Archive for the ‘balcony’ Category

ವಿಮುಕ್ತಿ – ಚಿತ್ರ ಪ್ರದರ್ಶನ ಮತ್ತು ಸಂವಾದ


Not one less


Film Screening- in Chennai, Kolkatta

i am not there


Nandan – Audi 2, Kolkata

Daily 1.45 pm

Starring : Cate Blanchett, Christian Bale, Richard Gere and the late

Heath Ledger

Maverick director Todd Haynes redefines the biopic genre with I’m Not

There. Tracing the life of legendary American singer Bob Dylan, each

stage in Dylan’s life is represented by a different character. Six

actors play Dylan in this one-of-a-kind exploration into the life of a

talented musician. I’m Not There was nominated for the Golden Lion at

the 2007 Venice Film Festival.



5 days of spine-chilling thrillers from across the world brought to you

by NDTV Lumiere and Alliance Francaise of Madras.

Presented by Roca in association with the New Ford Fiesta


Venue : Alliance Francaise of Madras Auditorium

Dates : 5th – 9th August

7 & 9pm daily


Experience Thrillers kicks off with ‘The Orphanage’ – a spine chilling

thriller and Spain’s official entry for the 2008 Academy Awards.

Directed by the award winning young film-maker Juan Antonio Bayona and

produced by the renowned Guillermo Del Toro, this thriller stars

Spanish actress Belèn Rueda and Geraldine Chaplin (the grand-daughter

of Charlie Chaplin).

Watch desire and vengeance meet in a musical thriller ‘The Page Turner’

or get caught in the twisting tale=2

0of fate and fatality in ’Crossed

Tracks’, where nothing is what it seems. Be a part of an escape with

Quim in ‘King of the Hill’ and discover a terrible secret hidden in the

woods with ‘Shiver ‘


5th August : The Orphanage

6th August : The Page Turner

7th August : Crossed Tracks

8th August : King Of The Hill

9th August : Shiver


Woh kagaz ki kashti woh barish ka pani……………………………………

Are you missing those days? an email message that is in circulation brings in those old sweet days back to memory..


Doordarshan’ s Screensaver


Malgudi Days


Dekh Bhai Dekh



mile sur

Mile Sur Mera Tumhara


Salma Sultana DD News Reader


Surabhi:Renuka Sahane and Siddharth and many more like

He Man,Turning Point, Bharath Ek Khoj, Alif Laila, Byomkesh Bakshi, Tehkikaat,

and ads like


Vicco turmeric

Nahin cosmetic

Vicco turmeric ayurvedic cream


Twaiiiiiiiiiiiiiiii iiiiiiiiiiiiiiii iiiiiiinggggggg

Washin powder Nirma, Washing powder Nirma

Doodh si safedi, Nirma se aayi

Rangeen kapde bhi khil khil jaaye

Then were ‘Mungerilal ke hasin sapane’ and ‘karamchand’ …’Vikram Betal’, etc.

The other song

Film: The Other Song
Length: 120 minutesseba dewan
Director: Saba Dewan
Supported by: India Foundation for the Arts, and HIVOSThe politics of popular culture

By reconstructing the life of Rasoolan Bai, well-known tawaif and thumri singer from Varanasi, The Other Song illustrates how romance and physicality were obliterated from culture.   The Other Song documents the decline of tawaifs and their cultural practices, in north India. Tawaifs were singers and dancers known for their artistry, talent, grace and finesse. The tawaif was also a courtesan, typically associated with a wealthy patron who invariably
had his own ‘respectable’ wife and family.

The film focuses on Rasoolan Bai, well-known tawaif and thumri singer from Varanasi. It explores a range of issues relevant to the politics of popular culture, female sexuality, and the growth of communalism.

Rasoolan Bai was born in 1902 and grew up at a time when the tawaif tradition was flourishing in north India. The film journeys through Varanasi, Lucknow and Muzaffarpur searching for memories of this dying tradition. Dewan pursues clues on Rasoolan Bai and other well-known singers of yesteryear, meets a few surviving singers, and puts together the pieces to build up a fairly complex historical account.

The filmmaker zeroes in on two versions of a thumri sung by Rasoolan Bai. The first version, hardly known today (although in 1935, Rasoolan Bai recorded it on gramophone) goes: Laagat jobanwa mein chot, phool gendwa na maar (my breasts are wounded, don’t throw flowers at me); the second version, extremely well-known, replaces jobanwa with the word karejwa (heart). This is no innocent replacement. As the film indicates, it is part of an effort to ‘sanitise’ culture, to obliterate sexually explicit messages, and thus, symbolically, purify the arts. In the process, the enigmatic figure of the tawaif is also virtually obliterated.

This figure was hardly palatable to nationalist leaders fighting for the motherland — represented as pure, self-sacrificing and contained within patriarchy. We visit a hall where tawaifs regularly performed, converted since many decades into a temple. Still a site for music, it is religious music now, devoid of any hint of romance or physicality. When tawaifs offered to contribute to the nationalist movement, their contributions were rejected, even by Gandhi. Communal leaders went further, condemning tawaifs along with a rejection of the Urdu language.

Repression of the tawaif and her full-blooded thumris is part of the wave of Hinduisation that sought to control popular culture, wipe out plural cultural traditions and institutionalise the moral policing of female sexuality.

