The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  It is on Sardar Gurcharan Singh who, after having started in pottery, simply to earn a living, discovered quite early in life, that it could become a medium of serious artistic expression like painting, sculpture and various branches of graphics. Nirmal Chander, also did sixty to seventy per cent of the camerawork- two others, namely the highly talented veteran Ranjan Palit  and K Nanda Kumar also did stints  behind the camera, a digital  Sony F S 5.  The beautiful visually consistent look that lent an emotional unity to the documentary, was achieved through subtle, painstaking colour correction. This 71-minute work on the life of an artist, who rose from becoming an artisan of ever- increasing competence to expressing his personality in clay with as much integrity as others working in other ‘officially’ recognised areas of visual expression gives the viewer an opportunity to enter his deceptively simple world.
<img alt="WhatsApp-Image-2023-08-01-at-1.31.11-PM.jpeg" src="https://strapi.bangalore2.com/uploads/Whats_App_Image_2023_08_01_at_1_31_11_PM_dc9e021a1b.jpeg" />
Sardar Gurcharan Singh
The director, who started his project in 2019, was hampered by the wholly unforeseeable appearance of the Covid Pandemic, and the absence of the artist; he had passed on at the age of 99 in 1995. Through sheer grit and intrinsic artistic intelligence, Chander managed to create a wholly satisfying portrait   of Sardar Gurcharan Singh, who, single-handed, raised pottery to a form of artistic expression, and that of a warm hearted, giving person who lived in the everyday world with simplicity and grace, giving freely of himself and his work to hundreds of students, over three generations and also people who came to him for material help.
<img alt="POTS-MADE-IN-INDIA-01900.jpg" src="https://strapi.bangalore2.com/uploads/POTS_MADE_IN_INDIA_01900_4bdd6f5aea.jpg" />
Pottery art by Sardar Gurcharan Singh
The making of the documentary involved enormous amounts of work during the research, the preparation period, identifying Gurcharan Singh’s work that was to be found all over India and also abroad, photographing them to satisfaction ,identifying and interviewing people connected with his work as well as his family,  going to Japan, where Gurcharan Singh studied  pottery  at the Higher  Technical School in Tokyo from !919 to 1922,  collecting archival material, mainly photos of the subject, alone and with others, apart from photographs of Delhi and Andretta, Tokyo. Nirmal Chander and Reena Mohan, his wife and co-editor of the film, through sheer persistence and faith in the work and backed by the consistent, generous support of Delhi Blue Pottery Trust, also the Producers of the venture got to make The Lotus and the Swan in an aesthetically satisfying way.
Gurcharan Singh’s life was a curious mixture of the ordinary and the extraordinary. He began by studying Geology, which,according to his son, Mansimran Singh, aka ‘Mini’, also a well- regarded potter/ceramist,’’led to his qualitative understanding of ores and minerals.’’ ( Prarthana Asija, conversation with Mansimran Singh) when studying in Tokyo he met fellow ceramists  Bernard Leach,Kenkichi Tomimoto, Shoji Hamada, Kanjiro Kawai, all of whom destined to make a name for themselves in their chosen metier. Gurcharan, also held his first exhibition, when in Tokyo. It was then, he began to be aware of the conflict between pottery being a source of livelihood and a form of self-expression.  He overcame these hurdles with humility, confidence and hard work, as if they were a given in this art called living.  The Lotus and the Swan expresses these aspects of his life effortlessly.
<img alt="PHOTO-3-scaled.jpg" src="https://strapi.bangalore2.com/uploads/PHOTO_3_scaled_c9b392d552.jpg" />
He joined Ram Singh Kabuli, his father’s friend, in Delhi Potteries in 1919, learning to make bricks. It was there that pottery captured his imagination. Watching Pathan potters at work, particularly Abdullah, whom he respected and who remained an associate till late in life, well after Gurcharan Singh had started his own set up, Delhi Blue Pottery in 1952. It was this sense of loyalty and fair play towards the people who may have helped at crucial times in his life that earned him the love and respect of all those who worked with him or were his students. These aspects of his life as well as his generosity in sharing his hard-earned knowledge of pottery/ceramics with others for the larger cause of the art itself gave him an exceptional stature; Chander,  and co-editor of the work Reena Mohan, captured them with absolute ease.
<img alt="PHOTO-2-3-scaled.jpg" src="https://strapi.bangalore2.com/uploads/PHOTO_2_3_scaled_8a4c83eba4.jpg" />
With most of the shooting done, it dawned upon the director and his co-producer that the film would acquire muscle and blood only after shooting some crucial sequences in Japan, covering his apprenticeship at the Higher Technical School in Tokyo and his auspicious beginning as an artisan-artist. Two important interviews with Prof. Yuko, an expert on the Mingai Movement, that gave  precedence to hand-made objects of everyday use, primarily in ceramics, created by ordinary amateurs (of talent) over those by  professionals having access to factories, and, another with Prof. Hashimoto, a professor of Letters,  give credence to Gurcharan Singh’s decision  to choose studio pottery over mass produced works, as the right one.
<img alt="POTS-MADE-IN-INDIA-020-1.jpg" src="https://strapi.bangalore2.com/uploads/POTS_MADE_IN_INDIA_020_1_f0fb90f6ba.jpg" />
On his return to India and work at Delhi Potteries, he was unhappy. It was difficult to just  earn his living, knowing that he could make beautiful objects as a studio potter. In Ambala, after  the Partition in 1947, he worked as  Superintendent of the Pottery Training Centre, thus ensuring a regular income. He retired in 1952, came back to Delhi after years with his mentor Abdullah to start Delhi Blue Pottery.  ‘’He used stoneware clay body and high temperature glazes, fired at 1300 degree centigrade in coal kilns. He supported himself by making glazed tiles and ceramic lattices which were bought by architects in Delhi.’’ (Indian Ceramic Art Foundation). A word about the blue colour that made him famous. Its origins were in Persian Blue, which came in three shades, the most sensual being the one that most resembled the colour of Lapiz- lazuli, a semi-precious stone used in jewellery. The Blue tone, he formulated to use in ceramic creations, became his visual signature, though, he also used other colours with flair in his very many creations. The lotus, an often seen motif in his work, came probably from his appreciation of its curving lines, Its arabesques. The curves of a swan in motion inspired him to add it as a motif to some of his creations.
The Japan shots of Tokyo Technical University, College of Liberal Arts, Osaka, Kanazawa,Nara Temple, and various street scenes are lovely to look at and add a nimbus to the story of Gurcharan Singh’s becoming the realised artist, modest, despite considerable achievement. The images of present- day Japan intercut with archival photographs, and some documents give a clear idea of how he evolved as a ceramic artist, how his sensibility was gradually shaped into understanding that a utilitarian calling like pottery could become an art form to be taken as seriously as painting, sculpture and drawing.
<img alt="PHOTO-5-scaled.jpg" src="https://strapi.bangalore2.com/uploads/PHOTO_5_scaled_25bd047d94.jpg" />
The are very many people who talk on camera about Gurcharan Singh affectionately called ‘Daddyji’ since his association with Delhi Blue Pottery which began in 1952. This was probably because of his protective, fatherly personality. All his life, since his return to India in 1922, he had shown a distinct ability to bring like-minded people together to serve a common cause, that of Studio Pottery.   Those of whom felt at ease in his protective, nurturing presence, called him ‘Daddyji’ spontaneously.  There is a lot of talk about ‘Daddyji’ and his kindness and generosity as a teacher and many students like the well- regarded ceramic artist Deepali Daroze speak about the necessity he felt of passing hard-earned knowledge of the craft of pottery to aspiring potters.  He talked her into teaching more students at the studio -school than was possible due to a lack of manpower. Nobody could say ‘no’ to him because he led by personal example.
Chander manages quite a feat by marshalling a plethora of facts about Gurcharan Singh’s life, achievements; the honours he received including a Padma Shri from the Government of India, the appreciation of artists here and abroad; his struggles-the government suddenly in 1986, decided to take away a sizeable portion of the land allotted to him for his kiln and studio, on Ring Road, Delhi thus cramping his working space – into a compelling narrative. However, the spoken word does not dominate the film, because there are plenty of examples of the artists’ work judiciously juxtaposed and sensitively photographed to bring out their beauty. What remains in the memory, as a result, is this touching visual experience of a pioneering artist’s work and his life of struggle and fulfilment.
<img alt="KSFE_ad-1024x1024.webp" src="https://strapi.bangalore2.com/uploads/KSFE_ad_1024x1024_5a7c6970db.webp" />

