Issue - 2Vol - 6 Pages : 8RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2015-2017REGISTERED :

February 2015 ¥sɧæªÀj 2015

February 2015

Inside

Oscar Winners

Berlinale Visit

Obituary : D Rama Naidu

Movies for the month

Bengaluru Short Film Festival

Know Your Director: Pedro Costa

'175 Grams', directed by Bharat Mirle and Aravind Iyer from Bangalore, is one of the five Short Film Challenge winning films at the 2015 Sundance Film Festival.

Bangalore Musician Ricky Kej and South African Wouter Kellerman bagged the 57th year Grammy Awards for ‘Winds of Samsara’ in the category of Best New Age Album award

CONGRATULATIONS

2February 2015

and the Oscar goes to…The answers to these oft-repeated words were

awaited with bated breath by millions of film-

buffs around the world who sat glued to their

TV sets in more than 220 countries. As the film

personalities walked on the red carpet at the

Dolby Theatre in Hollywood, Los Angeles on the ndevening of 22 Feb., for the 87th Annual

Academy Awards Ceremony (Oscars) it was

curtains up.

Far from the eagerly anticipated and globally

televised event it is today, the first Academy

Awards ceremony took place out of the public

eye during an Academy banquet at the

Hollywood Roosevelt Hotel on May 16, 1929

and nearly 270 people attended it. There was

little suspense when the awards were

presented that night, as the recipients had

already been announced 3 months earlier, far

from the sealed cover announcement at the

Ceremony these days.

At the 87th Academy Awards ceremony, the

winners were selected from the movies

released in 2014. The awards were presented

in 24 categories and actor Neil Patrick Harris

hosted the Ceremony for the first time. While

Julie Andrews of Sound of Music fame

presented the Award for the Best Original

Score, Oprah Winfrey gave away the Award for

the Best Adapted Screenplay and Eddie

Murphy presented the Best Original Screenplay

Awards.

Lady Gaga performed a melody of tracks from

the Sound of Music (winner of 5 Oscars) as it

celebrates its 50th Anniversary this March.

Later, Julie Andrews said - "I can't believe 50

years have gone by since that film was released.

I blinked and suddenly here I am. We all really

felt blessed and as for me - how lucky can a girl

get. Great music does more than enhance a

film, it cements our memories in the film going

experience.”

While the film The Birdman bagged 4 Awards -

Best Picture, Best Director, Best Original

Screenplay and Best Cinematography, the film

Grand Budapest Hotel also won 4 Awards - Best

Original Score, Best Production Design, Best

Costume Design and the Best Make Up and

Hair-styling awards, the film Whiplash bagged 3

Awards - Best Supporting Actor, Best Sound

Mixing and Best Film Editing Awards.

The Birdman was the big winner of the night,

bagging all the top awards, including the Best

Film and the Best Director. Best known to the

public as Birdman, the superhero he once

played in a series of films, Riggan Thomson

hopes to reestablish himself as a serious actor

by mounting his own dramatic production on

Broadway. Birdman is a black comedy that tells

the story of a man's battle with his ego, and his

quest for acceptance and notoriety. It explores

the fragility of one's mind and the idea of

'celebrity' and Hollywood and the significance

that each play in today's fame-obsessed

society. The Birdman is superbly shot,

excitingly staged and hilariously acted.

Michael Keaton was lovely in the role.

One of the most distinctive filmmakers in the

world, Mexican Director Alejandro G Innaritu

won the Best Director Award for his film The

Birdman. 15 years ago, he had made the film

Amores Perros a film about the life coursing

through Mexico city with a compelling style, a

film that made a worldwide splash and

immediately announced Inarritu then 36, as a

Master. Then he made the films 21 Grams,

Babel and Biutiful and only now this brooding

Director has made a comedy in Miraculous

Birdman and truly found his wings and is by far

his finest. Besides winning the Best Director

Award, he also won the Awards for the Best

Picture and Best Original Screenplay for his

film.

