film development corporation of india, a government agency .
ek ruka hua faisla is fantastic art film. you did not mentioned the name of this film
hi... ...... . im samar pratap singh ...
chief metropolitan magistrate samar vishal took cognisance of delhi policeâ€™s chargesheet and summoned the thiruvananthapuram mp... .
there are no supporting roles in the film. all of them are principle roles. it is an ensemble film .
vaalu (english: naughty) is an upcoming tamil action comedy film directed by debutant director vijay chander. the film will
shyam benegal' s junoon (1978) 141 mins. hindi film will be introduced by richard pena, program director, film society of lincoln center .
national film development corporation (nfdc)... .. production company, national film development corporation (nfdc)... .. foreign distribution sales
if that' s a trifle baffling coming from a film - maker who' s always been a stickler for authentic backdrops and naturalistic regionalised accents, both of which are in ample evidence in samar, no less strange is the fact that this year' s best film national award for samar, an introspective critique of the caste system, is benegal' s first in a 26 - year feature film - making career. says he: although practically all my films have won national awards in various categories, the best film of the year prize eluded me. i am quite pleased that the slot has now been filled .
plz update these all movie list with release year & one best image of film .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
ever since he started making movies. but last week, for the first time, he won the overall award for the best film in the national film awards declared by the government .
there will be post - screening discussions following each film for at least one of its screenings .
there are only three characters in the whole film. urmila, manoj bajpai and sushant singh .
name of the film is … tarpan. . @ syed…. story of well cleaning. .
his brilliant new film on social oppression and the problem of the dalits. what is he saying in
every few metres someone - - a newlywed couple, a group of young girls with balloons - - stops samar almogren to cheer her on or flash her a... ...
satyajit ray' s seemabhadha (1971) 110 mins. bengali film will be introduced by filmmaker ismail merchant
these film makers used cinema to highlight prevalent issues. this new style of cinema got world wide acclaim and fame. chetan anand’s neecha nagar (1946), a social realist film won the grand prize at the first cannes film festival. bimal roy’s do bigha zamin (1953) was both a commercial and critical success. guru dutt’s film pyaasa (1957) featured in time magazine’s “all - time” 100 best movies list .
mani ratnam' s bombay (1995) 130 mins. tamil. film will be introduced by author suketu mehta
pavithra srinivasanfeels despite several plot - holes, samar works because of its entertaining plot. the ancient, tried - and - trusted commercial, formulaic entertainers are now receiving newer, ... ...
not quite correct, pritish. i have won many national awards but i think this is the first time i have won an award for the best film. i mean the best film overall. there have been awards for best director, best film in the hindi category and so on. but, if i am not mistaken, this is the first time i have got the national award for the best film and i am happy it has gone to
aparna sen' s 36 chowranghee lane (1981) 122 mins english film will be introduced by author vijay seshadri .
madha gaja raja is an upcoming tamil masala film directed by sundar c. it stars vishal krishna, anjali and varalaxmi
samar is based on a true incident drawn from a series of case studies on the caste system in rural mp recorded by an ias officer, harsh mandar. it' s the story of a thakur sarpanch of kull village, bundelkhand, who in' 91 heaped humiliation on a dalit community. their crime: the installation of a hand - pump to draw water in their part of the little hamlet. the film is near - vintage benegal mainly because he eschews a straightforward, linear narrative and employs a film - within - a - film format to unfold the tale .
police inspector samar pratap singh is transferred to motihari, in the indian state of bihar, along with his wife, manjari and a daughter. he is honest and diligent and these attributes sets... see more »
police inspector samar pratap singh is transferred to motihari, in the indian state of bihar, along with his wife, manjari and a daughter. he is honest and diligent and these attributes... see full summary »
photographer samar jodha is perhaps one of those rare persons who is all praise for the indian media. he suggests that one of the reasons the bhopal gas tragedy went by unnoticed was because there... ...
samar roy applied for a credit card with a leading private sector bank last month. though the world has changed since the days banks chased customers to offer credit cards, roy was confident he... ...
