Tribute To The Master on his 91st Birth Anniversary: How Pather Panchali, his first film was realised.

He is the master and we are all his pupils. The man who was responsible for generating a global interest and appeal for Indian cinema would have turned 91 today. Looking back at his career it’s quite intriguing to think how a man can be so calm and confident amidst the chaos of the conditions he used to work in . Perhaps it comes with the unbridled affection a man has for his craft and the immense faith he has in his abilities. For a man who has achieved so much in his long and illustrious career, looking back in retrospect, it’s interesting to note that the completion of his first film, the now legendary ‘Pather Panchali’ was nothing less than a miracle. The odds were firmly stacked against him. It was nothing less than a brutal test of a man’s character and the extent a man is willing to go to and the sacrifices he is capable of making in order to achieve what he has set out to do.

The position Pather Panchali has in the pantheon of not only Indian cinema but World Cinema today makes it even more astonishing to think that at that time no studio was willing to put their money into it. The reasons for not investing in the film despite liking the idea that were given by the studios were plenty and reeked of the fear the studios harboured to go out of their comfort zones and take risks and highlighted their desire to play safe. Things like ‘Shooting in actual location’ , use of ‘non- actors’ , etc served as the defense used by the studios . But none of this deterred the confidence of the man who was on a mission. In order to raise funds during the production period, he kept working as a graphic designer, pawned his life insurance policy and sold his collection of LP records. His wife, Bijoya, pawned her jewels as well. Some amount of shooting was done but the money didn’t last long enough. The shooting was interrupted by the shortage of funds and the movie had to be shot only in intermittent pieces. Finally the much required help came from the West Bengal Government when an incomplete version of the film was shown to the then Chief Minister of Bengal, Bidhan Chandra Roy, who then sanctioned a loan for the completion of the film. Thus, after years of hard-work, disappointment, anxiety and the ruthless passion which nudged away all the obstructions which came in the way, the movie ‘Pather Panchali’ was born. And the rest, we all know, is History. The man who was to change the face of Indian cinema and give it a much needed uplift had arrived, and with the success of his films, esp. his first film and the knowledge about the story of its making gave birth to another thing: the spirit of the Indie film-maker who defies conventional norms of film-making. We at Long Live Cinema salute and wish the man..nay…the Master who made it all possible on his 91st birth anniversary – the true legend of Indian cinema – Satyajit Ray.

To watch Pather Panchali (full movie) click here

The Dark Knight’s End: Will the trilogy close with the fall of the caped crusader?

Long Live Cinema_Batman Comics Strip

The symbolic breaking of Batman’s back in issue #497 of the Knightfall series of Batman comics where the genetically enhanced Bane , a super villain with super-strength complimented by super intelligence ( a rare combo for a monstrous man ! ) hands a merciless beat down to a weakened Batman,rendered extremely fragile and exhausted physically and mentally as a consequence of his battles against the villains freed from Arkham Asylum by Bane at the starting of the story,  breaking his back and crushing his spirit. Bane then throws Batman off a rooftop to assert his dominance. With Batman crippled, Bane assumes control of the Gotham Underworld.

Will the trilogy end on a similar note? With the fall of the Dark Knight? With the destruction of his body and spirit at the hands of a monster? Will his end lead to a change in the order of things? Or will the dark knight find a way to rise like the proverbial phoenix? Let’s have a look at the latest trailer unveiled on Monday night and look for clues to make an attempt at unraveling some questions which are cranking up the anxiety level of Batman fans to a fever pitch .

Vapours of foreboding pervades the atmosphere, signaling the inevitability of all beginnings – the end. A weary, worn-out and slightly wrinkled Bruce Wayne (Christian Bale) looks away with an emotion which seems to be a mix of guilt, helplessness and defeat. We hear a female voice proclaiming the coming of a storm, heightening the ominous mood. The menacing face of the ‘storm’ is revealed. ‘ You sound like you are looking forward to it ‘ , Bruce Wayne questions Selina Kyle (Anne Hathaway) , the apprehension in his voice making Selina’s confident reply ‘I am adapted more‘ sound condescending to the point of making a mockery of the doubts over his abilities etched firmly on the face of Bruce Wayne. He looks defeated even before the beginning of the fight. What follows is Carnage. The storm, which goes by the name of ‘Bane’ (Tom Hardy), blows away everything in it’s path. Chaos descends over the city. The apocalyptic tone of the film reaches a crescendo. Things are falling apart. Buildings, bridges, football grounds are destroyed along with hope and faith. Can the Dark Knight rise from the rubble? Fans of the comic series would know (as the illustrations above depict) that Bane is the man who not only broke Batman’s back but also his spirit. No wonder why Christopher Nolan chose Bane as the villain to bring an end to the trilogy. Is this really the end? Or will destruction give birth to creation and we can expect to be treated to a new saga probably or maybe I am being too wishful. As of now, we have no option but to nourish our patience till the 20th of July to find the answers to these questions, and if this trailer is anything to go by the answers might just blow us away with the intensity of an unmitigated storm.

India’s First Independent Film Database

Long Live Cinema proudly presents India’s first Independent Film Database - the one-stop place for information about Independent films made in India. This database’s purpose is to serve as a repository for Indian Independent Films, creating a platform for film-makers to showcase their work to a wider audience, gain access to the possibilities of theatrical release, DVD release or film festival screenings and also help in enhancing people’s knowledge about existing Indian Independent Films and understanding better the Independent film culture of India. With advents in digital technology and the costs involved in production coming down drastically, film-makers all over the country are expressing more and more through this medium and hence the production of independent films is at an all time high. It has become crucial for film-makers and the audience to keep track of the number and the kind of films made and the varied ways through which new film-makers, free from the vice grip of studio forces, are expressing themselves. Our goal is to make an effort towards achieving that by making sure that Indian Independent films get the space they so rightly deserve .