Over-riding popular expectations, Michael

Keaton lost the Best Actor Award to Eddie

Redmayne, for his performance in The Theory

of Everything. First time nominee Eddie

Redmayne who donned the role of Professor

Stephen Hawking is very good indeed in this

moving film and has already picked up the

Golden Globe, BAFTA and the Screen Actors

Guild Award depicting the debilitating

challenges of ALS. He very plausibly

represented Hawking's physical decline and

intelligently represented the enigma of

Hawking's attitude to his marriage as it both

collapsed, and yet in some other more

enigmatic way survived, both as friendship and

professional alliance.

The Best Actress Award was bagged by

Julianne Moore, a sensational actress, for her

role as an early-onset Alzheimer's patient in

the film Still Alice. In this film, she gives us

something remarkable and poignant and

poetically sensitive portrayal. Moore, 54, has

given us years of memorable roles - from A

Single Man to Children of Men to Magnolia.

She had been nominated for four Oscars for

her fabulous work in different films and this

time, she became the winner. Her career has

involved both art house and Hollywood films.

The Best Supporting Actor award was taken by

J K Simmons for his role in the film The

Whiplash. He plays the music teacher Fletcher

who motivates his students through fear and

humiliation. He is an intensely demanding

conductor at the f ict ional Schaffer

Conservatory of Music, where he bullies and

cajoles the protagonist, Andrew Neyman,

played by Miles Teller. Earlier, he had also won

the Golden Globe and the BAFTA Awards for

his performance.

Patricia Arquette won the Best Supporting

Actress Award for her role in the Boyhood and

she portrayed a divorced mother struggling to

make a life for herself and her two children.

The film was shot intermittently over the

course of a 12 year period from 2002 to 2013,

and depicts the adolescence of a young boy in

Texas growing up with divorced parents. Even

though Boyhood had six nominations to its

credit, only Patricia Arquette was able to

secure the Best Supporting Actress Award. In

her wonderful acceptance speech for the Best

Supporting Actress trophy, Patricia Arquette

spoke about wage-equality for women.

As usual, the annual In Memorium segment

was presented by actress Meryl Streep and

through montage, tributes were paid to many

departed souls including Maya Angelou,

Richard Attenborough, Lauren Becall, Anita

Ekberg, James Garner, Samuel Goldwyn.Jr.,

Edward Herrmann, Bob Hoskins, Mike Nichols,

Mickey Rooney, Stewart Stern, Eli Wallach and

Robin Williams. There were many winners and

the losers, but all took it sportingly and left the

Hall with a smile on their face hoping that they

can try their luck in the coming years. It was the

year The Birdman truimphed. But all the Best

Picture nominees left with some Award or the

other. The Academy Awards always brings us

something memorable to cherish for years to

come.

Read Suchitra Appreciation Newsletter Online

http://issuu.com/suchitrafilmsociety

Become a Suchitra Member

Renewal Rs. 750

Special OfferTill March 2016

Rs.1300

www.suchitra.org : suchitraorg.

B.S. Manohar

3February 2015

Why Mr. and Mrs. Ramachari becomes an important text - Shraddha N.V. Sharma

With houses running nearly full even on the sixth weekend, second and third time viewers queuing up with others slightly late on the up take, Mr. and Mrs. Ramachari did create quite the buzz. As do most movies with a larger than life hero and a heroine all but playing second fiddle even now in 2015. But what is it then that makes these characters so adored? What makes repeated viewers and even some of us laggards sit up with excitement when Ramachari saves the damsel in distress yet another time? It cannot simply be cathartic or escapist. For how long can we chew on the same stories for catharsis? For who really talks in the same careless monotone no matter what the circumstance? And who beats up twenty rowdies without so much of a scratch on himself? Well, everybody. Or at least everybody seems to want to be, as the box office indicates. It is indeed accommodating current developments when we see texts between the two leads take the story forward! And when we see the hero and the heroine fight it out to feed their egos, and not the ever sacrificing lovers of the past, we do experience a breath of fresh air. But how much further are we as an audience willing to push? Because we still love it when the hero no matter what the case, retains his “heroness”, his masculinity spilling out of his monotone and his lopsided intense gaze.Are we willing to accept any new strain of thought? Can we go as far as having a heroine who doesn’t need to give up her femininity just to pull off a “hero-less” box office success by herself? Or at least as far as having a hero who does not have to protect the damsel to prove his manhood? We are simply incapable of overcoming the male gaze in our cinema. As British feminist film theorist Laura Mulvey notes, it is always through the perspective of a man that we view the film; even when we look at the extraordinary hero. There is absolutely no space for a female point of

