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Issue No. 06/10/08 |
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October 2008 |
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A Word With You... |
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I am quite happy to convey to my friends in FIPRESCI that we have received good feedback from our readers on e-cineindia. This actually motivates us to proceed further with more enthusiasm. The new format that we have initiated appears to go well with the readers. We invite suggestions to improve it further.
We are happy to record here that this year, for the first time, we will have FIPRESCI jury at 39th International Film Festival of India (IFFI-2008), Goa. This will be in addition to the other four – MAMI Mumbai, IFFK Kerala, MIFF Mumbai and Osian Cinefan Film Festival, Delhi- already existing in India.
Quite interestingly many of our friends have now started thinking on how to improve film criticism in India. One suggestion that has been in the air for quite sometime is to conduct master classes at the various centres during the Film Festivals where many eminent film critics and film people will be participating. Young aspirants who are keen on writing on cinema will have an opportunity to enrich their knowledge on world cinema. Our Fipresci members in India stationed at different film festival centres can take initiative to give a shape to this proposal. We can have a fruitful discussion when FIPRESCI meets at IFFI Goa in November this year, 2008.
May I take this opportunity to renew our appeal to our FIPRESCI-India members to make e-cineindia livelier through their rich contributions?
Wishing all our readers the best,repeat
Yours truly,
H. N. Narahari Rao
Editor
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e-cine Reviews |
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Gulabi Talkies |
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(India/Kannada/ 2008/ 115 mins) |
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Director: Girish Kasaravalli |
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Girish Kasaravalli, Karnataka's noted filmmaker continues his pursuit of subjects which predominantly revolve round women. This time in his latest film Gulabi Talkies which won the coveted best film award at Osian's cinefan film festival 2008, Delhi, he sketches the life of an engaging Muslim woman character named Gulabi. Gulabi, who has been deserted by her husband, is a lively person living in an island where fishery is the main occupation. She is indomitable in spirit and, despite all the disappointments in her life, explores new ways to keep herself busy and needed by people. She is indispensable because she is a mid-wife with a great talent for handling childbirth. On the other hand Gulabi's love for cinema makes her spend most of her free time in theatres. To her great fortune she receives a television set as a gift from a family and her house becomes a parlor where housewives gather to watch TV programmes.
After establishing Gulabi as an endearing character, the director proceeds to set out the social milieu in which she lives and the issues she is confronted by. To her ill-luck, events and circumstances eventually isolate Gulabi and she leaves the village. But even at the time of her departure she continues to remain in high spirits: “ I do not have to worry as along there are childbirths taking place," she jokes to the despondent people who see her off. The film which is expected to win many laurels is an entry in the competition section at the Abu Dhabi Festival. Girish Kasaravalli is now working on his next film, and it is an interesting guess whether his 'woman-oriented' agenda remains or changes.
by H.N.Narahari Rao
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The Edge of Heaven
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(Original title: Auf der anderen Seite / Germany / 2007 / 122 mins)
Director: Fatih Akin |
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Fatih Akin is a German filmmaker of Turkish descent and if a single concern is to be identified in his numerous films, it is the notion of the Turkish homeland yearned for by Turkish immigrants in Germany, a space where the response to aliens from the poorer countries is at best ambivalent. The Edge of Heaven (2007) revolves around Nejat, whose father Ali takes it upon himself to install as his girlfriend a prostitute also of Turkish descent, a woman named Jessy. Ali soon becomes very possessive about Jessy and matters come to a head when, in a moment of rage, he kills Jessy and is sent to jail. Jessy apparently has a daughter named Ayten in Turkey and Nejat, Ali’s son decides to return to Turkey to seek her out. There are twists in the plot because Ayten (who is a political radical) is meanwhile in Germany illegally, where she is befriended by a liberal minded German girl named Lotte. But Ayten is soon discovered and deported to Turkey where she is imprisoned. Lotte now comes to Turkey to meet her but is shot dead by a street urchin with her own revolver.
Relating the story in its entirety may be out of place because there are surprises and the director structures his story brilliantly, choosing to go back and forth not only in space but also in time. The very first sequence, for instance, is repeated close to the end of the film when everything is being resolved. More importantly, however, the film is a deep exploration of a people caught between two cultures and conflicting loyalties. The promise of the West is contrasted with the hostile milieu that the immigrant must there while the yearning for one’s homeland is undermined by the political situation actually prevalent there, a situation that stubbornly resists change.
MK Raghavendra |
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Tuya’s Marriage
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(Original title: Tuya dehun shi, China/Mongolia/ 2006/ 86 mins)
Director: Wang Quanan |
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The Story of Tuya is something funny that resembles a mythical tale. But it is used very effectively to portray a determined character. The ethnic tradition that is built up over the years has made people here to be compassionate. This can be seen when Batoer’s sister offers Tuya that she would take care of both the children and her husband Batoer and suggests her to remarry. But fast industrialization that is taking place is changing the environment, water sources are drying up, camels and horses are making way for bikes, cars and trucks. The cultural heritage and the value system are also vanishing. The film is an excellent portrayal of a slim story which provides the viewers with an opportunity to study the documentation of the lives of the people in Mongolian villages.