The films included here are self-funded, crowd-funded , films minus big producers, banners and stars or alternative non-mainstream cinema , making sure that independent films are looked at in the broadest possible sense. We hope to bring independent filmmakers from all corners of the country under one roof and be a kind of single access point for filmmakers, producers, film festival curators and cinephiles.

As of now, 50 films of different genres including shorts and documentaries have been added to the list. Everyday 5 films shall be added. If you have any information regarding Independent films not added to the list or have made Independent films yourself , do let us know . Do send in your suggestions regarding how this site can be made better and the material that can be included so that it can become an effective source of knowledge about Indian Independent Films.

The journey of a thousand miles begin with one step and we are proud to have taken the first step today .

We present http://indie.longlivecinema.com
Talk to us
: longlivecinema@gmail.com

 

THE JOURNEY, SO FAR… By ASHVIN KUMAR

From having the distinction of being the youngest Indian to be nominated for an Oscar to courting controversies and facing troubles with the censor board, Ashvin Kumar reminisces on his journey so far.

Long Live Cinema_The Forest_ Director Ashvin Kumar 2

The learning that one takes away from what you flatteringly call a ‘journey’ is not dissimilar to what Krishna tells Arjuna on the battlefield of Kurukshetra: do what you need to do, do it the best way you can but try not to take yourself too seriously. I think that is the best piece of advice anyone ever gave about ‘making-it’ in life.

Of all careers, film-making seems particularly dangerous for the soul.  It can become the pursuit of self-aggrandizement and a misplaced sense of one’s importance in the universe.

As you can imagine, I went through such a roller coaster ride: triumph at the Kodak Theatre, the red-carpet in Los Angeles from being a nobody;  to euphoria, making my debut feature film at a scale I had no idea I could handle. Then, shuttled across the spectrum into deep trauma, it becoming clear no release was forthcoming. Then, finding myself in Kashmir, getting deeply involved in the situation there resulting in two docs in two years, en-route being banned not only by CBFC but by Doon School(!) watching one year of work go down the tube, and now here.

On the face of it, film-making encourages individual creativity, rewards those who follow their instinct, who go against the grain, who stir the pot a little; it gives one the scope of following ones dreams and delivers triumphs in Cinemascope. These are great things but they are neither permanent nor should they be taken for granted.

With great power should come great responsibility, in the film industry, with great power comes a greater sense of who you are. You create a make-believe world, yours is the power of playing God.

Can you blame us?

Something you dream of in your head manifests on a huge screen with people watching it spellbound, entranced, transfixed. The first few times it happens, you pinch yourself, ‘shit! are these guys really buying it? You mean it’s really working? That means, I am a film-maker now?’

As an aside, if only all film-makers could recall and hold onto that sensation of wide-eyed wonder right through their careers… But that doesn’t happen in real-life. It goes. Very quickly, in-fact, as soon as one’s efforts are appreciated, they slide on a slippery slope of feeling superior. The end of that ravine is arrogance. Soon, the reaction to a similar situation becomes cynically casual, ‘they are fools who can’t appreciate good cinema’ or ‘I clearly am way ahead of my times’.

You can’t blame the human ego. It is frail. It hungers for appreciation, recognition, and self-worth.

Power over audiences is a religious power, a cultural power, the power of communion. The power that witch-doctors and shamans have wielded upon groups huddled around campfires of antiquity. It has the power to heal, to fortify, to endure hardship and pain. To understand the world and universe we live in. It is the power of mythologies. It is the power of stories on the human psyche, it has helped human beings over time to deal with the vicissitudes of life.

Cinema is only a modern avatar. The power of the storyteller is ancient.

As a movie maker, the new-age storytellers, you have other mundane powers. That-of making or breaking people’s careers. A lot of those are very beautiful people. You use your power to give expression to the darker side of your ego. The quest could be similar : appreciation, self-worth, recognition. But now, its one-on-one. That is what the casting couch is all about.
Then there is the megalomania that infects film-directors and producers particularly. Due to the high visibility of this industry, every time you blow your nose someone writes about you.
As an interesting aside, it also means that everyone has a go at giving you career advice. The number of times I have been accosted on a flight, by some random person who hardly knows me, ‘dude you should have just gone to Shahrukh after the Oscars man, he would have met you and maybe you would have..’ a sense of disappointment in his tone, when India is shining I am the one not-reflecting. He sees the hurt on my face, so covers up ‘…that’s what you need to do man, go to IPL attend the parties, become visible, you’re a brand now dude…!’ He means well. I wonder, though, if I’d dare to advise a management consultant on the moves he should make.

Film-making as a career is public domain. For if successful,  your myth is inflated many times beyond your capacity to absorb the flattery. Armies of sycophants willing to become assistants. A cup of tea appears magically in your casual palm, your ass journeys floor-wards in the assurance that a chair shall check its descent magically. They are there to tell you how good you are, don’t listen to the audiences. It lulls you into believing that you are really the end and beginning of the world. Not just the filmy-world, but all of it. There is a huge premium on perceived success, others’ opinions of how cool you are. And then, inevitably, the beginning of the end.