luckily, he did. it is a very complex, well - written screenplay and the film - within - a - film format worked so well for the film because he had done such a fine job of it. he used cinematic techniques very effectively to help me explore the more subtle nuances of the theme. oppression. that was the challenge of the story .
centenarian communist party of india - marxist leader and freedom fighter, samar mukherjee, who was known for his oratory and leadership, died of old age ailments on thursday. he was a bachelor... ... .
seven years after the incident, a mumbai film unit arrives at kull to can the story. as city - bred actors play the parts of the villagers, many of whom people the film' s canvas, and the crew shoots the drama, the unit members come face to face with their ingrained caste prejudices. shaken out of the smug belief that casteism is a rural phenomenon, they' re compelled to confront the undying ogres residing within them. can they ever be exorcised? mindsets, the open - ended samar suggests, are difficult to change no matter how many enlightened laws are enacted. for a film funded by the union ministry of welfare, that' s a bold stance to take. in terms of performances and technique, samar is no different from my other films. perhaps the screenplay made the difference, says benegal .
on the set of a movie about regional caste tensions, the film crew experiences their own behind - the - scenes conflicts .
the film revolves around the story of five women, belonging to different generations, each looking emancipation and the right to run their lives their own way. the film' s main theme is the issue of women' s' fertility rights' empowerment .
directed by samar shaikh, this thriller is set for a summer release this year. vidya balan looked relaxed as she arrived at salt water cafe in bandra, a western mumbai suburb to, to attend the wrap... ...
in october 2002, the british film institute published the first major overview of shyam benegal' s films in its world directors series .
nowdays. good art film doesnt make why is this? and i would like to be a actor wht should i do. thnkx
mrinal sen' s ek din achanak (suddenly one day) (1989) 105 mins. hindi film will be introduced by parag amladi
' while shah rukh is working on your film, he hates your film and loves the other one he is working on!'' so while shooting kuch kuch hota hai, he was all praises for dil se...'' while shooting... ...
dr samar sen, one of india' s foremost and earliest agricultural economists, passed away on wednesday. he was 88. he had been ailing for some time. dr sen is survived by his wife, anita, and two... ...
genesis1986, mrigya 1976, sadgati, (very good series) kaurya. gaman the perfect murder sanshodhan dharm mati maay (marathi film) shorts .
police inspector samar pratap singh is transferred to motihari, in the indian state of bihar, along with his wife, manjari and a daughter. he is honest and diligent and these attributes sets him up against his superior - the district superintendent of police, as well as his subordinates and fellow officers .
a rather unusual detour for shyam benegal, this. on a creative journey from the bundelkhand region of mp, the setting of his new film, samar, to the heart of western up, where his next project, hari bhari, is located, the 65 - year - old mumbai - based film - maker has pitched his tent in hyderabad, the city of his boyhood. but he doesn' t see it as a return to his roots. the only reason i' m shooting at the ramoji film city in hyderabad is the convenience, he confesses. so, for his story of five women from three generations of a rural north indian family, benegal has brought a whiff of western up to the outskirts of hyderabad. sets, streets, interiors have been fabricated here to represent the region, he explains .
hari - bhari (fertility) is 2000 hindi film by shyam benegal, starring shabana azmi, rajit kapur, rajeshwari sachdev, surekha sikri and nandita das in lead roles .
here’s what the shab actress has to say about her decisionactress raveena tandon is no longer a part of anurag kashyap’s much - awaited film bombay velvet and has cited change in the script behind her exit from the period drama. raveena, 40, was slated to play a jazz singer in the film, which stars ranbir kapoor, anushka sharma [ … ]
art films, also known as parallel cinema, form an integral part of bollywood. they are an alternative to the mainstream commercial cinema especially for the people who use their brain while watching movies. art films are not considered to the part of mainstream cinema due to their serious content, realism and naturalism. the culture of art films first started in bengali film industry by critically acclaimed filmmakers such as satyajit ray, mrinal sen, ritwik ghatak and others and then gained prominence in the other film industries of india including hindi film industry .