Director Wang Quanan on his film says: "My mother was born in inner Mongolia, not far from the film's location. This is why I've always liked Mongolians, their way of life and their music. When I learned about the extent to which massive industrial expansion is turning the steppe into a desert, and how local administrators are forcing the shepherds to leave their homelands, I decided to make a film that would record their lifestyle before it all disappears forever.”
The film won many awards including Golden Bear at Berlin for the Best film and Best Actress award for Yu Nan at Chicago International Film Festival.
H.N.Narahari Rao
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Ezra
(France/ Nigeria/ USA/UK/Austria, 2007, 110 mts)
Director: Newton I Aduaka |
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The issue of child soldiers is perhaps the one about Africa that most engages cinema today. If Edward Zwick's (somewhat Eurocentric) Blood Diamond (2006) is credited with having brought it forcefully into cinema, Newton I Aduaka's Ezra (2007) is a more authentic African look at the same issue. Ezra was screened at The Zanzibar International Film Festival 2008, where it received The International Critics Prize (FIPRESCI Prize), but what was perhaps also interesting was that there were two other films referring to child soldiers that were screened alongside at ZIFF 2008 - Joseph Muganga's The Kadogo Brothers (Les Fréres Kadogo) from Cote d' Ivore and Teresa Prata's Sleepwalking Land (Mozambique/ Portugal). The African continent has apparently embraced the issue as distinctly its own and this is significant.
Ezra begins with a prologue in which a band of armed men raid a rural schoolhouse, round up a bunch of children and kidnap them. The location (which is perhaps Sierra Leone) is not mentioned but the teacher has just written a date in 1992 on the blackboard and set the children an assignment -- an essay on why each of them loves his or her country. The child Ezra is among those kidnapped and the rest of the prologue has to do with the initiation of the eight-year-old child into the ways of ruthless armed combat. Here again, the commander of the rebel company invokes 'love for the country' and notions such as 'justice' and 'revolution' to persuade his all-too-persuadable wards, and it is evident that what are being groomed are a bunch of precocious killers with just the right sentiments. |
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The film then moves to a hearing of a Committee for National Reconciliation about 8 years later. Ezra (Mamoudu Turay Kamara) is now about 16 years old and trying to acquire the skills of a carpenter. Ezra is not on trial in the hearings but his background is being investigated to understand what child soldiers generally lived through in the past eight to ten years. |
Ezra Director Newton I Aduaka |
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| Especially important in Ezra's case are the occurrences on a certain day in January 2009 and the significance of the day gradually become clearer. Ezra's parents are dead but his sister Onitcha (Mariame N'Diaye) still lives (although rendered speechless) and her assistance -- along with that of some sympathetic others - is sought by the 'court' to proceed with the investigation. It is evident that the adolescent Ezra has not overcome by remorse at what he has done. He does not, in fact, even recollect his actions of that fateful day. All he recollects is that it was the day on which he met 'Black Diamond' (Mamusu Kallon), his now dead girlfriend and former comrade-in-arms.
Ezra's life after his kidnapping – and up to the time of his capture by loyalist forces – is then presented to us in a series of fragmented flashbacks. What happened on the fateful day was that Ezra and his comrades were pumped full of excitement-inducing amphetamines and sent on a search-and-destroy mission to his own village because its inhabitants were suspected to be sympathetic to the government forces. In the process, Ezra had turned a flame-thrower on his own family home and reduced everyone inside to cinders. His sister Onitcha, who escaped the carnage, had her tongue cut out so she could not speak thereafter. The conflict between the rebels ('The Bloodbrothers') and the government revolves around the elections and the rebels are also cutting off hands because 'no hand means no vote'. And the stakes are apparently large because 'diamonds' are mentioned and white foreigners are seen at strategic moments. In fact Ezra even asks the enquiry commission if any African has ever seen a diamond.
It is to Ezra's credit that it offers no ready solutions and its protagonist is virtually implacable to the very end. The film does not show the government forces as morally superior to the rebels, although they recruit no child soldiers. Ezra has been the victim of a kidnapping but his girlfriend Black Diamond is the daughter of a radical journalist and she has apparently arrived there because of her convictions. The enquiry commission is chaired by a deeply sympathetic American former general Mac Mondale (Richard Gant) and he winces when Ezra lashes out at him in court.
Unlike Blood Diamond, Ezra raises several questions that do not stop with the humanitarian side. One of cinema's recurring conventions is that children are naturally innocent and 'lost innocence' is a favorite theme of cinema. Many of cinema's greatest works -- from De Sica's Bicycle Thieves (1948) to Ray's Pather Panchali (1954) have benefited through the use of this convention and only films like Bunuel's Los Olividados (1950) and Fernando Meirelles and Katia Lund's City of God (Cidade de Deus – 2002) have questioned its basis. These films – as Ezra also does – suggest that ethical qualities are not 'lost' as a child grows up but that they may be actually acquired through education. Children, because they have not been imprinted upon by social convention, are perhaps much more easily indoctrinated by mindless polemic and turned into 'killing machines' than adults are. The rebels in Ezra apparently understand this very well because children are in great demand as new recruits.
