Issue - 11 & 12

November - December 2014

Vol - 5 Pages : 12RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2012-2014REGISTERED :

£ÀªÉA§gï-r¸ÉA§gï 2014

Cinema auteur who championed women cause- S Viswanath

Kailasam Balachander, 84, one of most austere auteurs of Tamil cinema, in a career spanning over four decades, lit up the Indian celluloid screens with nearly 150 feature films. Born into Tamil Brahmin family, in 1930, at Nannilam, in the then Tanjore District (now Tiruvarur district), Balachander credited with discovering and nurturing the talents of the likes of prodigious Kamal Haasan, Rajinikanth, Saritha, Prakash Raj and Vivek, was reputed tough task master, and a man with the Midas touch.Carving a niche for himself as the most unconventional film-makers with hard-hitting social and political themes,much way ahead of the times, Balachander was known for his bold and daring portrayal of women in his films in pivotal roles.Balachander who earned the sobriquet of Iyakkunar Singaram, through his nuanced and subtle approach to unconventional and complicated subjects that spotlighted on interpersonal relationships as also social themes, began his cinematic sojourn as screenwriter. Affectionately addressed KB Sir by his legion of admirers, his clutch of cinematic oeuvres were testimony to his thematic concerns for women and their strong, bold portrayals.An ardent admirer of poet Bharathi and a feminist to the core, Balachander cast his heroines as intelligent, independent and headstrong individuals, with most of his films shaking the traditional concept in the Tamil film world fed on hero centric fares. Be it Aval Oru Thodarkadhai, one of his path-breaking works, about a selfless, hard-working woman who struggles to support her

largely ungrateful family, Apoorva Raagangal exploring the relationship between anelderly singer and her young admirer, Avargal, about a modern young divorcee as she traverses relation-ships in reverse, from divorce, to marriage, to falling in love; Arangetram, where a Brahmin girl takes to prostitution to sustain a large family; Varumaiyin Niram Sivappu, that showcased the trials and tribulations of un-employed youth of the relation-ships in reverse, from divorce, to marriage, to falling in love; Arangetram, where a Brahmin girl takes to prostitution to sustain a large family; Varumaiyin Niram Sivappu, that showcased the trials and tribulations of unemployed youth of the 1980s; Thanneer, an absorbing tale about a village’s thirst for water, and lengths they would go to get it; Achamillai, a rural tale of a simple do-gooder young man, and his lover, Oru Veedu Iru Vaasal, where an idealistic, high-minded wife detests her husband's extra-marital affair; and the other a junior artist who gets a divorce from her husband, following his terrible treatment of her, 47 Natkal that traces the adversities of newly wed Indian woman living with a scurrilous, expatriate husband; Sindhu Bhairavi about the intellectual collision and subsequent romance between a lofty Carnatic musician and his ardent critic.He was drawn to theatre and drama at 12, which helped him develop an interest in acting, writing and directing amateur plays. But fed on cinema from an impressionable, early age of eight, watching films of M K

Thyagaraja, he soon focused on turning his plays into scripts for celluloid, and in the ’70s moving into new narratives – extra-marital affairs, unconventional love stories and women-centric films becoming his obsession. He saw success not just at the box office, but also critical recognition and awards for his new cinema.

Honoured with Padma Shri and Dadasaheb Phalke Award his foray into films began when he was asked to write dialogues for Dheiva Thaai starring MGR. Thereafter, Balachander made his directorial debut through Neerkumizhi (1965) based on his own play, following it with Naanal, Major Chandra-kanth and Ethir NeechalI. Bala- chander has left behind a rich legacy of creative, critical cinematic oeuvres to be cherished and dissected through our lifetimes. Suchitra Cinema & Cultural Academy salutes this thespian of Tamil cinema and offers condolences to his bereaved family and followers and may his soul rest in peace.

Tribute to the Master Filmmaker - K BalachanderBy Film maker T S Nagabharana and Actor Sundar Raj

followed by the screening of the movie Varumayin Niram Sigappu [1980 | 138 mins| Tamil ]th25 January 2014 5:30 PM at Suchitra Naani Angala

SPECIAL ISSUE

Suchitra wishes a very Happy New Year 2015Suchitra wishes a very Happy New Year 2015

November -December 2014

2

Bravo Biffes! Toasting creative cinema carnivalCome December, its Hajj time for City’s

avowed cinephiles. Drawn in droves, driven

by a single agenda, they headed to the 11

screens at the 7th Edition of Bengaluru

International Film Festival that sees

Namma Bengaluru turns Mecca for movies

bringing the “World in Bengaluru”.