unnamed-3.jpg

The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker. 

The Lotus and the Swan - A Television Documentary on Gurcharan Singh by Nirmal Chander

The AIDEM ExclusiveWhen falsity walks the streets, even art and literature cannot be free of it. Stories do not just happen; they are often concocted. When the trailer of the movie The Kerala Story was released last November, it was pointed out that the movie belongs to the genre of concoction. The trailer of the movie that conjures up false and spurious allegations about Kerala society was not officially censored at the point of its release. This fact was revealed by none other than the Central Board of Film Certification (CBFC) itself. The revelation appeared in the official reply to a Right to Information (RTI) query that the Chennai-based television anchor B.R. Aravindakshan filed with the CBFC. On February 23, 2023, he filed his RTI application asking the Censor Board if the trailer had been duly scrutinized and certified. The reply from the Censor Board on March 16, 2023 unequivocally makes it clear that the trailer did not undergo its due diligence. It also suggested that the complainant could approach the Appellate Authority of the CBFC in case he wanted to take any further step on the matter.Now the movie’s posters have appeared carrying May 5 as the date of release. Sudipto Sen is the director of the movie made under the banner of Sunshine Pictures. Yet another trailer of The Kerala Story is also out now depicting Kerala as a haven for Muslim terrorists.<img src="https://strapi.bangalore2.com/uploads/Fui_Vvwfac_A_Axvd_A_768x1024_1_c0c1f5073b.jpg" alt="FuiVvwfacAAxvdA-768x1024 (1).jpg"> Promotional Poster for the filmThe movie, claiming to be a depiction of real events, allegedly propagates misinformation about Kerala and its society_ a fact that was pointed out even as the film was being shot. Its story revolves around the lives of four women protagonists. One of them is Shalini Unnikrishnan, a nurse who has chosen the path of service to the public. She gets trapped in the vicious network of the ISIS, a Muslim terrorist organisation, and is forcibly converted to Islam. Her name is changed to Fathima Baa and she is imprisoned in an Afghan jail after joining the ISIS terrorist group. The actress, Ada Sharma is cast as Shalini. Yogitha Bihani, Sonia Balani, and Siddhi Idani portray the other three girls.The film depicts Kerala as a place where people are regularly recruited by terrorist organisations and raises a grave allegation that 32,000 women of Kerala were recruited by ISIS terrorists into their fold. The director, Sudipto Sen reportedly arrived at this conclusion by seriously misrepresenting a few statements made by two political leaders and ex-Chief Ministers of Kerala, Ommen Chandy (INC) and V.S. Achuthanandan (CPIM). In an interview with City Media in 2021, Sudipto Sen reportedly said that he got the figure of 32,000 from a statement made by Ommen Chandi in 2010 in the Kerala Legislative Assembly. <img src="https://strapi.bangalore2.com/uploads/rti_1_b8ad44e90b.jpg" alt="rti (1).jpg">Response received for RTI ApplicationThe truth is not anywhere close to the above. On June 25, 2021, Ommen Chandi informed the Kerala Legislative Assembly that between 2006 and 2021, 2667 individuals had converted to Islam in Kerala. Nowhere in this reply was a mention of ISIS. The teaser of the film manipulatively uses in it a statement by V.S. Achuthanandan about Popular Front, a recently banned Muslim outfit. Also, in the teaser where the words of V.S. Achuthanandan are heard, the subtitles read an entirely different translation, with no connection to the original words. Alt News, a fact-checking website at that time, asked Sudipto Sen to correct this mistake but he did not bother to follow it up.A documentary titled, ‘In the Name of Love’ directed by Sudipto Sen came out in 2018 and dealt with the same theme as the new feature film. This documentary had as its key narrative, stories of Hindu and Christian women getting converted to Islam by foul means and sent to countries having a terrorist presence. The documentary when screened at Jawaharlal Nehru University (JNU) caused quite a commotion, eventually squeezing out an apologetic explanation from the director that the film was not about ‘Love Jihad’.On February 4,2020 Benny Behanan, Lok Sabha member from Kerala had raised a pointed question in parliament regarding the allegations that ‘Love Jihad’ is widespread in his South Indian State. Responding to his question, G.Kishan Reddy, Minister of State for Home Affairs in the Narendra Modi led Bharatiya Janata Party ( BJP) government stated categorically that “no such case of ‘Love Jihad‘ has been reported by central agencies. He went on to add that the term ‘Love Jihad‘ is not defined under extant laws.<img src="https://strapi.bangalore2.com/uploads/sudipto_300x300_1_224bfea875.jpeg" alt="sudipto-300x300 (1).jpeg"> Sudipto Sen, DirectorMore recently, in November 2022 a three part RTI query seeking to know the facts on this issue was filed to the union Home ministry.The questions were the following –<ul><li>How many cases have been recorded so far of young Hindu girls from India being converted to Islam and sold to ISIS terror organisation? Please provide State wise details</li><li>How many Hindu community girls have converted to Islam and joined ISIS terror organisation? Please provide data from 2014 to 2022.</li><li>Does the Home Ministry keep track of how many Hindu girls from India are living as slaves in the ISIS terror organisation? If yes, then provide complete details about it.</li></ul>The Home Ministry gave a consolidated answer to these three queries stating that the required information is not available with the offices of the union Home Ministry. It went on to add that “Police” and “Public order” are State subjects as per the seventh schedule of the Constitution of India. It also said that the State police is the first responder in case of any criminal terrorist activity, including investigation, registration and prosecution of crimes and protection of life and property.Sudipto Sen has been quite vocal about his hatred of Communism. At the closing ceremony of the International Film Festival of India (IFFI) 2022, when Nadav Lapid, the Israel Film Maker and Jury Chairman, criticised the controversial movie Kashmir Files, Sudipto Sen was the only Jury member who opposed him.The JNU incident was seen by many as a manifestation of Sudipto Sen’s malice towards Kerala which stands as an island of secular grit even after the RSS-backed BJP won two consecutive elections at the national level. It was alleged that Sudipto was consciously trying to belittle and deprecate even Kerala’s well-documented achievements and present the sState as a society that appeases Muslim communalism.The Kerala Story has to be seen as a continuation of Sudipto’s false propaganda. The message that the teaser puts across blatantly is majority communalism backed by nothing but falsehoods and distortions. The movie’s posters say that it has versions in four languages which would be released simultaneously – Hindi, Tamil, Telugu, and Malayalam. Though it is mandatory to display the type of Censor Board certification of the movie (A, U, AU etc.) in all publicity materials, the posters do not have any such information displayed on them. This omission raises the serious doubt whether the film was properly scrutinized and certified by the CBFC. A more relevant question would be about the criteria by which this film was allowed to go to the public domain despite its gravely defamatory portrayal of the Kerala society which has the potential to provoke communal tensions.<img src="https://strapi.bangalore2.com/uploads/kerala_768x469_1_da12cc8197.jpg" alt="kerala-768x469 (1).jpg"> Promotional PosterThe Censor Board constituted a Film Publicity Screening Committee in 1990 April to preview and all the publicity materials of all feature films to check whether they contain indecency, overt violence, anti-women propaganda and so on. The committee has its headquarters in Mumbai and regional offices in Hyderabad, Bengaluru, Chennai, and Thiruvananthapuram. The reply given to Aravindakshan for his RTI query suggests that this committee did not preview or approve the trailer of The Kerala Story which was released in November last year.Soon after the first trailer was made public, Aravindakshan filed complaints against it with the CBFC as well as Kerala’s Chief Minister. A police case was reportedly filed on the basis of his complaint. With the date of the movie release being already announced, Aravindakshan is demanding further action on his complaint from the authorities concerned.<span style="-webkit-text-stroke-width:0px;display:inline !important;float:none;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">This article was originally published in Malayalam. Read<a style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-indent:0px;text-transform:none;transition:all 0.4s ease 0s;white-space:normal;widows:2;word-spacing:0px;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/kerala-story-film-releasing-without-censor-certificate/">here</a><span style="-webkit-text-stroke-width:0px;display:inline !important;float:none;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">.

