Issue - 8

DUÀ¸ïÖ August 2014

Vol - 5 Pages : 8RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2012-2014REGISTERED :

August 2014

OBITUARY

Remembering Ananthamurthy, the critical insider

- Prakash Belawadi1932-2014

In the previous era of journalism, when there

were no TV news channels and only a few

newspapers and magazines, it often seemed as

if journalists simply wrote to each other and

not for the readers. There were occasions

when the combat between journalists

covering the same beat for rival papers got so

deep and personal that if one broke a news

story, others would write stories trying to trash

the scoop on facts and slant, confusing the

readers, adding to the noise. That is how it

seemed with UR Ananthamurthy and his

intellectual peers, critics and admirers.

It all got so personal right through his public

life, especially when it concerned caste, faith

and ritual that critical opinion became not a

part of the larger discourse but rather a quarrel

within communities and cabals. He has not

been spared even in his death.

“Born a Brahmin myself, hurting the feelings of

Brahmins has only been inevitable and not

something that I have enjoyed doing. My

stories Samskara, Ghatashraddha and

Bharateepura have caused distress to many

Brahmins. Not only has it caused distress, it has

also angered them,” he wrote once. (This and

following quotes, unless specified otherwise,

are from ‘Me, as a Brahmin’ by UR

Ananthamurthy, Translated by Deepa Ganesh,

JOURNAL OF KARNATAKA STUDIES –

NOVEMBER 2004 – APRIL 2005).

But the writer acknowledged the pressure he

felt from peers, his intellectual rivals and

groupies, aligned for and against him. He

wrote, frankly and brutally, in his way: “There is

another reason why I hesitate to criticise

Brahmins these days . Non-Brahmin

intellectuals see this as a Brahmin ploy. They

are highly suspicious about it and believe it is a

clever Brahmin’s strategy to gain popularity in

non-Brahmin circles. Let them see it any which

way, so what, I tell myself.“

But he couldn't remain immune. "Community

opinions begin to gradually affect our thinking.

For most, it has become an extremely difficult

task to perceive issues of caste with any kind of

transparency. This is the problem that plagues

intellectuals of every caste. The thief’s mind is

sour with guilt. The sourer the mind, the more

sugar-coated the words get,” he wrote.

He cited an instance of an encounter with “a

mild-mannered, extremely hospitable

woman” in Davanagere, Karnataka, who had

served him lunch. She had sought a private

moment with him as he was preparing to leave

and told him: “Nobody likes us anymore. Why

do you poke fun at us? If you had ridiculed

members of the other castes would it have

been possible for you to survive it? Because we

endure even when people sneer at us,

everybody chooses to ridicule us. Is that the

right thing to do?” I have heard this myself and

often enough, from friends and family

members.

Ananthamurthy once said, ironically: “The

only Indian leader anybody can attack without

fear of bodily harm and serious retaliation is

Mahatma Gandhi.” If I could take the liberty of

paraphrasing that, I could replace ‘leader’ with

‘caste or community’ and ‘Mahatma Gandhi’

with ‘the Brahmin community’. But URA would

have disagreed.

Suchitra Film Society Annual General Meeting and Elections to the Executive

Committee SUN 26 OCT 2014 | 10:30 AM

NOTICE OF THE AGM 2013-14

Notice is hereby given that the 44th Annual General Body Meeting of Suchitra Film

thSociety will be held on Sunday, 26 Oct 2014 at Suchitra Auditorium at 10:30 AM.

AGENDA

1. Confirmation of the notice to AGM.

2. Confirmation of the proceedings of the previous AGM.

3. Secretary’s report for the year 2013-14

4. Presentation of audited accounts for the year 2013-14

5. Appointment of auditors for the year 2014-15

6. Any resolution of which notice has been given by any member of the society at least one week before the meeting.

7. Any other matter with the permission of the Chair.

8. In case there is no quorum, the adjourned AGM will be held at the same venue at 11:30 AM

9. Election of the Eleven Executive Committee Members for 2014-15 and 2015-16.

ELECTION SCHEDULE

Members desirous of contesting in the elections are required to file their nominations in the prescribed form available at the office on any working day

thfrom 1st to 18 October 2014, between 5:30 PM and 7:30 PM

Last date of filing the nomination th18 Oct 2014

thScrutiny of the nomination filed 20 Oct. Announcing list of valid nominations

st21 Oct 2014

Last date of withdrawal of nomination rd23 Oct.

Announcement of final list of candidates th24 Oct.

Elections if required will be held on th26 Oct 2014

Bangalore Sd/-Date:25.08.2014 SecretaryContd. Next Page

2August 2014

He didn’t agree with the Davanagere lady either, but he had confessed to being embarrassed by her direct questioning, had tried to cover it up: ”What we have written are works of literature, they are symbols.”

