Sunday, May 3, 2009

MYTHOLOGICAL MOVIES

The Mythological adapted from Puranas and Epics from Ancient India and turning into movies . Indian people received that movies in their own style and give good honour to them. Now the small screen follow the mythological stories as per the viewers interest but there is no support from silver screen. Shall we look into the reason for:

Where is Mythological cinema?
Bollywood movie history starts with Raja Harishchandra in the year 1913! In other words, the sojourn of Hindi cinema began with a mythological story. This trend of adapting the stories from Puranas and epics of Ancient India and turning them into movies has continued for a decade or so. Later on, Bollywood cinema changed its focus towards folk-lores and then towards historicals like Mughal-e-Ajam, Laila-Majnu, Taj Mahal,Jhansi ki Rani etc.,From 1960 onwards all the movies are made with the contemporary social themes only, totally ignoring the other genre movies of mythological sort and folk sort.

The small screen efforts:
It is observed by the sociologists and psychologists that, the super success of Ramanand Sagar’s Ramayan and B R Chopra’s Mahabharat was happened on small screen, due to the negligence of the big bollywood cinema in filling the psychological gap that pervaded in the millions of the people! Actually,the thirst of collective unconsciousness of the Indians have craved for reminding the epic stories on the big screen. When they find the epic characters like Rama, Sita, Krishna, Arjuna, Vishwamitra on television, the hidden spirits have came up like anything and all sections of people had applauded them with their bhakti and viewed them with sheer holiness!
Even then the big screen has not tried its mettle to recreate the magic of mythological cinema in Bollywood! Now and then, certain animation movies like Krishna, Hanuman have came up but it is very much clear that, they have not satisfied the thirst of the masses totally. No doubt, the void and the gap is still there in the psyche of the movie-goers.
One and a half decade was passed away! Neither the big screen nor the small screen has made any considerable trials to explore the other areas of mythological themes worth turning them into movies or serials. Mahabharata as the largest story in all literatures of the world including the very ancient Greek and Romans, have hundreds of stories worth making the movies. Every sub-story of the Mahabharat having the punch and dum in making into a movie! Here, it is very much essential to mention that, many of the contemporary stories which got the appreciation from the public are knowingly or unknowingly woven from these mythologies only. But the main difference is that, they have been moulded within the frame of the contemporary social set-up and milieu! But, as-it-is making of the mythological stories have not been done by any bigwig in Bollywood so far!

Why mythologicals are not appealing to producers?
The reasons may be many! If we think from the point-of-view of the producers and directors and the actors, making a mythological movie is very expensive, high-budgeted and risky! The time required for making these genre movies naturally take long schedules and special preparations, make-up to the actors. Costume making, sets-erection will also a herculean task!
However,of late, certain efforts have been started in the bollywood just like an oasis in the desert to revive the mythologies on the screen! The very talented director, Rajkumar Santoshi, has taken that initiative now and all set to create a magnanimous big screen Ramayan with Ajay Devgan-Kajol duo as the Ram-Sita along with all the latest SFX and graphics. This high budgeted visual extravaganza will surely hit the hearts of the viewers and hope it will satisfy the thirst of them to relive the great cultural ethos of India.
Mythological cinema has become a past event in Bollywood. But it is the need of the hour now!

Saturday, May 2, 2009

MARRIED HEROINES IN CINEMA


The Dhak Dhak lady, Madhuri Dixit, is returned! Her most awaited come-back movie, Aaja Nachle is slated for release on Nov 30 all over. Now, the Ek do teen..and Choli ke peeche star is in India on a 3-week tour to promote this Yash Raj productions musical composed by Salim-Suleiman. This episode has raised another issue that, does our audience accept the married heroines in the lead roles as their archetypal dream girls?