Ezra is extremely well acted and particularly striking are the sequences dealing with the hearings of the enquiry commission. Ezra is in a frame of mind impossible to understand and, for all his youthfulness, his responses to the questions put to him are almost chilling. The child went through so much – and was made to go so far in his conduct – that when he becomes an adolescent he is remote and inaccessible.
Marking out Ezra among a host of other films dealing with violence and moral choice is its clear-eyed look at the issue. Moral choices are not as easily exercised as it may seem, the film suggests. If we have become moral beings, it is through a process of education that only the privileged may be fortunate enough to receive -- and there is a metaphor in this. If it is argued that African countries are the 'children' among the world's nation states, could not the histories of many of these nations be akin to the lives of child soldiers? It is perhaps the responsibility of the 'adult' nation states to attend to the correct development of these infant nations instead of seeing in them only the expendable custodians of scarce resources. If this argument is conceded it can be asserted that the 'adults' will need to be become truly moral beings before they dictate to the 'children' or intervene/ mediate in their development.
MK Raghavendra
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| Films Revisited |
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October, 2, 2008 is 138th birth anniversary of Mahatma Gandhi. He is officially honoured in India as the Father of the Nation; his birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and world-wide as the International Day of Non-Violence .
Sir Richard Samuel Attenborough made the film Gandhi in 1982 and when we revisit this film afresh today we see its significance in a new perspective. Here is a review of the film. |
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Gandhi |
(India/UK / 1982 / Col /BW / 188 mins)
Cast: Ben Kingsley, Rohini Hattangadi, Saeed Jaffrey, Roshan Seth, Alyque Padamsee, Martin Sheen, Ian Charleson, Amrish Puri, Geraldine James.
Direction: Richard Attenborough
Production: Richard Attenborough, Screenplay: John Briley.
Cinematography: Ronnie Taylor, Billy Williams.
Music: Ravi Shankar.
Editing: John Bloom. |
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Film Gandhi documents the biography of Mahatma Gandhi, (Mahatma means great soul) who started his career as a lawyer and then rose to become one of the greatest spiritual, and Political mass leaders that India has ever produced. He became famous for his philosophy of non-violence, which he effectively used as a weapon against the British Empire to attain independence for India.
We saw this film in public theatres when it was released in 1982. By seeing it now in DVD format, twenty five years after its making, the impression it creates in us is something very profound in nature. It is because we do not see it like we see other films just for appreciating and experiencing its cinematic excellence. Here in this film our interest is something more than that, and our involvement is totally different.
Making a cinema of three hours on a person’s life who became the Father of the Nation, controlling the pulse of a country with a population of over 350 millions, most of them poverty stricken, illiterate, culturally diversified, multi religious masses is a stupendous task. Each and every day of Gandhi’s active life was eventful, illuminating the lives of many who came in contact with him. Where to start, what to show and how to end is definitely a daunting task. Richard Attenborough is successful to a great extent in making this film a worthy documentation of the life of a ‘Great Soul’ Mahatma Gandhi. It is the very reason he starts the film with a caption: No man’s life can be encompassed in one telling……………. The film begins with the killing of Gandhi, then a funeral procession in which a sea of humanity participate, a foreign radio reporter giving a running commentary on this last journey tells the world:
The objective of this massive tribute,
Died as he had always lived:
A private man without wealth, without property, without official title or office, Mahatma Gandhi was not the commander of armies, not a ruler of vast lands, He could not boast any scientific achievement or artistic gift, yet men, governments, dignitaries, from all over the world have joined hands today to pay homage to this little brown man in the loin cloth who led his country to freedom. In the words of General C.Marshall, AmericanSecretary of State, Mahatma Gandhi has become the spokesman for the conscience of all mankind. He was a man who made humility and simple truth more powerful than Empires. And Albert Einstein added, Generations to come will scarce believe that such one as this ever in flesh and blood walked upon this earth.
The film immediately flashes back to South Africa of 1893 to tell us the story of how Gandhi was successful in fighting against the Authorities to repeal the unjust law framed against colored people. This was his first fight against injustice, and the success he tasted was something unique because here is a man from an alien country who stood firmly against an empire, experimented with a new weapon called truth and non-violence and became successful in his mission. His writings and his philosophy received wide coverage in the western press. Many of the leaders of the congress party in India took note of this development and gave a cordial reception to him when he returned to India.
In India, his meeting with Gokhale, then his extensive tour of the country to discover India, his enlightening speech at the Congress session, his fight for restoring the rights of the farmers of Champaran which made him a mass leader, then his total involvement in the congress party to fight for the freedom and the events like the civil disobedience, the famous Salt Satyagraha that follow are beautifully visualized.
