Two-time National Award winning producer Dr G Dhananjayan has ventured into film-making. The producer, who has helmed various creative projects under the BOFTA Mediaworks and Creative Entertainers banner, has only recently decided to venture into direction.
“My involvement in every film that I produce has always extended in various aspects, including screenwriting and film-making. Over the years, this has given me the confidence to take this step,” Dhananjayan said.
He is well prepared for the journey of ups and downs since he has seen it all, he said. After launching the BOFTA Film Institute his experience has been enriched while interacting with many talented personalities from the world of cinema, according to Dr Dhananjayan.
“I have been toying with the idea of film-making for years now. However, my various other commitments have always pushed this aside. It was my wife Lalitha who insisted that I take the plunge!” he added.
The past four months have been a busy time for the producer with story pitches and also gathering a technical crew that can make his idea come to life on the big screen. “I wanted to announce my decision on a special occasion, and felt that my wife’s birthday is the perfect time since she is the main motivation behind my decision,” the producer also said.
Dr Dhananjayan’s team will be announcing the details of the project in December, and shooting of the film will begin by January 2020. The movie will be a thriller, with a new age twist, and the producer hopes that it will be an interesting addition to the Tamil film canon.
Katha Sangama, a Kannada anthology of seven stories by seven newcomers — Kiranraj K, Chandrajith Belliappa, Shashi Kumar P, Rahul PK, Sumanth Bhat, Karan Ananth, and Jayashankar A, recently released its trailer online.
The film takes its name from the 1967 film directed by Puttanna Kanagal, dotingly referred to as ‘Chitra Brahma’, starring actors Rajinikanth, Kalyan Kumar, B Saroja Devi, and Aarathi. The 1976 film, also an anthology, featured three short stories namely Hangu, Athithi, and Munithaayi. The Rishab Shetty production also follows the same pattern as the old movie, which is evident in the trailer as well.
The trailer begins with a voice over with a narrator seeking an audience, someone to listen to their story. What follows is a montage of various characters going about their lives. There is a middle-aged man meandering about the city, a man flirting with his girlfriend on the beach shore, a little girl’s antics while her parents are getting ready for her birthday party, just to single out a few scenes.
It is a long trailer, running to almost three minutes. It transitions from a brief introduction of the stories to points of conflict to upbeat moments from the stories. Two special stories are revealed only towards the end of the trailer. Maybe they have a special significance, we won’t know until the movie is released. The trailer closes with Balaji Manohar’s words, “What a story”, piqued my interest for sure.
The trailer features well-known faces — Kishore, Hariprriya, Prakash Belawadi, Amrutha Naik, Raj B Shetty, Yagna Shetty, and others. Bankrolled by Rishab Shetty, HK Prakash, and Pradeep NR, each story has its own technical crew, but the look and feel of the trailer seems cohesive.
Since there’s more than one film inspired by the life of J Jayalalithaa, the late Chief Minister of TN, there’s been a lot of questions doing the rounds and who’s doing what. The Iron Lady, is being directed by A Priyadhaarshini starring Nithya Menen in the titular role.
Iron Lady is the biopic of Jayalalithaa or Amma as she was fondly known and spans over six decades of her life, including her time as the darling of Tamil cinema.
The director said that the lead actress for the film, Nithya Menen was chosen after a long process. She says that the actress has a lot in common with the former chief minister, including classical vocal training, fluency in six languages, and classical dance training. “Nithya Menen embodies many personality traits that Amma herself exhibited,” the director said in his statement.
The director also reiterated the need for an ethical approach to creating the movie for a broader audience. “The script of a biopic demands a lot of effort and careful planning as it must fulfill several criteria,” the director said. The director said she is keen on delivering a top-notch film to her audiences, who are eagerly awaiting the film’s release.
Speaking about the buzz around the movie, the director says, “The movie consists of a carefully curated team who is working to fulfill every creative aspect. We are still awaiting confirmation from a couple of the lead actors and then we will be ready to make all the details public. I can assure everyone who has any questions and doubts that you will have your answers soon enough.”
Set in 1990, tick, tick…BOOM! tells the story of Jon, an aspiring theater composer who is waiting tables in New York City while writing Superbia — which he hopes will be the next great American musical and finally give him his big break. The film will star Alexandra Shipp (Love, Simon, Shaft, Dark Phoenix), three-time Tony nominee Robin de Jesus (The Boys in the Band), Vanessa Hudgens (The Princess Switch, Bad Boys for Life and Polar) alongside Academy Award Nominee Andrew Garfield.