Kerala-Story.jpg

When falsity walks the streets, even art and literature cannot be free of it. Stories do not just happen; they are often concocted. When the trailer of the movie The Kerala Story was released last November, it was pointed out that the movie belongs to the genre of concoction. 

The Kerala Story: A Movie, A Political Agenda, and a Conniving Censor Board

For a retired 60-plus film addict like me, over-the-top (OTT) releases are a blessing. Even before the pandemic had made theatre screenings impossible, getting to watch regional releases in Bangalore City where I stay, was problematic for me because of the odd timings of the shows even in the nearby theatres.Now, one can watch the latest releases sitting in front of the desktop, while having lunch or dinner or skipping the afternoon siesta. It is just great.And what a feast of really watchable movies that the Malayalam film industry is churning out without any of the “star” elements to attract you. A reason for watching them is: one is past the Mohanlal-Mammootty megastar attraction. The larger-than-life heroes have had their days of glory, I guess. But the bar has been raised. Whether the new trend has come about because of a fresh crop of scriptwriters and directors or because of the growing expectations of the more discerning viewers, the outcome is definitely good for Malayalam cinema.Frankly, when I sat down to watch Saudi Vellakka (2022), written and directed by Tharun Moorthy, the title gave me no clue as to what the film was about. Later, when one of the various Magistrates before whom the case was presented also appeared equally clueless, one was amused.<img src="https://strapi.bangalore2.com/uploads/Saudi_Vellakka_Malayalam_2022_20221215214205_500x500_1_d4d07aa8d3.jpg" alt="Saudi-Vellakka-Malayalam-2022-20221215214205-500x500-1.jpg">The story in a nutshell is literally just about that…a small fruit of the coconut, called ‘vellakka’ in those parts of Kerala, with which a group of lads were playing cricket using a part of the palm from as a bat, hits the forehead of an elderly woman, Ayesha Rawther, in the locality called Saudi. The kids were playing on the terrace of her neighbour Radhakrishnan with whom she has an ongoing feud. Incensed, she climbs up to the terrace and gives the kids a mouthful and a nice whack to the boy Abhilash, who is pointed out to her as the culprit. The kid’s front tooth, which had started to come loose before that whack, falls out, with a little bit of blood.Instigated by the neighbour, the kid’s father files an FIR in the police station, citing the the palm as the weapon with which the child was “assaulted”. Thus begins the case numbered CC 225/2009 and a 10-year-long court battle follows.The peg for the film is the fact that 47 million cases are pending unsolved in the Indian courts.Whoever was responsible for choosing Devi Varma to play the role of Ayesha Rawther deserves applause. Seemingly irritating in the initial scenes, she grows on you with each scene that unfolds. Even when the character she plays finds herself isolated from her family and left to fend for herself, she does not come across as a self-pitying, vulnerable, whiny old woman. Devi Varma plays the role with a perfection that leaves the viewer mightily impressed. Her slow gait, her body language and stoic expressions hiding her quiet determination, the slow smile that lights up her face when she gets a chance to make snacks for another group of children playing outside her new dwelling – all of these make her presence so hauntingly felt throughout the film. Her silence through most of the film adds to the power of her acting.All along, one finds the little nuances that constitute the warp and weft of a society – the wiliness of Radhakrishnan and his urge to offend and put the neighbour in her place; the unpleasantness that the old woman’s daughter-in-law exudes because of the sheer oppressiveness of her circumstances; the helplessness of the good-natured son Sathaar; the glory Britto’s good heart; the mixture of self-interest and compassion in the old woman’s lawyer; and the urge of Abhishek aka Kunjimon, whose fallen milk-tooth had set in motion the prolonged courtroom battle, to redeem himself when he is unwittingly made to bear the brunt of the pettiness of the elders.<img src="https://strapi.bangalore2.com/uploads/bg_saudi_vellaka_b8b955fb6f.jpg" alt="bg_saudi_vellaka.jpg">No frame seemed to be wasted. Their slickness and sequence makes the viewer feel part of the “everyday” ordinariness of life in the closely packed houses and narrow lanes of Saudi, the police station, the streets or the courtroom ambience. Each one of the actors, however small their character in the scheme of things, has played his/her role with remarkable conviction.Does the way the film ends appear improbable? But why should we harbour mistrust in the goodness of our fellow-beings? For me personally, that is what I took away from this film….the element of goodness in our fellow human beings is what has sustained us and will continue to sustain us.At one point, feeling desperately frustrated at the way things were moving against the old woman, Abhishek asks Britto, “This is all that human beings can be summed up as, isn’t it?The film ends with Britto’s clincher, “This is also what human beings amount to.”Ah! “Hope is that thing with feathers” as Emily Dickinson expressed it.<strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM"><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">YouTube</a><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq"><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">WhatsApp</a>

Soudhi-vellakka-1.jpg

For a retired 60-plus film addict like me, over-the-top (OTT) releases are a blessing. Even before the pandemic had made theatre screenings impossible, getting to watch regional releases in Bangalore City where I stay, was problematic for me because of the odd timings of the shows even in the nearby theatres. 