But where Ananthamurthy breaks through, transcends the incestuous liminalities of the intellectual quagmire, is in his appreciation of the woman: “She understood my difficulty, and felt sorry that she had subjected me, who had gone to her house for lunch, to such a predicament. I couldn’t gather courage to say that what I wrote was the crucial truth that Brahmins had to face. I think we become writers because of such hesitations. And I think we seek cover under symbols precisely for the same reason.”

This was more than intellectual humility and personal honesty. This was a call of the insider, to his ‘own people’, Brahmins, to see with a clear mind the danger, not of affection for one’s own caste, but rather the contempt of another’s.

As he put it: “This, however, is not a danger that springs from an innocent individual who completely believes in his caste and lives a life within it; but a danger from an individual who declares that casteism is bad, but views people of all other castes, except his own, with enormous suspicion... The world of naïve believers of caste is limited; their intentions are clear; their cruelty towards the lower castes is clear... The dangerous ones are those who still hold on to caste even after giving up caste-related professions.”

The Brahmin groups that had opposed and ridiculed URA when he was alive, that continue to do so now when he is dead, did not (and are yet to) see the “critical insider” in him, as someone who could continue to be inside, but also seek change – like Mahatma Gandhi. The anti-Brahmin groups that have alternately admired and abused URA for his extant 'Brahmanism' have seen this as his opportunism or, worse, hypocrisy.

But the inspiration he found in religion and its moral, political purpose, in fact, came from Mahatma Gandhi and Ram Manohar Lohia: “Gandhiji’s Dandi and Navakhali marches are also bold expressions of the latent spiritual aspirations in man. When Lohia said if religion is eternal politics, politics is present day religiosity, one finds in these words the vision of a spiritual desire for equality. It is the responsibility of religions to get an individual accustomed to a system.”

He saw this not only as a “constant process,” but also as one loaded with conflict and contradiction: “In this, there is both good and bad. In this need to acquire adaptability there

is also the danger of getting into a groove, and so to shake oneself, from time to time one needs political struggles. It is here that an individual’s true religious desires get expressed.”

He addressed his ‘own people’ in more direct terms: “For a Brahmin, who lives his life with the belief that all inequalities are the fruits of Karma..., considers unthinking observance of ritual as prayer, and mistakes survival strategies for profound intellectualism, the true lease of life comes when he takes part in movements for equality. Otherwise, religion becomes a mere trade; an occupation for economic gains.”

Ananthamurthy dealt with his other, equally profound, identity of ‘Kannadiga’ with the concern and creativity that so strikingly informed him, managing a negotiating space between chauvinism and a blind surrender to the English language, bringing religion, human dignity and politics into play.

When there were attacks on churches in coastal Karnataka in 2008, his comment appeared in a popular blog, criticising the BJP government, which he believed was complicit: “The Christians in the past had made contribution to the development of modern Kannada. Rev Kittel who composed the first Kannada dictionary was one of our revered ancestors. The Christians continue to run hospital and schools. Most of the gentle and caring nurses in hospitals are Christians.”

In his typical forthrightness, he had asked: “Who converts to Christianity?” He went on to answer himself: “Mostly those who come from low castes and feel ashamed to reveal who they are and what caste they belong to. Christianity gives them a respectable identity and they may be tempted also with jobs and money. If we had a great saint like Narayana Guru of Kerala born into a low caste who took to reforming the decadent Hindu society, there would have been no room for Christians to convert low -born Hindus. Narayana Guru was an advaitin, perhaps the greatest advaitin after Adi Shankaracharya.”

Here then was the ultimate insider of Sanatana Dharma, caste-based Hinduism and the Kannada language, of writing and the public intellectual space, so implicitly and intuitively inside that he could say: “Attacking people who are praying to whatever God is the most irreligious act on the part of Hindus. The Sangh Parivar is destroying Hindu civilization.”

If only we could see him, within ourselves and as ourselves, as he was able to, with the disapproving woman of Davanagere, affected by her but not agreeing, it would be easier to love ourselves and the supposed other. But for

that we must have the courage to amplify what goes on inside our heads rather than offer politically correct bluster to the microphone in the face. Because there is so much noise and confusion inside, so much going on there.

Why are we so keen to dole out moral certificates?

While inaugurating the 80 years' Celebrations of Kannada Cinema and Felicitation to veteran Artiste Sri S. Shivaram on 26 April ‘14 organised by Suchitra, Dr. Bharathi Vishnuvardhan announced a contribution of Rs.50,000/- to Suchitra in memory of her beloved husband Dr. Vishnuvardhan, the Phoenix of Kannada cinema. She handed over the cheque when the President and other Committee Members of SFS recently felicitated her on completion of 5 decades of service for the cause of Kannada cinema. As per her desire, Suchitra plans to invest the amount in a FD and out of its annual interest, conduct a Cinema related programme annually. Suchitra thanks Dr. Bharathi for this noble deed and assures that the amount will be utilised in a befitting manner for promoting good cinema culture.