In the film, the protagonist, Jon is also feeling pressure from his girlfriend Susan, who is tired of continuing to put her life on hold for his career aspirations. Meanwhile, his best friend and roommate Michael, has given up on his creative aspirations for a high paying advertising job on Madison Avenue and is about to move out. As Jon approaches his 30th birthday, he is overcome with anxiety – wondering if his dream is worth the cost.
Netflix acquired the film from Imagine Entertainment earlier this year. Tony, Grammy, Emmy and Pulitzer Prize-winning composer, lyricist and actor Lin-Manuel Miranda also starred in the New York City Center’s Encores! Off-Center production of tick, tick…BOOM! This marks Miranda’s film directorial debut. Tony Award Winner Steven Levenson (Dear Evan Hansen, Fosse/Verdon) willl adapt the screenplay based on the original stage show by the late Rent creator Jonathan Larson.
Remaking a 1978 film about adultery in 2019 in itself sounds like a bad idea. Especially while writers with fantastic new ideas wait for someone to throw their weight (and money) behind ideas. The (re)makers of Pati Patni Aur Woh have not only chosen an outdated idea — a cheating married man who’s to be tolerated as nothing but a lost soul — but have also chosen an unsavoury rape ‘joke’ that features in the trailer.
Watch the offending trailer here:
When asked about the sexism in the film, Bhumi Pednekar had said at the trailer launch, “This film has lots of fun but, at the same time, it is not frivolous. The story is very empowering to both genders. Nobody is black or white in the story, just as in real life. I think that the maker made sure that this does not turn into a sexist, baseless film,” according to a report in Times of India.
The trailer looks anything but empowering and Twitter did not take to it kindly.
it’s 2019 we don’t need films like Pati Patni Aur Woh.
I miss the days Bollywood used to make Good masala comedy films like Hera Pheri and Andaz Aapna Aapna instead of sexist misogynistic cringey crap like this Pati Patni aur woh B.S they are trying to pass off as entertianment @taapsee must be relieved not to be associated with this
Did #PatiPatniAurWohTrailer just include a joke trivializing marital rape, all for cheap publicity?the saddest part is this dialogue will def get whistles and laughs in the theatre! Also, #KartikAaryan clearly has 0 substance except being the poster-boy for entitled misogynists.
“Biwi se sex maang lein toh hum bikhaari
Biwi ko sex na de toh hum atyachaari
Aur kisi tarah jugaad laga ke usse sex haasil kar lena toh balaatkari bhi hum hai”
I don’t expect anything from a Kartik Aaryan movie but this is dismal https://t.co/q61BFOmD38
Art : VEERAMANI GANESAN
Sound Design : UKI .AYAPPAN
Dialogues :SA.CHNDRASEKARAN, JEEVAN, MADHAN
LYRICS : MOHAN RAJAN
Choreography : SATHISH KRISHNAN, SHERRIF, NOBEL PAUL
Publicity Designs – GIBSON UGA
Stills : THENI CHEENU
VFX : GEMINI, Whitee Lottus
SFX : SETHU
PRO : PT SELVAKUMAR
PRODUCTION MANAGER : SN.SABAPATHY
PRODUCED BY : GREEN SIGNAL
Actor Arun Vijay‘s next film which was referred to as AV30, has now been titled Sinam. Helmed by GNR Kumaravelan who shot to fame with his critically acclaimed Haridas, the film is bankrolled by Movie Slides Pvt Ltd. Sinam, which began shooting in September will see Arun Vijay donning the police attire once again after his successful crime-thriller Kuttram 23.
Actor Karthi Sivakumar took to Twitter to release the title poster.
Speaking about the significance of the title Sinam, Arun Vijay says, “Be it in our holy scriptures or any management lessons, anger is always labeled negative. But what Sinam conveys is that sometimes, ‘anger’ is good and it can even bring justice for the needy, which happens to be the motive of the protagonist in this film,” and adds, “Kumaravelan has expertise in planning and executing things perfectly. We are going smoothly from day one and will be kick-starting the second schedule from November 8.”
The film reportedly deals with a ‘current crisis in the society’ and has its share of fictional elements. Palak Lalwani who was last seen in Sixer plays the female lead with Kaali Venkat in a significant role. Shabir of Nenjamundu Nermaiyundu Odu Raja fame is composing music while cinematography is by S Gopinath, who earlier worked with Arun Vijay in Thadam. Michael helms art with Raja Mohammed on edit and Stunt Silva choreographing action sequences.