Saudi Vellakka: The Best of times & the worst of times

As the 27th IFFK kicks off, film lovers are in for a grand treat of 184 films from 70 countries. There is true global representation as films from literally every corner of the world are part of this year’s festival. Of these, 14 films are in the competition section, including 4 from India. For anyone attending a festival of such a big a scale there is bound to be confusion of which films one must watch. This is especially because many of them are yet to be screened outside the festival circuit and, therefore, very little information on them is available to the general public. There’s also the limitation of time as one can only watch so many films within a span of 8 days. To assist festival goers and cinephiles, here is a list of films that are the most awaited for various reasons and must not be missed. Some of these films have made big waves at major international film festivals and won coveted awards. Some of them are much awaited international and national premiers of films from regional and international filmmaking icons. Here, the list:1. Triangle of SadnessFrom Swedish filmmaker Ruben Östlund, Triangle of Sadness tells the story of a luxury cruise for the super rich sinking and its obscenely rich passengers trying to survive on an island. The film’s deep insights into the theme of class and wealth inequality along with its clever use of humour as a means to put forth criticism won it the prestigious Palm d’Or for best film at the Cannes Film festival 2022. The chances of one watching his film in an Indian theatre are rare. <img src="https://strapi.bangalore2.com/uploads/Triangle_of_Sadness_ee06fa4d1c.jpeg" alt="Triangle-of-Sadness.jpeg"> Triangle of Sadness2. Nanpakal Nerathu Mayakkam/ A mid-day dreamDirected by the maverick Lijo Jose Pellissery, Nanpakal Nerathu Mayakkam has its international premier at this year’s IFFK. Starring the legendary actor and superstar Mammooty, the film has been highly anticipated by fans across India since its announcement due to it being the first collaboration between the two icons. This is also Mammooty’s return to IFFK in a very long time. Significantly, Mammooty is the producer of this film which has been nominated for the international competition section. The story is about a man who lives a double life. <img src="https://strapi.bangalore2.com/uploads/Nanpakal_Nerathu_Mayakkam_f975dd68b6.jpeg" alt="Nanpakal-Nerathu-Mayakkam.jpeg"> Nanpakal Nerathu Mayakkam3. Decision to LeaveThe new film by the acclaimed Korean filmmaker Park Chan-Wook is a sensual love story. The plot follows a detective who goes to the mountains to investigate the death of a man and, in the process, falls in love with his mysterious wife. The film made waves at the 2022 Cannes Film festival and Park Chan-Wook received the award for the best director. From reports it is clear that Park is at the peak of his talent in this film and he has displayed many of his signature storytelling tools in it. <img src="https://strapi.bangalore2.com/uploads/Decision_to_Leave_4ad9b94307.jpeg" alt="Decision-to-Leave.jpeg"> Decision to Leave4. AriyippuAriyippu is having its Indian premier at IFFK 2022. It is the latest film from Mahesh Narayanan, the acclaimed editor and director. Ariyippu had received rave reviews and responses from multiple international film festivals. It was nominated for the Golden Leopard award at Locarno Film festival. The film stars Kunchacko Boban and Divyaprabha. Since Ariyippu is going to be released on Netflix later this year, IFFK is a golden chance to catch it in a theatre. The film tells the story of how the life of a Malayali couple working in Delhi during the Covid pandemic is turned upside down by the release of a sensitive and manipulated video in the factory they work. <img src="https://strapi.bangalore2.com/uploads/Ariyippu_3d42365a82.jpg" alt="Ariyippu.jpg"> Ariyippu5. Tori and LokitaTori and Lokita is the official opening film of IFFK 2022. It is directed by the Dardenne brothers. The film tells the story of two African immigrants in Belgium through Lokita and her younger brother Tori. It explores their emotional relationship and showcases the struggles and harsh realities of the life of immigrants in Europe. It was nominated for several awards, including the prestigious Palm d’Or and also took home the Cannes Film Festival’s special 75th anniversary award. <img src="https://strapi.bangalore2.com/uploads/Tori_and_Lokita_716x1024_37551be7b6.jpg" alt="Tori-and-Lokita-716x1024.jpg"> Tori and Lokita6. AutobiographyPerhaps this is the most influential film to come out of Indonesia. Directed by the debutant Makbul Mubarak, Autobiography was premiered at the Venice Film festival. It also managed to win the prestigious FIPRESCI award. The film explores the theme of how power corrupts an individual. It tells the story of the relationship between a retired military general and a young boy who is his housekeeper. Their toxic relationship is symbolic of what has happened to the people of Indonesia under military dictatorship. The film is a drama and a thriller. <img src="https://strapi.bangalore2.com/uploads/images_12_2686f498ce.jpeg" alt="images-12.jpeg"> autobiography7. Boy from HeavenBoy from Heaven is written and directed by Tarik Saleh. It tells the story of Adam, the son of a fisherman, who accepts an offer to study at the prestigious Al-Azhar University in Cairo, the capital of Egypt. Shortly after his arrival in Cairo, the Grand Imam of al-Azhar suddenly dies and a power struggle ensues. The film was nominated to compete for the prestigious Palm d’Or and also won the best screenplay award and the Francois Chalaise award at Cannes Film festival. It is also Sweden’s official entry to the Oscars. <img src="https://strapi.bangalore2.com/uploads/Boy_from_Heaven_7296e316ed.jpeg" alt="Boy-from-Heaven.jpeg"> Boy from Heaven8. AlcarrasThis Catalan language film by the Spanish director Carla Simon has been shot with non-professional actors. It won the Golden Bear Award for Best Film at the 2022 Berlin Film Festival. The film is also Spain’s official entry for this year’s Oscars in the Best International Film category. It has been screened in film festivals like San Sebastian and Sydney. The movie has been shot in Alcarez, Catalonia.It tells the story of the disappearance of an agricultural activist in a peach plantation. A powerful film, it deals with themes such as nature, politics and family. <img src="https://strapi.bangalore2.com/uploads/Alcarras_691x1024_96b363bf9f.jpg" alt="Alcarras-691x1024.jpg"> Alcarras9. Both Sides of the BladeBoth Sides of the Blade (formerly known in English as Fire) is a 2022 French romantic drama film directed by Claire Denis, who wrote the screenplay with Christine Angot. The film is based on Angot’s 2018 novel Un tournant de la vie. It had its world premiere at the 72nd Berlin International Film Festival, where it competed for the Golden Bear and Claire Denis received the Silver Bear for Best Director. It tells the story of a married woman who gets involved in a love triangle. It explores themes such as love, emotional intimacy, and loyalty. <img src="https://strapi.bangalore2.com/uploads/Both_Sides_of_the_Blade_706x1024_cafc921fdb.jpg" alt="Both-Sides-of-the-Blade-706x1024.jpg"> Both Sides of the Blade 10. VictimDirected by Michal Blasko, Victim is a Slovakian film. The events depicted in the film show how a single lie, arising out of a teenager’s embarrassment about the truth of the injuries he had sustained, can have unforeseen ramifications in the hands of xenophobic groups. This lie is woven into their constant hate propaganda against an outsider group. Victim is Slovakia’s official entry into the Oscars and explores themes that are globally relevant in the context of bigotry. <img src="https://strapi.bangalore2.com/uploads/MV_5_BM_2_Qz_YT_Zm_ZD_At_NG_Rh_ZC_00_ND_Fk_L_Thl_YT_Yt_N_Tgz_OG_Zk_Mj_Fk_M2_Y0_Xk_Ey_Xk_Fqc_Gde_QX_Vy_Mz_Iz_NDU_1_NTY_V1_725x1024_b5db300826.jpg" alt="MV5BM2QzYTZmZDAtNGRhZC00NDFkLThlYTYtNTgzOGZkMjFkM2Y0XkEyXkFqcGdeQXVyMzIzNDU1NTY@._V1_-725x1024.jpg"><div class="gs" style="box-sizing:border-box;margin:0px;padding:0px;"><div class="" style="box-sizing:border-box;margin:0px;padding:0px;"><div class="ii gt" style="box-sizing:border-box;margin:0px;padding:0px;" id=":nn"><div class="a3s aiL " style="box-sizing:border-box;margin:0px;padding:0px;" id=":v6"><div style="box-sizing:border-box;margin:0px;padding:0px;" dir="auto"><div style="box-sizing:border-box;margin:0px;padding:0px;" dir="auto">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a></div></div></div></div></div></div><div class="mdp-liker-box after-content two-buttons style-border-fill row-right" style="--mdp-liker-bg-color-active:rgba(255, 33, 40, 1);--mdp-liker-bg-color-hover:rgba(255, 33, 40, 1);--mdp-liker-bg-color:rgba(255, 33, 40, 1);--mdp-liker-border:1px;--mdp-liker-radius:50px;--mdp-liker-text-color-active:rgba(255, 255, 255, 1);--mdp-liker-text-color-hover:rgba(255, 255, 255, 1);--mdp-liker-text-color:rgba(255, 33, 40, 1);box-sizing:border-box;font-size:initial;font-weight:initial;margin:0px;padding:0px;" id="mdp-liker-19959" data-memory="on"><div style="align-items:center;box-sizing:border-box;display:flex;justify-content:space-between;margin:0px;padding:0px;"><div class="mdp-liker-description" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:medium;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;max-width:60%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp;</div></div></div> &nbsp;