You start second guessing your audience. You think of them as the lumpen. Idiots waiting for your intervention, as if a new cinema would be born at the moment you unleash your genius unto the world. You make cynical moves. You add scenes and songs in your film that have no business to be there. You cast those who can’t act but who can get you distribution / finance. You forget that storytelling is why people will come to watch your film. You spend too much time on muscles and tits. Too little time figuring out motivations and objectives. You make a flashy, overlong music video without a plot.

Then your creation releases. It gives off a bad odour that smells to you like roses. People from the industry pump your hand but there are whispers around the men’s toilet – the urinal is never wrong. ‘Lost the plot man..totally’ they say. ‘WTF was he smoking??’ ‘I read the first draft script – it was killer, but very little of that on the screen.’
You fail in your basic job to be the guardian of your own instinct.

Instinct.

The tools given to all film makers are more or less the same. Most film-makers who’ve worked a few years are competent. But what separates me from you is my instinct which isn’t going to be the same as yours. That which makes your vision of the world particular to you. That which audiences would like to share, why they watch your film.

Instinct is also the first thing the sycophants will disabuse you of, will try to strip off you, will try to smother into conventionality. Why? Because it is ephemeral. And non-tactile. Not like muscles and tits which you can squeeze but fleeting sort of stuff. A sixth sense. Intangible, without form. Illogical. Not excel-sheetable. You are the guardian of this precious, invaluable thing – your own instinct.

You fail in that – your journey into generic mediocrity has begun.

It happens to us all. It must happen to us all. How will we know otherwise? In the film world, it happens in full public display. It can be devastating to a carefully constructed vision of the self. But this is not the bad thing. It’s necessary. It’s a coming of age. You are dropped earthwards, cause you made a lousy, cynical film.

The real tragedy is that now – so used to the highs and pampering – for the rest of your life, all you can think of is how to get back up there again. You need your fix. You’re hooked.
If I’ve learnt one thing from this journey, it is this : to be a good film maker you have to work on being a good human being. This career is filled with temptations to the contrary. Arrogance and exploitation of others’ circumstances being two crippling sins. When a beautiful girl walks into your casting-room, willing to do anything if you’d only give her a speaking role in your film… now, that’s the shit…

That’s when I tell myself : be non-attached to the result, meet failure and success with the same smile. There will be ups and downs, don’t take them too seriously. Take yourself even less seriously.

And please stop giving her the idea that you’re f****ing interested.

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4 years after Ashvin Kumar made his feature debut , THE FOREST finally releases in India on the 4th of May by PVR Director’s Rare. THE FOREST is an ecological thriller starring Nandana Sen, Javed Jaffery and Ankur Vikal.

For more details about the film  visit
http://www.theforestmovie.com  https://www.facebook.com/theforestmovie

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MANCH PARVA An Unforgettable Theatre Experience

Long Live Cinema_Manch Parva 2012 _World Theatre Day Festival 3

“To be, or not to be: that is the question”- These immortal lines of Shakespeare’s Hamlet found resonance when I received the invitation of ‘Manch Parva 2012 – World Theatre Day Festival’ from my close friend, Jay Merchant, to attend the four-day theatre festival at CC Mehta Auditorium, Vadodara. To begin with, my experience of watching plays had never been enjoyable.

So the very first thought was: To be, or not to be a theatre audience. Whether it’s nobler in the mind to suffer the slings and arrows of slow progression of a play replete with heavy doses of words laced with literature, or to take arms against a sea of troubles and by attending, end them? To die the death of ignorance or to sleep at home after witnessing an inspiring performance: That is the question. Fortunately, I chose the latter. Each play infused life in the script with performance of tall order.

The first play (Hindi), ‘Aur Tamasha Na Hua’ written and directed by Bhanu Bharti was indeed an eye-opener, in fact, an ice-breaker. The moment it began with a group of youngsters enacting the play ‘Muktadhaara’ by Rabindranath Tagore, I was sure this one was going to be yet another addition to my ‘theatre torture’ experiences. The reluctance was shred to pieces in the first ten minutes of the play, where an actor seated among the audience, stood up and indulged in a debate with the actors.

The actors expressed their grudge of enacting a play which the audience might not understand. The director convinces them that it’s worth performing and commands them to focus on their performance. However, the actors aren’t convinced and break into a heated argument. The debate flares up the frustrated patriots in them, and ensues to a conflagration where the play doesn’t take place, precisely what the title states, ‘Aur Tamasha Na Hua.’ Actors like Ravi Khaanwilkar, Teekam Joshi, and Danish Iqbal truly steal the show.

The second play (Hindi), ‘Hum Tum’ reiterates the quote, “Theatre has no national identity. It is something for the world, whether it is Irish, English, or French.” by Irish actor, Cyril Cusack. Based on Arbuzov’s Russian play ‘Old World’, this play completely catches you unawares with its witty dialogues and spontaneous performance. Actor Dakshina Sharma essays the role of Sarita Hazarika with aplomb and lends certain amount of dignity to the light-hearted dialogues, which are mostly used in slapstick comedy.

Actor Ramesh Manchanda plays Dr. Singh, the head of a Sanatorium where Sarita has been put up to recuperate from her illness. A stickler for discipline, Dr. Singh finds Sarita Hazarika a nuisance in the Sanatorium and they end up arguing each time they bump into each other. Gradually, they find their common ground in their age and they begin to bond well and celebrate life. The play has an undercurrent of a strong message, which is peppered with humour and served live on the platter of the stage. The use of background score is indeed worth a mention, especially when the characters are cooling their heels at a beach. Suddenly, the wooden stage appears golden sand and the clapping hands seem like rising waves.