THANK YOU

gÀAUÁAvÀgÀAUÀ

3August 2014

Richard Attenborough who has died aged 90,

was a cheerful humanitarian and imperishable

idealist who, for over half a century, played an

integral part in British cultural life.

In the history of cinema, the image of the actor

will probably be the most enduring.

Attenborough was in front of the camera for

over a quarter of a century before his

directorial debut, at the age of 46, with Oh!

What a Lovely War in 1969. The director -

hailed as 'a titan of British cinema' - appeared

in films including Brighton Rock, World War

Two thriller The Great Escape and later in

dinosaur blockbuster Jurassic Park. During his

60-year career, he gathered 74 acting credits

after appearing in 1942 war film In Which We

Serve, directed by Noel Coward.

Lord Attenborough was given a knighthood in

1976. In 1993 he became a life peer as Baron

Attenborough of Richmond Upon Thames,

accepting the labour whip. Lord Attenborough

had been confined to a wheelchair since

suffering a stroke six years ago. But his family

said he never fully recovered and continued to

struggle to communicate and move around.

In the Oscar-winning epic Gandhi in 1982,

Attenborough’s breadth of canvas and eye for

detail were at their most impressive, with his

displaying a knack to control some 400,000

extras at the re-creation of Gandhi's funeral.

His 1987 film Cry Freedom, starring Denzel

Washington, told the story of anti-apartheid

leader Steve Biko.

During the Second World War, Lord

Attenborough served with the Royal Air Force,

OBITUARYand was seconded to the newly-formed RAF

film unit at Pinewood Studios after initial pilot

training. His father, who was principal of the local

university college, instilled in his children the

belief that not one minute of the day should be

wasted. It was a philosophy that Attenborough

carried into his professional life astonishing

colleagues with his tireless 20-hours-a-day

energy. A dedicated socialist, he was

introduced to rebellious politics by his mother,

who joined protest marches in the 1930s

against Spain's General Franco and took in

Basque refugees from the Spanish Civil War.

His parents also helped to co-ordinate the

evacuation of Jewish children from Europe. "That particular decision, not merely paying lip

service but taking positive, responsible action

to help other human beings, made a profound

impression on me. It has, I suppose, affected

my life and my attitudes ever since,"

Attenborough wrote. This is clear from most of

his choices of subjects as a producer and

director. Source: The Guardian & The Daily Mail

(1923-2014)

When the notion of getting in touch with one's

inner child entered popular currency, the

standup comedian and actor Robin Williams,

who has died aged 63 in a suspected suicide,

was ripe to be its poster-boy.

The star of Good Will Hunting, Good Morning

Vietnam and Mrs Doubtfire, who battled

depression and an addiction to cocaine and

alcohol for decades, was found 'unconscious

and not breathing' in his mansion just outside

San Francisco.

Known as 'the funniest man alive', Williams

fought drug and alcohol problems when he

became the star of Mork & Mindy, on his path

to stardom.

A swerve into straighter acting, as

the literature teacher who challenges

convention at a stuffy school in the late-1950s

in Dead Poets Society (1989), did not upset this

trend. Instead, he transferred deftly his comic

skills into a dramatic setting as his character

liberated pupils formerly rigid with obedience.

Through his standup act and such films as

'Good Morning, Vietnam,' the short, barrel-

chested Williams ranted and shouted as if just

sprung from solitary confinement.

Loud, fast, manic, he parodied everyone from

John Wayne to Keith Richards, impersonating a

Russian immigrant as easily as a pack of Nazi

attack dogs.

He was a riot in drag in 'Mrs. Doubtfire,' or as a

cartoon genie in 'Aladdin’ for which he

improvised the lion's share of his dialogue

while the animators worked around his ad-libs.

Any magic that film exudes is largely down to

him.

He won his Academy Award in a rare, but

equally intense dramatic role, as a teacher in

the 1997 film 'Good Will Hunting.'

He was no less on fire in interviews.

Sadly though, his undeniable success did not

always bring Williams the happiness his gifts

gave audiences.

Source: The Guardian & The Daily Mail

OBITUARY

Richard Attenborough

(1951-2014)

Robin Williams

4August 2014

When over 50 filmmakers whose films were screened, show up at a festival, the point of the event seems to be achieved. Suchitra was all decked up for the three day event that took place between 22 and 24 August, 2014, and saw the biggest crowd for the Bangalore International Short Film Festival yet.Subhashish Bhutiani’s Kush, the official opening film was screened on Friday evening after an opening address by actor, director Rakshit Shetty.