Feature-Image-Website.jpg

As the 27th IFFK kicks off, film lovers are in for a grand treat of 184 films from 70  countries. There is true global representation as films from literally every corner of the world are part of this year’s festival. Of these, 14 films are in the competition section, including  4 from India. 

IFFK 2022: Top 10 Films You Should Not Miss

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The AIDEM showcases“ Truth or Dare”, an exhibition of visual stories by women photographers and film makers, exploring the changing world of women from various stratas of life in India. These are success stories of a handful of individuals who gathered immense strength and courage to fight, break out ,and create a change in their lives in a patriarchal society.<hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on&nbsp;<a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a>&nbsp;&amp;&nbsp;<a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a>

Biswas-FTR.jpg

The AIDEM showcases“ Truth or Dare”, an exhibition of visual stories by women photographers and film makers, exploring the changing world of women from various stratas of life in India. 

Truth or Dare – Women Photographers and Film Makers Explore a Changing World

The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  

The Lotus and the Swan – A Television Documentary on Gurcharan Singh by Nirmal Chander

IMG-20240625-WA0034.jpg

Ullozhukku’s Undercurrents: Grappling with Pain Amidst Unruly Waters

et00410024-ulzabfappb-landscape.jpg

The Incandescent Lights Of “Kishkindha Kaandam"

