The story as you all may be knowing is about two boys going behind the same girl. Such stories have come and gone in all film industries. But what makes this movie different is the treatment of the subject in a humorous way and the unpredictable climax.

1st Half: The first half is filled with comedy whenever there is a competition between the two heroes. Along with comedy, there are scenes between Avinash and Ananth Nag about their mutual respect and  cordial relation. There is ample of Mysore again! And there is ample of opportunity for us to know the things around police department families.

2nd Half: The second is a flashback and goes to Belgaum. The initial stages of the flashback are so differently set up that we are confused as to whether we are watching an entirely new movie after the intermission. But the second half is impressive due to the good comedy and some romantic scenes.

Performances

Chethan Chandra: he has done a good work. He comes as the hero with lot of anger and attitude. He has given his best in dance and fights. But there is lot of scope for improvement.

Varun: he too has done a good work. He is more of a soft character type person. He too has given his best in dance and fights. He too has to improve in his acting.

Amulya: she has done a good work. But her overall personality does not suit the character. She does the role of a christian girl. But never does she suit the role. It seems like in many scenes her dialogue delivery reminds the audience of her previous movies. She doesn’t know how to carry herself in the well designed costumes.

Sunil Rao: Sunil Rao has done good work in the second half. He suits the character very well.

Supporting cast: Ananth Nag and Avinash both have given good performance as ACP and head constables. Ni Na Sam Ashwath has a different role to play. Good performance is given by the youth who have played the role of friends of both the heroes, specially that guy advising the hero with a balance (thakkadi) comes out with humourous philosopies. The friends of Sunil Rao have given a good performance, but they could have done better.

Technical Departments

Screenplay: The screenplay is in good pace in the first half. No such dragging. But the second half screenplay somewhere drags towards the mid. The whole movie runs for about 3 hours which is unusual for these days. But the movie comes to an end with a sort of intelligent twist given by the heroine. Go watch the movie and see how the director takes you for a ride in the second half

Dialogues: The dialogues are very good for most of the characters. It is not an easy task to make the audience laugh for the humour made my newcomers. But the audience are connected to the movie and respond to the jokes so well. This shows that the dialogues and script are done with lot of hard work which succeeds in getting the required results. Heroine using “useless fellow” type of dialogues seems artificial.

Direction: Hats off to the director for making a happening movie. He is able to get good work out of all his actors. Surely Rathnaja has spent time rewriting the dialogues and screenplay. He has really worked hard in his writing. We have got a director who is a serious writer too. Though the movie seems quite normal on the surface, but the director has said some serious things inside.

Camera work: Camera work is a big let down. The cumulative efforts of all three camera men – Sheethal Jain, Ananth Urs and Gnana Murthy have all gone in vain. In second half, the frame speed of few scenes seems like we’re watching a tv serial. Don’t know the reason, but the cinematography department is a big disappointment for those who expected excellent camera work similar to Nenapirali and Honganasu.

Editing: BS Kemparaju has done a good work. In first half, he uses more of speedy editing techniques as well as slow wherever necessary. In second half, the editing is fully different from the first half. There are few examples of good work of Kemparaju. For example – the short flashback when both the heroes come near to fight. The sudden disruption of kissing scene during the second half. Use of 2-3 images in the same scene as a comparision between the two heroes.

Music: Two songs – Sa Ga Ma Pa Ni Sa and Gulabi Kennege songs are attractive and excellent. Hamsalekha has penned good lyrics. Especially lines like – Niagara neerella edegiLiyo tarahaa.. aakeya bayake ukkuttide! Chaluvayya Cheluvu ninna chooriyantha chum chumma! (typical native lyrics). Other songs could have been better. The background score is very good at places. But it could have been improved at many places.

Choreography: Choreography and the concept is good for the for introduction Premism song (attakalari). The choreography for the rewritten version of Koorakk Kukkralli Kere song is very funny. Hodi Line song is good for the fun filled screenplay inside the song. The choreography for Saa Ga Ma Paa Ni Sa and Gulaabi Kennege songs are excellent.

Costumes: The costumes for both the heroes is contemporary and looks good. The costumes for Amulya are very apt, but its goes waste since the actress doesn’t know to carry herself in those costumes. Renaissance period Italian costumes for the heroes during Sa Ga Ma Pa Ni Sa song looks very authentic.