tarpan (english title: the absolution [ 1 ]) was a 1994 indian hindi drama film written and directed by k. bikram singh, and starring om puri, revathy, dina pathak, manohar singh and mita vashisht in lead roles. this directorial debut film was jointly produced by nfdc and doordarshan. the film set in the 1940s, in a fictitious village in the shekhavati region in rajasthan, where no girl child survives beyond the age of seven. it deals with larger issues of communalism and caste system through four inter - related stories .
the bombay velvet actor is there on twitter, but not on facebook. read on to find out why…raveena tandon has told her fans and film fraternity to stay away from any facebook page
banks cannot change that. you need venture financing. people who are prepared to share the risks and the profits of film - making. that has still not developed out here and, frankly, unless that happens you are unlikely to see film - makers ready to go beyond the frontiers of the entertainment business. it is far too risk - prone for the traditional financier .
best actor and best actress or best supporting actor and best supporting actress? in your film, it is difficult to figure out who plays the actual leads and who plays the supporting roles .
police inspector samar pratap singh is transferred to motihari, in the indian state of bihar, along with his wife, manjari and a daughter. he is honest and diligent and these attributes sets him up against his superior - the district superintendent of police, as well as his subordinates and fellow officers. his diligence in maintaining law and order, and his belief in justice for all, regardless of one' s background, makes him a powerful enemy in the shape and form of bachu yadav who is the local mla of the ruling political party, and will not stop at anything to get rid of samar and his family, by hook or by crook, and no one will dare to stop him. written by rajoo (gunwanti @ hotmail. com )
that is an astonishing output in an industry where finance is notoriously difficult to come by. how has he done it? to start with, he has found innovative ways of financing his films. for example, when he made '` ankur ,
most filmmakers wanting to be part of the new cinema, went to the film finance corporation (now the national film division corporation). the ffc was set up by the government expressly to fund a different kind of movie. but being a government corporation, it obviously had its red tape. benegal, instead, persuaded blaze film enterprises, hitherto the main agency for showing advertising films in cinema theatres, to turn producer. that thinking - out - of - the - box approach continues to be a benegal trade - mark: blaze produced two more features (
nishant
and
bhumika
) while
kondura
/ anugraham had an andhra pradesh producer .
samar
and
hari bhari
had government ministries as the financiers ,
arohan ,
surman
and
antarnaad
were funded by co - operatives like the weaver' s association. the most novel of these approaches resulted in
manthan
benegal' s 1976 film set in gujarat. as many as five lakh farmers belonging to the gujarat co - operative milk manufacturers' federation put in rs. 2 each to raise the then princely sum of rs. 10 lakhs, adequate to make the film. is there a parallel for this anywhere in the world ?
satyajit ray' s ghare baire (the home and the world) (1984) 140 mins. bengali with english subtitles adapted from a book of the same title by rabindranath tagore. film will be introduced by author salman rushdie .
drama. centred on the difficulties involved in changing caste attitudes, the film is based on a real incident which occurred in 1991 in a village in madhya pradesh, when high and low castes battled over the installation of a village pump .
whichever film you look at, you see shyam benegal' s pre - occupation with the cataclysmic forces which are taking india from tradition to modernity, from a deeply conservative, rigidly hierarchical society to a more open, democratic and egalitarian one .
so is everybody who cares for the well - being of meaningful cinema. it' s easy to write off his kind of films in these profit - driven times, but the very fact that benegal, as active as he' s ever been in his career, continues to project his humanist, socially informed vision on the big screen, and on his own terms at that, is cause enough for unstinted applause. but that surely isn' t the reason why samar, which marks benegal' s return to a rural indian setting, has bagged the best film award. the jury has lauded the work for the innovative and human manner in which the director structures and presents a continuing social evil .
all your three new films have used, in other words, essentially cinematic techniques to drive their narratives. where has the great novel gone? or the powerful short story that inspired film - makers to attempt a celluloid rebirth? have movies finally turned away from great literature ?
soon after, he' s scheduled to start work on his most ambitious film to date, both in terms of budget and star cast. zubeida, featuring rekha, karisma kapoor, manoj bajpai and amrish puri, is the last part of a trilogy that includes mammo and sardari begum. it' s clear that benegal has never worked with a bigger budget, but he says: the budget for zubeida is well below any budget for that size of film. the seasoned filmmaker is looking forward to directing the flavour of the season, karisma. an actor is an actor, he emphasises. any actor who is successful consistently has to have talent. i see no problem with karisma .