<img src="https://strapi.bangalore2.com/uploads/images_2024_11_12_T164943_335_ceaa25fbf6.jpeg" alt="images-2024-11-12T164943.335.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_11_12_T164943_335_ceaa25fbf6.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_2024_11_12_T164943_335_ceaa25fbf6.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">Money: society’s most coveted, scrutinised, and double-edged tool. It drives aspirations and ambitions, and yet, the path to it often tests our values. And yes, as ‘Bhaskhar’ says; Money is an even greater intoxicant than Cigarettes, Alcohol and Drugs!&nbsp;Venky Atluri’s “Lucky Baskhar” delves on this dynamic, exploring how financial pressure pushes an ordinary man to extraordinary lengths. The film dives into the chaos of Bombay’s stock market during the lead-up to the infamous 1992 securities scam—a scandal that recorded a saga of sorts marked by fortunes that were built and destroyed almost overnight. The heart of “Lucky Baskhar” lies in its protagonist’s moral descent, a man who crosses numerous ethical boundaries in his pursuit of wealth and the elusive stability it promises.<img src="https://strapi.bangalore2.com/uploads/images_2024_11_12_T164016_091_1db72573aa.jpeg" alt="images-2024-11-12T164016.091.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_11_12_T164016_091_1db72573aa.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_2024_11_12_T164016_091_1db72573aa.jpeg 500w," sizes="100vw" width="undefined" height="undefined">In the role of Bhaskar, Dulquer Salmaan delivers a nuanced and highly engaging performance. His portrayal captures the essence of a middle-class man who begins as an honest and unassuming bank cashier, caught in the whirlwind of his ambitions and the systemic failings of his time. Bhaskar’s story unfolds as a relatable tale of the “everyman” thrust into extraordinary circumstances, and it’s this relatability that grounds the film.From the outset, Dulquer Salmaan’s Bhaskar is a character to root for. He has a simple life with modest goals: to support his family and build a stable future. However, after a series of personal and financial misfortunes, Bhaskar’s life takes a drastic turn, leading him down a path marked by desperation and uncharacteristic moral compromises. The result is an incredible transformation, as Bhaskar’s internal conflict and growth become the emotional anchor for the film.Dulquer’s portrayal of Bhaskar is all about that charm-the kind that makes you smile even when you know he is being reckless. It’s what makes us root for him, even when he’s hustling his way through some morally grey territory. Bhaskar is never painted as a one-dimensional “good guy” or “bad guy”- instead, he is complex, conflicted, and fundamentally human. His decisions, often morally questionable, are presented within the realistic frame of his desperation to provide for his family.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:495px;" id="attachment_30575" aria-describedby="caption-attachment-30575"><img src="https://strapi.bangalore2.com/uploads/images_2024_11_12_T163939_432_7fde72e9d3.jpeg" alt="images-2024-11-12T163939.432.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_11_12_T163939_432_7fde72e9d3.jpeg 125w,https://strapi.bangalore2.com/uploads/small_images_2024_11_12_T163939_432_7fde72e9d3.jpeg 400w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30575">Some images of the many facades of Bhaskar portrayed by Dulquer Salmaan in the movie</figcaption></figure>This provides a sense of empathy, even as he makes questionable choices, because he represents the quintessential middle-class man striving to break free from financial constraints.Meenakshi Chaudhary, stepping into the role of Sumathi, provides a steadying counterbalance. She’s the one who’s half cheering him on, half admonishing him when he’s in too deep a quagmire. Watching her wrestle with Baskhar’s antics is like watching someone with a friend who she can’t fully support but also can’t abandon. Sumathi’s scepticism and reluctant loyalty are gold – and without her, Bhaskhar’s antics would lose half their punch.In terms of visual storytelling, “Lucky Baskhar” shines. The film’s cinematography, helmed by Nimish Ravi, vividly captures the essence of Bombay in that era. His cinematography combines warm, muted tones and a slight grain effect that evokes the nostalgic feel of the late ’80s and early ’90s. From the crowded streets and iconic architecture to the distinct visual aesthetics of Bombay’s old financial districts, every shot immerses the audience in the past.GV Prakash Kumar’s musical score adds another layer of meaning to the film as well as its story and narration, particularly in his background compositions, which effectively underscore the tension and pace of the film. While the songs themselves may not leave a lasting impact once the credits roll, the background music aligns perfectly with the tone of the story.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:2048px;" id="attachment_30576" aria-describedby="caption-attachment-30576"><img src="https://strapi.bangalore2.com/uploads/lucky_bhaskar_success_meet_Gallery_Set_1_12_1024x683_f11c0e11b3.jpg" alt="lucky-bhaskar-success-meet-Gallery-Set-1-12-1024x683.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_lucky_bhaskar_success_meet_Gallery_Set_1_12_1024x683_f11c0e11b3.jpg 234w,https://strapi.bangalore2.com/uploads/small_lucky_bhaskar_success_meet_Gallery_Set_1_12_1024x683_f11c0e11b3.jpg 500w,https://strapi.bangalore2.com/uploads/medium_lucky_bhaskar_success_meet_Gallery_Set_1_12_1024x683_f11c0e11b3.jpg 750w,https://strapi.bangalore2.com/uploads/large_lucky_bhaskar_success_meet_Gallery_Set_1_12_1024x683_f11c0e11b3.jpg 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30576">Cast and crew at the movie’s success meet</figcaption></figure>One of the film’s strong points is Atluri’s ability to demystify the complexities of the banking and stock market worlds. The plot deftly explains these elements in a way that is accessible to viewers without extensive knowledge of finance, making the film more universally appealing.“Lucky Baskhar” is both fast-paced and reflective. The narrative’s first half is marked by rapid plot developments and a sense of building tension as Bhaskar’s life slowly unravels. Some scenes, however, could have been given more space to breathe, especially those intended to add emotional weight.The second half of the film is where “Lucky Bhaskar” truly finds its rhythm, as Bhaskar’s character arc deepens and the story’s themes are explored more profoundly. In these scenes, Bhaskar’s transformation becomes palpable. No longer just an “honest man in a bad situation,” Bhaskar evolves into a figure willing to deceive and outmanoeuvre others to secure his position.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:531px;" id="attachment_30578" aria-describedby="caption-attachment-30578"><img src="https://strapi.bangalore2.com/uploads/MV_5_B_Njlh_MD_Zm_Mm_Yt_Y_Tkw_Yi00_ZD_Mw_LW_Fk_ZT_Et_Z_Tcz_M_Ddl_Nm_Zl_MGQ_4_Xk_Ey_Xk_Fqc_Gc_V1_c7e9fbff81.jpg" alt="MV5BNjlhMDZmMmYtYTkwYi00ZDMwLWFkZTEtZTczMDdlNmZlMGQ4XkEyXkFqcGc@._V1_.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_MV_5_B_Njlh_MD_Zm_Mm_Yt_Y_Tkw_Yi00_ZD_Mw_LW_Fk_ZT_Et_Z_Tcz_M_Ddl_Nm_Zl_MGQ_4_Xk_Ey_Xk_Fqc_Gc_V1_c7e9fbff81.jpg 100w,https://strapi.bangalore2.com/uploads/small_MV_5_B_Njlh_MD_Zm_Mm_Yt_Y_Tkw_Yi00_ZD_Mw_LW_Fk_ZT_Et_Z_Tcz_M_Ddl_Nm_Zl_MGQ_4_Xk_Ey_Xk_Fqc_Gc_V1_c7e9fbff81.jpg 322w,https://strapi.bangalore2.com/uploads/medium_MV_5_B_Njlh_MD_Zm_Mm_Yt_Y_Tkw_Yi00_ZD_Mw_LW_Fk_ZT_Et_Z_Tcz_M_Ddl_Nm_Zl_MGQ_4_Xk_Ey_Xk_Fqc_Gc_V1_c7e9fbff81.jpg 483w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30578">The first look poster shared by Dulquer Salmaam in February 2024.</figcaption></figure>“The Wolf of Wall Street’s” Belfort’s memorable line, “Let me tell you something. There’s no nobility in poverty. I’ve been a rich man, and I’ve been a poor man. And I choose rich every time!” could very well echo in Baskhar’s mindset as he justifies his actions. Here, Dulquer Salmaan’s performance shines as he conveys the internal conflict of a man who once cherished family and integrity but now sees them as secondary to his financial success.Though “Lucky Bhaskar” is successful in many aspects, it is not without minor flaws. Certain moments feel slightly out of place, such as a humorous checkpost scene that disrupts the film’s otherwise intense tone. Since the writing ensures we are rooting for him at every step of the way, we aren’t really bothered about the missing answers to a bunch of questions.In all “Lucky Bhaskar” is a winner . The film instantly connects you to the world of Bhaskar and yes, who in the world would not emotionally connect when coming to the “money” factor, right !!?<hr>Watch the theatrical trailer for Lucky Bhaskar here:<div class="raw-html-embed"><iframe width="640" height="360" src="https://www.youtube.com/embed/FonKx5wvuHI" title="Lucky Baskhar Trailer | Dulquer Salmaan, MeenakshiChaudhary | Venky Atluri | GV Prakash | Naga Vamsi" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div></div></div>

images-2024-11-12T164943.335.jpeg

Lucky Baskhar; An Ordinary man’s extraordinary journey to Unscalable Heights

Malayalam (ml)

Tamil (ta)

English (en)

Hindi (hi)

Telugu (te)

Kannada (kn)

