Wednesday, November 27, 2013

18 th International Film Festival

The stun and-amazement wickedness of Takashi Miike, the humanist concerns ofmarco Bellochi and the expressive authenticity of Jean Renoir—this and increasingly at the twelve-month buffet that is the International Film Festival of Kerala (Iffk). The eighteenth version of the state government-run occasion will open on 6 December and pack in five movies a day at over 10 venues over Thiruvananthapuram. 

No other celebration in India has anything as far as numbers on the Iffk. Shut 10,000 representatives from over the state and somewhere else thronged generally single screen silver screens a year ago to take in the new and the old (around 4,300 agents needed the Mumbai Film Festival (Mff) not long from now, for example). 
Miike, the Japanese provocateur whose subversive and outwardly imaginative movies are intended to wallop groups of onlookers out of their jadedness, will be one of two contemporary producers in center not long from now. The productive Miike belted out his most recent motion picture, the moderately staid cop thriller Shield of Straw, not long from now. The Iffk will be screening Miike's tour de forceaudition in addition to Crows, 13 Assassins, Hara-Kiri: Death of a Samurai and Shield of Straw. The Iffk will screen five titles by Italian chief Marco Bellochi, from his latest Dormant Beauty to Vincere, Sorelle Mai,my Mother's Smile and Good Morning, Night. 

Lethargic Beauty was demonstrated in the global silver screen area at the Iffk a year ago, however it will now pick up new importance when put inside the bigger connection of the Italian chief's different investigations of the social and political frissons in Italian social order. Bellochi will likewise be conveying the G. Aravindanmemorial Lecture at the celebration. "There must be a structure to review movies, if you concur or not, its distinctive," said Bina Paul Venugopal, the Iffk's Artistic Director. "You must have the ability to consider or be served to contemplate a film in a certain manner." 

The celebration will distribute its Lifetime Achievement Award to praised Spanish producer Carlos Saura. The recompense, embodying $10,000 and a keepsake outlined by Malayalam craftsman and movie producer C.n. Karunakaran will be joined by screenings of The Hunt, a moral story about Franco's Spain, Carmen, a flamenco-based form of the Georges Bizet musical drama, andgoya in Bordeaux, a biopic of Spanish painter Francisco De Goya. 

Most celebrations measure their glory through the openings they corner and the amount and nature of directorial introductions that enter the prize-joined Competition area. The Mumbai Film Festival saw a powerful Competition area not long from now, with a pick of new ability from far and wide, some of which had at one time indicated at Cannes. The Iffk's Competition record includesthe Battle of Tabato from Guinea-Bissau, Kaliyachan from India, Taj Mahalfrom Iran, Errata from Argentina and Constructors from Kazakhstan. 

Curiously, the Iffk, which is the last major occasion in the celebration datebook, has no misgivings in demonstrating movies that have done the rounds of different celebrations or have been discharged in silver screens. The absence of an opening tag, which most celebration programmers vie for, doesn't trouble Paul. "We don't give a second thought if a film has a planet opening at Kerala or not—I might like the opening film to be a debut, yet its not the be all and end all," she said. "It does make issues on occasion regarding press scope, however think about a gentleman who hails from Mallapuram and can't see a film only since it has been long ago indicated in Bombay. I surmise that is outrageous." 

More imperative than showing the hot and the new is appearing to be identical film in a crisp connection, Venugopal contended. "The rivalry is paramount for movie producers, however for me, the segments that matter are the curated areas and the reviews, and in addition the Indian and Malayalam segments, which lets us know how we measure up to different movies," she said. In the not so distant future review will present and re-acquaint cinephiles with Jean Renoir, the prestigious French chief who pushed an enduring impact on producers around the globe, incorporating Satyajit Ray and Akira Kurosawa. Renoir, who worked between the quiet period and the sixties, will be recalled through Toni, Boudu Saved from Drowning, La Bete Humaine,french Cancan and his praised Tv dramatization Le Testament Du Doctor. 

The synchronous attention on what has gone before and what is practicing movie producers at the minute is a persevering normal for the Iffk, which is organised by the state-upheld Kerala Chalachitra Academy. Government support has helped the celebration develop outwards from a handful of venues to 11 for the most part single-screen theatres, which are placed in and around the focal prepare end in Thiruvanathapuram's Thampanoor neighbourhood. 