Stunts: One stunt scene taken in Mysore is well composed and both the heroes have done it well.

Overall: its a neat entertainer. Keeps you engaged. First half is very happening and will be liked by the teenagers. The second half is little slow compared to the first half and may be liked by the elders. The camera work is weak. Yet the film wins… And Rathnaja proves that “his pen is mightier than the camera!“  Overall its a neat youth as well as family entertainer.

Rating: 3.2 out of 5

INTERVIEW WITH RATHNAJA

People are saying that Premism also has same Mysore elements like your first movie Nenapirali. What is your response to this?
There is no shade of Nenapiral. The story is set in Mysore and Belgaum. Hence Mysore was inevitable. But we have tried to show Mysore in a much different way than Nenapirali. Apart from that, we have just used the rewritten version of kukkaralli song.

In what way is the music of Premism different from Nenapirali?
I would ask the listeners to make the distinctions, also I would like to get the listeners feedback on How Premism Songs are different from Nenapirali.

You have used Wiper camera for the first time in Kannada. What are the merits of wiper camera and what were the challenges you faced during the process?
Future is digital, we definitely wanted to go with advanced technology. More than challenges, it requires more time during post production. To get high definition quality it was worth spending that time, it was little burden on production side. But when we got the final copy, we felt that all our hard work was worth of it.

Tell us more about the concept of the title track of Premism and your experience in planning the choreography with Jayachandran.
We are explaining what is Premism, i.e. what is love. We used Attakalari dance group with five elements of the universe (panchabhoota) i.e., Fire, Earth, Water, Air and Sky.

Premism title seems like an anti-thesis of Rowdyism! Is it so? What new ideal or belief are you trying to propound by coining a new word Premism?
Do you think of any anti-thesis with Romantism? While Rowdyism is a negative shade, Premism happens to be made up of positive shade. I am very proud to introduce a new word to Kannada vacubulary.

What do you feel are the challenges in terms of creativity, production and releasing a movie in the present scenario of Kannada Film Industry?
This can’t be answered in couple of sentences, I need lot of time and space to answer, May be I can answer at leisure. It has to be debate.

Tell us about your young trio – Chethan-Amulya-Varun. Were you able to extract what you needed from them? To what extent were they cooperative with you in the process?
I request you to answer this question after watching the movie

You are saying that the movie is based on real life happenings in Mysore and Belgaum. How did you come to know about these happenings? Can you reveal us the details? Are the real life characters still alive?
All my friends are still alive and together, just like the characters of the movie. I would like to keep it as a secret because of my friendship. I have given the word to my friend and I will keep my word.

You have always considered Hamsalekha as your Guru. How did he guide you in this movie?
He never guides me that’s why I consider him as my Guru. He always supports my thoughts

What is it you learnt from the failure of Honganasu?
I have come to know that making a swa-make film is an experiment.

Premism is your child whom you are going to give to the people of Karnataka. What would you tell the people before giving your movie to the people?
Really the Premism child is cute and beautiful. Definitely you will accept this child as your own and will cuddle it with love and affection.

What would you assure from your film premism to the audience, especially youth and family.
It is a good entertainer, with good content and value. Overall a total entertainer.

After Nenapirali, it was said that you would direct Baagina or Aparoopa. But you came out with Honganasu… And now with Premism! When can we expect Aparoopa and Baagina?
There is time for everything; and I am waiting for that right time.

. . .

INTERVIEW WITH AMULYA

Your new movie Premism is releasing next week. How are you feeling?
Of course I’m excited!

You have been given a makeover in this movie. How did you all (director, you, costume designer, hair stylist) plan and prepare for this?
It was required for the character in the movie. Nothing planned during the shooting but it was all planned when the script was written. Don’t you think I look good in this movie?

How different is this movie from your earlier movies? Tell us about your character in this movie…
I have totally come out of my previous movie character shades. It is completely new kind of a role which is very similar to my personal character. If you want to know my personal characteristics, then go watch the movie!

What aspect of the movie persuaded you to agree for this movie?
Director, Production house and the story of Premism.