Here are the title posters of the Sinam.
EIcoMwSXYAMdqP4
Meanwhile, Arun Vijay will next be seen in Naveen M’s Agni Siragugal alongside Vijay Antony and Akshara Haasan, Karthick Naren‘s Mafia alongside Prasanna and Priya Bhavani Shankar and Vivek’s Boxer alongside Ritika Singh. The actor was recently shooting for Agni Siragugal with the Nomad Stunts team at Kazakhstan, while his other two films are in their post-production stage. Mafia‘s teaser dropped recently, garnering over 3.5 million views.
A few days ago, director-producer Gautham Vasudev Menon took to Twitter to make a series of announcements about his upcoming projects.
The long-delayed Ennai Nokki Paayum Thotta starring Dhanush and Megha Akash which began work in March 2016 is all set for release on November 29, 2019. The film which earlier faced several release issues owing to financial constraints now has been bought by Ishari K Ganesh’s Vels Film International who earlier bankrolled films like LKG and Comali, for release.
Thanking @isharikganesh sir for helping me ‘realise my vision’ & for coming on board to release #ENPT.
He saw ENPT & liked it & we’ve agreed to take a journey forward together. More announcements to follow.
JOSHUA is not YOHAN but an equally big idea that needed a big producer
The director also announced his next film, Joshua: Imai Pol Khaaka starring Puppy fame Varun as the lead along with newcomer Raahei. The film touted to be an action-drama will hit screens on Valentine’s Day 2020. This film, whose first schedule has been completed, will also be bankrolled by Ishari K Ganesh under his Vels Film International banner. Earlier, the director had crooned a melody ‘Uyirae Vaa’ for the Varun-starrer Puppy which was also bankrolled by Ishari K Ganesh.
Director-producer AR Murugadoss took to Twitter to release the poster of the film.
Buzz in the industry was that this is Yohan: Adhyayam Ondru, an action-thriller announced in 2012 to be headlined by actor Vijay, later shelved. But the rumours were refuted by the director who tweeted, “JOSHUA is not YOHAN but an equally big idea that needed a big producer”.
The movie has Varun playing a hitman and a bodyguard who has to look after and protect a high profile woman who comes to Chennai from London. Varun has reporterdly been undergoing classes in martial arts in Paris from a Hollywood stunt director and his team. A teaser of Joshua has been made, which will be attached to Enai Noki Paayum Thotta when it releases on 29 November, reported First Post.
It’s been exciting to film a complete action flick with my hero Varun who’s pulled off some stylish action sequences and is ready to do more. #Joshua Imai pol kaakha..
And this action wouldn’t have been possible without my stunt director Yannick Ben. Thank you team Joshua pic.twitter.com/REa6QjMCcL
And The Season doesn’t end without this film that’s really close to my heart & is hopefully state of the art. Tremendous& positive experience working with THE Chiyaan Vikram! #DN in post production over the next 60 days and heading towards release. #Johnwillmeetyousoonpic.twitter.com/tVF6IMKw11
Meanwhile, director Karthick Naren‘s Naragasooran starring Aravind Swami and Shriya Saran is also due for release. It was shelved due to financial issues by Gautham Vasudev Menon, who was reportedly bankrolling the film. Replying to Gautham’s tweet, Karthick Naren said, “Some clarity on when this is gonna see the light of the day will be really helpful sir. And yes, this film is very very close to my heart!”.
Karthick and Gautham Menon were embroiled in a public argument over the release of the film on Twitter in 2018 as well.
Some clarity on when this is gonna see the light of the day will be really helpful sir. And yes, this film is very very close to my heart! pic.twitter.com/1eFoEFub3u
At first, when a friend recommended Midnight Diner: Tokyo Stories, streaming on Netflix, I’d assumed it would be loud and cheerful, for some reason. I also expected it to be a food show along the lines of Ugly Delicious (which I quite enjoyed). Instead, when I finally got around to watching it, I was moved by the soft, stirring opening tune that played as the camera glided past Shinjuku’s neon-lit facade — the music in complete contrast with the flashy vibe of the busy Tokyo street.
Also in contrast with the ‘look-at-me’ lights and the modern signboards, is the diner the show is set in, with a hand-painted cloth sign and an old-worldly yellow lantern. A sort of refuge, a time capsule if you will, that welcomes those who cannot sleep or go home yet, to its small wooden table.