An initial report of the festival was given by Festival Director Anand Varadaraj, in the presence of N. Shashidhara, President, Suchitra Film Society. Starting out with a small crowd on the first day, the momentum picked up with screenings in the next two days running to full houses. Short films from various parts of the world exposed the participants to a variety of genres, themes and technical styles. Be it an Indian dialect or a foreign tongue, the brilliant language of film spoke clearly in the collection at BISFF.The festival included several interactive sessions, the first of which was a talk by Sound Recordist Jamie de Silva on the importance of location sound in film. Adding inside stories of how location sound had helped improve the overall quality of famous films, Jamie kept the audience engaged through the more technical aspects of his talk. Eminent actors Naseeruddin Shah and Ratna Pathak Shah took time off to drop by at the festival where a short featuring Mr. Shah, was being screened.The director of the short film Int. Cafe-Night, a young Adhiraj Bose and Mr. Shah were on a panel discussion following the screening. The veteran said to aspiring filmmakers that if they have ideas, they must not wait around but must begin creating immediately. Stressing that good writing always helps produce quality films, the witty actor said “It is important that we make films that are true to the ages we are in.”

Also part of the star buzz was Rakshit Shetty, director of Ulidavaru Kandante. He spoke, using his film as a case study, on various aspects including ways to record live sound and use of VFX in a narration. The audience responded with endless questions, curious to know more of the making of his debut. Each day moderated interactive sessions were held with filmmakers of that day’s films, helping them in visibility and networking. In the closing ceremony, the winners of the films competing for the Best Film award in various sections were awarded by an esteemed jury that included directors Shivamani and B S Basavaraju for the Karnataka Korner, and Sumana Kittur, Umesh Vinayak Kulkarni, S Vishwanath and Arvind Kamath for the other sections.The response that BISFF, 2014 received is something that the team will talk about for weeks to come. Overwhelming, yes, but something the organisers had hoped for. And something that raises the bar for BISFF, August 2015.

Indian Competition - Student Category

Position Title Director

1 KANYAKA Christo Tomy2 I.C.U. Anoop Sathyan3 DHARMAM Madonne M Ashwin

Indian Competition - Non Student

1 TAMAASH Satyanshu & Devanshu Singh2 VEIL Sreemoyee Bhattacharya3 MUFTNOSH Muhammad Aasin Qamar

BISFF WINNERS

- Shraddha NV Sharma

5August 2014

2014

Special Mention

Category Title Director

FICTION ANIMATION KELI Ranjitha Rajeevan

ANIMATION EXPERIMENT TRAVELLING LIGHT Alok Utsav

PRODUCTION DESIGN JALASAYASAM

PROTAGONIST'S ACTING JAYA

PRODUCTION QUALITY ARIVU

Sethu Madhava Jodidar Memorial Ethnography Award

Title Director

PUSHPITA Kadambari Kashyap

3 CYCLE Harshal Wadkar

International Competition

1 A BOY'S PRAYER Chao Koi Wang

2 MADE OF STONE Sebastian Olivari

3 I AM SAMI Kae Bahar

Karnataka Korner

1 JUST BOLDO I AM SORRY Hemanth Kumar L

2 NIRWANA Mounesh Badigar

3 NAVILUGARI Keerthi Natarajan

August 2014

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J¯ï.f. «ÄÃgÁ: ªÀĺÁgÁt ªÀÄ»¼Á «eÁУÀ PÁ¯ÉÃf£À PÀ£ÀßqÀ «¨sÁUÀ ªÀÄÄRå¸ÀÜgÁV C¸ÉÆùAiÉÄÃmï ¥ÉÆæ¥sɸÀgï DV ¸ÉÃªÉ ¸À°è¸ÀÄwÛgÀĪÀ J¯ï.f. «ÄÃgÁ §ºÀĪÀÄÄR ¥Àæw¨sÁ

¸ÀA¥À£ÀßgÀÄ. ¨sÀgÀvÀ£ÁlåzÀ°è «zÀévï ¥ÀjÃPÉë ºÁUÀÆ PÀ£ÁðlPÀ ¸ÀAVÃvÀzÀ®Æè ¥Àj±À æªÀÄ EgÀĪÀ J¯ï.f.«ÄÃgÁ AiÀıÀ¹é C£ÀĪÁzÀPÀgÀÄ DVzÁÝgÉ. ºÀ®ªÁgÀÄ ªÀµÀðUÀ½AzÀ £ÁlåªÀ£ÀÄß PÀ°¸ÀÄwÛzÁÝgÉ.JAlÄ a£ÀßzÀ ¥ÀzÀPÀUÀ¼ÉÆA¢UÉ PÀ£ÀßqÀ ¸ÁßvÀPÉÆÃvÀÛgÀ ¥ÀzÀ« UÀ½¹zÀ J¯ï.f.«ÄÃgÁ ̧ ÁªÀiÁfPÀ PÀ¼ÀPÀ½AiÀÄļÀî ZÀAvÀPÀgÀÄ.