i do not think so. i have adapted a novel as difficult, as complex as dharamvir bharati' s and tried to film a story that was very complicated, very literary in its treatment. it is not that we are moving away from great literature but that we are always attempting new experiments with cinema to see how far we can go .
in one line. . the best thriller from bolly / hollywood. yes! you have read it right. not even hollywood has ever done a movie with such a superb script. i am sure no one from hollywood has seen the movie, coz if i was a producer, that would be the first thing i would do. without giving anything away, just let me tell you, how much can you do with a real time movie, with just two characters inside a house and a radio which says that a killer is running free in the city. just watch it! i saw it back in 1999 - 2000, and i saw it yesterday and though you know the ending, you just cant get out of the movie, its so gripping. ram gopal verma is undoubtedly the best director india has right now (shekhar kapoor doesn' t make hindi movies). its not your
keep your brains out
typical' mass' movie directed by the johars & chopras with the khans running around the zintas and mukherjees, its a thinking man' s movie. no matter who you are, if you are reading this which means you know movies, you will enjoy this movie .
yes. this is a film about women' s rights. women' s reproductive rights. the main roles are played by shabana azmi, surekha sikri, alka trivedi, nandita das, rajeshwari sachdeva. there is also a sixth woman, seema bhargava. they are a formidable team of actors. they put into life some actual case studies. just as in
is a good thing. it opens up the windows to a larger role for cinema. the special mentions for kishore kadam and seema biswas also highlight the fact that the key performers in the film have done a good job. these special mentions are meant to compensate them for the fact that they must have missed the best actor and best actress awards by a very small margin .
in thematic terms, his next venture, hari bhari, charts new territory. it revolves around women' s rights, especially their reproductive rights, says the director. the film, funded by the union family welfare ministry, reunites benegal with long - time favourite shabana azmi after a seven - year hiatus. it narrates the individual tales of five women which, when tied together, yield a panorama revealing how much of a struggle it is for rural indian women to retain control on the most pivotal role of their lives, child - bearing. besides shabana, the ensemble cast includes surekha sikri, nandita das, rajeshwari sachdev and rajit kapur. i expect to finish the shooting by the end of august and the film should be ready by november, benegal says .
while still a teenager, and well before he had even given thought to a career in films, the young kumudlal was married to shobha in a match arranged by their parents in the usual indian style. their lifelong marriage was a harmonious and conventional one, and despite his film career, the couple retained a very middle - class outlook and value system, bringing up their children in a remarkably simple home, with traditional values. they were the parents of one son named aroop ganguly and three daughters named bharati patel, rupa verma and preeti ganguly. their son, aroop kumar ganguly, featured as the hero of exactly one film, bezubaan (1962), which flopped at the box office. he then made a career in the corporate world. ashok' s eldest daughter, bharati patel, is the mother of the actress anuradha patel, who is married to the actor kanwaljeet singh. ashok' s second daughter, rupa verma, is the wife of the actor and comedian deven verma. ashok' s youngest daughter, preeti ganguly, was the only one of his daughters to enter the film industry. she acted as a comedian in several hindi films during the 1970s and 1980s, and died unmarried in 2012 .
restricted to adult audiences (18 years or over). nobody below the age of 18 may buy / rent an a - rated dvd, vhs, umd or watch a film in the cinema with this rating. films under this category may contain adult / disturbing themes, frequent crude language, brutal violence with blood and gore, strong sex scenes and / or scenes of drug abuse which is considered unsuitable for minors .
kalyug
was a wonderful modern - day replaying of the mahabharat, with the pandava industrial family being locked in a titanic battle with their kaurav rivals. but the times are different from the original mahabharat' s, and external forces impinge on feudal values causing disconcerting results. this is even more evident in benegal' s last film
zubeidaa ,
where a rajput princely family has to cope with a newly independent india' s democratic aspirations .