Richard Attenborough is very faithful in his approach, he gives a glimpse of the personal life of Gandhi, particularly his relationship with his wife. It actually begins from South Africa where there was a conflict between the two with regard to cleaning of toilets and they end up in a reconciliation that brings them closer. On their arrival from South Africa, KasturBa quickly retorts “My dignity comes from following my husband” when one from the crowd on the ship questions about the indignity she suffered because of her husband’s imprisonment. In one most unforgettable scene, Gandhi and Kasturba enact the sequence of Saptapadi (Seven steps) of their marriage, explaining its meaning, on the banks of a river, to the benefit of two foreign journalists. The bond between the two which was the motivating force for both of them ended only when death came to KasturBa in the Ashram in his presence. It is a moving scene.
There is a reference in the film to the infamous comment Half naked Fakir made by Winston Churchill, and as though it is an answer to this and to the west in general. There are many encounters Gandhi has with the British authorities in the film and in all of them Gandhi through humility and simple truth is able to come out a clear winner. It starts with General Smuts in South Africa who had to budge, then in the court in a trial where the judge and the entire court stood up in honor of the accused (Gandhi), then at meetings with the Viceroy and the English General, in all such meetings it is the half naked man, who calls the shots.
Richard Attenborough uses minimum dialogues, there are no long drawn speeches, no preaching of sermons but whatever spoken is so apt, they add immense value to the entirety of the film. There is only one speech that he makes, that is when he addresses a congress session, even this is very short but it is up to the point. Even though Gandhi was very humble and soft spoken, he was very stubborn and uncompromising in his stand on his principles. Whether it is in his writings, or in his speeches, or in courts or in his meetings with the authorities he was unequivocal in calling the British Raj an evil force and they should quit India. This was his great quality and this spirit has been portrayed in the film very effectively.
Before it ends, the film goes back to the scene where he is shot and killed and then to the cremation and the immersion of ashes in the river. His words, told earlier to Miraben at the time of his fasting reappear again: When I despair I remember all through history the way of truth and love has always won. There have been tyrants and murderers and for a time they can seem invincible but in the end they always fall. It reminds us that he lived for his principles and he sacrificed his life in upholding it.
It took nearly two decades for Richard Attenborough to mobilize funds for making this epic film, which was his pet project. The British Rulers left India long back, but there are many good things they left for us which we still cherish. Our long association with them made us understand the importance of unity, discipline in life, a taste of good administration and many other things. This is the reason why Gandhi insisted that Britain and India should part like friends. Similarly there were also many English men who really loved and admired India and its values, ethos, and its people. Richard Attenborough is one such person who loved India and he has great respect for Gandhi. He could not have thought of a better tribute than this film which is really great. I call it great because this DVD of Gandhi will definitely find its place in many houses and institutions in India. The future generations will watch it and understand that a legendary person named Gandhi was born in India who got freedom for India in the twentieth century. We should thank him for this precious gift. The film won a large number of awards including 8 Oscars besides being a big success commercially having its run in public theatres in many countries around the world.
H.N.Narahari Rao |
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Kon Ichikawa - A Tribute |
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Born in 1915, Kon Ichikawa studied in a technical school in Osaka and after his studies, in 1933, he got a job in a film studio. He was later promoted as assistant director which gave him the opportunity to work under many eminent filmmakers. He later moved to Tokyo and joined Toho Film Company where he met Natto Wada, a translator whom he married. In 1946 he made his film on a puppet play A Girl at DojoTemple. His wife, Natto Wada actively associated with him in many of his works as a screenwriter. He made two anti war films The Burmese Harp and Fires on the plain during 1950’s. Their partnership lasted up to 1965 when they made the film Tokyo Olympiad (1965). |
Kon Ichikawa (1915-2008) |
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She later withdrew from films and died of breast cancer in 1983. Ichikawa and Wada specialized in screen adaptation of many well known literary works. A good number of his films made during 1950s and 1960s received widespread international distribution. Ichikawa was a very prolific filmmaker who made a large number of films, numbering around 80, which included art films, documentaries, melodramas, thrillers and others. He made his last film in 2006 when he was 90. He received an award for cultural merit from the Government in 1994, and a lifetime achievement award at the Montreal World Film Festival in 2001. He died after a brief illness in February, 2008, at the age of 92. |
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The Burmese Harp |
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(Original title: Biruma no tategoto / Japan / 1956 / BW / 116 mins)
Direction: Kon Ichikawa |
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The Burmese Harp is a film with a poignant appeal on the absurdity of war. While we have come across many anti war films coming from western countries, this is one important film from the eastern sector which won recognition at many international film festivals. The decomposed dead bodies of the Japanese soldiers lying every where moves Mizushima to change his mind to become a monk and stay back in Burma to give a decent burial to his deceased countrymen and pray for them. The film is highly sentimental and melodramatic. Mizushima is deeply moved when the British hospital authorities pay their respects to a dead Japanese soldier who could not be saved. There are many scenes in the film which appear more like a fantasy - like the British soldiers joining their adversaries in singing is something unusual and very optimistic, conveying messages through birds, and fellow soldiers going in search of Mizushima following the sounds of his Burmese harp music while he hides in the caves to avoid being traced. The Japanese soldiers have some sentimental attachment with an old, local Burmese woman who frequently sells them fruits. Ichikawa has deliberately used this style to enhance the anti war sentiments through universal brotherhood as a poet’s imagination. Symbolically also Mizushima changes his dress from military uniform to religious robe.