qÁ|| ®°vÁA¨Á: ¸ÀAVÃvÀ, UÀªÀÄPÀªÁZÀ£À, ¨sÀgÀvÀ £Álå, C©ü£ÀAiÀÄzÀ ºÀªÁå¸ÀªÀżÀî qÁ|| J£ï. Dgï. ®°vÁA¨ÁgÀªÀjUÉ avÀæPÀ¯É, ¥sÁåµÀ£ï r¸ÉʤAUï£À®Æè

wêÀæªÁzÀ D¸ÀQÛ EzÉ. DzsÀåAiÀÄ£À²Ã®gÁzÀ EªÀgÀÄ PÀ¼ÉzÀ 24 ªÀµÀðUÀ½AzÀ CzsÁå¥À£À ªÀÈwÛAiÀÄ°èzÁÝgÉ. CgÀ¹ÃPÉgÉ vÁ®ÆQ£ À ±Á¸ À£ ÀU À¼ À CzsÀåAiÀÄ£ÀPÁÌV ¦. JZïr

27 ¸É¥ÉÖA§gï 2014: £ÀAVµÀÖªÁzÀ PÀxÉ: avÁæ ªÀÄÄzÀίïgÀ “dUÀzÀA¨Á ¨Á§Ä §gÀÄvÁÛgÉ”

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avÁæ ªÀÄÄzÀί: ¹ÛçêÁ¢ £É¯ÉAiÀÄ°è »A¢AiÀÄ PÀxÉUÁwð avÁæ ªÀÄÄzÀίï vÀªÀÄä «²µÀÖ PÀxÀ£À ±ÉÊ°¬ÄAzÀ «©£Àß jÃwAiÀÄ PÀgÀļÀÄ PÀvÀÛj¸ÀĪÀ PÀxÁ£ÀPÀUÀ¼À£ÀÄß NzÀÄUÀ£À ªÀÄÄA¢qÀĪÀ C£À£Àå jÃw¬ÄAzÁV JzÀÄÝ PÁtÄvÁÛgÉ. ªÀåQÛUÀ¼À zÀÄgÀAvÀªÀ£ÀÄß DPÀæAzÀ£À«®èzÉ, DzÀgÉ CzÀgÀ wêÀævÉAiÀÄ£ÀÄß PÀ¼ÉAiÀÄzÉ ºÉüÀ®Ä ¸ÁzsÀåªÁUÀĪÀAvÀºÀ ¸ÀAAiÀĪÀÄ, ¤gÀÄ¢édÐvÉ avÁæ ªÀÄÄzÀίï gÀªÀgÀ PÀxÉUÀ¼À ±ÀQÛAiÉÄà DVzÉ.“dUÀzÀA¨Á ¨Á§Ä ºÀ½îUÉ §gÀÄvÁÛgÉ” ªÀÄ£ÀĵÀå ¸Àé¨sÁªÀzÀ ¸ÀÆPÀëöä w¼ÀĪÀ½PÉ ªÀÄvÀÄÛ ¸À¤ßªÉñÀUÀ¼À C¥ÀjºÁAiÀÄðvÉAiÀÄ ªÉÊgÀÄzsÀåªÀ£ÀÄß F PÀxÉ CzÀÄãvÀªÁV ¸Á¢ü¸ÀÄvÀÛzÉ. AiÀiÁªÀ PÁ®zÀ°èAiÀÄÄ C¸ÀºÁAiÀÄPÀgÀÄ JzÀÄj¸ÀĪÀ D¢ªÀÄ ¸ÀAPÀµÀÖªÉA§AvÉ E°è£À ¥ÁvÀæUÀ¼ÀÄ PÁtÄvÀÛªÉ.

ªÁ¸ÀÄQ: ªÁ¸ÀÄQ ¥ÀwæPÉÆÃzÀåªÀÄ zÀ°è ¸ÁßvÀPÉÆvÀÛgÀ ¥ÀzÀ«UÀ½¹ ¸ÀQæAiÀÄ ¥ÀwæPÉÆÃzÀåªÀÄPÉÌ §AzÀ ²æà ªÁ¸ÀÄQ PÀ¼ÉzÀ 25 ªÀ±ÀðUÀ½AzÀ ¦.n.L., £ÀÆå¸ï mÉÊA, J.J£ï.L. ªÀÄÄAvÁzÀ ¥Àæw¶×vÀ ¥ÀwæPÁ

¸ÀªÀÄƺÀUÀ¼À°è ¸ÉÃªÉ ¸À°è¹zÁÝgÉ C®èzÉ, wgÀĪÀ£ÀAvÀ¥ÀÄgÀzÀ ¸ÉAlgï ¥Ágï qɪÀ®¥ïªÉÄAmï ¸ÀÖrøï£À°è C¹¸ÉÖAmï ¥ÉÆæ¥sɸÀgï DVAiÀÄÆ PÁAiÀÄ𠤪Àð»¹zÁÝgÉ. Cw UÀtå ªÀåPÀ ÛUÀ¼ÉÆA¢UÉ zÉñÀ«zÉñÀUÀ¼À°è ªÁå¥ÀPÀªÁV ¥ÀæªÁ¸À ªÀiÁrgÀĪÀ ªÁ¸ÀÄQ, C£ÉÃPÀ eÁUÀwPÀ ªÀĺÀvÀézÀ WÀl£ÉUÀ¼À£ÀÄß ªÀgÀ¢ ªÀiÁrzÁÝgÉ, ̧ ÁªÀiÁfPÀ ¦qÀÄV£À «gÀÄzÀÞ ̧ ÁPÀëöå avÀæªÀ£ÀÄß ¤«Äð¹zÁÝgÉ.