Braving the biting December chill, the

daunting distances, the testing traffic jams,

early waking hours, they travelled The

Longest Distance, all with single minded

determination to soak in the magic of

movies that lit up the screens.

7th BIFFes Artistic & Technical team

expertise ensured that all the 170 films in

the catalogue were screened according to

the schedule, much to the delight of the

Bengaluru audience.The kind of audience

assembly at the various venues, forums

and workshops, were any indicator, of our

true blue Bengalurians, never let anything

come in their way, given their innate love

for cinema. They saw, they debated, they

dissected, and left that much the wiser,

having seen what they judiciously chose

and wished to see, as the oeuvres offered

them a perspective peek into societies and

cultures as disparate and diverse as India,

and cosmopolitan Bengaluru, would offer,

from as many as 44 nations.

By ensuring that audiences from different

strata of society, streams of personal

calling, strands of individual interests,

Biffes, as Vidyashankar rightfully puts it:

empowered each and every participant to

widen their creative, aesthetic and

appreciative possibilities by watching the

kaleidoscope of expressions from different

cultures, providing a democratic space for

cultural interaction and mirroring global

human situation, turning into a meeting of

minds.

Given that women and girl child have been

pitchforked to the centre stage of public

discourse in recent times, be it in the

National Capital, or our own State Capital,

as also the nation and world over, Biffes

fittingly ensured a special section on

Gender Violence with a selection of films

on the issue be screened. And sure enough,

the participation and the discourse that

emanated thereon proved that the festival

committee were bang on.

Likewise, from the scores of films that were

specifically culled for the audiences to

watch and assimilate their larger

implications and impact were nearly a

dozen films which had women – as mother,

as teacher, and the child as the principal

protagonists, all grappling with everyday

situations as they sought legitimate spaces

and right to be heard and be given their

due.

Be it the Tamil film Kuttram Kadithal, which

spoke about corporal punishment in

schools and its deleterious effects on the

teacher, the taught and the parents,

likewise, the Cuban film Behavior, wherein

you had the aged teacher fighting the

system to assimilate the needs of an

impoverished child, or the Argentinian film

Refugiado, where the mother whisks away

her son from an alcoholic, abusive father,

and demeaning state of care homes, the

Bulgarian film The Lesson, which spotlights

on the high moral ground a teacher takes

on discovery of a theft in her class, only to

be felled from her moralistic stance by a

social situation she herself unwittingly

finds herself in. For that matter, the Chilean

film Illiterate, a stark, social and searing

study of the education system, the

principled stand of fortunate against the

lesser privileged and whether being literate

is all and cannot the illiterate wade through

the social stream with their heads held

high, or the French film Now or Never

which spotlights on to the extent to which a

mother and a wife would go to ensure the

family’s dreams are not shattered by the

capitalist system that does least cares

about their plight, the Iranian film Trapped,

where two young women try to wade

through a plethora of societal sanctions

against women, or the Venezuelan film The

Longest Distance, wherein a young boy

seeks to come to terms with the brutal

death of his mother. The Iranian film A

Cradle for Mother, where a young, aspiring

woman, is caught between a blossoming

career and care for her ailing mother, in the

Iranian film (Sizdeh)13, as to how a 13-

year-old has to grapple with the divorce of

his parents, the Serbian film No One’s Child,

the dismal state of orphanages and their

inhabitable status impacting the life of a

boy seeking to find meaning in social

mainstream, or the Venezuelan beauty Bad

Hair, where the functional and filial

dynamics between a son and his jobless

mother is put to test and end of tether, the

Brazilian film The Ballad of Poor Jean, who

has to come to terms with the social loss

and estimate of his once privileged family.

The Korean films Be Devilled and The

Crucible, Ethiopian film Oblivion, Iranian

film The Paternal House, Afghan film

Osama, Iranian film The Stoning of Sooraya

M, British film Magdalene Sisters, all

testimony to the concerns of women and

children in society.