In the early-20th century, Bhatkande, Paluskar and others documented the canons of ‘classical’ music — acting as powerful gatekeepers who admitted Hindi and Sanskrit and kept out Urdu. They helped set the musical standards, subtly linking these to sexual ‘morality’ and ‘respectability’. Tawaifs and their music were considered immoral.
After 1947, puritans got the tawaifs’ quarters closed down. Many, including Rasoolan Bai, were rendered homeless.

Rasoolan Bai ‘married’ a dealer in Benarasi silk saris named Suleiman, and they had a son called Wazir. Both Suleiman and Wazir left for Pakistan, while Rasoolan Bai fled to Ahmedabad. Later she returned to Uttar Pradesh, settling in Allahabad where she lived in penury, managing a small stall near the All India Radio (AIR) building. A photograph of her was up in the AIR hall, along with several well-known singers. Sometimes she would be invited to sing. Once,
looking at the pictures of female singers, she remarked: “They are all devis; I am the last bai left!” (bai symbolises the status of a courtesan, the non-respectability of a single woman who sings and dances for a living — a status the Indian cultural mandarins had, by now, successfully repressed). 

The film introduces viewers to a number of living thumri singers. Saira Begum and her elder sister Rani Begum have an extensive repertoire and beautiful voices, yet are barely able to survive as professional singers. While Rani stopped performing 30 years ago, Saira still performs but is not considered respectable enough by AIR or Doordarshan — though experts acknowledge the depth and finesse of her singing. She sings at a concert or two, and teaches a few select
students. Saira ‘married’ a wealthy businessman, but after he died she was left penniless. She brought up her son and three daughters, educating them and teaching them simple trades such as stitching. Two daughters are married, the youngest engaged: she says she loves her mother’s singing but never learnt it; nor did the others. Whatever remains of the tawaif’s musical lineage will die out within a generation or two.

The filmmaker’s own voice is present throughout the film — candid, anguished, angry, and analytical. Yet, at several points, the viewer is left dissatisfied — perhaps because so many issues are taken up that they cannot be dealt with in sufficient detail or depth. Tighter editing would have helped make the links clearer and more explicit. All the same, this is an important film with enormous archival value.

By Deepti Priya Mehrotra

Achilles and the Tortoise


Akiresu To Kame


The final installment in an iconoclastic trilogy on creative destruction, Achilles and the Tortoise is Takeshi Kitano’s newest reflection on art and life. Unlike the author’s previous works Takeshis’ and Glory to the Filmmaker! – both of which were highly conceptual ruminations on the vocation and philosophy of filmmaking this latest effort carries a more open, audience-friendly message.

The film takes its title from a famous paradox by the pre-Socratic philosopher Zeno, which claimed that motion, time and change are nothing but illusions. Achilles and the Tortoise tackles the idea that art is a chimera, and follows the absurd, star-crossed life of a man with no talent. As a result of his father’s love of modern Western art, Machisu (Reo Yoshioka), a quiet, introverted child, is inspired to become a painter himself. Obsessive and obstinate – yet talentless – the child devotes all of his time to painting, not even losing heart when his father, once a wealthy factory owner, goes bankrupt and commits suicide.

As a young adult, Machisu (Yurei Yanag) continues to find comfort in his mediocre art and in the company of a group of fellow students with whom he shares the unrealistic dream of becoming famous. With banal results, he mimics all of the fashionable trends, from pop art to abstract expressionism, and struggles through life in a crescendo of crazy irrationality. Machisu (now played by Beat Takeshi himself), his stubborn lack of talent persisting into adulthood, eventually spirals into disturbed, upsetting behaviour. ಓದನ್ನು ಮುಂದುವರೆಸಿ



out-of-boundsBangalore : PVR Forum Mall – 12, 4.15 & 8.30 pm

Out Of Bounds (2007)
Genre : Drama | Original Language : Italian | Country : Italy,

Directed by : Fulvio Bernasconi

Out Of Bounds follows a young man into the bloody, lawless world of
illegal fight clubs, where the rules are simple – fight or die.
Mike, a young boxer from Trieste, dreams of making a career as a
professional boxer. He moves to Hamburg to make it to the big time, but returns home a failed champion to his sister Anna, who has long shared his dreams of success. Orphaned in their teens, Anna has sacrificed her own happiness to chase Mike’s dream.

In Trieste, Mike returns to his old trainer, but the fighting engagements are slow to come. Increasingly frustrated and desperate for money, Mike is tempted by the world of underground fights. The bets and the risks are huge, but the returns could mean a better life for Mike and his sister.
Initially, Mike enjoys the fast money and violent brawls, but he slowly
becomes disillusioned with the barbaric world of grubby illegal
fighting. Trying to escape proves be harder than he expected, and the
temptation of one last fight might just be too great.
Fulvio Bernasconi’s gritty debut feature won the Best Actor Award and
was nominated for the Golden Leopard at the 2007 Locarno International Film Festival.


2-days-in-parisKolkata – Nandan – 2 pm, 4 pm, 6 pm

2 Days in Paris (2007)
Genre : Comedy, Romance | Original Language : English, French | Country
: France, Germany

Directed by : Julie Delpy
Screenplay : Julie Delpy
Cinematographer : Lubomir Bakchev
Editor : Julie Delpy
Producers/ Co- Producers : Christophe Mazodier, Thierry Potok, Julie
Delpy, Ulf Israel, Werner Wirsing, Nikolaus Lohmann, Tilo Seiffert ಓದನ್ನು ಮುಂದುವರೆಸಿ