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6

20 ¸É¥ÉÖA§gï 2014: £ÀAVµÀÖªÁzÀ PÀxÉÀ : JZï. J¸ï. £ÁUÀªÉÃtÂAiÀĪÀgÀ «ÄÃAiÀÄĪÀ Dl

ªÀ£ÀªÀiÁ¯Á «±Àé£ÁxïªÀ£ÀªÀiÁ¯Á «±À À é£Áxï: CfÃóA ¥É æÃAf AiÀÄƤªÀ¹ðnAiÀÄ ¸ÀÆ̯ï D¥sï JdÆåPÉõÀ£ï£À°è ¥ÁæzsÁå¥ÀPÀgÁV PÁAiÀÄ𠤪Àð»¸ÀÄwÛ gÀĪÀ ªÀ£ÀªÀiÁ¯Á «±ÀÀé£Áxï ²PÀëtPÉÌ

¸ÀA§A¢ü¹zÀAvÉ ºÀ®ªÁgÀÄ «¨sÁUÀUÀ¼À°è PÉ®¸À ªÀiÁqÀÄwÛzÁÝgÉ. EAVèµï ¨sÁµÉ ªÀÄvÀÄÛ ¸Á»vÀå CzsÀåAiÀÄ£ÀUÀ¼ÀÄ, CzsÁå¥ÀPÀgÀ vÀgÀ¨ÉÃw ºÁUÀÄ ̈ sÁµÁAvÀgÀ CzsÀåAiÀÄ£ÀUÀ¼À£ÀÄß jÃd£À¯ï E¤ì÷ÖlÆåmï D¥sï EAVèµï, EArAiÀÄ£ï E¤ì÷ÖlÆåmï D¥sï ¸ÉÊ£ïì, ¨ÉAUÀ¼ÀÆgÀÄ «±ÀÀ é«zÁå®AiÀÄzÀ ¸ÁßvÀPÉÆÃvÀ Û ÀgÀ «¨sÁUÀUÀ¼À°è ¨ÉÆâü¹zÁÝgÉ. ¥ÉÆæ|| ªÀ£ÀªÀiÁ¯Á «±ÀÀé£Áxï PÀ£ÀßqÀ PÀÈwUÀ¼À£ÀÄß EAVèµïUÉ ºÁUÀÆ EAVèµï¤AzÀ ¥ÀæªÀÄÄR ªÀiË°PÀ PÀÈwUÀ¼À£ÀÄß C£ÀĪÁ¢¹zÁÝgÉ. CzÀPÁÌV ¥ÀÄgÀ¸ÀÌøvÀgÀÆ DVzÁÝgÉ

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ªÀ£ÀªÀiÁ¯Á «±Àé£ÁxïªÀĺÁ¨sÁgÀvÀzÀ ¸À¤ßªÉñÀUÀ¼À DZÀgÀuÉUÀ¼ÀÄqÁ|| J£ï. DgÀ. ®°vÁA¨Á

gÀªÉÄñÀàArvï: PÀ£ÀßqÀ QgÀÄvÉgÉAiÀÄ d£À¦æAiÀÄ £Àl »jvÉgÉAiÀÄ®Äè ºÉ¸ÀgÀÄ ªÀiÁrgÀĪÀ CzÀÄãvÀ PÀ¯Á«zÀ gÀªÉÄÃ±ï ¥ÀArvï. gÀAUÀ¨sÀÆ«ÄAiÀÄ°è UÀ½¹zÀ C£ÀĨsÀªÀ vÀgÀ¨ÉÃw PÀ£ÀßqÀ QgÀÄ ªÀÄvÀÄÛ »jvÉgÉUÉ M¼ÉîAiÀÄ ¸ÀAªÉÃzÀ£Á²Ã® £Àl£À£ÀÄß ¤ÃrzÉ. CzÀÄãvÀªÁzÀ PÀAoÀ ªÀÄ£ÀªÀÄÄlÄÖªÀAvÉ ̧ ÀA¨sÁµÀuÉÉÉ ºÉüÀĪÀ zsÁnUÀ½AzÁV gÀªÉÄÃ±ï ¥ÀArvï QgÀÄvÉgÉ «ÃPÀëPÀgÀ°è Cw d£À¦æAiÀÄ ºÀ®ªÁgÀÄ AiÀıÀ¹é £ÁlPÀUÀ¼À£ÀÆß ¤zÉÃð²¹gÀĪÀ gÀªÉÄÃ±ï ¥ÀArvï EAzÀÄ ¥ÀæzÀßöåzÀAiÀiÁ¥ÀªÁgï d£À¦æAiÀÄ PÀxÉ C-¸ÀAªÁzÀ NzÀ°zÁÝgÉ.