Master (as the mysterious man running the diner is known — played by Kaoru Kobayashi) says, “When people finish their day and hurry home, my day starts. My diner opens from midnight to seven in the morning. They call it Midnight Diner.” It’s a small, fictitious diner that can seat less than ten people and is modeled on the many eateries that dot the smaller lanes of Tokyo, serving hot food through the night, where steam from pots of broth invite you to drown the day’s sorrow in the comforting embrace of umami.
Master’s diner has a small menu — pork miso soup, sake, shochu, and beer. “I make whatever my customers request as long as I have the ingredients for it. That’s my policy. Do I even have customers you ask? More than you would expect,” he declares ahead of each episode. And then the name of the dish for the night is unveiled, as the charming old clock strikes 12.
This refrain from the Master that marks the beginning of each episode, comes again and again, a leitmotif in the series, sometimes in the middle, sometimes in the end. It, surprisingly, never gets annoying. Instead, it punctuates the show, bringing a sense of calm. Just the way, the ‘once upon a time’ refrain makes you smile, when you’re being told a bedtime story. The show creates its own grammar and remains committed to these elements, with admirable conviction. My favourite element is the breaking of the fourth wall towards the end, where the main characters of the episode explain how Master makes their dish of choice, and then they say Goodnight. I caught myself smiling when that happened the first time, and then every single time. The diner’s set has a lived-in feeling, adding years to the ambience, making it all the warmer.
Master’s ability to whip up a dish, often from people’s childhood, no longer sold in restaurants, brings him customers and makes regulars of them. He simply places the dish in front of them, the stories begin to pour out. Master does not judge anyone that walks through his doors. The latest season (2) of Midnight Diner, streaming now, features an orphan who becomes a CEO (chicken rice), a once-bright young man spending his days in pachinko slots, gambling away (curry ramen), a young woman who works as a stripper and her teacher with fading memory (plum rice ball), an ex-con woman who returns after serving her sentence (crab on the house), a beautiful kimono instructor — who’s a widow of a gangster — looking for a man (salmon and mushrooms), a burnt-out cartoonist (kitsune udon)… He welcomes them all the same way. They are all equals in that diner. Sitting at that table.
The show is gentle; it never judges its people. For who they are, what they do, who they choose to love or how they look. Instead, Master listens, occasionally tells them what they can do, but then quietly goes back to making food and minding his own business. The supporting cast is made up of people who star in other episodes, creating a warm universe that feels intimate.
There’s a certain sensuousness to the food, the making, the way it is laid out, that translates into the way the show is received as well. I found myself returning to it, every night, as I sat down for dinner. It is also one of those shows, you want to watch slowly for fear of running out of episodes.
All is not serious though at the diner. The writers show whimsy with something supernatural once in a while, like the ghost of a man’s mother who returns or small side tracks like the un-declared love of the ramen woman on the street-side, for a cop on midnight duty.
Among my most favourite things about Midnight Diner is how it trains its lenses on the mundane, and culls out something genuinely stirring, remarkable or just plain beautiful, and its commitment to craft; one that shows us the ordinary too deserves the kind of attention we give to crafting epics. This is what, like the flavour Master builds while making his dishes — be it an earthy sauteed yam or hotpot for one — adds depth and colour to the show.
It is endearing. Largehearted, without being showy or loud about it. It is tolerant but doesn’t scream the ‘message’, instead it demonstrates this tolerance — which is the best way to do it on screen.
Most of all, it is stories of the humble and the hardworking, the flamboyant and the dazzling, the rich and the poor, and all those in between. It is an account of people, as they come to terms with life and its curveballs. Told with generosity, never reducing them to simplistic, convenient plot points. They just are. It just is.
At the heart of director Vinayan’s Aakasha Ganga 2, a sequel to his 1999 horror flick Aakasha Ganga, is a demonic spirit without a purpose. In the climax of Aakasha Ganga, the spirit of a young maid, Ganga (Mayoori), had avenged her death. She was sent off to heaven in an elaborate (and overtly theatrical) session of exorcism. In the new film, she returns, albeit with no specific enemy to fight or a point to prove.
Aakasha Ganga 2 is Vinayan’s third horror flick in nine years. Each time, the director managed to bring down the standards of the horror genre in Malayalam using the shoddiest production design and visual effects to narrate a thoroughly unimaginative rehash of the cliched “wronged woman against the world” storyline.