Of course, one could go on about the

sterling qualities of other films featured

Biffes. However the audiences, with their

wholehearted participation have given

their endorsement of the quality of films so

holistically incubated to cater to the

various constituents of viewers.

Well, with Biffes 2014, ringing the curtains

down on the celebration of cinema on a

euphoric note, and as film maker Jahnu

Barua so eloquently expressed the thought

and purpose behind Biffes “of promoting

good cinema, that works as a catalyst for

creations for the society, that inspires

people, younger talents to create a better

future,” invigorating the cinema citizens for

a whole week, and as Artistic Director

Vidyashankar observes “a great place for

meeting of minds through delivering of

thoughts and ideas in a contemporary

mode and form,” it’s time to bid adieu to

2014 and await, with bated breath for 2015

and a new sojourn with Biffes. Until then,

au revoir, auf wiedersehen, adios amigos,

sayonara and namaskara. - SV

November -December 2014

3

7th BENGALURU INT FILM FEST: A ROADMAP TO GOOD CINEMA

thThe keynote of 7 BIFFES, 2014 could be

summed up in the preface by N.

Vidyashankar, the artistic Director, who

says: “Film festivals empower the viewer

to exercise his right to see what he wants

rather than what is thrust on him at the

market place.” Such “market place” is

unfortunately a hub centre for pulling the

rank and file to the poppycock and manky

movies, strong enough to corrupt general

culture. And thus in a way it massively

augments the responsibility of the festival

Directors of the world to hive off such film-

goers to the good taste of cinema that

stands for our cultural survival.

This year as a Jury Member of the Kannada thCinema, 7 BIFFES, held between Dec 5

and 11, 2014, I could discover very good

Kannada cinema, made out of huge

commitment of the directors as well as

government efforts to promote them at

the best festival avenues. Nearly ten

Kannada films were put in the competitive

section and incidentally some of them

have emerged luminously with absolute

humanism and power over the visual

medium. No doubt, a slew of films out of

ten looked awful and lack, to be candid,

sense of cinema and seem to be made with

an eye to marshal more greens, more

returns by stupefying the public.

Yet the films I have appreciated

include December 1 by P.Seshadri,

Prakruti / Nature by Panchakshari, Agasi

P a r l o u r / S a l o n a t t h e F o r t b y

Mahantesh Ramdurg and Hajj by Nikhil

Manjoo. In December 1, we are taken to

the village of Basupura that is gearing up

for the Chief Minister ’s visit on st1 December. The director, from the

beginning, sparks off the tempo over the

official schedule of staying overnight at

Madevappas’s house. The glitzy show for

the villagers put him in high doubt.

From here Seshadri shows how a CM’s

By Pradip Biswas, Jury Member International Film Festival of India and Jury Member Fribourg

International Film Festival, Swiss and Curator International Film Festivals

proposed visit could upturn ground reality

that finally evaporates after the CM’s visit.

The poor family, suddenly tossed up to a

first grade life scale, flutters again into the

existential low marginal life, unbearable,

wrought with pathos and grimness. It is a

rare film that visualizes the uprooting of

marginal people, being represented by

Madevappa and his poor destiny. Seshadri

probes within the wrought-out fabric of

the doomed villagers and shows to what

extent our political mockery has invested

our society with greater malaise. The film

is a not only a manifestation of realistic

l o o k ove r a c t u a l s o c i o - p o l i t i ca l

atmosphere but also parades the

directional prowess of the director.

Seshadri probes within the wrought-out

fabric of the doomed villagers and shows

to what extent our political mockery has

invested our society with greater malaise.

The film is a not only a manifestation of

realistic look over actual socio-political

atmosphere but also parades the

directional prowess of the director.