` 'bhumika
was the first in a long line of women dominated films. based on the real - life story of hansa wadkar, a marathi screen actress, the film' s heroine (played by patil) is an urban extension of the shabana azmi characters of '` ankur
and '` nishant
: the men in her life also try to assert their ownership of her. they fail, but not for want of trying .
by the early 1990s, the rising costs involved in film production and the commercialization of the films had a negative impact on the art films. the fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. underworld financing, political and economic turmoil, television and piracy proved to be fatal threat to parallel cinema, as it declined. however, we can still see the touch of parallel cinems in the movies of mani ratnam, nagesh kukunoor, anurag kashyap etc .
during the 1970s and the 1980s, parallel cinema entered into bombay’s hindi film industry. this was led by such directors as gulzar, shyam benegal, mani kaul, rajinder singh bedi and saeed akhtar mirza, and later on mahesh bhatt and govind nihalani, becoming the main directors of this period’s indian art cinema. benegal’s directorial debut, ankur (seeding, 1974) was a major critical success, and was followed by numerous works that created another field in the movement. these filmmakers tried to promote realism in their own different styles, though many of them often accepted certain conventions of popular cinema .
surya' s weakness and cowardice serve to underline how deep the habit of subjugation has become: this is no tyrant imposing his will by force of personality; this is tyranny by inheritance. the despot is dead, long live the despot. but at the end of the film, a little boy throws a defiant stone at the house of the landlord. this is
the seedling
of the title, the first small expression of revolt by the oppressed. it may be a futile gesture, but it suggests that however deeply entrenched the inequities, the process of change is about to begin .
filmmaker bio: date of birth (location): 14 december 1934 aliwal, hyderabad, british india (now andhra pradesh, india) shyam benegal' s contribution to the hindi new wave cinema is remarkable. most of his early day films were artistically superior and commercially successful. he introduced some of the most talented artists to hindi films including shabana azmi, naseeruddin shah, om puri, smita patil and amarish puri. benegal' s first film ankur narrated the indian rural life and the feudal system. his later films nishant, manthan, bhumika and junoon added strength to the new wave cinema movement in india .
you see that right from his very first film. the lushness and tranquillity of the rural landscape in
ankur
seems to speak of anything but oppression. surya (anant nag), the young landlord, sent against his will from the city to look after the family fields, seems more bored than cruel. but his public humiliation of kishtaya (sadhu meher), his deaf - mute servant, for a petty theft, shows by the manner of its casualness how the ownership of people is assumed as a birthright both by the oppressor and the oppressed. later events, like his sexual relationship with kishtaya' s wife (shabana azmi), are further stages in proprietorship .
simultaneously, london' s national film theatre ran a comprehensive retrospective of his work. the tributes, obviously, are coming thick and fast. but, then, they always have ever since '` ankur
was made in 1973. that was almost 30 years ago, and the incredible thing is that shyam benegal not only continues to work but continues to work at a frenetic pace. in these three decades, he has made 20 feature films (21 if you count the two language versions of
kondura
), two feature length documentaries (on nehru and satyajit ray), a massive tv series (the 53 - part
bharat ek khoj
, based on nehru' s
discovery of india
), 70 documentary and short films and hundreds of commercials .
these achievements are enough to make shyam benegal one of the most important filmmakers ever in indian cinema. but there' s another, even more important reason. the new cinema or parallel cinema or art cinema, or simply, a film culture different from the mainstream, has grown and survived only in '` regional
languages, where smaller budgets, orientation to local contexts and committed audiences have made such films viable. benegal has worked in hindi, the language of bollywood, bombay - babylon. he has shown for 30 years that it is possible to make films that are intelligent and real and important and make them in hindi. and by making them in hindi, he has taken his message of social commitment to a far wider audience than everyone else in the history of our cinema .
the movie tells the story of a middle aged muslim woman gazala (shabana azmi), who is ill treated by her husband and sent back to her parent' s home, just because she is unable to give birth to a son. gazala does have a daughter salma (rajeshwari sachdev). the plot revolves around gazala' s stay at her mother' s home and the problems faced by the women of the house, being her mother and sisters - in - law. the film is a beautiful description of the problems faced by women in the name of fertility, or in a different sense the urge to have a male child, especially in rural india. shyam benegal provides a masterpiece, reflecting on the sorrowful plight of rural indian women. the irony lies in the point where the movie begins with a scene which shows a bull being brought to impregnate a buffalo. five different women, each with a different story depicting the harsh realities of a woman' s life .