How did the director train you / guide / help during the film shooting?
The director guided me a lot. I don’t think I can answer this in few words. If I get good review about my performance in the movie, credit goes to my Director.

Premism has been shot in many places. Among – Mysore, Belgaum, Assam, Macau, which place did you like the most?

Mysore.

Both the heroes are of your age. Was this aspect advantageous in having good rapport and team work?
Definitely.

How do you rate both the heroes? What are the merits of Chethan and Varun? How are they different with each other?
Both are good talent wise… both have good characters in the movie… Difficult to differentiate. The same problem is faced by my character in the movie also.

Which is your favorite song in the movie and why?
All are my favorite. Because of the good music and lyrics, all the songs have become my favourite.

Many films in Kannada and other languages today are male dominated. Even in Hindi, heroines are just used as commodities. In contrast, how do you compare this situation with Premism?
Premism is not at all a male dominated movie. It is a story dominated one. The plot revolves around the heroine. I am lucky to have such a role. And I thank my director for writing such a story.

After working with Mr. Rathnaja in Premism, do you wish to be a film director any day in future? You know our Kannada industry doesn’t have enough female directors.
If I get directors like Rathnaja, I will never ever think of directing a movie.

What are your immediate future plans?
Right now I am busy promoting Premism.

Your message to your fans?
Watch Premism Watch Premism watch premism… You will see a different Amulya in Premism…

Thanks to Premism crew for their cooperation during the interview
- Govinda.

This came as a total shock – i repeat this again. I could not believe my mother and switched on the TV to confirm once again. Ya it was true. We have missed a senior actor.

The hallmark of Dr. Vishnu was his stylish acting as well as down to earth sentimental acting. I have so much to say. I have been getting mails, PMs, we are busy doing banners for Shraddhaanjali. One such banner i put on the site homepage. And just did a Shraddhaanjali video:

The forum is full of sad messages. Follow the forum link here…

We are currently thinking of a project on GG for Dr. Vishnu. Things are yet to be finalised. Meanwhile i am getting many mails from Dr. Vishnu fans conveying their Shraddhaanjali. What more can i do here?

Here we go, here is the Shraddhaanjali page which will be updated with fan messages and photos. If you also wish to have your message to appear here, just make a comment on this article. You may even add photo links etc here.

“MAY HIS SOUL REST IN PEACE”

~*~*~

TRIBUTE BY FANS

1. Megha Reddy from Mumbai has sent these photos as her token of respect.

Dr. Vishnuvardhan

2. Next……

He had composed music and sung for the various poems of Kannada Poets. He was more famous for his music for the movies – Mysooru Mallige and Santa Shishunaala Shareefa. He paired up with L. Vaidyanathan and gave some memorable songs under the name Ashwath-Vaidi.

He renewed the interest of music lovers in light music by organising KANNADAVE SATHYA in Bangalore Palace Grounds and other parts of Karnataka State. This programme showed the strength of Kannadigas crowd in Bangalore.

Story:
The movie starts in a bang with the song “Ondu Kanasu” followed by the introduction of main characters like Manohar (Digant), his neighbour girl (Neethu), his friends and his uncle. Manohar is an orphan who is brought up by his paternal uncle (Achyut Kumar). Manohar is a careless boy, tries to make it big, but fails in his efforts.

Manohar is admitted into a mental asylum “Kamanabillu” by way of mistaken identity. Devika (Aindrita Ray) is a patient in the mental asylum who suffers from a mental disorder. How Manohar falls in love with Devika is the rest of the story.

Screenplay:
The first 20 minutes of the movie is entertaining with Manohar exhibiting his talking skills. The first half of the movie comes to a satisfying halt with Manohar eloping with Devika in an ambulance!

The second half of the movie becomes a bit serious. But it is not too serious — this is what is good about the second half. Second half is also nowhere dragging. The screenplay is as smooth as should be. As we move towards the climax, one feels anxious whether the it would be a tragic end. But Bhat gives a perfect end.

Direction:
Yogaraj is good in direction and has extracted the talent of Digant and Aindrita Ray. But there are few things in the movie which could have been improved. The song “onde ninna nota saaku” seems like it was placed in the last moment just as a filler. The climax could have been improvised with better editing.