Prakruti/Nature directed by Panchakshari

is equally a strong film that fortifies the

truth we live with. It narrates a story set in

independence era about a farmer

Sankappayya and his shaken family. The

protagonist’s spoilt son Nani, and his

daughter Lakshmi, driven away from her

in-laws, virtually impair and destroy

Sankappayya’s passion for growing sweet

lemons. It looks doomed against the

backdrop of assuming Lakshmi as

Goddess. It may recalled here that in

Satyajit Ray’s film DEVI (1960), the father-

in-law takes his son’s wife as Devi as she

appears to be so in a dream, leading her to

commit suicide. Sankappaya’s worries,

poverty, cunning trick of the government

officials to post a TV tower for propagation

over his land has come as a bolt from the

blue. Reasons and counter reasons, spats,

courts, law-keeping body – all seem to

have petrified the marginal farmer to

ruination. The story, though of a pre-

independence time, has a contemporary

resonance and appeal. The film has been

invested with topical sensibility. It is not

hunky-dory to make a film like this on a

story authored by the legendary

U.R.Ananthamurthy. Treatment makes the

film a subject of pride. Pre and post

independent India is in no way different

and seems to perpetuate the domination

of the plutocrats which is so evident even

now, even today.

The director Mahantesh Ramdurg tackles

another tale of a poor barber Haddapa

who, like previous marginalized families,

goes from bad to worse with the change of

time and new technology. As such

Haddapa lives by hand in mouth along with

his wife. He is rather happy with his

surroundings, his fellow people gathering,

playing cards, running tea stalls; it is like a

small community with the most ordinary

living and thinking. But a sudden change of

fate caused by his friends moving away. As

the tea stall owner moves away and makes

the haircutting salon empty. Days go by but

there is no new customer. And old

customers nearly abandon Haddappa’s

primitive, conventional hair cutting salon

forcing him to leave the old place he lived

with head held high. Thus a tragic note is

struck abruptly.

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November -December 2014

4

th7 BIFFes 2014 Award Winners

www.biffes.in

November -December 2014

5

th`7 BIFFes – World In Bengaluru` movie stills

November -December 2014

6

7th Bengaluru Intl. Film Festival - a great success!

Curtains rolled down on the 7th Bengaluru

Intl. Film Festival (7th BIFFES) with the

conferring of Awards to winners of Asian,

Indian and Kannada Competition films on

the evening of 11th Dec.2014 by H.E., the

Governor of Karnataka. The Kannada film

industry was the happiest since as many as

five Awards were bagged by the Kannada

films in the Festival. th

The bright feature of 7 BIFFes is, 8 out of

the 10 award wining films were made by

debutant directors.

The 7th edition of the Festival (7th BIFFES)

which was held from Dec. 4 to 11, 2014 was

a resounding success with the screening of

170 films from across 44 countries through

11 screens. Close to 20 international

delegates and over 50 filmmakers from

across the country participated in the

seven day long Festival with close to 2000

audience members for each show. Apart

from the films shown in the Competition

and Cinema of the World sections, special

sections like thematic study on Gender

Violence, Tributes to eminent writers such

as Dr. U.R. Ananthamurthy and ace

Cinematographer Sri V.K. Murthy,

retrospectives were also held. Also

featured in the festival were FIPRESCI and

NETPAC award winning films. Both

contemporar y f i lms and c lass ics

contributed to the Festival a sound and

multi-dimensional content.

The Artistic Dept. of the Festival had taken

pains to pool a collection of films that have

won awards at major International Film

Festivals such as Berlin, Cannes, Karlovy

Vary, Moscow, Venice, Toronto, Locarno

and Bengaluru's ardent film lovers did not

miss this rare opportunity. Films made by

world renowned filmmakers such as Zhang

Yimou, Jean Luc Godard, Ken Loach,

Krzysztof Zanussi, Phillip Noyce, Nuri Bilge

Ceylan, Robert Bresson, Jacques Tati and

others were screened during the Festival.

This year's highlight was the presentation

of a bunch of highly acclaimed Asian films

from Iran, Pakistan, Korea, Japan,

Kazakhstan, Phillipines, Bangladesh, Sri

Lanka and others.

With many sections in the Festival, each

dedicated to a trend or Director or

Technician or genre, the idea was to present

to the cinelovers the entire gamut of

creative film making and bring them face to

face with the history and the contemporary

trends in international cinema. Towards the

end, the Festival has achieved its purpose

and the films that were screened not only

inspired the filmmakers but also enthralled

the film lovers.

The academic content of the Festival was

upgraded with the successful Master

Classes, seminars and Open Forum

interactions with the filmmakers for the

benefit of film professionals, discerning

audiences and students on different

aspects of cinema. Many filmmakers came

down to the city along with their films and

participated in these interactive sessions.