In the absence of an interesting screenplay, Vinayan (also credited as the writer) builds the film on cheap tricks that run out of what little steam they have quite early. There are no real causations in Aakasha Ganga 2, just reactions and effects such as black cats, zombies and monsters that jump out of darkness so often. Blame it on the aforesaid issue of a lack of purpose, none of these zombies look like they want to hurt their targets. They act like they are auditioning for a Walking Dead instalment, and disappear.
While the story moves barely a few steps from where Aakasha Ganga ended, the plot tropes are eerily the same and archaic. A new set of comedians have been roped in to keep the film’s spirit high after every shabby zombie invasion episode. Women in the film are objectified verbally and visually. For one, Ramya Krishnan plays a sorceress who uses a strange erotic dance performance to please her deity. This salacious twist doesn’t add anything to the film, other than a song where female junior artistes, who bear an expression of grudge for being underpaid, dance in poorly designed clothes.
Vinayan not just wants you to suspend your disbelief but also burn it and flush the ashes down the drain.
A portion of the film is set against the backdrop of a medical college which is portrayed in the crassest way possible that could give Omar Lulu a run for his money. A professor (Salim Kumar) is nicknamed “corpse” for his infertility. The principal (Hareesh Kanaran) is a clown who boasts about his virility and can’t keep his hands off a lady teacher. Logic is non-existent. Aarathi Varma (Veena Nair), daughter of the character played by Divya Unni in the first instalment of the franchise, is haunted by scary apparitions and monsters who physically attack her night after night, yet every morning she gets back to normal life as though nothing happened at all. A cadaver in the college’s anatomy lab starts to walk, scream and attack the students, but this incident doesn’t shake up the film the characters it should. They crack some jokes about it, and immediately move on to more buffoonery.
If Aakasha Ganga was, to the least, a gratifying entertainer which featured some of the greatest character actors in Malayalam cinema such as Sukumari and Innocent in decently written, albeit old-fashioned, roles, Aakasha Ganga 2 is a nonsensical work that only evokes a sense of disgust in the audience.
The Aakasha Ganga 2 review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.
Union Information & Broadcasting Minister, Prakash Javdekar announced today that actor Rajinikanth will be honoured with the ‘Icon of Golden Jubilee’ award of the International Film Festival of India (IFFI) 2019, set to happen in Goa.
In recognition of his outstanding contribution to Indian cinema, during the past several decades, I am happy to announce that the award for the ICON OF GOLDEN JUBILEE OF #IFFI2019 is being conferred on cine star Shri S Rajnikant.
IFFIGoa50 pic.twitter.com/oqjTGvcrvE
The actor took to Twitter to express his gratitude.
I thank the government of India for this prestigious honour bestowed upon me on the golden jubilee of the International film festival of India 🙏🏻#IFFI2019
Prakash Javdekar also announced that French actor Isabelle Huppert will be conferred with the ‘Lifetime Achievement Award for a Foreign Artiste’ at the festival.
IFFI Goa celebrates its 50th edition this year and will take place from 20-28 November. This edition will also see the screening of several films helmed by women directors including Lakshmi Ramakrishnan‘s House Owner and Zoya Akhtar’s Gully Boy.
Less than 20 days to go for the Grand unveil of @IFFIGoa‘s Golden Jubilee edition 🎬✨ Goa is calling out for you. Are you listening?
The upcoming historical period drama Mamangam has opened up Prachi Tehlan’s path to the Malayalam film industry. The movie, the actor says, holds a special place in her heart. While recalling her last few days on the sets of the historical, the actor was nostalgic.
“I still remember the last day of my shoot. My scenes were completed, but the crew was still busy shooting a sequence with Mammooka,” she recalled, adding, “I met everyone, hugged them, and left. But, I was so overcome while leaving because I was hit with memories of the last year. It has been quite a journey for me. I have made new friends, had to shoot fight sequences, all of the emotions of being a newcomer to this industry.”
Prachi Tehlan Still From Film (2) (1)
Prachi said that it was her co-star Sudev who told her to be happy about the memories that were made during the making of this movie. Prachi also said that she messaged Mammootty before leaving. She spoke of leaving with a heavy heart, so much so that the hotel she was staying at gave her a room with a view of Unnimaya’s (her character in the movie) house.
Mamangam, which is directed by M Padmakumar and written by Sajeev Pillai is scheduled to release on November 21.
This new rom-com is set to hit the screens soon. The Ashok Selvan – Ritika Singh starrer Oh My Kadavule (OMK), whose teaser created quite a buzz, has wrapped up filming and is in post-production.