The third play (Gujarati), ‘Viral Rajvi’ portrays the helplessness of a king during the colonial regime in India. Written and directed by Avinash Captaan, ‘Viral Rajvi’ is a play based on His Majesty, Shri. Sayajirao Gaekwad. Actor Anil Aadi brings the Maharaja alive with his excellent performance. The tone, the tenor, the gait – this actor seems to get everything right, when it comes to playing one of the most prominent figure of Gujarat. More so, there hasn’t been any other major play on Maharaja Sayajirao for him to refer, which is both boon, as well as bane. The dialogues sound so authentic that the actors manage to transport you to the days of yore.

The humour and sarcasm are aptly placed to keep those ‘history yawns’ at bay. The play never loses its focus on portraying the Maharaja as a ‘in the closet’ patriot. As a king, his duty commands him to bow before the British, but as a patriot, he rebels in his own way. The scenes where he covers up for his ‘mistakes’ truly stand out, though one wishes they could have done away with the emotional scenes of his son being passed away. The scene served just one purpose – depicting the Maharaja’s commitment to nationalism despite personal grief. The scene deviates from the theme a bit, but the director is smart enough to end ‘Viral Rajvi’ on a positive note of ‘the show must go on’.

The fourth play (Gujarati), ‘Sagpan ek ukhaanu’ is undoubtedly the most hilarious play among the ones staged at ‘Manch Parva’. In fact, it belongs to a different genre altogether, which makes it a cut above the rest. Directed by Rajul Mehta and Prabhakar Dabhade, the play is based on a German play. The original play, ‘The Good Person of Szechwan (German: Der gute Mensch von Sezuan, first translated less literally as The Good Woman of Szechwan) is a play written by the German theatre practitioner Bertolt Brecht, in collaboration with Margarete Steffin and Ruth Berlau.

The play is embellished with live music and dance performances based on Gujarati folk dance, Bhavai. The actors, Prabhakar Dabhade (playing Lord Bramha), Mehul Vyas (playing Lord Vishnu), and Chirag Bhatt (playing Lord Shiva) steal the show with their nuanced performances. The bonding between the actors is evident in their performance, which flawlessly makes you believe that they are actual incarnations of the gods in guise of western outfit and seeking shelter in a village.

Gordhan, a village bumpkin brilliantly played by Rakesh Modi comes to their rescue and takes them to Gomti, a village nautch girl played to perfection by actor Sonia Nihalani. The Kathyawaadi accent of the actor is commendable, but it also becomes deterrent to decipher the dialogues, yet Sonia Nihalani’s electrifying performance makes you ignore the dialogues and keep watching ‘Sagpan ek ukhaanu’ (which roughly translates as: Relations are a puzzle) with rapt attention.

Each play of Manch Parva 2012 offers a glimmer of hope to the waning number of theatre enthusiasts. The packed houses go on to prove that theatre still has the power to pull audiences and enthrall them with quality content rather than brainless comedy films and escapist cinema.

Long Live Cinema_Prakash GowdaAbout The Author:
Prakash Gowda is a writer by profession and he also dabbles in short film-making . ‘Baker’s Dozen’ , a soon to be released collection of short stories, is his first book .

THE RAT RACE by Miriam Chandy Menacherry (In Cinemas April 20) A Tribute to the Unsung Superheroes of Mumbai

Long Live Cinema_Rat Race posterLong Live Cinema_Filmmaker_ Miriam Chandy MenacherryA chat with Miriam Chandy Menacherry, whose film ‘The Rat Race’ paints an unique portrait of Mumbai through the lives of a community whose activities , despite being indispensable , largely goes unnoticed.  ‘The Rat Race’, which won the co-production challenge at Cannes, is the second documentary in recent time after Jaideep Varma’s ‘Leaving Home’ in 2010 to receive a theatrical release.

The genesis of this idea.  Your film references? Were you influenced by fiction films made on this topic in any way during the development/research phase, most notably Lynne Ramsay’s ‘Ratcatcher’ .

The genesis of the idea was a very small article in the paper which said the municipality was conducting ‘auditions’ for rat killers as 2000 people had applied and there were only 30 vacant posts. I wondered what auditions could you have for a rat killer? This is a film where fact is truly stranger than fiction…the auditions turned out to be an eye opener. More than that the people who apply for the post who are graduates and post graduates moonlighting as rat killers gave me the chance to explore the thin line that separates the `rat race’ of surviving the city and still holding onto ones dreams.

I have heard of Lynne Ramsay’s ‘Ratcatcher’ but never managed to land a copy.

The elements which drew you towards the theme. Did the fact that the Rat-catchers assume an almost mystical like quality akin to a team of superheroes , going about their business when the whole of the city is in deep slumber appeal to you in any way  ?

Yes ‘superheroes’ rooted in a gritty urban context, the film had underlying violence and tenderness and an underlying dark humour that unfolds through the characters in the film and in their context. The fact that it happens every night as the city sleeps gives the documentary a still, eerie, canvas that has not been explored before and visual unfolding is something that draws me to a subject. The other element is people and their complexities. I try to tell a story through my characters , so understanding their personalities and giving them the space to come into their own is something I do through the film, where the filmmaker is almost invisible.

Is it a favourable time for documentary film-makers in India?