The panel of young directors to discuss new

age cinema was a big hit, as was the

discussion on platforms for short films and

makers to showcase their talent. A seminar

was also held on the challenges for

Contemporary Kannada Cinema.

Master Classes on Cinematography using

the texts of 5 pioneering Indian Cinemato-

graphers of yesteryears - Josef Wirsching,

Babubhai Mistry, Marcus Batley, Subroto

Mitra and V.K. Murthy was conducted by

eminent Cinematographers Shri Govind

Nihalani, G.S. Bhaskar and their team. An

interactive session on an international

project initiated by Goethe Institute on

gender, migration and identity was held

with short films and videos as texts. As part

of the Fest ival , an exhibit ion of

photographs of some of the surviving single

screen cinema halls of India was held at

Maxmueller Bhavan in Indiranagar. A rare

experiment of live music for a full length

animation film was also presented by two

musicians from Germany at the Freedom

Park.

BIFFES chose to focus on Gender Violence

with six powerful films which drew record

audience. The films screened included The

Stoning of Soraya, Osama, Mission Rape,

Oblivion, Magdelene Sisters and the

Paternal House. The audience reaction to

the movies was overwhelming. People

either left reflective, silent or in tears. An

interactive session organised by the

Janavadi Mahila Sanghatane saw a special

interest audience that was keen on probing

issues relating to gender.

Apart from the dedicated team of

Organisers led by the Festival Artistic

Director Sri N. Vidyashankar and Deputy

Artistic Director Sri Anand Varadaraj, who

left no stone unturned in making the

festival a successful one, ample support

was extended by Sri Rajendra Singh Babu,

the Chairman of KCA and his team as well as

the officials of the Dept. of Information and

Public Relations led by its Director Sri N.R.

Vishukumar. The team of enthusiastic and

young student volunteers received much

appreciation from film enthusiasts. The

Festival not only attracted the youth, but

also drew a sizeable number of senior

citizens. Owing to the demand from the

Delegates, there were repeated screenings

for some outstanding films.

It is through these Film Festivals that people

are exposed to different cultures, lifestyles,

political, social and economic conditions

around the world. They also are made

aware of countries which they had not

heard much of earlier, like Ethiopia,

Mauritania, Slovakia, Serbia, Kazakhsthan

and so on. Cinema has a universal language

and it connects people emotionally and

helps to share human experiences beyond

their boundaries of cultures. Over the

years, this Festival too, like its predecessors

has created a niche for itself through its

sheer quality content, among the cinema

lovers of Bengaluru. As the curtain came

down on the 7th BIFFES on December 11,

2014, it has been firmly established as a

special Bengaluru event which cine-lovers

look forward to year after year and

Bengaluru has emerged as a premier

International Film Festival destination of

India.

B.S. Manohar

November -December 2014

7

Let's Face it: THE INTERVIEW is Yet Another Start

Even as I type this, I check the internet to read this article online

from Geek, which flies the headline: 'Sony's Success with THE

INTERVIEW Won't Change the Way Movies are Released'. Well, it

all depends on the question: "Will not change for how long?"

Remember the denials over the takeover of 35 mm by digital

cinema? That was not so long ago was it? It all happened sooner

than anyone anticipated.

The distribution game is going to change, inexorably and totally,

and sooner than later. The Interview, the political comedy directed

by Seth Rogen and Evan Goldberg, with a couple journalists on a

mission to assassinate North Korean leader Kim Jong-un after

getting an interview appointment, has already become "Sony's

highest grossing online release ever, taking in $15 million in online

rentals, as well as $2.8million from 331 theaters since opening on

Christmas Day," according to news reports. The film was made

with a budget of about $45 million.

The film has clearly been helped by widely-publicised tantrums by

the North Korean ruler against the film and a forced internet

shutdown in his country, but there is no denying that the age of

digital cinema is not only in and entrenched technologically, in

terms of production, post-production and viewing, but is also

forcing the much-expected paradigm shift in distribution.

After many hiccups and braving threats by anonymous hackers,

Sony partnered with Google and Microsoft for the online launch.

Sony has also made the movie available online via YouTube, Xbox

Video and Google Play. It has so far realised only $3 million from

box office sales but that it because major theatrical chains of the

US - Regal Entertainment Group, AMC Entertainment Holdings

Inc., Cinemark Holdings Inc. and Carmike Cinemas Inc. - pulled out

of the release contracts. The film was then offered to a grateful

and surprised set of independent, small movie houses.