THE-AIDEM-FTR-1-770x470.png

Dancing To Her Tune

IMG-20241226-WA0030-770x470.jpg

An Unwritten National Autobiography

<img src="https://strapi.bangalore2.com/uploads/images_1_6258d15665.jpeg" alt="images-1.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_1_6258d15665.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_1_6258d15665.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">People who read literature in India knew him, MT Vasudevan Nair. Language was no hurdle for his works to reach out beyond the state borders of Kerala. While Malayali diaspora took a handful of nostalgia along to the places they went, a little bit of MT was also in that.Today, the big business of literature finds translators to translate anything that moves. All tetrapods of literature are given awards that stink of corporate imperialistic nexus. But MT belonged to a different era when blood recognised blood, genius recognised genius. He got translated not once but several times.Basheer, Takazhi and MT were the triumvirate that could transcend the borders and stand tall among the Indian modernist literature. Yes, MT’s literature also had a fair amount of auto-fiction but he hoodwinked it with the magic of text. He was a persuasive minimalist both in writing and in person.An unsmiling MT could generate generations of readers who could smile through tears. MT wrote about a collapsing social structure that divested the old feudal class with their ill-gotten properties. But their social capital remained intact and could exert a lot of influence among the readers by becoming the surrogate emotional ethos of a transition time of Kerala’s socio-political history.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:1196px;" id="attachment_31084" aria-describedby="caption-attachment-31084"><img src="https://strapi.bangalore2.com/uploads/mt_1024x575_251dd09907.jpg" alt="mt-1024x575.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_mt_1024x575_251dd09907.jpg 245w,https://strapi.bangalore2.com/uploads/small_mt_1024x575_251dd09907.jpg 500w,https://strapi.bangalore2.com/uploads/medium_mt_1024x575_251dd09907.jpg 750w,https://strapi.bangalore2.com/uploads/large_mt_1024x575_251dd09907.jpg 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31084">MT during his Interview with Sabha TV (Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/watch?v=NttnjeaVqn0">Here</a>)</figcaption></figure>When society evolved into a different being altogether, MT turned to the treasure trove of myths and itihasas to eke out allegories that explained the pain of loss, of class, roots and love. His literature spat on the face of bigotry, whether it was religious or familial. He was so stoically poised in his literature that none could have challenged him and expelled him from the world of literature.MT’s literature spoke of love and separation as vehemently as he wrote about the changing social complexions. But he was not sentimental. There was something in his writing that touched some chord in every reader. Before initiating themselves into Ambedkarite politics, the Dalit ideologues also, in their torturous nights of youth, pined for MT’s characters.Those who call the modernists, Dad Vibes, have really lost the sight of the forest while focusing on shrubs and thicket. MT was a forest that moved, as in the great tragedies. He remained a serious writer while the post modernists fell in the trap of publishers and wrote lightning stories and became laughing stokes.MT remains, so is the MT critique. That’s the beauty of a great writer’s life and of course, death.</div></div>

images-1.jpeg

MT: A Forest that Moved

dr-2-770x470.jpg

An ‘Overture’ Stringing The Pope, Yesudas and the ‘Songster Chaplain’