Mizushima’s letter to his friends which is read by the captain on the ship is a very lengthy one; it almost runs to several pages, explaining in detail the tragedies of war and the reason for his decision to stay back in Burma. It is just like reading a sermon.
Film Societies in India had screenings of the film The Burmese Harp in the Seventies through the courtesy of the National Film Archive of India. It is now a refreshing experience to see it on DVD after three decades. It is enjoyable more as a fable. The film won Oscar nomination for Best Foreign Language film and also won prize at Venice.
Select Filmography of Kon Ichikawa
A Girl at DujoTemple (1946), The Burmese Harp (1956), Fires on the plain (1959), An Actor’s Revenge (1963), Tokyo Olympiad (1965), Olympic Visions (1972), The Burmese Harp (1985 re-make), The Inugamis (2006)
H.N.Narahari Rao |
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SEEING IS BELIEVING |
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Selected Writings on Cinema |
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Chidananda Das Gupta |
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Penguin/Viking/295 pages/Rs.499
Bhaichand Patel |
There are film reviewers and there are film critics. A reviewer can dismiss a film or praise it in two hundred words or less. A critic needs space and takes time in analyzing a film. Pauline Kael of the New Yorker magazine was the most distinguished of that breed. Chidananda Das Gupta is one of the few in our country who can claim to be a critic. |
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Seeing is Believing is unlikely to find a wide readership but it is indispensable to anyone seriously interested in films of some of our eminent directors, Mrinal Sin, Shyam Benegal and Adoor Gopalakrishnn among them. Das Gupta’s study of Satyajit Ray’s films is particularly erudite, perhaps because he knew the man intimately.
The author paints with a wide brush. We have here pieces written over a sixty years span and they address such diverse subjects as the parallel cinema of the 1960s, the depiction of women in our films and the use of song and dance. Das Gupta is 87 years young and films are his passion.
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Chidananda Das Gupta |
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He started a film society when he was twenty-six, edited several film magazines, directed a number of documentaries, even a feature film. He has also contributed two major talents to Indian cinema, daughter Aparna Sen, one of our best filmmakers, and granddaughter Konkona Sen Sharma, currently making waves as an actor in Bollywood.
One quibble: it would have been helpful if the reader was given the dates on which these essays first appeared and the name of the publication. Some of them seem quite ancient but there is no need to be bashful about it. |
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| Perspectives on Cinema of Assam |
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A book on Assamese cinema titled Perspectives on Cinema of Assam edited by Manoj Barpujari, a member of Fipresci, India and Dr. Garima Kalita is published by Gauhati Cine Club. The book has a number of articles written by well known authors who have traced the evolution of cinema in Assam from its birth to the contemporary stage including Documentary and the growth of the film industry. There is also an exclusive article on the Film Society Movement in Assam with a documentation of the entire list of films made in Assam from 1935 to 2007. A useful book for students of cinema and film journalists. The book is priced at Rs. 200/- |
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For copies contact:
Gauhati Cine Club,
Ashiana, I floor Sarbodaya path,
G.S.Road, Bhangagarh, Guwahati 781005.
E-mail: gauahaticineclub@hotmail.com
by HN Narahari Rao. |
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| Remembering Fearless Nadia |
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This year is the birth centenary of one of Bollywood’s brightest stars |
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Bhaichand Patel |
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( Bhaichand Patel has a penchant for nostalgic memories. Here is an interesting leaf from his memory.) |
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I had a crush on Madhubala as a teenager. I thought Madhuri Dixit was a terrific looking woman and Aishwarya Rai has her charms. But there was one film star who had me totally smitten. Her name was Fearless Nadia. I fell in love with her when I was five years old. |
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She was a bit on the fat side but how did that matter to a five-year old? What mattered was that she wore a mask and would not hesitate to crack a whip to subdue the bad guys. She could swing from chandeliers to escape from her enemies and she could jump from bogey to bogey on running trains in pursuit of shifty-eyed villains.That woman had balls, more than any male actor of that era. Best of all, she wore tight-fitting shorts and high leather boots. This leading lady was not required to sing or dance. |
'Fearless' Nadia |
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Her fans would not hear of it. She had also little time for romance. Instead, in films with wonderful titles like Diamond Queen, Miss Frontier Mail and Hurricane Hansa, she spent more time with her horse, Punjab ka Beta, than with the male lead. The horse had more brains. Her dog’s name was Gunboat, an Alsatian, which could climb ladders and then do somersaults. The name of the car in her films, if you must know, was Rolls Royce ki Beti! Her films did not aspire to Art but they made pots of money for the producers. Americans call it “schlock/kitsch/hack” style of moviemaking.