It is somewhat astonishing that the movie eventually has

managed to gross as much as that till the weekend, given that the

hacking group, 'Guardians of Peace', scared off the big theatre

chains by breaking into Sony's computer network and releasing

confidential corporate and personnel information. In a reality

twist that's curiouser than fiction, "FBI has linked the hacking

group to North Korea," says another news report. It's all

happening for the movie, but there is yet plenty to recover,

because the company has spent another $35 million to market the

film.

Even if we must accept that The Interview is a success because of a

unique coming together of real politics, current affairs and media

hype about its online release, we cannot deny that this is a

demonstration, a harbinger of a new era of digital and online

distribution. Let us not forget that it was only a little over 10 years

ago that George Lucas

defied conventions and cabals to launch the age of digital cinema.

In 2002, Star Wars: Episode II-Attack of the Clones was the first big

movie to be shot entirely on digital video. Back then, the problem

was not just distribution, but also exhibition. The digital footage

had to be converted to 35 mm print. Seems funny, to look back.

One journalist at LA International Airport apparently asked Sony

Pictures Co-Chairman Amy Pascal if The Interview "would change

the way Hollywood released movies?" She said: "No, I don't

know." Clearly, though, she "hopes so" and on that hope rides a

new generation of filmmakers who will look to break free from the

clutches of the global distribution system. In one interview, a film

historian has sounded caution: "Studios are not going to invest

that kind of money for this potential return." Yet, he added: "It

shows that video on demand is a viable medium.“

Just imagine what the scenario could be in India if the online

digital video, with secure coding to prevent hacking and a viable

payment system could be evolved over the next few years?

Whatever be our own concerns about digital cinema, there is a

very, very urgent need for every single person in the movie

business to think about what these changes could mean to our

own creativity, craft and careers.

We have already seen how digital cinema has completely

transformed both production and exhibition, Even small and

experimental filmmakers don't hesitate to use two or more

cameras for their low-budget films. Bollywood has just about

completely switched over to sync sound. This has changed not

only the way scripts are shot, but also how they get written, who

gets cast and where the films are shot. The camera and lights are

easily moving into kitchens and bedrooms and representing life

and lives in location and character that could never have been

possible a decade ago.

- Prakash Belawadi

November -December 2014

Bollywood ban on female makeup artists to be declared unlawful

India’s supreme court justices say rule enforced by film industry union for almost 60 years is illegal

For some it is a small revolution. For others,

a minor victory in a long drawn-out war of

attrition.

India’s supreme court is to end a 59-year-

old de facto ban on women working as

makeup specialists on Bollywood film sets.

The change is the result of a five-year legal

campaign by Charu Khurana, a makeup

artist from Delhi.

“Somebody had to take the initiative. This is

the 21st century. All over India women are

joining all spheres on an equal footing,” the

32-year-old said.

The regulation, which has no legal basis,

had been maintained to protect the jobs of

male makeup artists, film workers’ unions

have admitted. Women are permitted to be

hairdressers, with a series of further

restrictions on where and when they can

work, but not makeup artists.

Khurana filed a private petition, claiming

discrimination. Comments by the judges at

a hearing last week indicated they agreed.

“Why should only a male artist be allowed

to put on makeup? How can it be said that

only men can be makeup artists and women

can be hairdressers? We don’t see a reason

to prohibit a woman from becoming a

makeup artist if she is qualified … We are in

2014, not in 1935,” Justices Dipak Misra and

UU Lalit were reported as saying.

Khurana’s effort is one of many by

campaigners trying to force new freedoms

for women in what is still a deeply

conservative society. She launched her

campaign after being fired and forced to

pay a 25,000-rupee fine to the union after a

raid on the set of a film she was working on

as a makeup artist.

India’s £1.3bn film industry is the largest in

world by ticket sales, producing between

300 to 325 movies a year. Although there

are no official figures, trade analysts say the

Hindi-language industry, which is based in

Mumbai, employs more than 250,000

people, most of them contract workers.

In terms of its product and structure,

Bollywood is said to represent and reinforce

contemporary India’s concerns, dreams and

values.