view. Of course, our industry offering one of the most unique exceptions to this rule with the string of Malashree starrers would be worthy of recalling here. But even these disappoint when the female lead becomes a thing of devotion. Stripped of her sexuality, just another “man” in a woman’s skin. There is in fact nothing terribly wrong with stereotypes. Yes, there are all based in some amount of truth. We are not even sick of clichés. We clearly forgive the filmmakers of clichés if he or she can paint us a somewhat better picture of the same characters. But the lack of multiple perspectives, a complete draught of representing even very real perspectives that we know do exist all around us, is where the problem lies. The inability to break out of the stereotype with how the movie hails the audience is the issue. In Mr. And Mrs. Ramachari for instance, we are invited into the movie, to take the hero’s side with an action sequence. Over and over again we are reminded that women need to be protected. Yes, this is not all that the plot contains but still has high recall. We are perhaps not entirely influenced by the stuff of dreams on screen. There is interplay of various influences in our lives. But over repeated exposure to the same content, there is perhaps a tendency to come away thinking that certain representations are absolute. By first acknowledging this link, it is perhaps possible for us to come up with multiple perspectives in our cinema.

4February 2015

OBITUARYD Rama Naidu (1936-2015)

Multilingual Indian film

producer and Dadasaheb

Phalke Award winner Dr.

Daggubati Ramanaidu (79)

breathed his last on 18th

Feb.15 at Hyderabad after a

long battle with cancer. In a

career spanning more than

five decades, he produced

more than 150 films in 13

Indian languages and holds

the Guinness Book of World

Records for the most films

produced by an individual.

Coming from a family of

farmers, he made his debut in

cinema with the Telugu film Anuragam in 1963 followed by the superhit

Ramudu Bheemudu starring legendary N T Ramarao in 1964. Apart from

Telugu films which topped the list, he produced movies under his home

banner Suresh Productions, in Kannada, Hindi, Bengali, Oriya,

Assamese, Malayalam, Tamil, Gujarati, Marathi and Bhojpuri.

Some of the notable films produced by Ramanaidu in Telugu were Sri

Krishna Tulabharam, Preminchu, Bobbili Raja, Aha Naapellanta, Prem

Nagar and Kathanayakudu. While he produced the Kannada films

Thavarumane Udugore and Maduve Aagona Baa, he also tried his hand

in English by producing the film Staten Island. The Hindi films he

produced include Prem Nagar, Tohfa, Insaaf ki Awaaz and Prem Qaidi.

Despite his deteriorating health, he was involved in the making of his

last film - Gopala Gopala in Telugu starring his son Venkatesh and Pawan

Kalyan which became a hit as well. He also tried his hand in politics for a

while but later concentrated on his passion of making films.

Ramanaidu built a track record in the film industry for introducing

numerous film directors as well as artistes and technicians who have

made a mark of their own in the industry. A stickler for discipline and

punctuality, he made sure he got these from any star he chose to work

with. As all the film making studios were based in Madras in the early

days, he started the Ramanaidu Studios in Hyderabad in 1983 with the

support of the State Govt. He offered the aspiring film makers the facility

of walking in with a script and leaving with the first copy of the film.

Today, his Studios has also become a popular tourist destination in

Hyderabad. He used to contribute a substantial part of his earnings to

numerous philanthropic purposes through his Charitable Trust

established in 1991.