Music and Lyrics:
Mano Murthy has tried to give a different feel in the music. Especially the song “ello maleyaagide endu” has used the instrument Santoor which sounds fresh and gives a ghazalish type of feel. The song “onde ninna” sounds a bit mediocre. The climax song bit “naanu manasaare” is silent and melodious. The singer Vikas Vasista sounds good, but Lakshmi Nagaraj sounds immatured yet to enter film music! The song “ondu kanasu” by Kunal Ganjawala has a different orchestration with more use of trumpets and raps. Ananya Bhagat suits Neethu.

Jayanth and Yogaraj together have given very good lyrics which the people will remember for long. Ello Maleyaagide Endu, Naa Naguva Modalene and Naanu Manasaare (climax song) have very good lyrics. These are some of the lines worth remembering:

kannali Moodide Hanigavana
kaayisi Nee KaaDidare

nootana bhaavada aagamana
nee biDade nODidare

nina dhyaanadi ninnade tOLinali
heegeye irabahude?
ee dhyaanava kanDare dEvarigoo kOpavu barabahude?

anumaanave illade kanasinali
mellane barabahude?
alemaariya hrudayada DEreyali neenu irabahude?

naanu manasaare
haaLu jagada nanTanu kaLedukonDe

naa naguva modalene
minugutide yaako hosa  muguLunage

naa nudiva modalene
todalutide hrudayavidu oLagoLage

Camera:
Satya Hegde has almost painted every scene. There is no scene where we can draw a comparison to Mungaru Male and Gaalipata. The scene where Aindrita wakes up in the morning (in the ambulance) and opens her eyes to the golden sun is captured so well amidst the silhouette of her face and the glow of her hair. Wish this scene could be shown in a slow motion for making it more effective. The song Naa Naguva Modalene has both silhouette and flash intelligently blended.

But one feels that the scene where Aindrita and Digant walk on Madikeri road could have been captured better. The scenes which express the mental state are simply shown by shaking the camera too much. Such shaking of camera goes over board. The mental state could have been shown in a subtle way without shaking the camera.

Editing:
Editing by Joni Harsha is good. But it could have been improved a bit. It seems that the editing lacks some aesthetics in the song Ello Maleyaagide endu and the scenes showing the mental state. Editing is too good in the song “ondu kanasu”.

Art work:
Art work by Shashidhar Adapa is worth mentioning for the fluttering colourful clothes used on the terrace of the mental asylum towards the climax scene (the scene where Aindrita runs on the terrace). Along with the camera work of Satya Hegde, this scene looks great.

Another example of good art work is the art work done for the song “naa nudiva modalene”. A beautiful dream like set has been erected and the use of flash in this song shows the collective work of Camera Man, Art Director and choreographer.

Performances:
Diganth has improved a lot in his acting. He has tried to create his own impression. Aindrita impresses with her innocent and childish performance. Achyut Kumar has done well. But the person who has played the role of the aunt of Digant has not done up to the mark. The artist who has spoken all over the movie in North Karnataka dialect is the one who registers in the mind of the audience in a subtle way.

Few memorable scenes:

1. The 2 days spent by Digant and Aindrita in their adventure outside the mental asylum is the sequence having some best scenes. Despite the limited time, these scenes make for the most beautiful moments of the movie. When Digant and Aindrita tell in the hospital before getting a shock treatment: “please see to it that the past two days memories are not erased from our memory, because they are the best moments of our life”. Anyone would feel the same.

2. The scene where Digant bids goodbye to the people in the mental asylum.

3. The scene where Digant and his uncle manage to have a glimpse of Aindrita with all the difficulties.

There are many more memorable scenes which I am unable to recall.

Climax:
Climax of the movie is just perfect. In the climax, Digant feels that he is almost mad. And then enters Aindrita. Digant says: “people here feel I am mad, I am useless”. So Aindrita says: “Its ok I don’t have any problem”. And the expression in the face of Digant changes in such a way that we can surely make note of it. Even the background music changes. The people around them changing into people of mental asylum was a good concept. It was a perfect end. What Aindrita says in the end sounds so sweet: “Where are we going? Even I don’t know”.