Yes it definitely is. We have an earlier generation who has built a body of work that is inspiring and hard won. People like Anand Patwardhan and Deepa Dhanraj, Gargi Sen who found the passion to produce, direct, distribute and literally create their own audience for documentaries. Today there is a very vibrant culture of watching and sharing documentaries but happening in separate pockets here in India. I think exploring options like a theatrical release only makes the whole movement more accessible to the general public…because there is a wealth of films being made that is young, edgy and definitely compelling.

Indian documentary filmmakers are today in a good place because the stories were always here but now technology is more accessible and internationally people are looking to India for stories as India is way too big to ignore. There is scope for international co production and distribution for Indian documentaries. There are concerns that this may lead to filmmakers selling their souls to earn in foreign currency but I think this is one line where honesty has the biggest premium and most buyers and audience today can see through ‘exotica’ and attach value to what is truthful.

The processes leading to the release of a documentary film in theatres. Do you think it’s fast becoming a trend in India .

I hope so…the time is definitely right. The Rat Race would be the second documentary in recent times after the documentary on Indian Ocean. I do believe that Anand Patwardhan and Madhushree Dutta also experimented with a theater release years ago but it was in a single theatre. The Rat Race is getting a release in 3 cities simultaneously and I am curious about the outcome.

The perils of filming which you might have had to face.

The biggest challenge is to shoot in public spaces over 2 years. The canvas of a documentary filmmaker is not a sterile studio or set but the city itself. Shooting in Mumbai where I live is harrowing because shooting itself is so `commercialised’ because of the film industry. Every cop and shop keeper wants to be paid if you a point a camera in their direction.

The worst incidents were when we tried to shoot garbage dumps in the city. My crew was roughed up and footage deleted. I was told I needed to get official permission to shoot the Deonar dumping grounds where the rats are finally disposed but I was denied permission twice.

I hear that the grounds are a minefield of illegal activity that authorities do not want exposed…so I think getting access and a sort of state censorship is the toughest thing to tackle.

The profession of Rat-catching and the social life of the Rat-catchers

Imagine having to bring back the dead bodies of 30 rats you have bludgeoned to death, every morning to be counted to earn a daily wage? Even one rat means a pay cut…it seems bizarre! Almost everyone who has seen the film, even people who have lived years in Mumbai have said they had no idea about this whole world of the rat killer or that even such a job existed. The irony is that these are municipal employees paid by every tax payers money so it is a telling reflection that no one knows.

The film in a way is a tribute to these faceless superheroes who work whilst we sleep and vanish when we wake. Their lives and dreams in every other respect strike a strong chord with anyone coming to terms with surviving the urban jungle.

The telling of a city tale, capturing the essence of the city through this film.

We had spaces in the city never explored, the true underbelly of mumbai, dimly lit and astrue with garbage in the night and in the day it was the almost chaotic orchestra of mundane living, busy railway platforms and crowded market places! Capturing the two rhythms was exciting and juxtaposing them in a sense. Through the film Mumbai itself keeps changing from the romance of the monsoons, the vibrance and energy of Ganpati celebrations to the cobwebs, files and stillness of a municipal job

Romanticizing the characters and the profession , which they deserve in a way to draw people’s attention towards them . Tell us a bit about the characters included in the film.

The principal narrator is the Parsi Superviser, Behram Harda (57years) who counts the bodies of rats every morning. He always wanted to be a dancer in the film industry but chose the security of a government job instead. Our documentary in a small way allowed him to explore his screen presence with his natural humour and one liners like he compares himself to James Bond with ‘a license to kill’ (rats).

The other characters are more grey and not as comfortable with what they do for a living…getting them to open up was a process of trusting and believing that we had their interests at heart. My wish is that we can have a special screening for the BMC and the rat killers so that they stand to benefit. We were working towards it before the theater release but am still to get a date commitment from the BMC.

“And in shooting a documentary I’m drawn to fictitious elements. Like Buena Vista Social Club: that was really a fairy tale, much more than a music documentary. Or in Pina, where with all our documentary approach, and certainly with the attitude of a documentarian, we still had a fiction in front of us” – Wim Wenders. Your views on this ? Is fiction very much a part of a documentary?

I love the documentary ‘The thin blue line’ just because of the way it is made, it forces one to explore this very debate of fact versus fiction…but ultimately I think it’s about ‘truth’…the quest of every documentary filmmaker is to find the aesthetics that best suit him/her to represent a greater, undeniable truth.

I think my own style is to tell a story through very strong visuals and characters which is itself a hallmark of good fiction. Also I look for stories with a beginning…a dramatic story arc and an end, again how fiction is structured.

The difference is the people, the situations and locations are all true life and I end up shooting more than 50 hours of footage to make a one hour long film.

Tips for aspiring documentary film-makers.

Don’t start shooting on a whim, it is easy to shoot nowadays because technology is cheap and accessible…but spend a little time thinking about your story before beginning. A good concept is the foundation of a strong film and then give it a lot of time to unfold and enjoy the process every step of the way, most likely you’ll end up with a good film.

Projects in the Pipeline

An Indo-Pak documentary. I have a co director based in Pakistan and we have begun shooting a trailer. It is very young, high on energy and I am very sure going to get a lot of attention in both countries.

With Pakistan bagging an Oscar for best short documentary this year , do you think that it’s only a matter of time before India achieves something similar ?

I think Anand Patwardhan’s films are better than Michael Moore’s and the latter got an Oscar! Awards help but I do not think they are the best gauge…Just like I think AR Rahman’s best work is not necessarily for `Slumdog’ but he got the Oscar for that one as against other brilliant tracks…

The time has to be right and the Oscar will surely come to India but I think we as filmmakers just have a simple commitment to ourselves to make good films.