“The team helming OMK is young and vibrant and has put in a lot of hard work to make the movie a memorable experience for the audience. The chemistry of the lead actors was evident in the teaser, and I am pretty sure that the film is going to be a treat for everyone,” said Producer, G Dilli Babu, Axess Film Factory.
He added, “Even the technical team was high on motivation as they have completed a major percentage of post-production work in a short span of time. The announcements for the audio launch, official trailer, and theatrical release will be made soon.
First-time producer Abhinaya Selvam, from Happy High Pictures said, “This is my maiden production and the journey so far has been nothing short of a dream. We have a great team backing us up.”
OMK, which is directed by Ashwath Marimuthu has a musical score by Leon James and cinematography by Vidhu Ayyanna. Vani Bhojan and Sara are playing important characters with Vijay Sethupathi appearing in an extended cameo along with Ramesh Thilak.
Lakshmy Ramakrishnan occupies a great niche in the Tamil film entertainment straddling both television and cinema. Her recent directorial House Owner has won her accolades and has enjoyed popularity amongst audiences and critics. The film has been selected for the Indian Panorama at the International Film Festival of India 2019.
The actress-turned-auteur will host a talk show titled Naan Veezhven Endru Ninaithayo. The show aims to provide a platform for people who are going through adversity and are seeking help. The show will be produced for an internet platform.
Sharing the news with the media, Lakshmy Ramakrishnan said, “I am very grateful for all the love I have received for my fourth outing as a director. Whether it is in front of the camera as an actor or behind the scenes as a director, my work has been loved and it feels great!”
“My audiences, especially, have been a huge pillar of support, and have always pushed me to do better. A big learning point for me was the response to the show, I was amazed to see how it has motivated people and helped them tide the crisis rather than succumb to circumstances. Some even reached out to me personally, via social media to ask for help,” she added.
She believes that the show will cement familial values amongst its audience, and will be a positive experience for everyone involved – herself, the participants and the viewers. She concluded by saying, “I am grateful for the opportunity to give back to society in my own small way. I am looking forward to the love and support from all.” She earlier hosted a show titled, Solvathellam Unmai, that was parodied a lot. The promo for this new show takes on all that in its stride.
Twenty one years after his directorial debut, Lal Jose is ready with his 25th film, 41 (Nalpathiyonnu), a satire which is set to release on November 8. The 53-year-old director, winner of four Kerala state film awards, was a major steering force in Malayalam film industry in the 2000s, when his films such as Meesa Madhavan (2002), Classmates (2006) and Arabikadha (2007) emerged as critical and commercial successes. In a conversation with Silverscreen.in, Lal Jose talks about 41, his secret to staying relevant in a rapidly changing film industry, and the controversies he encountered in the last two years.
The trailer of 41 signals something unusual. It is slickly cut. The light folk music that plays in the backdrop is different from the conventional melodies that Lal Jose is known to have an affinity for. And this time, the filmmaker has brought on board an interesting set of actors. Besides Biju Menon and Nimisha Sajayan who play the film’s central characters, close to 45 local theatre artistes from Kannur are making their film debut through 41. Two of the pivotal sub-characters in the film are played by Saranjith and Dhanya Ananya who are professional theatre artistes and former students of Sanskrit University’s acting department. Dhanya played one of the lead roles in Thuramukham, the play directed by Gopan Chidambaram.
This is your eighth film with Biju Menon…
In my films such as Oru Maravathoor Kanavu, Randam Bhavam and Pattalam, he played prominent character roles. After a point, Biju became successful as a lead actor, and started playing comic roles. When I decided to work with him again I wanted to create a character different from what he has been playing. He plays CS Ullas Kumar, a parallel college teacher.
Sabarimala comes as a background in 41. Given all the controversies around the subject, isn’t it a huge responsibility?
Biju Menon’s character in the film is an atheist. One of the pivotal themes in the film is a clash between theism and atheism. Sabarimala comes as a narrative background, but I haven’t handled it in a sensational way. The topic I have tried to deal with in 41 goes beyond the petty politics.
I started working on the film three years ago, when the Sabarimala issue hadn’t grown mammoth. I had even shot an actor-less part three years ago. The delay happened because I had to wait for Biju Menon’s dates. I didn’t change the script when the Sabarimala issue happened. Although I was surprised to see the screenplay becoming timely over the years.
How did you meet PG Prageesh, the debutante screenwriter of 41?
Sometime ago I started listening to screenplays from people who had registered their names at my office. There were close to 100 candidates. I had to listen to at least four screenplays a day. It was from this giant list I selected Prageesh’s screenplay. He is a former journalist and author of several short stories.