¥ÀqÉ¢gÀĪÀ EªÀgÀÄ ºÀ®ªÁgÀÄ ¸ÀA±ÉÆÃzsÀ£Á ¯ÉÃR£ÀUÀ¼ÀÄ, ªÉÊZÁjPÀ ¯ÉÃR£ÀUÀ¼À®èzÉà PÀxÉUÁgÀgÁVAiÀÄÆ ¥ÀjavÀgÁVzÁÝgÉ.

7August 2014

1970gÀ zÀ±ÀPÀ ºÀªÁå¹ gÀAUÀ¨sÀÆ«ÄAiÀÄ ¥ÀªÀðPÁ®. gÀ«ÃAzÀæ PÀ¯ÁPÉëÃvÀæzÀ ¸ÀÄvÀÛ ªÀÄÄvÀÛ gÀAUÀ ¤zÉÃð±ÀPÀgÀÄ, PÀ¯Á«zÀgÀµÉÖà C®èzÉ, £ÁlPÀPÁgÀÄ, ¥ÀvÀæPÀvÀðgÀÄ, £ÁlPÀ «ªÀıÀðPÀgÀÄ, PÀ«UÀ¼ÀÄ, avÀæ ºÁUÀÆ ²®à PÀ¯Á«zÀgÀÄ MmÁÖV PÀ¯ÉvÀÄ, ZÀZÉð ªÀiÁqÀĪÀÅzÀÄ, «ZÁgÀ «¤ªÀÄAiÀÄ ªÀiÁqÀĪÀÅzÀÄ, «ZÁgÀ ¸ÀAQgÀtUÀ¼À°è ¨sÁUÀ ªÀ»¸ÀĪÀÅzÀÄ, ªÀÄvÀÄÛ EªÉ®èzÀgÀ ¸ÀÈd£ÁvÀäPÀ ¥ÀjuÁªÀĪÁV ¥ÀwæPÉUÀ¼À°è, ¤AiÀÄvÀ PÁ°PÀUÀ¼À°è, ¸ÁA¸ÀÌøwPÀ ¸ÀA¥ÀÄlUÀ¼À°è ¯ÉÃR£ÀUÀ¼ÀÄ ¥ÀæPÀlªÁVwÛzÀÄݪÀÅ. CA¢£À PÁ®zÀ°è C£ÉÃPÀ PÀ£ÀßqÀ ºÁUÀÆ DAUÀè ¥ÀwæPÉUÀ¼ÀÄ EAvÀºÀ ̄ ÉÃR£ÀUÀ¼À£ÀÄß ¥ÀæPÀn¹ gÀAUÀ ZÀlĪÀnPÉUÀ¼À£ÀÄß ¥ÉÆæÃvÁ컸ÀÄwÛzÀÄݪÀÅ. »ÃUÁV, C£ÉÃPÀ ¸Á»wUÀ¼ÀÄ, ¥ÀvÀæPÀvÀðgÀÄ £ÁlPÀ «ªÀıÉðAiÀÄ°è D¸ÀQÛ vÉÆÃj¹, PÀæªÉÄÃt £ÁlPÀ «ªÀıÉðAiÀÄ UÀÄtªÀÄlÖªÀÇ ̧ ÁPÀµÀÄÖ GvÀÛªÀÄUÉÆArvÀÄÛ.

EAzÀÄ ¥Àj¹Üw §ºÀ¼ÀµÀÄÖ §zÀ¯ÁVzÉ. DAUÀè ¥ÀwæPÉUÀ½gÀ°, PÀ£ÀßqÀ ¥ÀwæPÉUÀ¼À°è PÀÆqÀ EAzÀÄ gÀAUÀ¨sÀÆ«ÄAiÀÄ°è £ÀqÉAiÀÄĪÀ JµÉÆÖà ªÀĺÀvÀé¥ÀÆtð £ÁlPÀUÀ¼À «ªÀıÉðUÀ¼ÀÄ PÀÆqÀ ¥ÀæPÀlªÁªÀÅ¢®è. F ¥Àj¹ÜwUÉ PÁgÀtUÀ¼ÉãÉà EzÀÝgÀÆ gÀAUÀ ZÀlĪÀnPÉUÀ¼À ªÉÄÃ¯É EzÀjAzÀ £ÀPÁgÁvÀäPÀ ¥ÀjuÁªÀÄUÀ¼ÁVgÀĪÀÅzÀÄ RArvÀ.