Besides the Nandi and Filmfare awards, Ramanaidu was conferred the

prestigious Dada Saheb Phalke Award for his outstanding contribution

to the growth and development of Indian Cinema in 2009. In 2012, he

was awarded the Padma Bhushan in recognition of his contribution to

Telugu cinema. He was also conferred with the Hon. Doctorate by Sri

Venkateswara University, Tirupati. The film industry has lost an icon

with the demise of the veteran film producer Dr. D. Ramanaidu. While

condoling his death, Suchitra prays for his soul to rest in peace.

Know Your Director : Pedro Costa

WHO is he?

Portuguese scenarist, cinema

tographer and director who

has directed eight feature

films and as many short films

since his debut in 1989 with

The Blood, a highly stylised

w o r k s h o w c a s i n g t h e

director’s passion for and

knowledge of film history. He

won the Best Director prize at

this year’s edition of the

Locarno Film Festival for his

latest movie Horse Money

(2014).

WHAT are his films about?

Themes

Costa’s early films evidence him playing with decidedly ‘cinephilic’

themes where he appears to be riffing on archetypical ideas from

European cinema of his youth. Many of his later films are set in Lisbon’s

Fontainhas locality. The immigrant residents of this great slum and the

subjects of Costa’s works have a spectral presence, leading a self-

enclosed life seemingly spent in endless chatter, drug abuse and ghost-

like wandering. Costa’s non-judgmental attention is on the

government’s physical and social marginalisation of these inhabitants of

Fontainhas, whose resilience nevertheless becomes the focus of the

films.

Style

Costa’s films are characterised by an austere style, with no musical

soundtrack, long shots of people, often indoors, a marked lack of

dialogue, lengthy sequences of dead time where not much significant

action occurs, expressionistic compositions that counterpoint organic

human forms with geometric structural ones and deep contrast

imagery. Costa tackles the problem of potential exploitation of his

characters by making them contributors to his films. By collaborating

with them on their declamatory dialogue delivery and synthetic body

language, he helps them become the active voice of the works and not

the passive subjects of a conventional social-realist documentary.

WHY is he of interest?

Along with the Taiwanese cineaste Tsai-Ming Liang, Pedro Costa is

perhaps the most avant-garde of filmmakers working today, trying to

find newer, challenging idioms that resist the impatient modern

viewer’s tendency to gloss over images. More importantly, his

filmography comes across as a guiding beacon for artists who want to

wed formal experimentation with social consciousness without having

to compromise either.

WHERE to discover him?

Change Nothing (2009), one of Costa’s few films not socially oriented,

centres on French actress and singer Jeanne Balibar and her group

rehearsing, improvising and performing a group of songs. Shot in digital

video, this gorgeous film is a reflexive meditation on the artistic process,

the hard work that belies the mysterious air of preordained genius and

perfection that a great work carries.

- SRIKANTH SRINIVASAN(source: OUTTAKE – The Hindu)-B.S. Manohar

5February 2015

The Friedrichstadt-Palast in Berlin is the

largest and most modern show palace in

Europe with a seating capacity of nearly 1900.