Nadia was not an Indian. Her real name was Mary Ann Evans. She was blonde-haired and blue-eyed. Her pronunciation of Hindi was terrible. In shooting a scene where the villain drags Nadia, the director of the film gave her very simple lines, “Mujhe chhodo”, (let me go). She could not understand why everyone on the set laughed hysterically whenever she uttered those two words.
I come from a family of movie buffs. I saw my first film sitting on my mother’s lap. Later, she would take me as her escort when father was away on business. There was no electricity in our small town in far off Fiji Islands and the solitary cinema hall ran on a noisy generator. My first encounter with Fearless Nadia was in that tin shack. She was a super star of Hindi cinema in the 1930s and early 1940s.
Nadia started her film career as a chorus girl but hit big time in her second film, Hunterwali, produced by J.B.H. Wadia and directed by his brother, Homi, two Parsis who specialized in stunt films. In those days, there were probably more Parsis in Bollywood than Punjabis.
J.B.H was one of the very few intellectuals working in cinema at that time. He was a man of progressive ideas and in his films, Nadia would lecture the villain on women’s rights and other social issues after beating him into submission. She became his feminist icon.
The Wadia brothers shamelessly stole plots from Hollywood cloak and dagger films. The “inspiration” for Hunterwali came from Robin Hood starring Douglas Fairbanks. The mask was borrowed from The Mark of Zorro.
Nadia married twice. There seems to be no record of her first husband but the marriage produced a son who now lives in Sydney. Her second husband was Homi Wadia. They fell in love when he directed her but they could not marry until thirty years later. His mother wanted a Parsi bride.
Memories of this wonderful actor have returned to me because this year happens to be her birth centenary. I wish the Indian film industry, which owes her so much, had remembered to mark the occasion. She was born in Perth, Australia and ended up on Indian shores by chance when her Welsh father, an army officer, was posted to the North West Frontier Province. Fearless Nadia acted in over forty films. She was always billed as “Fearless Nadia”, never just “Nadia”. She died in 1996. |
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Congrats! Mr. Rafique Baghdadi |
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Mr. Rafique Baghdadi, member of FIPRESCI India, won the National Award for Best film critic for the year 2006. A series of articles he penned appeared in Business India and they deal with interesting topics concerning cinema.
In one article ‘When aviophobia struck the world’ he has reviewed the highly acclaimed movie United 93, by Paul Greengrass which deals with the chilling 9/11 incident that changed the world for ever. The film is a reconstruction of what happened during the 91 minute United Airlines ill fated Flight. In another article ‘UFA’s Indian Connection’ |
Raphique Baghdadi |
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Mr.Rafique profiles the German organization UFA (Universum Film Akkiongesellschaft), which came to existence during the first World War to coordinate photography and film activity in Germany for the war effort. |
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Before it ceased to function in 1945, UFA had under its umbrella many Pioneer filmmakers like Ernst Lubitsch, Max Mach, Gustar Ucicky, Fritz Lang, Alexander Korda and many others including eminent technicians who were involved in producing great classics of the German cinema. It is particularly interesting for us in India to note that Himanshu Rai made Shiraz(1928), and Throw of Dice (1929) in collaboration with UFA and the first lady of the Indian screen Devika Rani had her training in acting under Erich Pommer in UFA.
In his third article First ‘Lady of the Indian Talkie’ he sketches the career of Zubeida Begum, the first lady of the Indian Talkie who played the female lead in the first Indian talkie Alam Ara (1931). At a time when woman were expected to stay at home, Zubeida began her screen career at the age of 14, in 1924.
Mr. Rafique has attended various international film festivals around the world including twice to London Film Festival and is a prolific writer on cinema. Wishing more ink to flow from his racy pen.
Our hearty congrats!
H.N.Narahari Rao |
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Festival Reports
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Cinemas of the South Festival in Granada |
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(30th May - 7th June, 2008)
Aruna Vasudev |
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As if there were not already a countless number of film festivals in the world, more keep springing up with disconcerting regularity. Most new ones now are thematic, or niche festivals on a fairly modest scale, but others make a mark from the very beginning. They spend time in preparation; have a much focused vision of what they wish to do, ensure adequate funding and support, so that when the festival is launched it is impeccable in its organization and its vision. The Cines del Sur (Cinemas of the South) Festival in Granada in southern Spain, was launched a year ago and has just held its second edition. |
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It already feels like a very well-established festival with its attractive and easily readable bi-lingual catalogue, two smaller programme booklets in different sizes, its panel discussions, excursions (to the Alhambra, one of the architectural wonders of the world), screenings in three theatre complexes, hotels for the delegates and press within walking distance of the main theatre complex where the festival centre is located…. To cap all this is the documentation they bring out in the form of bi-lingual books (Spanish and English) to complement the film screenings. With a tribute this time to Mohsen Makhmalbaf one of the books is on this great Iranian director now living in exile in Dushanbe in Tajikistan. The second, even larger in its scope and fascinating in the essays it includes, is The Dream of Europe referring to the cinema of those who look to Europe to realize their dreams. In a sense, this cinema of exile can also be applied to Makhmalbaf although his place of exile is closer to his home, Tehran, rather than Europe. Those who seek refuge in Europe come from mainly North Africa, almost literally a stone’s throw away. The Moors reigned over this part of Spain for centuries – and built the Alhambra in Granada – and now they come as immigrants in search of a better life, as well as for funding for their films….
