mythili kannada movie

Written & directed by : ASHOK K.KADABA
produced by : S A V T PRODUCTIONS
d o p : MUTTHU RAJ
music : KARTHIK VENKATESH
Staring : DEEPTHI MOHAN.SHRUNGERI RAMANNA.MANAMOHAN RAI.RANJITH.
K.V.ARJUN.RAMESHWARI SHARMA.
UDUPI CHETHAK.RAMYA .

mythili

Written & directed by : ASHOK KADABA

Mani rathnam

The man who revolutionized Tamil-language cinema, Mani Ratnam is the biggest director in south India and one of the most respected directors in all of India. Each of his films contain its own unique style, with beautifully photographed songs and unique back-lighting. However, his films contain substance as well as style--Ratnam has dealt with a wide variety of topics, from the classic Indian love story to political thrillers.

He was born in Madras in 1956. Filmmaking was in his blood; he was the son of film producer 'Venus Gopalratnam' and his brother was G. Venkateswaran, a film distributor turned producer. Ironically, however, he studied at Madras University and received a management degree at the Jamnalal Bajaj Institute of Management Studies in Mumbai, and had initially started out as a management consultant. His first film, Pallavi Anu Pallavi (1983), starring Anil Kapoor, didn't make many waves, although it won the State Award from Karnataka that year, but even though he made two films in Tamil and one in Malayalam, nothing worked for him until he broke through with Mouna Ragam (1986). Starring Revathy, the film told the tale of a woman who, although forced into an arranged marriage, chooses to maintain a platonic relationship with her husband. The film was noted for its sophisticated approach and execution of an extremely sensitive topic.

His next film, Nayakan (1987), was also arguably his greatest. A take-off on Francis Ford Coppola' legendary The Godfather (1972), it established Ratnam as the leading director of Tamil-language Cinema and won its leading actor Kamal Haasan the National Award for Best Actor. The film draws on 30 years of Tamil Nadu's celebrity images and directly played to the anti-Hindi feelings of Tamil Nadu when the protagonist, beaten up, tells the Hindi policeman in Bombay, "If I ever hit you, you will die!"

Then came the best of his early work - Agni Natchathiram (1988), Gitanjali (1989), and Anjali (1990). The first was a tale of conflict between two step-brothers. Shot with glossy camera work, the film resembled a cross between an advertisement and a music video, and set a trend for a whole new visual style in Tamil-language Cinema. The next, Gitanjali (1989), shot in Ooty to create a soft and poetic mood, was a touching love story between two terminally ill people with less than six months left. The third, Anjali (1990), about a disabled child brought back to her family with two normal children had been chosen by India to be sent to the Oscars for Best Foreign-language Film, but it did not receive a nomination. The next year saw his first, and only collaboration so far, with the Tamil superstar Rajni Kant in the film Thalapathi (1991). It also starred Mamooty, along side a host of other actor. This star studded film was a gritty tale of an orphan who grows up to become a notorious gang member in Chennai. The story was inspired by the great epic of Mahabharata.

It was Roja (1992) that made Ratnam a household name all over India. A patriotic love story set against the backdrop of Kashmiri terrorism, the film was dubbed in Hindi and became a huge national success. It enforced Ratnam as a director of style and substance, as well as proving a highly auspicious debut for the now-acclaimed music director A.R. Rahman, whom Ratnam had discovered. It helped that India's at-the-time election commissioner T. N. Seshan took the rare step of officially endorsing the film. Thiruda Thiruda (1994), a remake of Butch Cassidy and the Sundance Kid (1969) was a misfire, but Ratnam bounced back with Bombay (1995), a politically charged romance between a Hindu man and a Muslim woman during the 1993 riots in Mumbai. The film underwent some controversy due to its slightly anti-Muslim viewpoint, but it contributed widely to the success of the film.

Continuing his political obsession, Ratnam made Iruvar (1997), based on the MGR-Karunanidhi affair, and Dil Se.. (1998), which starred superstars Manisha Koirala and Sh

Indian Cinema

India is well known for its commercial cinema, better known as Bollywood. In addition to commercial cinema, there is also Indian art cinema, known to film critics as "New Indian Cinema" or sometimes "the Indian New Wave" (see the Encyclopedia of Indian Cinema). Many people in India plainly call such films as "art films" as opposed to mainstream commercial cinema. From the 1960s through the 1980s, the art film or the parallel cinema was usually government-aided cinema. Such directors could get federal or state government grants to produce non-commercial films on Indian themes. Their films were showcased at state film festivals and on the government-run TV. These films also had limited runs in art house theatres in India and overseas.