<img src="https://strapi.bangalore2.com/uploads/1_cc9df0fe47.png" alt="വലതുപക്ഷവുമായുള്ള-സംവാദത്തിൻ്റെ-വ്യർത്ഥത-1.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_1_cc9df0fe47.png 245w,https://strapi.bangalore2.com/uploads/small_1_cc9df0fe47.png 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whom thou say’st,“Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.” (John Keats, Ode on a Grecian Urn)<img src="https://strapi.bangalore2.com/uploads/6_904b2e9f2a.jpg" alt="6.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_6_904b2e9f2a.jpg 147w,https://strapi.bangalore2.com/uploads/small_6_904b2e9f2a.jpg 470w," sizes="100vw" width="undefined" height="undefined">Siddharth Tagore, Founder Director of Delhi’s <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/artkonsultindia/photos">Art Konsult</a> Gallery is no more. He cannot be contained in such a cold statement, so matter of fact like death itself. Besides the gallery, he founded magazines such as Art and Deal, Travel and Deal and many other publications. Even when he knew that he wouldn’t make any profit out of the publications, he invested money in them because he knew art wouldn’t survive without the literature surrounding it.&nbsp;Yet another venture of Tagore’s was an auction house, namely Art Bull. The name was perfect for a bullish art market of the 2000s. But the glitch was this: Siddharth Tagore was not bullish. Nor was he bearish. He was cherubic, complete with a benign smile on his face and a burning cigarette between his fingers. Whenever I came out after having a meeting with him, I would ask myself, was he cut for this business?&nbsp;Tagore could have been a poet and dreamer like his internationally renowned namesake of yesteryears.. After the pandemic period I met Tagore after a gap of four years at the Visual Art Gallery, India Habitat Centre where Art Konsult had organized a group exhibition. After the inaugural function, I shook hands with him and I realized that his hands had lost the firm grip though the warmth remained. “I have not been keeping well,” he told me.&nbsp;<div class="gallery galleryid-31051 gallery-columns-3 gallery-size-full" style="box-sizing:border-box;margin:30px -8.96875px 0px;padding:0px;" id="gallery-1"><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/c_768x993_a7cec9742c.jpg" alt="c-768x993.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_c_768x993_a7cec9742c.jpg 121w,https://strapi.bangalore2.com/uploads/small_c_768x993_a7cec9742c.jpg 387w,https://strapi.bangalore2.com/uploads/medium_c_768x993_a7cec9742c.jpg 580w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/b_768x985_3f8fb449e6.jpg" alt="b-768x985.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_b_768x985_3f8fb449e6.jpg 122w,https://strapi.bangalore2.com/uploads/small_b_768x985_3f8fb449e6.jpg 390w,https://strapi.bangalore2.com/uploads/medium_b_768x985_3f8fb449e6.jpg 585w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/a_7888f94e4b.jpg" alt="a.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_a_7888f94e4b.jpg 121w,https://strapi.bangalore2.com/uploads/small_a_7888f94e4b.jpg 385w,https://strapi.bangalore2.com/uploads/medium_a_7888f94e4b.jpg 577w," sizes="100vw" width="undefined" height="undefined"></figure></div>Then on another occasion, at the same gallery, I met him again, this time without the crowd. He preferred to wear a pair of fading blue jeans and white shirt, a reminder of those romantic 1970s when every youth in West Bengal dreamt of poetry, love and revolution. Jeans and Shirt were the uniform of love and revolution. I think, when Tagore came to Delhi as a young man, he carried those qualities along, plus his sense of dressing. Lovers in those days smoked rather constantly and drank Old Monk Rum.&nbsp;On that day when I met him, Tagore told me that he had quit smoking, which was news to me. I couldn’t have imagined the man without a cigarette between his fingers or at least a packet of cigarettes to fuss with. I understood the gravity of the situation.&nbsp;Then again, we met when Praveen Upadhyay of the Progressive Gallery at Laddo Sarai organized a talk session with art professionals that included Tagore, Prayag Shukla, Vinod Bharadwaj and myself. Tagore was supposed to talk about the art market. When the mike was handed over to him, he fussed with it for a while and said that he always wanted to make it big by promoting young artists, but somehow, he never made huge business.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:689px;" id="attachment_31054" aria-describedby="caption-attachment-31054"><img src="https://strapi.bangalore2.com/uploads/7_768x511_149563fe01.jpg" alt="7-768x511.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_7_768x511_149563fe01.jpg 235w,https://strapi.bangalore2.com/uploads/small_7_768x511_149563fe01.jpg 500w,https://strapi.bangalore2.com/uploads/medium_7_768x511_149563fe01.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31054">Siddharth speaking to the media at Art Konsult</figcaption></figure>Then I remembered Tagore telling the same during the market boom years that lasted in India for around ten years starting from 2005 to 2015. In 2008, the world market had collapsed, but the Indian art market using its cunning and reserve withstood the pressures and dragged the impending failure for a few more years only to revive itself by the beginning of the third decade of the new millennium.&nbsp;Had Tagore acquired a penchant for failure despite his resilience in running a gallery, publications and an auction house for over three and a half decades ? Did he enjoy calling himself a failure in the art market? Was he romantically involved with the idea of failure even when he kept others who were with him in the business, floating? I don’t know for sure. But Tagore remained grounded and rooted; he tried his best to keep himself away from the nefarious market practices.&nbsp;There were a few people who stood with Tagore in his highs and lows (lows that lasted for not some months but for years together), never deserting him, following his orders. Prashant Seal and Rajula Bisht are two people I remember. These two people have been so close to his heart and even after his twin daughters joining him in the business, both Seal and Bisht never lost their position as the confidantes of Tagore. He loved them like family.&nbsp;I met Siddharth Tagore in 1995. He had started Art Konsult in Hauz Khas Village. Meena Tagore (now Meena Varma) was with him then. Late Vijayan Kannanpally was the editor of Art and Deal. With the growth of art scene, Tagore’s gallery also grew in stature. Art Konsult was one of the few A listed galleries in the city. Tagore took it to South Delhi’s art district, Laddo Sarai during the boom years and later relocated it to Hauz Khas again.&nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:562px;" id="attachment_31055" aria-describedby="caption-attachment-31055"><img src="https://strapi.bangalore2.com/uploads/0_768x512_88eabd3bbc.jpg" alt="0-768x512.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_0_768x512_88eabd3bbc.jpg 234w,https://strapi.bangalore2.com/uploads/small_0_768x512_88eabd3bbc.jpg 500w,https://strapi.bangalore2.com/uploads/medium_0_768x512_88eabd3bbc.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31055">Siddharth Tagore with art critic and curator Jyoti A Kathpalia at the Art Konsult, New Delhi</figcaption></figure>It was in his Laddo Sarai phase that I joined him as the Editor of Art and Deal. It was the same when he decided to start Art Bull and Travel and Deal. I brought out around ten issues of Art and Deal between 2010 and 2013, with a gap in 2012 when I joined the United Art Logistics to establish the United Art Fair. Tagore literally lent me to the other organization with a promise that I could walk into the editor’s office at any time that I wanted. And I did go back.&nbsp;As a part of Tagore’s team, he gave me full freedom to edit the magazine and curate exhibitions. I curated a few shows and introduced a few new artists of which some are very reckonable names in today’s art scene. The exhibition ‘Merging/Submerging’ was a showcasing of contemporary photography art and ‘R.A.P.E’ (Rare Acts of Political Engagement), an all-woman show responding to the brutal murder of Nirbhaya in Delhi. This exhibition was a super hit and was discussed in all the print and television media. Art Bull did do a couple of exhibitions and auctions. I did not take much interest in it though Tagore hoped that his auction house could change the scenario and also break certain monopolies. Tagore also initiated an Art History Lecture series which I conducted on his behalf.&nbsp;Siddharth Tagore remained true to his calling. With a kind of detachment, he sponsored exhibitions that he knew well, would not bring any business. He was an avid collector of folk and tribal art and together with Meena Varma, he initiated an organization called ‘Art of the Earth’ for promoting the folk and tribal art of India, much before the ‘folkploitation’ of today’s art market became rampant. Tagore helped whoever came to him with a request for an exhibition or an immediate financial relief. &nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:640px;" id="attachment_31053" aria-describedby="caption-attachment-31053"><img src="https://strapi.bangalore2.com/uploads/3_e1734762508660_669x1024_7c977a7959.jpg" alt="3-e1734762508660-669x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_3_e1734762508660_669x1024_7c977a7959.jpg 102w,https://strapi.bangalore2.com/uploads/small_3_e1734762508660_669x1024_7c977a7959.jpg 327w,https://strapi.bangalore2.com/uploads/medium_3_e1734762508660_669x1024_7c977a7959.jpg 490w,https://strapi.bangalore2.com/uploads/large_3_e1734762508660_669x1024_7c977a7959.jpg 653w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31053">Siddharth Tagore signing the <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://amzn.in/d/4TijcgO">book</a> “Ganika- In the visual culture of the 19th-20th Century India” at the Art Konsult</figcaption></figure>&nbsp;<img src="https://strapi.bangalore2.com/uploads/4_560x1024_090314e000.jpg" alt="4-560x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_4_560x1024_090314e000.jpg 85w,https://strapi.bangalore2.com/uploads/small_4_560x1024_090314e000.jpg 273w,https://strapi.bangalore2.com/uploads/medium_4_560x1024_090314e000.jpg 410w,https://strapi.bangalore2.com/uploads/large_4_560x1024_090314e000.jpg 547w," sizes="100vw" width="undefined" height="undefined">When artists in Calcutta packed their wares and set out for Delhi, they knew Siddharth Tagore was there if nothing else worked (perhaps he was their primary destination), along with cigarettes and Old Monk Rum. He never discouraged the people who came to him with a clear intention to exploit. He was not cautious about relationships that brought him a fair amount of heartburn. As I said elsewhere, Tagore was a poet in his heart, with a heart ready to bleed for love and art.</div></div>

The Lotus and the Swan - A Television Documentary on Gurcharan Singh by Nirmal Chander

The Kerala Story: A Movie, A Political Agenda, and a Conniving Censor Board

Saudi Vellakka: The Best of times & the worst of times

IFFK 2022: Top 10 Films You Should Not Miss

Truth or Dare – Women Photographers and Film Makers Explore a Changing World

The Lotus and the Swan – A Television Documentary on Gurcharan Singh by Nirmal Chander

Ullozhukku’s Undercurrents: Grappling with Pain Amidst Unruly Waters

The Incandescent Lights Of “Kishkindha Kaandam"

Lucky Baskhar; An Ordinary man’s extraordinary journey to Unscalable Heights

Dancing To Her Tune

An Unwritten National Autobiogra...

MT: A Forest that Moved

An ‘Overture’ Stringing The Pope...

Salutations, Dear Siddharth Tago...

movie

Latest Posts

Latest Categories