The films in this Festival come from Africa, Asia and Latin America and are complemented by a host of parallel activities - workshops, plenty of discussions, a conference and space for, as they themselves write in the catalogue “other artistic statements such as the plastic and fine arts, music etc….” This time there was an Arab-African Percussion workshop, exhibitions of The Arts of North and Central Africa, a Collective Experience in Latin American Video, and educational activities in the arts and cinema involving schools. These parallel activities are what sets this Festival apart, even though the selection of films is itself remarkable.
A competition of Asian African and Latin American countries with a jury composed of eminent film personalities from all three continents including Kim Don-Ho from the Pusan film festival and actress Nimmi Harasgama from UK-Sri Lanka (she acted in Prasanna Vithanage’s “August Sun”). The inaugural film was Australian-Pakistani “Son of a Lion”, the competition had Shivajee Chandrabhushan’s “Frozen” (winner of the Special Jury Prize at Osian’s-Cinefan in 2007). He came in on a flying visit with his main actress Gauri, and won not only Best Director (with a large cash prize) but also the Audience award. It was very well received and after the awards ceremony this is the film that was shown.
Apart from the regular shows in the theatres were the open-air screenings every night starting at 10.30 pm after the sun sets around 10 pm. These were held not just in a large square as some festivals do, but against the walls of the Alhambra, and against the walls of the great cathedral. |
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There is little that can match such an experience. As you watch the film on a giant screen you can sense the Alhambra around you and see portions of it softly floodlit. At the cathedral it is another experience. Next to the cordoned-off area where the audience sits to watch the film, is an open-air restaurant where people can eat and drink and also watch the film. In India it would probably not work because people speak very loudly but here in Granada, it was soft conversation among those who were there to eat and drink, and almost no conversation among those who were there to eat and drink AND watch. Both “Om Shanti Om” and “Honeymoon Travels” were shown against the cathedral walls and both were enthusiastically received.
It was a great opportunity to see films not only from three continents – as does happen in other festivals – but the Dream of Europe section brought together another cinema not always easy to see - films by or about immigrants. Not necessarily new films but united by a common theme. Films like Goodbye to a False Paradise (Turkey-Germany, 1988), or Crossings (Tunisia-Belgium, 1982), The Heart’s Cry (France-Burkino Faso, 1994), or Babymother (UK, 1998, produced by Parminder Vir) and even Raul Ruiz’s 1987 film La Chouette Aveugle. Old films, certainly, but how often are they screened and how one can catch up with them. This is a very special section at this festival.
It astonishes that within two years, the Cines del Sur Festival gives the impression of having been around for decades, so clear is the thinking that has gone into it and so well is it executed.
Walking back to the hotel late at night after the screenings, through the narrow cobbled streets, under arches, past churches and the many lovely squares … can there be a better setting for a film festival, one wonders? |
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10th OSIAN’S CINE FAN Film Festival
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(10th – 20th July 2008)
Utpal Borpujari |
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In recent years, a number of international film festivals have taken off in India, responding to the need to satiate the ever-increasing thirst for good and diverse cinema among discerning audiences. From the days when there was only the International Film Festival of India (IFFI), in its traveling avatar, now we have a number of interesting and popular film festivals, such as the ones in Thiruvanathapuram, Kolkata and Mumbai, and upcoming ones, like the ones in Bangalore, Pune, Chennai and Hyderabad. In fact, Mumbai has three – the Mumbai International Film Festival for Documentaries & Short Films (MIFF), the MAMI and the 3rd Eye Asian Film Festival. But surely, the credit for being the fastest-growing festival goes to the Osian’s Cinefan Festival of Asian & Arab Cinema in New Delhi. |
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The festival, which this July had its tenth edition, started off small, with just about 27 films screened in its first edition. Since then, it has grown steadily, and thanks to the wide network of and goodwill of veteran critic Aruna Vasudev, whose brainchild it was, it has in its short life span been able to attract some of the biggest names in Asian cinema. Three years ago, it was taken over by Osian’s, the “art |
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connoisseurs”, and since then its growth has been breathtakingly fast, as chairman Neville Tuli has set his eyes on making the festival a platform through which he can take his plans related to the art of cinema forward.While there is always a danger – because of its fast-paced growth – of the festival losing its charm by becoming too business-like with too many films and too many events confusing people what to attend and what not to, the tenth edition showed that Osian’s-Cinefan has matured quite well as a festival that has a focus on cinema of a particular geopolitical region of the world. What the organisers need to focus upon is to keep its balance between keeping the festival a pleasurable experience and a place where the art, science and business of cinema can be profitably practiced. |