Listening to screenplays isn’t as easy as it might sound. It’s exhausting. In most of the cases, you can rate a screenplay half way through. But I make it a point to listen to the end because sometimes magic can happen in the second half. The toughest is to convey it to the writers nicely, without hurting their feelings, that their screenplay isn’t worth pursuing. In some cases, I get brutally honest with people and tell them writing isn’t their area. And then there are people who might be good writers or filmmakers, but bad narrators. I am not a great narrator at all. I am sure many actors agree to work with me only because of the goodwill I have, because I can’t really convince anyone by narrating a screenplay.
Earlier, I used to be approached by acting aspirants. Now I see more number of screenwriters. For some reason the public seems to have come to believe that direction and screenwriting are jobs anyone can do.
You assisted director Kamal in 16 films before making your directorial debut. That is a long time.
In our time, if one had to learn filmmaking, he/she had to assist a director or go to a film school. The CD/video cassette rental stores in our small-towns had only action films. Youngsters now a days will find it unbelievable. Today, in most colleges, there are small-term courses on the basics of filmmaking. We had to work in at least three-four films to grasp it.
But practical knowledge isn’t the same as academic knowledge. If you have a good story and you know how to narrate it, you can always start making films. I was never inclined to academics. I joined Kamal sir’s team because I wanted to learn filmmaking the practical way. I worked pretty much like an apprentice at a automobile workshop.
How do you remain relevant in the changed environment?
Many of my friends are youngsters. I keep myself updated about the trends in popular culture, politics and general social life. If you look at the crew of 41, most of them are young people. I keep an open mind when I am working with new writers.
Also, I think being disciplined and professional is very important. I have never taken this profession lightly. My parents were teachers who worked hard till they were 55. I work like them, responsibly.
Every film is a result of many months of hard-work. It does affect me when films fail to make an impression at the box-office. I have been through several rough patches in my career. But now a days, failures affect me a little more than what it used to. Audience take to social media right after the first half of the film and write scathing comments. I have been personally attacked on social media many times. It does take a toll on me, albeit temporarily.
I admit that I couldn’t communicate the theme of Velipadinte Pusthakam to the audience in the way I wanted to. I still have faith in that subject – an actor who is unable to get out of his character. May be I was too jittery about handling a superstar like Mohanlal for the first time. I was too conscious that everyone was looking forward to watching our collaboration.
You are also a producer and distributor. How do you assess the film industry at the moment?
At a press meet before the release of Classmates, I was asked about Malayalam cinema’s future. Classmates was shot in analog. It was one of the last Malayalam films to be shot in film. I replied that cinema will be digitalised soon, and that would be revolutionary. I predicted that there will be a steep rise in the number of films made in the industry in the coming years, and that will change the scene altogether. Today, there is a lot of cinematic content the audience can choose from. But if you notice, the number of films that actually succeed at the box-office isn’t very different from what it was 10 years ago. Only what is sensible and good will stay in the market.
Earlier, cinematographers and people who work in the technical department of films used to go through bouts of unemployment. But now they are all working without a break. Lot of jobs are being created in the industry now, which is the positive side of this digital era. The negative side is that we don’t know where this is taking us. The world is now facing the threat of an economic crisis. It might have an impact on our film industry too. Only time can say the quantum of its effect.
You were embroiled in many controversies in the last two years.
I was not directly involved in any controversy. All I did was stand by my friend (actor Dileep). I was supporting a person I knew intimately for over 25 years. We have examples such as Nambi Narayanan in front of us, who were subjected to brutal media trial and were acquitted by the court later. I am not afraid to speak what I know is right. At the same time, I believe it’s not my responsibility as a filmmaker to go to news channel shows and comment on everything under the sun. Filmmakers’ response to social issues should be through cinema.
Your love for travelling is well-known..
I am planning a trip next, from December 1. I am travelling to Assam to attend the Hornbill festival. I travel to rejuvenate myself. It’s a very personal activity. Although, may be, the experiences I garner on the way help me in the filmmaking process too.
Actress Pooja Kumar who shot to fame with actor-director Kamal Haasan‘s Vishwaroopam has joined Kabadadaari starring Sibi Sathyaraj and Nandita Swetha in lead roles. The film helmed by Pradeep Krishnamoorthy is produced by Lalitha Dhananjayan for Creative Entertainers and Distributors. This film marks the second association of Sibi Sathyaraj and Pradeep after the 2017 crime-thriller Sathya, an official remake of the Telugu film Kshanam.