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through his wide variety of themes, there is a discernible common thread and that is about change, says anil dharker, tracing shyam benegal' s career spanning three decades .
benegal' s diversity of producers is actually a reflection of the diversity of his films. but through this wide variety of themes - rural exploitation, development of workers' co - operatives, the feudalism in industrial or royal families, to give some examples - there is a discernible common thread. that thread is about change .
in
nishant ,
the oppressed revolt openly, the culmination of a long reign of terror let loose by a family of landlords. significantly, the revolt does not spring from the land; it is brought about by the middle - class - the schoolteacher and the priest representing the potent combination of education and enlightened religion that is most likely to bring about social change in india .
through the unlikely story of the development of a milk association in a village ,
manthan
shows how an outside agency can act as a catalyst for change. the earnest young man (girish karnad) prodding the local farmers into resistance finds them overcoming their fatalism and fear because he can demonstrate first, that it is possible. and second, that there' s a direct - and gettable - economic benefit to be obtained by putting up this resistance. in the end the forces for change may be defeated as in
nishant
( benegal isn' t telling fairy tales with happy endings), but you see that society is changing and, sooner or later, the oppressed will fight their own battles .
this theme of change is present even in benegal' s
urban
films .
allied to this commentary on modernity and social change, benegal' s films stress the struggle for women' s empowerment. in a recent
conversation
i had with him on the stage of the british council auditorium in mumbai, i asked him if we could call him a feminist. this raised a few titters in the audience: obviously, people still believe that only women can be feminists .
yes ,
said benegal, as anyone who has seen the body of his work would expect .
what is remarkable is that the director' s heroines have struggled to assert themselves in hindi cinema, a medium notorious for its hypocrisy about women. hindi films have worshipped their heroines, in the abstract for the qualities of beauty and purity. then they have relegated them to their home as a bearer of food and children, neglected their role as a partner, and, worse, constantly scrutinised (and punished) them for transgressions from an impossible ideal. in most hindi movies, virtue has shone from their heroines with all the brightness that arc lights can muster. so pure have been these saccharine dolls that butter would congeal in their mouths .
in this tradition of virtue run amok, benegal' s heroines must seem impossibly wanton: in '` ankur ,
the maid - servant becomes pregnant by the landlord and is content to let her husband think of the child as his own; in '` nishant ,
the violated wife of the school - teacher accepts the position of a kept woman; in '` manthan ,
there is the unrealised but charged relationship between the leader of the co - operative (girish karnad) and a married village girl (smita patil) .
usha, the actress, refuses to succumb which leads to her unhappiness and isolation, both inevitable in the context of indian society. rebels, and especially women rebels, are lonely people .
these are shyam benegal' s early films. he did not set out, as he has said, to make feminist statements or talk about the empowerment of women then, but discovered that this theme was becoming a strong element in his films. not surprisingly, his later films like '` mandi ,
trikal ,
mammo ,
sardari begum
and '` hari bhari
take up this theme more overtly and make it the central point of the narrative .
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not really. one sends films to the national awards out of sheer habit these days. one has ceased to expect anything. but, frankly, i was keen that ashok mishra, the person who has written the screenplay and dialogues for
you are right. there have been so many oppression stories, including several of mine, that had he not innovated with the treatment it would have been difficult to convey so many things at so many levels. a straight narrative would have been no new experience. the powerful crushing the less powerful. the privileged walking all over the underprivileged. the strong intimidating the weak. how many times can you tell the same story the same way ?
plus, this time, i wanted to put forward many different viewpoints. the dalit problem is not just restricted to the countryside. it is as present in urban india, of course, in a very different way. i was keen that all these different viewpoints be incorporated into the text and its subtext .
that is why i needed a different kind of screenplay. where you get a whole lot of different viewpoints placed side by side. the urban characters who are playing out the original rural story come with their own baggage of beliefs. this creates its own contradictions and gives you different kinds of insight into the nature of the problem .