To conclude, the movie is really good. Not the usual commercial cinema with the usual college / rowdy stuff. The subject of mental asylum has been handled with care with no exaggerations. The film is a valuable package where you get to experience the ART aspect of camera, dialogues, posters, music and poetry portrayed so well. Cinema is truly used as a medium of art in this movie. Without hesitation, I can term this movie as one of the best movies which will make a deep mark on the soil of Karnataka. Just like how a small step of Aindrita makes an impression on the soil in the song Ello Maleyaagide Endu! The movie gives a subtle feeling.

Manasaare is a small pin. It hardly makes sound, you hardly notice it. It silently travels over all your senses and directly pricks at your heart!

Your valuable feedback to: govinda1100@gmail.com

ಕಾಸರವಳ್ಳಿ ಅವರ ಮಟ್ಟಿಗಂತೂ ಇದು ಆಶ್ಚರ್ಯವಾದ ವಿಚಾರವೇನಲ್ಲ. ಹಲವು ದಶಕಗಳಿಂದ ಕನ್ನಡ ಚಿತ್ರರಂಗದಲ್ಲಿ ಸರಿಯಾದ ಪಾತ್ರಗಳು ಸಿಗದಿದ್ದ ಉಮಾಶ್ರೀ ಅವರಿಗೆ ಗುಲಾಬಿ ಪಾತ್ರ ನೀಡಿದ್ದರು. ಕನ್ನಡದಲ್ಲಿ ಹಾಸ್ಯ ಕಲಾವಿದರನ್ನು ಚಿತ್ರೀಕರಿಸುವ ರೀತಿ ಬಹಳ ಕೀಳು ಮಟ್ಟದಲ್ಲಿ ಇರುತ್ತದೆ. ಹಾಸ್ಯ ಕಲಾವಿದರಾದ ಮೈಕಲ್ ಮಧು, ಬಿರಾದಾರ, ಹೊನ್ನವಳ್ಳಿ ಕೃಷ್ಣ ಅವರನ್ನು ಕೆಟ್ಟ ಅಭಿರುಚಿಯ ನಿರ್ದೇಶಕರು ಕೀಳು ಮಟ್ಟದಲ್ಲೇ ತೋರಿಸಿದರು. ಈಗ ಕಾಲ ಕೂಡಿ ಬಂದಿದೆ. ಬಿರಾದಾರ ಅವರಿಗೆ ತಮ್ಮ ಜೀವಮಾನದ ಕನಸಿನ ಪಾತ್ರವೇ ಸಿಕ್ಕಿದೆ ಎನ್ನಬಹುದು.

ವಿ. ಮನೋಹರ್ ಅವರನ್ನು ಈ ಬಾರಿ ಕಾಸರವಳ್ಳಿ ಸಂಗೀತ ನಿರ್ದೇಶಕರಾಗಿ ನೇಮಿಸಿಕೊಂಡಿದ್ದಾರೆ. ಶೇಶಾದ್ರಿ ಅವರ ಮುನ್ನುಡಿ ಚಿತ್ರದ ಹಾಡುಗಳನ್ನು ಕೇಳಿ ಮೆಚ್ಚಿ, ವಿ. ಮನೋಹರ್ ಅವರನ್ನು ಆಯ್ಕೆ ಮಾಡಿದ್ದಾರೆ. ವಿ. ಮನೋಹರ್, ಕನ್ನಡ ಚಿತ್ರ್ರಂಗ ಕಂಡ ಉತ್ತಮ ಗುಣಮಟ್ಟದ ಮತ್ತು ಕನ್ನಡಸ ಜಾನಪದ ಸೊಗಡನ್ನು ಸೂಕ್ಷ್ಮವಾಗಿ ಬಲ್ಲ ಸಂಗೀತ ನಿರ್ದೇಶಕ. ಜನುಮದ ಜೋಡಿ ಮೂಲಕ ಹೊಸ ದಾಖಲೆಯನ್ನೇ ಬರೆದವರು. ಓ ಮಲ್ಲಿಗೆ ಚಿತ್ರದ ಸರಳ ಹಾಡುಗಳಿಂದ ಮನವನ್ನು ಗೆದ್ದವರು. ದುನಿಯಾದಲ್ಲಿ ಕೂಡ ಸರಳ ಹಾಡುಗಳನ್ನು ನೀಡಿದರು. ಆದರೆ ಅದೇಕೋ ಕನ್ನಡದ ನಿರ್ಮಾಪಕ ನಿರ್ದೇಶಕರು ಮುಂಗಾರು ಮಳೆಯ ಯಶಸ್ಸಿನಿಂದ ಮನೋ ಮೂರ್ತಿ ಅವರನ್ನು ಅಪ್ಪಿಕೊಂಡ ಹಾಗೆ, ಇವರಿಗೆ ಸೂಕ್ತ ಅವಕಾಶಗಳನ್ನು ನೀಡಲೇ ಇಲ್ಲ.