Your favourite Documentaries

Burma VJ
5 Broken Cameras
Born into Brothels
Supermen of Malegaon
The  life and times of Harvey Milk
Thin blue line

The Rat Race releases in India this Friday, the 20th of April.

 

EXPERTS ARE FUNNY PEOPLE AND SHOULD WATCH “LOVE, WRINKLE-FREE” AND RELAX A BIT!

I should be chewing my nails nervously since my first film as a Writer-Director is releasing in 40 days(on the 25th of May). But I am not chewing it since I have never enjoyed the taste of nails, though I have heard that it is an acquired taste. Another thing that I have never enjoyed is ‘expert opinion’. I can’t help but smile when I hear an expert – be it in films or cricket. I always find them funny.

In my profession, as an independent-spirited scriptwriter-director, I come across a lot of Experts. These are folks who talk so well that you wonder what they are doing in films. They would give Rahul Gandhi a run for his mom’s money if they joined politics. Also an amazing thing about these experts is that they know exactly “what does not work”, but not “what works”. If you ever get to meet one, mostly they reside in Andheri West, watch them speak passionately about why it is critical that your first film is a ‘safe’ one. They also smartly let you know that once you are more established, you can then make the movie that you always wanted to. Of course they don’t factor in for lifestyle diseases like Diabetes, Cancer, BP, High Cholesterol, and road accidents that have been known to play spoil sport with these plans. When I told them that the Mumbai potholes remind me of my wrinkles and impending death, and I wanted to make a few not-so-safe movies that I believed in, before one of these nicely designed potholes takes my life, they laughed at my ignorance. Experts laugh at ignorant people for a living. I love it when humans laugh. Even when the experts laugh, they look almost human to me. The sound of laughter is always a stress-buster. These experts need it the most. I hope they watch Love, Wrinkle-free, smile and go home happy.

Love, Wrinkle-free is a light-hearted comedy about how Urban Indian society is getting more and more obsessed with looks and smooth skin. I will be honest when I say that if not for these Experts, “Love, Wrinkle-free” wouldn’t have happened. I will always respect them for being so consistently negative since it used to have the opposite effect on me. Right from school days, I have believed that authority is to be rebelled against. Rebellion is fun. For a cause or for no cause. And naysayers like these guys had a role to play in pushing me, a simple middle-class guy staying in Vikhroli West, to try the impossible – to go ahead, raise funds, cast, negotiate, scout locations, get together a like-minded team, and direct my feature film. Adding to the experts’ worries, I wanted to make an Indian English movie. Recipe for Perfect Suicide, they said. I relaxed; at least I managed to extract one positive word from them “Perfect”.

Walking around in cities, and cities are where I have grown up all my life, be it Trivandrum (peaceful but limiting), Mumbai (crazy but potholes worry me), Bangalore (beer, girls and advertising days) or Pune(loneliness), I saw that the world around me was evolving very fast, but the movies and movie makers were mostly unable to keep pace with these changes. I remember closely watching advertising commercials and wondering how these guys are able to get it so right – the right language, the right casting, the right tone, so in touch with the times we are living in. They had their ears on the ground. Unlike in the film world. Here, the producer moves from his home to office to locations to home in cars without his feet touching the ground for more than a few steps. At times I wonder, it would be fun to find out as to how many steps they actually walk in a day. They might be walking more on their treadmill than on the ground. So that should possibly explain the lack of grounded scripts getting their investment!

So we should not be too surprised that Goa is shown the way it is in Hindi films. Goa for many of these “Experts” is a getaway to a world full of bikini-babes, free sex, drinks and drugs. When in Goa, these guys worry about the sun, their wrinkle-free complexion, and rent cars. Renting a car to escape the sun in Goa when you came all the way to bask in it and have some fun! So like I said earlier, these are seriously funny people. Except they are yet to realise this themselves!

Except Kabhi Ha Kabhi Na, and a few other films, can we think of any other movie that got the world of Goa right in the last 10-15 years? It has been my dream to make a Goan movie, and do justice to it. So I listened to my heart, used the collective power of my indie heart, brains and groins to write and direct a Goan movie. This fun-movie is releasing through PVR Directors Rare at a PVR near you. Please do go watch it and let me know what you think of it. The micro-mini budget and the 22 days of shooting didn’t stop us from bringing out a Goa which you would have never seen in Indian movies in the last 10 years.

Now, the Experts say, why make films in English in India? Britishers have left long back. I realised that too. In Love, Wrinkle-free, we used English since the characters are mostly from the Roman Catholic world. And they speak this language there. No rocket science! Also, I google searched and found that India has the second largest English speaking population in the whole world. And an Indian English newspaper, Times of India, is the largest circulated English language newspaper in the whole world. Not to forget the amount of ad commercials that is made in English. The reason one makes a film in Indian English is because many of us speak and understand this language. We might speak with an accent, but the fact is we get it and are moved emotionally, provided the story-telling is Indian. Love, Wrinkle-free is an Indian indie film in Indian English. Let the funny experts stick to their opinion, but the truth is that there are a sizable number of people who would not mind watching a well-made, fun-filled, entertaining Indian English film. That is my belief. If we had more advertising funds,we would have created more awareness about the movie. But I refuse to complain. I am thankful that my first movie is getting released. I am happy.