“When I started going to sets there were

often only four women: the leading actress,

her mum, the hairdresser and me. There is a

huge change. It really is a reflection of the

new India,” said Anupama Chopra, a

Mumbai-based film critic and expert.

But if women were working as composers,

cinematographers and “in other previously

all-male bastions”, top level jobs remained

the preserve of men with only one female

studio owner, she added. There is also a

significant gap in pay for male and female

stars, with many men now co-producing

films while women tend to be “hired”.

Advaita Kala, one of the few younger

women who are successful writers in the

industry, said changes such as allowing

female makeup artists indicated progress

but there “was a long way to go”. “This year

there have been a number of films with

female lead [characters] and that’s a first.

Usually you are lucky if there is one. It’s still

very much a boys’ club,” Kala said.

Many major Bollywood films still feature an

“item girl” – a female star who has no

connection to the plot who performs a

dance routine.

“Only [in India] would the term ‘item girl’

find legitimacy. Cinema is still dominated by

the male gaze. Our films are feeding us the

idea of objectification as empowerment.

There are still lots of battles to fight,” said

Kala.

A recent United Nations-sponsored survey

analysed gender roles in popular films

released across the 10 most profitable

territories internationally between 2010

and 2013. It found a higher than average

level of female characters in Indian movies

shown semi-nude, with few women in

significant speaking roles or portrayed

working. In India, out of a sample size of 12

scientific or engineering jobs portrayed in

Bollywood films, 91.7 per cent where held

by men.

Globally, the report said, girls and women

are twice as likely as boys and men to be

shown in sexually revealing clothing,

partially or fully naked, thin, and five times

as likely to be referenced as attractive.

In India there were more than six men

working in the film industry to every one

woman. This was, however, a better ratio

than in France, Russia and Japan. Kharana’s

campaign to overturn the ban on women

makeup artists has received widespread

support.

“If a person, male or female, has the right

talent then he or she should be allowed to

work and earn here,” said Subhash Shinde,

a leading male makeup artist in Bollywood.

But Sharad Shelar, president of the makeup

artist section of the Cine Costume Make-up

Artists and Hair Dressers Association,

defended the ban.

“It’s just one lady who has a problem with

our union rules. We haven’t seen any such

protest from anyone else,” he said. “We are

not against anyone, we want all of us to

survive and work here. We have females

working in Bollywood since last 55 years, as

hair stylists. Why let any single person do all

the jobs and affect other workers?”

By Jason Burke

(source: The Guardian)

8November -December 2014

9

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November -December 2014

10

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Enrique Vila-Matas (ºÀÄlÄÖ ªÀiÁZÀð 31, 1948, gÀ°è §¨Ájì¯ÉÆãÀ) ̧ Éáä£À ̧ ÀªÀÄPÁ°Ã£À CvÀåAvÀ ¥Àæw¶ÖvÀ ªÀÄÆ® ¯ÉÃRPÀgÀ°è FvÀ£ÀÆ M§â. FvÀ ¢ÃWÀð ºÁUÀÆ CvÀåvÀÛªÀÄ ¸Á»vÀå gÀZÀ£ÀPÁgÀ£ÁV

ºÉ¸ÀgÀÄ UÀ½¹zÁÝ£É. ºÀ®ªÁgÀÄ ¥Àæ±À¹ÛUÀ½UÉ ¨sÁd£À £ÁVgÀĪÀ FvÀ ºÀ®ªÁgÀÄ ¥ÀæPÁgÀUÀ¼À°è ¥ÀĸÀÛPÀUÀ¼À£ÀÄß ¥ÀæPÀn¹zÁÝ£É. FvÀ£À ¥Àæ¸ÀÄÛvÀ “¨Álð°© CAqï PÀA.” PÁzÀA§jAiÀÄ°è M§â UÀĪÀiÁ¸ÀÛ £ÀªÀÄä£ÀÄß ®ªÀ®«PÉAiÀÄ ¸Á»vÀåzÀ ¥Àæ¥ÀAZÀzÀ ¥ÀgÀål£À ªÀiÁr¸ÀÄvÁÛ£É

I n B a r t l e b y & C o . , a n enormously enjoyable novel, Enrique Vila-Matas tackles the theme of silence in literature: the writers and non-writers who, like the scrivener Bartleby of the Herman Melville story, in answer to any question or demand, replies: "I would prefer

not to." Addressing such "artists of refusal" as Robert Walser, Robert Musil, Arthur Rimbaud, Marcel Duchamp, Herman Melville, and J. D. Salinger, Bartleby & Co.could be described as a meditation: a walking tour through the annals of literature. Written as a series of footnotes (a non-work itself), Bartlebyembarks on such questions as why do we write, why do we exist? The answer lies in the novel itself: told from the point of view of a hermetic hunchback who has no luck with women, and is himself unable to write,Bartleby is utterly engaging, a work of profound and philosophical beauty.