The directors of the art cinema owed much more to foreign influences, such as Italian Neo-Realism or French New Wave, than they did to the genre conventions of commercial Indian cinema. The best known New Cinema directors were Bimal Roy, Ritwik Ghatak, and Satyajit Ray. The best known films of this genre are the Apu Trilogy (Bengali) by Satyajit Ray and Do Bigha Zameen (Hindi) by Bimal Roy. Satyajit Ray was the most flourishing of the "art cinema" directors. His films played primarily to art-house audiences in the larger Indian cities, or to film buffs on the international circuit.

In South India, art cinema or the parallel cinema was well-supported in the state of Kerala. Malayalam movie makers like Adoor Gopalakrishnan, G. Aravindan, and M. T. Vasudevan Nair were quite successful. Starting the 1970s, Kannada film-makers from Karnataka state produced a string of serious, low-budget films. But virtually only one director from that period continues to make off-beat films -- Girish Kasaravalli. In other markets of south India, like Kannada, Tamil, Malayalam, and Telugu, stars and popular cinema rule the box office. Still, a few directors, such as Balachander, Bharathiraja, Balu Mahendra, Bapu, Puttanna, Siddalingaiah, Dr.K.Vishwanath, and Mani Ratnam have achieved fair amount of success at the box-office while balancing elements of art and popular cinema together.

The parallel Cinema

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers such as Satyajit Ray, Ritwik Ghatak, Bimal Roy, Mrinal Sen, Tapan Sinha, Khwaja Ahmad Abbas, Buddhadeb Dasgupta, Chetan Anand, Guru Dutt and V. Shantaram. This period is considered part of the 'Golden Age' of Indian cinema.[3][4][5] This cinema borrowed heavily from the Indian literature of the times, hence became an important study of the contemporary Indian society, and is now used by scholars and historians alike to map the changing demographics and socio-economic as well as political temperament of the Indian populace. Right from its inception, Indian cinema has had people who wanted to and did use the medium for more than entertainment. They used it to highlight prevalent issues and sometimes to throw open new issues for the public. An early example was Chetan Anand's Neecha Nagar (1946), a social realist film that won the Grand Prize at the first Cannes Film Festival.[6] Since then, Indian independent films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian "neo-realist" was the Bengali film director Satyajit Ray, followed by Shyam Benegal, Mrinal Sen, Adoor Gopalakrishnan, G. Aravindan and Girish Kasaravalli. Ray's most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 ($3000),[7][8] the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.[9][10][11][12]

Certain art films have also garnered commercial success, in an industry known for its surrealism or 'fantastical' movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy's Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave.[13][14][15] Hrishikesh Mukherjee, one of Hindi cinema's most successful filmmakers, was named the pioneer of 'middle cinema', and was renowned for making films that reflected the changing middle-class ethos. According to Encyclopædia Britannica, Mukherjee "carved a middle path between the extravagance of mainstream cinema and the stark realism of art cinema".[16] Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla.[17] Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine's "All-TIME" 100 best movies list.[18] The most recent example of an impeccable art film becoming commercially successful is Harpreet Sandhu's Canadian Punjabi Film Work Weather Wife; it marks the beginning of Cinema in Punjabi Film Industry.[19]

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India (FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak's Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray's Pather Panchali by three years, but was not released until after his death in 1977.[20][21] His first commercial release Aj

Dilwale Dulhania Le Jayenge 1100 week celebrate

Dilwale Dulhania Le Jayenge

Why It Makes the Top 10: Dilwale Dulhania Le Jayenge is a romantic-drama-comedy film. The film stars hit duo Kajol and Shahrukh Khan and marks the directorial debut of Aditya Chopra (elder son of Yash Chopra).

The plot of DDLJ focuses on Raj and Simran, a couple who fall in love on a European trip and want to get married against their parents' wishes. The film mainly owes its success to its plot. Every Indian boy and girl relates his or her love story to DDLJ in one way or another.

If you're a girl, I bet you will fall in love with Shahrukh Khan after watching this film. It was DDLJ that made Shahrukh Khan king of Indian hearts. I usually do not enjoy long films, but the three-hours-and-ten-minutes-long DDLJ never bored me for a tiny second.