An earlier market hall and a circus arena of

the late 19th century it became a most

solicited venue for staging classical plays in

the early 20th century. During the Nazi era,

the theatre was renamed as the people’s

theatre. With its name restored after the

second world war it is now one of the most

popular public screening venues for Berlinale,

the International Film Festival of Berlin the

65th edition of which was held this year

during 5th and 15th of February 2015. When

the State censured Iranian filmmaker Jafer

Panahi’s latest work “TAXI” was screened to

almost a full house on the second day evening

of the festival at the Friedrichstadt-Palast

there was a standing ovation. Not that the

film was a masterpiece or a classic but the

people were paying their tribute to the

indomitable spirit of the filmmaker who in

spite of his vulnerable position in his own

country and the growing intolerance and

political attacks on freedom of expression

across the globe could surprise the audience

with such a delightful work. None of the

hostile circumstances could deter him to

present such a thoroughly enjoyable

lighthearted feature drama involving himself

as the central character of the film in the role

of a Taxi Driver questioning the preposterous

intervention of the State in matters of

individual expressions. Sort of a feel good

movie with its melancholic and satirical

undertones also endeavored to create a

discourse on film making itself with

arguments on various shades of realism in

cinema and the futile ambitions of the

oppressive Governments to a self defeating

ordering of a given reality. The final victory of

the film in being awarded the top prize, the

Golden Bear in the competition section

vindicated the sentiments expressed by the

large public audiences and the delegates to

the festival. A few critics however felt that it

was a more a political statement of the

festival rather than the aesthetic choice of a

jury but the FIPRESCI critics jury award also

was conferred on the film. Being under the

judicial custody of the State Mr Panahi was

BERLINALE 2015 – A Report - N. Vidyashankar

not in Berlin to receive the prize but his young

niece Hanna who also plays a significant role

in the film received it on behalf of him.

Jafer Panahi’s film was competing against

another 18 films in various genres including

among others acclaimed UK film “45 years”

directed by Andrew Haigh, eminent German

Filmmaker Werner Herzog’s film “Queen of

the Desert” starring Nicole Kidman and

James Franco, Peter Greenway’s indulgent to

the extent of ludicrousness film on the soviet

fi lmmaker Sergei Eisenstein, and a

postmodern experimental work from Russia

“Under Electric Clouds” by Alexey German Jr.

. The British film mounted in the traditional

style of classical film making is a moving

portrayal of the relationship within the

institutional framework of marriage and its

fragility that can be exposed even after 45

years of togetherness. Characters scripted to

a high degree of perfection deservingly

earned the top Silver Bear awards for acting

to Charlotte Rampling and Tom Courtenay in

the main roles. Pablo Larrain’s Chilean film

“The Club” dealing with the club and

hypocritical mentality of clergies in organized

faiths was the winner of Silver Bear Grand

Jury Prize. The wild card entry from

Guatemala “Ixcanul” depicting the story of a

teenage rural girl in the mould of Art house

social realism garnered the Silver Bear award

in the category of feature films that opens

new perspectives. The best Director Silver

Bear award was awarded to Radu Jude for his

Romanian – Bulgarian – Czech coproduction

“Aferim”, a ruthless period film along with

Malgorzata Szumowska for her Polish film

“Body”, a tale of angst of emotional loss of a

loved one in the modern context. The

technical awards for outstanding Artistic

Contribution this year were shared by two

cameramen Sturla Brandth Grovlen for

German film “Victoria” and Evgeniy Privin &

Sergey Mikhalchuk for the Russian film

“Under Electric Clouds”.

The country which produces the largest

number of films in the world, India, did not

have like in other International festivals

abroad and earlier editions of Berlinale

proportionate representation is a matter of

serious concern not for the festivals but for

the film making fraternity in the country. A

sincere introspection of the modes of

expression and production of cinema needs

to be undertaken to take the Indian cinema

beyond domestic and Diaspora markets and

also to increase the visibility of the films

made under specific Indian cultural, social

and political contexts, in the global film

forums like the Berlinale. The redeeming

feature of this year’s Berlinale was however

the winning of the Grand Prix of the

Generation Kplus International Jury for the

best feature-length film, with a prize money

of € 7,500 by Nagesh Kukunoor’s Children

film “Dhanak” (Rainbow), a colourful feel

good film located in the exotic desert lands of

Rajasthan enriched by innocent but matured

performances by two of its young

protagonists, good cinematography and spic

& span art work. The film also attracted

“Special Mention” by the International

children jury for being a colorful, touching

and humorous film. The citation stated that

the story and the performances of the young

protagonists impressed them deeply.