yes and the screenplay exploited the format rather effectively. that is why i was keen that he should be recognised for his attempt. as for me, i don' t count awards any more. . i just make my kind of films. it came as a happy surprise that
you keep winning awards all the time. this must be your umpteenth national award .
it is very difficult to afford one. they have become far too expensive and those who put their money into such films expect from their directors a successful track record in terms of earning money from such films .
because the kind of films people are watching has changed. it is like the media business. it has evolved, become very different from what it used to be. entertainment is the big thing today and few people are ready to risk going beyond the conventional definitions of entertainment .
but small films, different kind of films have started working once again. like your
are doing the same today, finding new audiences, pushing back the frontiers of the entertainment business .
two. one will be partially shot in rajasthan and partially in bombay in december. it is part fictional; part biographical and is called
you will realise how the trilogy integrates and tells what is essentially one story .
is being shot in hyderabad. it' s for the ministry of family welfare .
there is a umbrella story that encloses all these individual case studies. it is all within the context of a family. one family .
that is the challenge. the challenge before satyajit ray when he made the apu trilogy. the challenge before kurosawa when he made
to create a different language for cinema; not blindly reproduce great literature on celluloid .
as benegal gets into back - to - back - films - mode just for the third time in his long career, charandas chor and nishant in' 75 and making of a mahatma and sardari begum in' 95 were the earlier occasions, will the streak continue? nothing would please admirers of his cinema more .
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adoor becomes kerala' s first - ever recipient of the phalke award. par for the course .
iaf raised bills of rs 29. 41 cr. to ferry currency notes post - demonetisation: rti
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mrinal sen' s ek din achanak (suddenly one day) (1989) 105 mins. hindi
buddhadb' s uttara (the wrestlers) (2000) 99 mins. bengali
buddhadb' s mondo meyer uppakhyan (tale of a naughty girl) (2002) 91 mins. bengali
buddhadb' s uttara (the wrestlers) (2000) 99 mins. bengali
©2002 indo - american arts council inc. 146west 29th st, # 7r - 3, new york, ny 10001. phone: 212 594 3685 fax: 212 594 8476 email: iaac @ urltoken web: www. urltoken
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while alone in the house, a woman hears news of serial killer on the loose. and then a stranger rings the doorbell ...
buzzing comedies such as the spy who dumped me await you in our summer movie guide. check in for all the info you need .
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a woman falls for a charming and mysterious businessman. the whirlwind romance turns sour when she is framed for his underworld crimes. now, finally out of prison she is ready for sweet revenge .
when a married couple moves into a flat that is haunted by a spirit, a series of inexplicable experiences drive the wife to near madness. now, the husband must protect his wife to save their marriage .
in 1980s bombay, a serial killer starts targeting homeless street dwellers, whilst a suspended police officer attempts to solve the case .
rajasthan - based satyaveer singh randhawa works as a junior engineer with lahkot municipality' s public works department and lives a middle - class lifestyle with his wife, nimmi, and son, raju... see full summary »
the sharma family re - locate to a semi - urban locality in a house that has a
reputation
. the sharma family consists of mr. sharma (akash khurana), his wife shalini sharma (rohini hattangadi... see full summary »
seven friends, after their car breaks down in the middle of the night, find shelter and tell one another stories to kill time till dawn .
assistant commissioner of police (acp) malvika chauhan battles time to obtain & solve the clues to solve the various murders occurring in the city .
a brilliant student starts hallucinating after moving into a room that was occupied by another who committed suicide .
police officers recount a tale of missing money which results in lies, deceit, betrayal and death .
an innocent man is embroiled in underworld after being falsely charged and sets out to punish the perpetrators who subjected his life to misery .
a surreal story about a man, his addiction of smoking, and a mysterious and powerful organisation, which claims to cure such addictions, though through very unusual ways .