So the point of this blog is this. Do listen to the experts in the film world and in the media with a smile when they say why something “won’t work”. And use your own brains and heart, and come watch “Love, Wrinkle-free” in the first 3 days of its release. I can guarantee that you and your friends will have a fun time and will come out of the theatre with a smile on your face. Take care, rebel against experts, chew your nails only if you like it (and not because they say it improves your sperm count!). And yes, Love, Wrinkle-free always…Now see you on the 25th May at a PVR near you

Visit www.lovewrinklefree.com for more info.

Long Live Cinema_Sandeep MohanAbout The Author:
Sandeep Mohan is an independent-spirited screenwriter-filmmaker based out of Mumbai, India.  Love, Wrinkle-free is his debut feature film as a Writer-Director.

DJANGO UNVEILED

Long Live Cinema_Django Unchained PosterMovie Poster Collectors , Alert : This has to be the latest must have item in your wishlist . Quentin Tarantino always makes it sure that Poster Fans aren’t disappointed . The latest inclusion to his oeuvre which can easily be a poster fetishist’s wet dream , is the much awaited poster for ‘ Django Unchained ‘ . In tradition with all his work this one too heavily alludes to movies of a particular genre , the Spaghetti Western in this case .

Quentin Tarantino, the messiahic representative of movie fanboys who dream to make their own films some day , has ascended to a legendary level by belting out one stylistic film after another , splurged with heavy doses of pop culture and film homage . His universe is entirely a movie universe where characters and places are reminiscent of cinema’s past and comes across as a dream of a boy immersed in the world of movies and his posters reflect just that . In the past , he has dabbled in a lot of genres (The Heist film, Gangster film, Blaxploitation, Exploitation, Serial Killer, Japanese martial arts, War film ) , colouring them with his own zany sensibilities , refurbishing and redefining them . This time he wraps his lasso around the Western Genre , presenting his take on the classic , highly entertaining and trailblazing  Spaghetti Western , ‘ Django ‘ directed by the great Sergio Leone’s contemporary Sergio Corbucci , who also made the astonishing ‘ The Great Silence’ , one of the greatest Spaghetti Westerns ever in my opinion .

Tarantino , no stranger to novelty , made the screenplay of ‘ Django Unchained ‘ available online some time back and if one has read the screenplay without being able to exercise restraint , then he/she’ll know that the poster unveiled today only adds to the giddiness which comes with the heightened anticipation of something, the result of going through the screenplay . The poster drenched in a striking red background where a serpentine chain hovers above the silhouettes of two figures in the distance , breathes fire with its minimalist calm evoking the quintessence of the old west where calm signified the presence of chaos which could unleash anytime .

The movie boasts of a casting coup of sorts and it’s Christmas release means that Tarantino’s playing Santa , spoiling the audience by packing some of today’s fan favourites in one film . The story , true to the essence of the western , is essentially a revenge tale where the freed slave Django (Jamie Foxx) and bounty hunter Dr. King Schultz (Christoph Waltz) set out to free the former’s wife, Broomhilda (Kerry Washington), from the clutches of Calvin Candie, a sadistic plantation owner played by none other than Leonardo DiCaprio . It is to be noted that Tarantino himself starred in the noted Japanese film-maker , the master of the Bizarre , Takashi Miike’s recounting of the Django legend called ‘ Sukiyaki Western Django ‘, and we’ll have to wait and see whether his own re-telling of the Django legend will be better than the stylistic excess of Miike’s film and of course , the rugged charm of Sergio Corbucci’s original but yes , going by the hype it has created and Tarantino’s track record it seems just like his previous film Inglourious Basterds the same can be said about ‘ Django Unchained ‘ too – ‘ You haven’t seen The Wild West unless you have seen it through the eyes of Quentin Tarantino’.

From Dr. Kotnis Ki Amar Kahani to Bhaag Milkha Bhaag: Getting the look right?

The first look of the upcoming biopic on Milkha Singh , ‘Bhaag Milkha Bhaag’ has been unveiled. The Biopic, a genre which hasn’t been explored much by the mainstream Hindi film industry, seems to be making a resurgent comeback , with films like ‘Dirty Picture’ , ‘Paan Singh Tomar’ released with not much of time between each other and ‘Bhaag Milkha Bhaag’ is set to release soon. It isn’t the sole criteria for the making of a great biopic but it does help in relating to the actual person, making the viewing an interesting experience if the character gets the look of the actual person right in a biopic. Let us have a look at few Indian biopic films and how closely the character manages to resemble the actual person in those films.

Farhan Akhtar plays the legendary Indian athlete Milkha Singh in the upcoming film ‘Bhaag Milkha Bhaag’. The resemblance is uncanny and the intensity in Farhan’s eyes in the picture cannot be missed. It seems though that he bulked up more than the actual Milkha Singh!

Long Live Cinema_Milkha Singh Biopic

Sachin Khedekar as Subhash Chandra Bose in Shyam Benegal’s ‘Bose: The Forgotten Hero’.  Sachin Khedekar’s look in the film does give one the impression that one is indeed watching the most enigmatic figure of the Indian freedom movement in action.

Long Live Cinema_Bose The Forgotten Hero

Seema Biswas as Phoolan Devi in Shekhar Kapoor’s ‘Bandit Queen’.  Shekhar Kapoor’s harrowing account on the life of the dreaded queen of the Chambal valley was fuelled by a nerve racking performance by Seema Biswas as Phoolan Devi , a performance which still induces goosebumps. She didn’t only play the character of Phoolan Devi , but transformed into her.