Berlinale, the first major film festival in a

calendar year always brings new thoughts,

realities and of course films to the discerning

audiences and marketing professionals from

across the world. The European Film Market

is one of the largest economic and cultural

forums for making visible the films and

subsequently exploring the market potential

through providing information and

presentations in hundreds of stalls erected

specially for the event. The Berlin

International Film Festival claims that it is a

source of inspiration in the global film

community: film programmes, workshops,

panel discussions, joint projects with other

social and cultural actors – the forms of

cooperation and the possibilities for creative

interaction are countless and is definitely not

an exaggeration. More than 400 films

excluding some of the market screenings

across 35 show places spread over the city of

Berlin is keenly followed by over 20 thousand

accredited delegates and the film loving

public of all generations. Indeed a grand

festival and a mega event.

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Mugdha and Shekhar are parents of Gauri, a mentally disabled child suffering from down's syndrome. Despite her unsupportive husband, Mugdha wants to bring Gauri up normally. She separates from her husband and starts living with her brother Shri. However Gauri remains tough to handle, till she discovers her love for swimming. Thus Mugdha gets her enrolled for swimming coaching with coach Pratap Sardeshmukh. (Courtesy: Mahesh Limaye)

Compulsion from parents and relatives cause a youth to reach the seminary. Though pursuing the path of St. Francis of Assissi, the challenges and conflicts in life and seminary transforms him revengeful and quits the place. It is his journey of self discovery in which he travels far and wide, most often in to the depths of forests. Spirituality, revengeful and encounters in nature unveil the philosophical approach of the film. The names of the characters are not revealed and their time and space are unspecified (Courtesy: Sain Babu)

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.

Sun 15 2015 | 4:30 PM

UNTO THE DUSK(119m, 2014, Malayalam, India)

Director: Sajin Baabu

Sun 15 2015 | 6:45 PMSun 8 Mar 2015 | 6-30 PM

FINSTERWORLD(90m, 2013, Germany)

Dir: Frauke Finsterwalder

A journey through a surreal Germany: A police officer in a bear costume. A female documentary filmmaker who is unable to find an interesting story. A pedicurist who carefully sets aside the hard skin removed from the feet of his aged female patient. A rich couple that refuses to sit in a German-built car. A history student uninterested in a class visit to a concentration camp. A wild man training a raven in the woods. (Courtesy: Goethe Institut)

YELLOW(130m, 2014, Marathi, India)

Dir: Mahesh Limaye

February 2015

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

Sat 14 Mar 2015 | 7:00 PM

It's almost summer in Sweden and minor

indiscretions and misbehavior abound.

Leffe likes to show off for his friends and

play salacious pranks, especially when

he's drinking. Meanwhile, a righteous

grade-school teacher doesn't know

where to draw the line: she insists her

fellow educators need a bit of

instruction. Then there are two young

teenage girls who like to pose for sexy

photos and to party, but one night in a

park, one of them is found passed out

drunk by a complete stranger.

INVOLUNTARY "De ofrivilliga“(98m, 2008, Sweden)

Director: Ruben Östlund

Sun 22 Mar 2015 | 11:45 AM

Pierre Lachenay is a well-

known publisher and

lecturer, married with

Franca and father of

Sabine, around 10. He

meets an air hostess,

Nicole. They start a love

affair, which Pierre is

hiding, but he cannot

stand staying away from

her.

THE SOFT SKIN(113m, 1964, France)Dir: Francious Truffaut

Sun 22 Mar 2015 | 10:00 AM

Charlie Kohler is a piano player in a

bar. The waitress Lena is in love with

him. One of Charlie's brother, Chico,

a crook, takes refuge in the bar

because he is chased by two

gangsters, Momo and Ernest. We

will discover that Charlie's real

name is Edouard Saroyan, once a

virtuose who gives up after his

wife's suicide. Charlie now has to

deal wih Chico, Ernest, Momo, Fido,

and Lena...

SHOOT THE PIANIST(90m, 1960, France)

Dir: Francious Truffaut

Screenings @ Suchitra