ಈ ಹಿಂದೆ ನಾಯಿ ನೆರಳು ಮತ್ತು ಗುಲಾಬಿ ಟಾಕೀಸ್ ಅನ್ನು ನಿರ್ಮಾಣ ಮಾಡಿದ್ದ ಬಸಂತ್ ಕುಮಾರ್ ಪಟೇಲ್ ಅವರೇ ಈ ಚಿತ್ರವನ್ನೂ ಸಹ ನಿರ್ಮಿಸುತ್ತಿದಾರೆ. ಚಿತ್ರದಲ್ಲಿ ಗುಡೀಗೇರಿ ಬಸವರಾಜು ಅವರು ಕೂಡ ಒಂದು ಪಾತ್ರದಲ್ಲಿ ನಟಿಸುತ್ತಿದ್ದಾರೆ. ಛಾಯಾಗ್ರಹಣ ಎಚ್. ಎಮ್. ರಾಮಚಂದ್ರ ಅವರದ್ದು. ಕಾಸರವಳಿ, ಕನ್ನಡ ಕಂಡ ಉತ್ತಮ ನಿರ್ದೇಶಕರಲ್ಲೊಬ್ಬರು. ಅವರ ಚಿತ್ರದಲ್ಲಿ ನಟಿಸಿದ – ಜಯಮಾಲಾ, ಸೌಂದರ್ಯ, ಪೂಜ ಲೋಕೇಶ್, ಉಮಾಶ್ರೀ ಎಲ್ಲರೂ ರಾಜ್ಯ ರಾಷ್ತ್ಟ್ರ ಪ್ರಶಸ್ತಿಗಳನ್ನು ಪಡೆದಿದ್ದಾರೆ. ಈ ಚಿತ್ರದಿಂದ ಬಿರಾದಾರ್ ಮತ್ತು ಮನೋಹರ್ ಅವರಿಗೆ ಪ್ರಶಸ್ತಿ ಬಂದರೂ ಆಶ್ಚರ್ಯವಿಲ್ಲ… ಅದನ್ನು ನೋಡಿ, “ಪತ್ರಕರ್ತ-ಸಿನಿಮಾ ಕಥೆಗಾರ” ಒಬ್ಬರು ತೆಗಳಿದರೂ ಆಶ್ಚರ್ಯವಿಲ್ಲ!

ಒಂದು ಸಿದ್ಧಾಂತ ಎಂದು ಇಟ್ಟುಕೊಂಡಮೇಲೆ, ಅದರಂತೆ ನಡೆಯುವುದು ಕಷ್ಟ. ಅದೂ ಸಿನಿಮಾ ರಂಗ ಎಂಬ ಲೋಕದಲ್ಲಿ ಸಕ್ಸಸ್ ಗಾಗಿ ಏನೆಲ್ಲಾ ಮಾಡಿದವರಿದ್ದಾರೆ. ಆದರೆ ಸುರೇಶರ ಈ ಸಿನಿಮಾ ಈಗ ಬರುತ್ತಿರುವ ರೀಮೇಕ್ ಸಿನಿಮಾಗಳಂತೆ ಇಲ್ಲ. ಚಿತ್ರದ ವಸ್ತು ಮತ್ತು ಬಳಗವನ್ನು ನೋಡಿದರೆ, ರೀಮೇಕ್ ಆದರೂ ಈ ಸಿನಿಮಾ ಕನ್ನಡಕ್ಕೆ ಬೇಕು ಎನಿಸದೆ ಇರಲಾರದು.