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Without doubt, the festival this year too attracted a bunch of great films like in the previous years. The fact that it has become a major focal point as far as cinema from Asia and the Arab world is concerned, has been helping Osian’s-Cinefan attract some of the best films and filmmakers to it. This year, the festival kicked off with Hong Kong master Johnnie To’s fantastically-crafted “Sparrow (Man Jeuk)”. |
Gulabi Talkies,
By
Girish Kasaravalli,
Best Indian film award winner. |
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It provided one of the major highpoints of the festival along with his compatriot Wong Kar Wai’s first English film “My Blueberry Nights” (though it definitely fell below his own high standards of filmmaking), Turkish genius Nuri Bilge Ceylan’s scorching Turkey-France-Italy co-production “Three Monkeys (Uc Maymun)” and Israeli veteran Amos Gitai’s “Disengagement”. |
Ramchand Pakistani
(FIPRESCI award winner) |
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Pakistani debutante Mehreen Jabbar’s “Ramchand Pakistani” was among the films that found resonance with the audience, particularly because of its subject and also because another interesting film from Pakistan has come so soon after Shoaib Mansoor’s “Khuda Kay Liye” which was commercially released in India in the recent past. Some very interesting features and documentaries were screened under the “In-Tolerance” section, and it goes to the credit of the festival organisers that they this time introduced an award for this very important section that reflects the concerns of our times. This time, there was also a first-time section on short films, and to the surprise of all, almost all screenings of these little gems from India and abroad went houseful. Maybe, this points at the future possibility of Osian’s-Cinefan even hiving off the section to hold a separate, full-fledged festival of this very important genre. As an icing on the cake, the closing film of the festival, “Mumbai Cutting”, was a compendium of 11 short films that were the interpretation of the Maximum city by some top directors of India. |
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The festival had its usual other sections like Tribute (Edward Yang, Christine Hakim, Naguib Mahfouz, Alain Robbe-Grillet and Vijay Tendulkar), Frescoes (which basically included a variety of films that could not be included in specific categories), Cross-Cultural Encounters and so on. And yes, the master class by Hollywood legend Paul Schrader |
Taipei Story by Edward Young |
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was without doubt one of the most memorable events of the festival that had a surfeit of seminars and conferences, most focusing on the relationship between cinema and literature. If there were any low points in the festival, they were provided by India’s own cinema, with only a few exceptions really being able to stand up to the fare that had come in from other Asian and Arab countries. |
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The Zanzibar International Film Festival
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(11th - 20th, July 2008)
M.K.Raghavendra |
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"Cultural Crossroads" was the theme chosen for the 11th edition of the Zanzibar International Film Festival (ZIFF), known also as Festival of the Dhow Countries. Zanzibar is part of Tanzania and is an island off its coast. It was ruled by Arabs for a long period and became known for the spice trade. The festival's main venue is Old Fort, in Stone Town, a fascinating 18th century open-air amphitheatre, built by Arabs on the site of a Portuguese chapel. |
| Opening night at ZIFF |
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The venue played host to a huge number of people to experience this multicultural vision of cinema — even if the screenings were only DVD projections — and also music, exhibitions and performing arts. A large number of films were presented, divided into feature films, documentaries, shorts and animation. There were a number of juries deliberating at ZIFF and both the official prize for a feature film (The Golden Dhow) and the FIPRESCI Prize went to Newton I Aduaka’s Ezra, a French-Nigerian co-production. Apart from these two juries, there was also the SIGNIS Jury, the Verona Jury and the Sembne Jury. The Silver Dhow for the second best feature film went to K Stalin’s documentary about caste India Untouched.
The Zanzibar International Film Festival has suffered from a chronic funds crunch as a result of which screening conditions are not what they should ideally be. There is an informal air about the proceedings that may be off-putting to those accustomed to European conditions. Still, ZIFF is perhaps the second most important film festival in Africa, with the best apparently being FESPACO from Ougadougou in Burkina Faso. Exposure to African cinema and culture is difficult to get for Indian film critics and the experience is certainly rewarding. A difficulty is that the organizers made no effort to get the jury members to interact with local cultural persons and all ‘encounters’ were either confined to between the jury members, between the organizers and the jury members or, if it stretched to beyond these, largely accidental. Get-togethers which might have helped developed bonds were not in evidence. All this is not to say that ZIFF is, culturally, not a worthwhile experience. The closing ceremony, for instance, was hardly lavish but it was still wonderful in its appeal. The dancing and singing talents displayed at ZIFF alongside the screenings might actually make Bollywood gasp. |
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