MAzÀÄ £ÁlPÀPÉÌ ªÀÄÆgÀÄ ªÀÄd®ÄUÀ½ªÉ. MAzÀÄ: £ÁlPÀ gÀZÀ£É, JgÀqÀÄ: gÀAUÀ ¥ÀæAiÉÆÃUÀ, ªÀÄÆgÀÄ: ¥ÉæÃPÀëPÀgÀ ªÉÄÃ¯É EªÉgÀqÀgÀ ¥Àæ¨sÁªÀ.

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8

Owned, Printed & Published by N Shashidhara (President) Suchitra Film Society; Printed at Suchitra Printers & Publishers;36, 9th Main (B.V. Karanth Road), Banashankari 2nd Stage, Bangalore-560070 Ph: 080-26711785

Editor: Prakash Belawadi, suchitrafilmsociety@gmail.com Posted at GPO Bangalore-560001 on the last day of every month

August 2014

Films are subject to change or cancellation without prior noticeFilm screenings are for members of Suchitra.Screenings @ Suchitra

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Sat 20 Sep 2014 | 7:00 PM

Niko Fischer is living from day to day. He has

dropped out of law school. He drifts through

Berlin. OH BOY describes the turbulent 24

hours in the life of a young man in episodes, at

the end of which nothing will be as before.

With his excellent first feature film, Jan Ole

Gerster successfully reminds us of the great

role models, yet without exploiting them: the

early works of Woody Allen and Martin

Scorsese’s AFTER HOURS – but also the films

set in Munich's Schwabing district from the

late sixties. Yet, despite all the recognisable

role models, Gerster develops his own tone,

which is evident throughout the entire film..

Courtesy: Goethe Institut

O BOY!(82m, 2012, Germany)

Dir: Jan Ole Gerster

Friday, 19 Sep 2014 | 7 PM

Join Sandesh Kadur as he goes on a mission to

document the natural and cultural treasures of the

Eastern Himalaya. For years this region was considered

too volatile, too dangerous, to allow outsiders. As a

result, very little was known of the wildlife and people

of this region. In this series of short films, Sandesh

Kadur a wildlife photographer and filmmaker with a

passion for conservation explores these remote

regions on a quest to document some of the rare

inhabitants from golden langurs to clouded leopards in

a hitherto unseen region of India.

North Eastern Diaries

(Dir: Sandesh Kadur)

(45 mins, 2011)

Sat 13 Sep 2014 | 6:45 PM

EXT GENERATION SHORT TIGER 2012: The short film program NEXT GENERATION was created by German Films in 1998 to introduce young talents from Germany to international audiences. Selected from film school submissions by an independent jury, the program premieres within the framework of the Cannes Film Festival and is then presented worldwide at Festivals of German Films.

•MUJER • DIFFERENT (ANDERSARTIG) • FELIX • MISSION "BOY" (Mission "Junge") • LGASTRASSE 18 • PORTRAIT • RAVENBOY ( R A B E N J U N G E ) • R U N O U T (DURCHGEBRANNT) • SPACE STATION (RAUMSTATION) •TWO MEN AND A TABLE (ZWEI MÄNNER UND EIN TISCH) • THE VAGABOND (DER VAGABUND)

ANGELINHO • BABUSCHKA • CHICA XX

Sun 28 Sep 2014 | 10-30 AM

DECEMBER 1(98m, 2014, Kannada)

Dir: P. Sheshadri

Mahadevappa and his family are excited that the Chief Minister is going to stay at their house as part of his officially scheduled overnight program. CM's visit goes on very well and Madevappa & family are over-awed by the proceedings, but hardly get to interact with the CM. Instead, they face embarrassing moments feeling as though they are outsiders in their own house. The movie will be followed by a discussion with the director

Sun 28 Sep 2014 | 10-30 AM

Sun 7 Sept 2014 | 10:00 AM

ANDAZ(166m, 1971, Hindi, India)

Dir: Ramesh Sippy

Suchitra Film Society turns 43 years on August 28. To celebrate it, we are screening the movie, Andaz, which was released in the same year (1971) .

Sat 27 Sep 2014 | 6-30 PM

MONK WITH A CAMERA(90m, Docu, 2014) Dir: Jan Ole Gerster

Nicholas Vreeland walked away from a worldly

life of privilege to become a Tibetan Buddhist

monk. Grandson of legendary Vogue editor,

Diana Vreeland, and trained by Irving Penn to

become a photographer, Nicholas' life

changed drastically upon meeting a Tibetan

master, one of the teachers of the Dalai Lama.

Soon thereafter, he gave up his glamorous life

to live in a monastery in India, where he

studied Buddhism for fourteen years. In an

ironic twist of fate, Nicholas went back to

photography to help his fellow monks rebuild

their monastery. Recently, the Dalai Lama

appointed Nicholas as Abbot of the

monastery, making him the first Westerner in

Tibetan Buddhist history, to attain such a

highly regarded position. (IMDb)

The movie will be followed by a discussion

with the monk