ಚಿತ್ರದ ಕಥಾವಸ್ತು ತಂದೆ ಮಗಳ ಸಂಬಂಧದ್ದು. ರಾಷ್ಟ್ರೀಯ ಪ್ರಶಸ್ತಿ ಪಡೆದ ಪ್ರಕಾಶ್ ರೈ ಕನ್ನಡಕ್ಕೆ ಮರಳಿದ್ದಾರೆ, ವಿಶಿಷ್ಟ ಚಿಂತನೆಯ ಸುರೇಶ ಅವರು ಬಹಳ ಸಮಯದ ನಂತರ ನಿರ್ದೇಶನ ಮಾಡುತ್ತಿದ್ದಾರೆ, ಹಂಸಲೇಖರ ಸಂಗೀತವಿದೆ. ಹಣದ ಆಸೆಗೆ ಅವಸರದಲ್ಲಿ ಮಾಡುತ್ತಿರುವಂಥ ರೀಮೇಕ್ ಇದಲ್ಲ.

ರೀಮೇಕ್ ಎನ್ನುವುದು ಕೇವಲ ತಾಂತ್ರಿಕವಾದ ಭಾಷಾಂತರವಾಗದೆ; ಭಾವನಾತ್ಮಕ ಮತ್ತು ಸೃಜನಾತ್ಮಕ ಅಭಿವ್ಯಕ್ತಿಯಾದರೆ, ಅದಕ್ಕೆ ಮೆಚ್ಚುಗೆ ಇದ್ದೇ ಇರುತ್ತದೆ. ಇತ್ತೀಚಿಗೆ ಬಂದ ಸವಾರಿ ಚಿತ್ರ ಮಾನವೀಯ ಮೌಲ್ಯ ಮತ್ತು ನವಿರಾದ ನಿರೂಪಣೆಯಿಂದ ಮೆಚ್ಚುಗೆ ಪಡೆದುದನ್ನು ಇಲ್ಲಿ ಸ್ಮರಿಸಬಹುದು.

ಪ್ರಕಾಶ್ ರೈ ಅವರ “ನಾನು… ನನ್ನ ಕನಸೂ…” ಬಿ. ಸುರೇಶ ಮತ್ತು ಹಂಸಲೇಖರ ಉತ್ತಮ ಚಿಂತನೆಯಿಂದ ತಮಿಳು ಆವೃತ್ತಿಗಿಂತಲೂ ಉತ್ತಮವಾಗಿ ಮೂಡಿಬರಲಿ ಎಂದು ಹಾರೈಸೋಣ.

ERRATA: Prakash Rai is directing and producing this movie. B. Suresh is helping Prakash Rai in doing the direction work. The author apologises for the mistake.

Two years down the line, the same director has come up with another film, this time in Kannada language, called ಪುಟಾಣಿ ಪಾರ್ಟಿ / Putaani Party. The film has been shot on the 35mm gauge, in the cinemascope format and with Dolby SR technology. The 75 minutes film, produced by the Children’s Film Society, India; is complete and ready for exhibition, but it is looking for a system that can provide it with an audience.

The film, which has north Kannada dialect in it, was shot in nineteen days in a village near Dharwad. To get the feel of the dialect right, it has used local actors, most of them first timers in films. Mr. Ramachandra explains about his film as follows: “The film is all about a group of elected representatives of children discovering their own voice when they outsmart their adult counterparts to set right things that they think are undesirable to their constituency.”

A children’s film, in India, would necessarily have almost by default an adventure or a magic element to it. Such is the stereotype! ‘Putaani Party’ looks at its story line on a realistic as-a-matter-of-fact level, yet it proposes to appeal to children of all age groups. A couple of trial screenings for children, says the director, have proved that the children were very receptive.

The film has cinematography by Sameer Mahajan who has won the ‘Best Cinematographer’ award at the Orissa State Film Awards in 2006. Vijay Prakash, the Mumbai based Kannadiga singer, who has lent his voice in Hindi mainstream films (‘Cheeni Kum’, ‘Slumdog Millionaire’, ‘Yuvraj’, ‘Gaalipata’ etc.), has provided with the background music. It is his first film as a music director. Theater artists Bhavani Prakash and Jayalakshmi Patil too play two pivotal roles in the film.