Film heroine in the eyes of cinegoer:

In the view and vision of common cinegoer, heroine of bollywood is a dream girl who epitomizes all the ideas, emotions and aesthetics on the screen. She is the personified form of his sense of beauty, emotional integrity and centre of his attention. As such, the film buffs will develop some sort of possessiveness and sense of belongingness towards the onscreen images of the heroines unconsciously. This unintentional thinking of admiration and fascination of the viewers towards the screen idols is in turn making the heroines to win the minds of the masses in millions with every move and act of their temper tantrums in the movies they are acted in. As psychologists rightly points it out that, the sensibility of the cinegoers in identifying and possessing themselves with the images of the heroines is the main reason for all the stardom, fan –following and saleability they achieve in the show business. For the last many generations, Bollywood heroine has been estabilished as the unconscious satisfier of all the desires, aspirations and emotions of the audience.

Heroine’s place at pre and post marriage:

As the Indian society and its norms, value system is totally based on the point-of-view of the male population, the charm, grace , attention stardom and following enjoyed by the heroines prior to their marriage deliberately gets down. As a natural phenomenon, the audience will lose the sense of possessiveness towards that heroine which in turn influence on the film career of the heroines so far. Keeping this psychological approval-disapproval in view, all the heroines in the past and at the present also will not try to confess their marriage in the public with the fear and insecurity of losing their chances and slipping from the attention of the audience. Or the heroines are used to put a full-stop to their careers after getting marriage.That is the reason, the greatest show girls of yester years have disappeared in the public eye after their marriages, except in any public functions related to the movie world. Nargis, SairaBanu, Babitha, Neetu Singh, Tina Munim are to name a few who totally said a farewell to Bollywood after their marriages with Sunil Dutt, Dilip Kumar, Randhir Kapoor, Rishi Kapoor and Anil Ambani respectively. Even Twinkle Khanna also followed them after her nuptial knot with Khiladi Akshay Kumar.
The recent Developments:

In the past, if the heroines are willing to work in the films after marriage, they have been compelled to play the character roles of mother, bhabhi only. Jaya Bachchan, Rakhee Gulzar,Hema Malini, Helen, Dimple Kapadia, Shabana Azmi, Rekha is some of the heroines who transformed themselves to this shift even though their counter-part heroes have still have the appeal and acceptance as heroes from the audience.

The audience’s perception and their ideology towards the on-screen idols, has been changed and some sort of boldness has been taken place now. The increased literacy rates, exposure to the global affairs, knowledge he is getting through the satellite channels, press and media is successfully changed the attitude and perceptions of the masses towards cinema in general and to the heroines in particular. This positive shift is resulted in confining himself in appreciating the performances only by leaving the personal affairs of the heroines including their marriages aside. Of course, the private events of the celebrities are always have an ear to hear but demarcating the public on-screen image with their respective personal happenings is one of the good sign which ultimately led to continue the careers of the herioines irrespective of their marriages. Juhi Chawla, Kajol and Madhuri Dixit is succeeded in encashing this attitudinal change of the new age audience and proved their talent with their hits like Jhankar Beats, Kabhi Khushi Kabhi Gham, Fanaah and Devdas respectively. Moreover, their reappearance on the screen after a gap also became a publicity stunt in the name of their come-back cinema in pulling the audience towards the halls.
Now the contemporary cine-goer has changed and so as the heroines! At present, Kajol is acting in the prestigious projects like You, Me aur Hum and Rajkumar Santoshi’s Ramayan with his real life partner Ajay Devgan. Madhuri Dixit is returning to the screen with her Aaja Nachle after a gap of 4 years. Raveena Tandon is also planning to act in a couple of films as heroine, while lolo Karishma Kapoor is also on the discussions now.
So, how far these demure damsels will woo the audience is the question of the hour. How many of them get the approval and acceptance from the viewers as earlier will be decided by the time. Until then, wait and watch folks!

UNESCO’s global survey on cinema

For the first time in the world, the UNESCO Institute of Statistics (UIS) has launched a survey to track trends in the production and distribution of feature films. It is reported that it is the only global survey of its kind on cinema as one of the prominent and predominant cultural expressions. It covers a range of issues such as the language of films and a breakdown of market shares for national and foreign productions.

The survey was launched in more than 200 countries and territories in early July 2007. Initial results are scheduled for release in 2008.It is revealed that, given the importance of cinema as a cultural phenomenon, the statistics will contribute to the monitoring of issues related to cultural diversity.