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November -December 2014

11

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G½zÀ¨sÁUÀ ªÀÄÄA¢£À ¸ÀAaPÉAiÀÄ°è

November -December 2014

12

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.

Ph

oto

Co

urt

esy:

Sri

ha

ri

Sun 25 Jan 2015 | 6:30 PM

The film depicts the struggles of youth and their disillusionment with a socialist Indian society in general. Centering around three educated but unemployed youth trying to earn a living, the story touches several aspects of Indian social norms of the period.

Varumayin Niram Sivappu Dir.: K. Balachander

1980 | 138 min

Mon 26 Jan 2015 | 6:30 PMSat 24 Jan 2015 | 6:30 PM

Mariachi Gringo Dir Tom Gustafson

2012 | 107 min| Mexico

Mariachi Gringo portrays the life of Edward (Shawn Ashmore), a young American man living in a small town. His days seem to make no sense until he meets Albert, an old Mexican who in his youth was mariachi. Edward soon find passion in traditional Mexican music and travels to Guadalajara, Mexico, with one goal: to become Mariachi. On his journey he will learn along the way that to achieve your dreams you have to sacrifice many things. On the way he will find himself loving two beautiful girls, Lilia (Martha Higareda) and Sophia (Lila Downs), a feeling that will take him to places he never imagined. Mariachi Gringo explores, through music, the pursuit of a dream -- despite cultural barriers, and personal, social and geographical boundaries.

Andres reaches the Mexican border to cross into the United Sates. There between each attempt, he discovers that Tijuana is a troubled city. As he waits there, Andres is not only confronted with his feelings and what he left behind, but also with those he meets.

NORTHLESS (Norteado)

Dir:Rigoberto Pérezcano|94 min |2009|Mexico

November -December 2014

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

Mexican & Italian Film Festival at Suchitra In collaboration with FFSI & FFSI (SR) Screening on 24,26,31 Jan and 1 Feb 2015

Sun 1 Feb 2015 | 6-30 PM

La leggenda del santo bevitore tells the story

of a drunken homeless man (played by Rutger

Hauer) in Paris who is lent 200 francs by a

stranger as long as he promises to repay it to a

local church when he can afford to; the film

depicts the man's constant frustrations as he

attempts to do so. Stylistically the film is

perhaps the most mature of E. Olmi, certainly

the most refined: its Paris landscape of the

soul, is extraordinary. It is based on the 1939

novella by the Austrian novelist, Joseph Roth.

The film depicts the struggles of youth and

their disillusionment with a socialist Indian

society in general. Centering around three

educated but unemployed youth trying to

earn a living, the story touches several aspects

of Indian social norms of the period.

THE LEGEND OF THE HOLY DRINKER(La Leggenda Del Santo Bevitore)

Dir.: Ermanno Olmi| 1988 | 127mins|Italy

Sat 17 Jan 2015 | 7:00 PM

Filmmaker Hubertus Siegert profiles the German capital's radical reconstruction since 1989..Courtesy : Goethe Institut.

Berlin BabylonDir.:Hubertus Siegert |2001 | 88 mins |

Documentary| Germany

Sat 31 Jan 2015 | 7:00 PM

This is the story of the sexual awakening of

Mingo, a young man with certain level of

mental retardation; he is charismatic and an

imaginative poet. His new condition of good

lover, will bring him the same popularity and

problems. Little by little, the plot will unveil

the false morality of a town blinded by its

prejudices.

THE HALF OF THE WORLD(La Mitad Del Mundo)

Dir.:Jaime Ruiz Ibáñez |2009 | 92 mins |Mexico

OBITUARY

VEENA PAANI CHAWLA 1947-2014