Dr G Dhananjayan, the Creative Producer of the film took to Twitter to announce the news.
“Pooja Kumar is a great addition of strength to Kabadadaari. In fact, her character commutes the story from one level to the next and involves many twists and surprises. She’s been a part of huge projects like the Vishwaroopam franchise, Uttama Villain and English films, where her performances have been highly appreciated; we are looking forward to a great experience working with her,” said Dhananjayan.
The shooting of Kabadadaari which commenced yesterday with a small ritual includes Nasser, Jayaprakash, and J Sathish Kumar essaying important roles. Rasamathi is cranking the camera with Simon K King composing music and Praveen KL taking up editing responsibilities.
The first look poster of actor Harish Kalyan starrer Dhanusu Raasi Neyargalae is out now. The film helmed by debutant Sanjay Bharathi is bankrolled by Gokulam Gopalan’s Sree Gokulam Movies banner. The actor will be seen romancing debutant Digangana Suryavanshi and Bigil fame Rebba Monica John.
The poster features Harish, Digangana Suryavanshi, and Reba Monica John along with the title on a horoscope. The characters are seen happy in the poster popping with red colours owing to the ‘Dhanusu’ zodiac.
Actor Sivakarthikeyan took to Twitter to release the first look poster.
The film is touted to be a rom-com that revolves around an automobile mechanic whose life decisions are backed by astrology. While the cast of the film is yet to be announced, Ghibran is composing music, PK Varma is handling cinematography, Umesh J Kumar is handling art with Kubendran taking up editing responsibilities.
Recently, singer-composer Anirudh Ravichander rendered a song reportedly titled ‘Ponnu Venum’ for the film. The singer has associated with the actor for the second time after ‘Kannamma’ for Ispade Rajavum Idhaya Raniyum.
“Ani and I have been friends since school days and when I approached him he immediately agreed to do it for us. The lyrics will talk about the hero’s life and what he has gone through so far. In a way, ‘Ponnu Venum’ will sum up the story of Dhanusu Raasi Neyargale. We couldn’t think of anyone apart from Anirudh, who would do justice to it,” said director Sanjay Bharathi to DT Next.
Ghibran, Music Director of the film says, “Think of any situation, be it fun, love or celebration, Anirudh’s vocals suit. He has the knack of enhancing the colloquial lyrics. Having witnessed it in all his albums as a playback singer including my own composing in Sixer, I am really happy with having him back in my studio for rendering a song. The song is about the protagonist’s pursuit of finding a perfect girl for tying the wedding knot. Ku Karthik has penned lines that are simple and catchy. The entire jamming session was indeed an enjoyable experience.”
The film shot across Chennai and Pondicherry is slated for a November release.
Here is the first look poster.
Dhanusu-Raasi-Neyargale
Meanwhile, Harish Kalyan who was last seen in Ispade Rajavum Idhaya Raniyum alongside Shilpa Manjunath in Tamil and for an extended cameo in the Telugu film Jersey starring Nani will next be seen in Tamil in Chimbu Deven‘s Kasada Tabara. This film has six editors, music directors, and cinematographers forming its technical team. Rebba Monica John who was in Bigil, will next be seen in FIR – Faizal Ibrahim Rais alongside Vishnu Vishal and Mazhaiyil Nanaigiren alongside Anson Paul.
Watch the trailer of Ispade Rajavum Idhaya Raniyum here.
Veteran folk singer and actress Paravai Muniyamma who shot to fame with the Vikram starrer Dhool in 2003 for her ‘Singam Pola Nadanthu Varaan…’ song, has currently been admitted to Velammal Hospital, Madurai owing to deterioration in her health condition. Unfortunately, rumours that the actress had passed away were widespread after the photos of actor Abi Saravanan and Muniyamma’s meeting spread on social media.
To clarify that these were rumours, the hospital sent out a press release which stated that the actress is keeping well and that the doctors have been providing her care. She is reportedly responding to the treatment well and will soon recover. The medical expenses are reportedly being taken care of by the hospital management.
She was also hospitalised back in 2015 and received support from many actors including Dhanush, Sivakarthikeyan and then Nadigar Sangam president R Sarathkumar who financed her treatment. Late Chief Minister J Jayalalithaa too had facilitated the opening of a fixed deposit account worth 6 lakhs in Muniyamma’s name.
The actress was last seen in director Jaison’s horror-drama Sathura Adi 3500 (2017).