NOVELS MADE INTO CINEMA

In Tollywood the filmmakers follow the popular novels.. They made the film with that novels through some changes with the help of novelist. Here iam encoding some of the popular movies which made from novels .

Yaddanapudi Sulochana Rani
- Jai Jawan Þ Jai Jawan

- Meena Þ Meena
- Jeevana Tarangalu Þ Jeevana Tarangalu
- Prema Simhaasanam Þ Prema Simhaasanam
- Secretary Þ Secretary
- JyOti Þ JyOti
- VijethaÞ Vijetha
-Agni Poolu @ Agni Poolu
-Girija Kalyanam @ Girija Kalyanam
- Radha Krishna @ Radha Krishna

MuppallaRangaNayakamma
- Ballipeetam Þ Ballipeetam
- Idekkadi NyaayamÞ Gorintaku

- Radhamma pelli agipoyindi Þ Radhama pelli
- Krishnaveni Þ Krishnaveni

Arekapudi(Koduri)KousalyaDevi
- Premanagar Þ Premanagar
-Shankhu Theertham @ Shankhu Theertham

Malladi Venkata KrishnaMurthy
- Wedding bells Þ Golmal Govindam
- Repati Koduku Þ Repati Koduku
- Shh... gupchup Þ Shh... gupchup
- Repo mapo Pellanta Þ Vichitram
- Vitamin - M Þ Lucky chance
- Dabbeveriki Chedu Þ Dabbueveriki Chedu
- Ide, Na Nyayam! Þ Dhrama Yudham
- Peddalaku matrame Þ Srivari Shobanam
- Jhansiraani Þ Mr. V ( Rajendra Prasad & BhanuPriya )
- Theneteega Þ Teeneteega
- Chantabbai Þ Chantabbai
- Neeku Naku Pellanta Þ Neeku Naku Pellanta
- Rendu Rellu Aaru Þ Rendu Rellu Aaru

Yandamuri Veerendranath
- Raakshasudu Þ Raakshasudu
- Dabbu To The Power Of Dabbu Þ Challenge
- Abhilaasha Þ Abhilaasha
- RakthaSindhooram Þ RakthaSindhooram
- Raktabhishekam Þ Raktabhishekam
- Tulasi Dalam Þ Kaashmoraa
- Akhari Poratam Þ Akhari Poratam
- Marana Mridangam Þ Marana Mridangam
- Nallanchu Tella Cheera Þ Donga Mogudu
- Oka Radha Iddaru Krishnulu Þ Oka Radha Iddaru Krishnulu
- Thriller Þ Muthyamantha Muddu
- Rudra Netra Þ Rudra Netra
- Sampurna Premayanam Þ Sampurna Premayanam
- Stuart Puram Police Station Þ Stuart Puram Police Station
- Vennello Adapilla Þ Hello I Love U
- Agnipravesam Þ Agnipravesam
- Konguchaatukrishnudu Þ Konguchaatukrishnudu

Kommanapalli Ganapati Rao - Aranya Kaanda @ Aranya Kaanda
Challa Subrahmanyam - O Varsham Kurisina Raatri @ O Varsham Kurisina Raatri
GV Amereshwar Rao- Rendilla Pujari Þ Rendilla Pujari
Mallik - PraugoParugu, Magarayudu,Vivaha Bhojamnambu
Suryadevara - Trinetrudu Þ Ontari Poraatam
Vamshi - Mahallo Kokila @ Sitaara
Pothoori Vijayalaxmi - Sreevaariki Premalekha
M I Kishan - Harishchandrudu Abaddamaadithe @ April 1 Vidudala
Adivishnu - Satyam gari illu Þ Aha na pellanta


LITERARY WORKS ADAPTED INTO MOVIES:

Vishwanatha Satyanarayana - Eka Veera @ Eka Veera
Chalam - Dosha Gunam @ Grahanam ( Tanikella Bharani-Jayalalita directed by Indraganti Mohankrishna)
Kaalipatnam RamaRao - Yagnam @ Yagnam (PL Narayana won National Best Character Actor Award)