Long Live Cinema_Bandit Queen

The news about the preparation for this role screamed louder than the performance of Aamir Khan as the titular character Mangal Pandey in Ketan Mehta’s film. There are very few reference pictures of Mangal Pandey, the rebel who kickstarted the 1857 revolt, but from the ones we have it seems as if Aamir Khan had more of a rockstar look in mind (Frank Zappa fused with a young Tony Iommi!) rather than the look of the actual Mangal Pandey. Maybe it was supposed to act as some kind of a metaphor suggesting that in the context of the Indian freedom struggle Mangal Pandey can be perceived as nothing less than a heavy metal rockstar!

Long Live Cinema_Mangal Pandey

Irrfan Khan as the titular character Paan Singh Tomar in Tigmanshu Dhulia’s film which released recently. The intensity of Irrfan’s performance was such, that the resemblance didn’t matter at all. Irrfan sinks so deeply into the character that right from the scene where Irrfan makes his first appearance, we believe that we are watching the life of Paan Singh Tomar unfold. The transition of Paan Singh Tomar from a simple and guileless army man to a domineering sportsperson to a dreaded dacoit who despite being feared maintains his rustic charm is played with such finesse and aplomb by Irrfan Khan that he makes it look almost effortless.

Long Live Cinema_Paan Singh Tomar_Irrfan

A similar case of a masterclass performance where the resemblance didn’t really matter. Smita Patil in one of her most powerful performances ever essays the real life character of the marathi actress Hansa Wadkar with such grace, flair, fervency and ferocity that we cant help getting invested in the life of Hansa Wadkar.

Long Live Cinema_Smita Patil Hansa Wadkar

Karishma Kapoor as the yesteryear actress who acted in the first hindi talkie ‘Alam Ara’, Zubeida Begum, in Shyam Benegal’s ‘Zubeida’. A very earnest and heart warming performance by Karishma Kapoor who infuses the character with vivaciousness, lends her a child like ebullience and an arresting charm and captures well the happy go lucky nature of the young princess who later becomes an actress. Karishma lends the character the necessary vulnerability and helplessness in the face of adversity while still maintaining her naive stubbornness and yes, she does look as pretty as the Indian princess, if not prettier .

Long Live Cinema_Karishma Kapoor Zubeida

Vivek Oberoi as the political leader of Andhra Pradesh, Paritala Ravindra in Ramgopal Verma’s ‘Rakht Charitra’. Vivek manages to make the character look badass and hunky which in a way, does complement the fictional and larger than life air of the film.

Long Live Cinema_Vivek Oberoi Paritala

Vidya Balan sizzles as the the southern siren, known for her roles in adult films, Silk Smitha in ‘The Dirty Picture’ . When it comes to the resemblance, its more like a re-imagination of Silk. More than her looks (apart from the curves!) , Vidya gets the essence of Silk right.

Long Live Cinema_Vidya Balan Silk Smitha

And finally, to take a trip down the memory lane and reach the golden period of Indian cinema , we have the legendary director/actor V.Shantaram who’s memorable performance as the heroic doctor Dr. Dwarkanath Kotnis, who cured a virulent plague in China but later fell prey to the plague himself, still caresses one’s emotions with it’s timeless charm.

Long Live Cinema_VShantaram Dwarkanath Kotnis

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Alliance Française de Delhi cordially invites you to ‘Ciné Club April : Stranger than Paradise’

From the Italian Neorealism to the Brazilian Cinema Novo or the French New Wave, film directors have often been interested by dealing with the stories of marginal characters. First perceived as a source of fascination and lyricism, marginality must also be considered as very relative: we are marginal in comparison to an institutionalized group at a certain moment, in a certain place and with reference to a social norm, moral or intellectual.
Because it can serve the identification with some people who are usually outlawed from society, cinema contributes to the evolution of social norm and barriers. Our selection of films will highlight theses stories of people who are usually pushed into the background.

Long Live Cinema_EldoradoELDORADO
Date: Friday, 13 April 2012, 5.30 & 7.30 pm
Bouli Lanners/ 2008/ 85 min
You are alive, and there is no cure for it, says a character of Beckett in 
Endgame, a quote that could be used to describe the flat landscapes of Belgium, the homeland of Bouli Lanners, where his film Eldorado takes place. Nevertheless, behind this depressive background, Eldorado is also both an irresistibly comic and a deeply touching movie. This ambiguous atmosphere is served by the surprising relationship between the two main characters: Yvan, a dealer of vintage cars, a surly guy with a heart of gold, meets the young Elie while he was burgling him. However, he doesn’t beat him. On the contrary, they become friends and Yvan accepts to bring him back to his parents
Long Live Cinema_LA TERRE DE LA FOLIELA TERRE DE LA FOLIE / LAND OF MADNESS
Date: Friday, 20 April 2012, 5.30 & 7.30 pm
Luc Moullet/ 2010/ 90 min
The great-grand-nephew of the great-grandfather of my great-great-grandmother one day had killed the mayor of the village, his woman and the rural policeman with a pick,, guilty of having moved his goat from ten yards. It provided me a good starting point. There were many others behaviors of the same type in the family”. Native of the Southern Alps, Luc Moullet noticed that cases of mental illness were particularly numerous in his region: murder, dismemberment, suicide, immolation among his family, friends and the various “criminal affairs” of the last 100 years. With his imperturbable seriousness and his irony, he takes note and studies the causes and the consequences of these local psychic phenomena. Moullet, the most burlesque director of the French New Wave, deals with macabre stories, so much unusual that they become comic. He explores the cases of murderous dementia in his place of origin and it isn’t sad.
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For more information, please send an email to culture_comm@afdelhi.org
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