DDLJ also holds the world record as the longest-running film in the history of Indian cinema, with 700 weeks of continuous screening in a Mumbai theater.

Ashok kadaba

ashok kadaba

Mythili kannada movie

Ashok kadaba

"ಕನ್ನಡ ಚಿತ್ರೋದ್ಯಮಕ್ಕೆ ರಾಷ್ಟ್ರೀಯ, ಅಂತಾರಾಷ್ಟ್ರೀಯ ಮಟ್ಟದಲ್ಲಿ ಗೌರವ, ಬೆಲೆ ತಂದುಕೊಟ್ಟಿರುವವು ಇಲ್ಲಿನ ಕಲಾತ್ಮಕ ಚಿತ್ರಗಳು. ಕನ್ನಡತನ, ಸಾಹಿತ್ಯ, ಸಂಸ್ಕೃತಿ, ನೆಲ-ನುಡಿ, ಪ್ರಸಕ್ತ ವಿದ್ಯಮಾನಗಳೊಂದಿಗೆ ಸಂಬಂಧ ಇಟ್ಟುಕೊಂಡಿರುವವು ಇಲ್ಲಿನ ಆಫ್ ಬೀಟ್ ಚಿತ್ರಗಳು ಮಾತ್ರ"

ಗಾಂಧೀನಗರ ಚಲನಚಿತ್ರೋತ್ಸವ

ಚಲನಚಿತ್ರೋತ್ಸವಗಳು ಗಾಂಧಿನಗರಕ್ಕೆ ಹೊಸದಲ್ಲ. ಆದರೆ ಗಾಂಧಿನಗರ ಹೆಸರಿನಲ್ಲೇ ಕಳೆದ ನಾಲ್ಕು ವರ್ಷಗಳಿಂದ ಚಲನಚಿತ್ರೋತ್ಸವ ನಡೆದುಕೊಂಡು ಬರುತ್ತಿದೆ. ಈಗ ಐದನೇ 'ಗಾಂಧಿನಗರ ಚಲನಚಿತ್ರೋತ್ಸ'ವಕ್ಕೆ ನವೆಂಬರ್ 10ರಂದು ಚಾಲನೆ ನೀಡಲಾಯಿತುಗಾಂಧಿನಗರ ಶಾಸಕ ದಿನೇಶ್ ಗುಂಡೂರಾವ್ ಸೇರಿದಂತೆ ಹಲವು ಕನ್ನಡ ಸಿನಿಮಾ ತಾರೆಗಳ ಸಮ್ಮುಖದಲ್ಲಿ ಚಲನಚಿತ್ರೋತ್ಸವ ವರ್ಣರಂಜಿತವಾಗಿ ಆರಂಭವಾಯಿತು. ಕನ್ನಡ ಚಿತ್ರಗಳ ಕ್ರಿಯಾಶೀಲ ನಿರ್ದೇಶಕ ಹಾಗೂ ಸಾಹಿತಿ ಬಿ ಸುರೇಶ್ ಅವರು ಗಾಂಧಿನಗರ ಚಲನಚಿತ್ರೋತ್ಸವಕ್ಕೆ ಚಾಲನೆ ನೀಡಿದರು.ಮಹಾರಾಷ್ಟ್ರ ಮಂಡಲ್ ಸಭಾಂಗಣದಲ್ಲಿ ಚಲನಚಿತ್ರಗಳನ್ನು ಪ್ರದರ್ಶಿಸಲಾಗುತ್ತದೆ. ಪುಟ್ಟಕ್ಕನ ಹೈವೆ, ಕನಸೆಂಬ ಕುದುರೆಯನೇರಿ, ಮೈ ನೇಮ್ ಈಸ್ ಕಲಾಂ.  ಸೇರಿದಂತೆ ಹಲವು ಚಲನಚಿತ್ರಗಳು ಪ್ರದರ್ಶಿಸಲಾಗಿದೆ. ಕೆ ಅಶೋಕ್ ಕಡಬ, ಕೆಬಿ ಶಿವಕುಮಾರ್ ಹಾಗೂ ಕೆವಿ ವೆಂಕಟೇಶ್ ಈ ಚಲನಚಿತ್ರೋತ್ಸವದ ರೂವಾರಿಗಳು.