on a stormy rainy night a women is watching a news on television of a killer being around suddenly her bell rings. she is hesitant to open the door after hearing the news of killer. man claims himself as sameer a. purnavale looking for mr malhotra and frequently rings the bell. the women tells him that the house belongs to mr gupta. in order to scare him she tells that her husband is sleeping upstairs. but she hears a sudden noise and runs outside to puranavale who tells her that he is here to protect her. when she finds nobody around asks him to leave but another man is standing at the door with a gun claiming to be inspector qureshi. the women is left confused among both the men suspecting that they are not who they claim to be as one of them could also be the killer .
a lonely women... . a killer... one rainy day... . one empty house
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manoj, who plays the professor' s role, says classifying films on the basis of age groups is okay, but there shouldn' t be interference with a director' s creative output .
the actress is renowned for her fab figure, which she has said, time and again, is because of yoga…bollywood actress and fitness freak shilpa shetty, who has often spoken about the benefits of yoga, says that she would “like to play catalyst” in prime minister narendra modi’s initiative to promote yoga on a global level .
the tevar actor says its time to pay back – find out whynational award winning actor manoj bajpayee compromised on remuneration for good roles, but says he will not do it any more. the actor, who rose to fame with his performance in satya, a role that fetched him the national award, later proved his mettle [ … ]
after 15 years the shool maker is planning a sequel…e. niwas, who made his bollywood debut as a director with shool, now plans to make a sequel to the national award winning movie. he says he won’t make it without manoj bajpayee .
the actor will be back in a sizzling avatar very soon. read on to know moreshilpa shetty kundra is set to sizzle again on the big screen. and yes, it will be in a super sexy avatar. the actor recently shot for an item song for her home production dishkiyaoon ,
the actor will be seen shaking her booty to a dhinchaak item number in the sunny deol - harman baweja starrershilpa shetty’s curves makes the girls go green with envy and the guys all weak in their knees. and we all know how dhamakedaar her dancing is .
the character actor is currently battling for his life at a jaipur hospital, and his family is finding it difficult to bear his medical expensesyou have seen shrivallabh vyas play pivotal characters in films like lagaan, sarfarosh, shool, dil bole hadippa among various others. the once hale and hearty vyas reportedly fainted on the sets [ … ]
the columbian singer - dancer who moved her hips like a dream in hips don’t lie gave birth to a baby boy last night. and thinking about her promptly made us wonder about our desi shakiras – which of our bolly - babes could possibly do the hippy - hippy - shake - shake thing as well as shakira did? this morning we woke up to [ … ]
bollywood actor and producer, raveena tandon made her acting debut with patther ke phool opposite salman khan. she delivered
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young palestinians use hip - hop to fight back against israeli oppression in berlinale veteran udi aloni' s upbeat musical drama .
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congress leader shashi tharoor was on saturday granted regular bail by a delhi court in his wife sunanda pushkar' s death case. the thiruvananthapuram mp, who was summoned as an accused in the... ...
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samar ( hindi : समर , urdu : سمر , translation : conflict ) ( 1999 ) is an indian feature film directed by shyam benegal . this movie is based on the book " unheard voices : stories of forgotten lives " by harsh mander . it was produced by national film development corporation of india , a government agency . it stars rajeshwari sachdev , jonhawiwi forsywas , kishore kadam and seema biswas among others . the film is in hindustani . the film 's music is composed by vanraj bhatia . it won the national film award for best feature film in 1999 . 
samar (hindi: समर, urdu: سمر, translation: conflict) (1999) is an indian feature film directed by shyam benegal. this movie is based on the book " unheard voices: stories of forgotten lives " by harsh mander. it was produced by national film development corporation of india, a government agency. it stars rajeshwari sachdev, jonhawiwi forsywas, kishore kadam and seema biswas among others. the film is in hindustani. the film's music is composed by vanraj bhatia. it won the national film award for best feature film in 1999.
samar (hindi: समर, urdu: سمر, translation: conflict) (1999) is an indian feature film directed by shyam benegal. this movie is based on the book " unheard voices: stories of forgotten lives " by harsh mander. it was produced by national film development corporation of india, a government agency. it stars rajeshwari sachdev, jonhawiwi forsywas, kishore kadam and seema biswas among others. the film is in hindustani. the film's music is composed by vanraj bhatia. it won the national film award for best feature film in 1999.