Ramachandra is based away from the usual Gandhinagara producers and is based in Mumbai. His film doesn’t have the so called commercial elements. All the director wants is that the film should reach the target audience. There is people who are expecting good movies. There are technicians who are making good films. But how do you we convey it to the target audience is the question. Film Society is an answer for this problem. The film is produced by Children’s film Society of India.

Those who are interested in screening the movie or helping the movie crew in reaching the movie to the audience may contact the film makers:

SON K FILMS
B 603, Satellite Park,
Jogeshwari-e, Mumbai 400060
sonkfilms@gmail.com

To know more about the movie, please visit the following links:

http://www.sonkfilms.com/putaaniparty/index.html

http://en.wikipedia.org/wiki/Putaani_Party

I do not wish to speak more about the movie’s story. Screenplay is good. Narration is good. It would have been better if the film could be cut by some 10 minutes in the first half. Performances by Shrinagara Kitty, Raghu Mukherji and Kamalini Mukherji is good. Kitty fits the character well. There was a scope for improvement in Raghu’s acting. But he is much better and matured than his first movie. Kamalini’s lip syncing has problems.

Other supporting cast like C R Simha, Uncle Loknath, Dattanna have done justice to their roles. Music is good with 2-3 melodies. Background music could have been improved.The script demanded a better camera work. The camera work is not upto the mark. With the available technology, much better could have been delivered.

There are minor flaws in the editing department. What is really impressive is the characterisation. We come across many interesting characters like the Naxalite and Manjari (the dancer played by Suman Ranganthan).

The hallmark of the movie is the portrayal of human values. It is in the portrayal of human values that the film wins our hearts. The naxal episode gives a new dimension to the movie. Production is bad. Ramoji Rao has again worked out very cheap economics. Why does Ramoji Rao every time tries to save lots of money when he is sure of makig a lot of it?

Though a remake, a sensible one. You can watch it. Its almost worth of a journey!

Kallarali Hoovaagi directed by T.S. Nagabharana has won the Nargis Dutt award for best feature film on National integration. The film is awarded for depicting the sanctity of loyalty to one's land and amity through a love story set in the times of Hyder Ali. The award will carry a Rajata Kamala and a cash prize of Rs. 1,50,000/- to the producer Madhu Bangarappa. The award will carry a Rajata Kamala and a cash prize of Rs. 1,50,000/- to the director T.S. Nagabharana.

Care of Footpath directed by Master S.S. Kishan has been given the Best Children's film award for articulating the burning desire for education in a slumdweller. The issue is particularly relevant as the film is directed by a nine year old boy. The award will carry a Swarna Kamala and cash prize of Rs. 1,50,000/- each to the producer Shylaja Shrikanth and director Kishan.

The best feature film in Kannada has been given to Kaada Beladingalu directed by B.S. Lingadevaru. The award carries a Rajata Kamala and a cash prize of Rs. 1,00,000 each to the director and producers K.M. Veeresh, K.N. Siddalingaiah and B.S. Lingadevaru. The award has been given for highlighting the impact of youth migration and media opportunism on the older generation.

Best feature film in Tulu has gone to Koti Channayya directed by Anand P Raju and produced by P. Dhanaraj. Kannada film director P. Sheshadri was one of the members on the Jury for selecting feature films.

These were the entries from Kannada films:
CARE OF FOOTPATH
CHAITRA
CYANIDE
DUNIYA
JANAPADA
KAADA BELADINGALU
KALLARLI HUVAGI
MASANADA MAKKALU
MUNGARU MALE
ONDU PREETHIYA KATHE
SAAVIRA METTILU

Other awards:
Best feature film has been given to Pulijanmam (Malayalam) directed by Priyanandan. Lage Raho Munna Bhai directed Rajkumar Hirani has won the best popular film for providing wholesome entertainment. Vishal Bhardwaj has got a special jury award for directing Omkara.

Note: This news item is based on the information provided by DIRECTORATE OF FILM FESTIVALS, MINISTRY OF INFORMATION & BROADCASTING.