The knowledge of entering an obsolete molded motion picture lobby and seeing eight-hundred-odd ardent confronts think once again at you could be a moving background for a few producers. In 2010, the celebration commended the transcendental silver screen of Thai producer Apichatpong Weerasethakul, whose Uncle Boonmee Who Can Recall His Past Lives had won the top prize at the Cannes Film Festival prior that year. Weerasethukul strolled into the theatre that was to show Uncle Boonmee and obviously yawned at the turnout. He later said that he had never had such a vast crowd for his movies, either at Cannes or in his local Thailand. 

The diverse choice trumps a pervasive conviction that a huge extent of motion picture viewing is progressively occurring in private, by people with fast broadband associations who privateer the most recent titles when they stage a presentation in celebration indexes or programme notes at arthouse films. Venugopal makes the case for captivating with a neighborhood of similar individuals instead of just devouring silver screen. "The Kerala celebration is not some holy space, yet for all to want movies that they might not generally watch and captivate with film partners and movie producers," she said.

Philip and the Monkey pen




Story: The film is about the life of a fifth standard student who grows up as a brat and his eventual transformation after encountering a magic pen. Philips and the Monkey Pen has the air of a fable- one that bubbles with flourishes of fantasy, each one added with a profound purpose to enlighten. The charm of classic fables lies in their innocence, the cleverness with which such tales achieve this objective of enlightenment. It is almost done unwittingly, just like a soft feather that comes to rest on our hands and the effect is magical.

Review :     (4.5 Stars)

Cinematographer   -   4.5 stars
Music                    - 4 stars
Direction               - 4.5 stars
Camera                  -4.5 stars


If the kids in a classroom are unruly, terrible failures, the classless ‘teacher’ needs to be severely caned and ordered to stand on the bench wearing a dunce hat. 'Philips and the Monkey Pen' yells it out: The new generation may be lacking in values and respect for elders, but they can teach the ‘grown ups’ a few invaluable lessons.
Tired of being thrashed for not knowing his maths, 10-year-old Ryan Philip (Master Sanoop) and his three friends sigh: “Maybe, we should get married. Then, the wife can do our homework, instead of our mothers”. So, they search for a pretty girl to woo. For romancing technique, they watch a Mohan Lal clip.
The jokers are characters with essential roles. “Oh God!” the boy cries. And ‘God’ (Innocent) instantly appears. “Who are you?” the boy stares at this pot bellied, rather odd-looking fellow. “Everyone calls out to me”, the comic says, “then, when they see me, they ask me who I am!”
It’s amazing how the script uses simple, clichéd elements and incidents—an imaginary friend who comforts and advises, a magic toy, a gang of mischievous school boys on cycles, first love, and rejection—to conjure up a magnificent poetic essay on a boy’s world.
The very image of a cherub, Master Sanoop displays a wide range of emotions from arrogance, sorrow, and rage to joyousness and infatuation. Jayasurya as the ever-loving dad conveys volumes through his expressive stares.
Unlike a majority of the new age ‘cinematographers’ who have no idea at all what to do once they climb onto a crane, Neil D’Cunha demonstrates a much better, though not thorough, understanding of the vehicle. He offers some interesting bird’s-eye view and sweeping shots. And the tones of the canvas are very pleasing.
The editor too knows his art. Thrown out of the house of his estranged grandfather, the boy leans on the calling bell. The incessant ringing hits the old man. He drags the boy past the yard and flings him out of the gate. Turning back triumphantly, he is immediately greeted with a lovable, playful smile, “The walls are easy to climb”.
This, to date, must surely rate as the year’s top contender of the prestigious Swarna Kamal for the Best Children’s Film. It lights up the righteous path without being preachy. When a son says to his father, “I thought the truth would pain you”, the wise one smiles, inspiringly, “The truth isn’t bitter; it is the lies that are excessively sweet”.
Perhaps the most difficult kind of film to create, and certainly the higher form of cinema, is one that is both thought-provoking and thoroughly enjoyable. Making an astonishing debut, Rojin Philip and Shanil Muhammed masterfully appeal for a revival of values and decry the sins of the insane effecting the mental defloration of the innocents.


this article appeared in the deccan chronicle newpaper