[Gerribase]

here you go

[Nikkytas]

Paandippada :- thanks for Asianet channel purely fun-filled entertainer

[meteeratymn]

Sarna,
nanRi hai!

AksharangaL. Jeyamohan contrasted Lohi's women with M.T's M.T.Vasudevan's women in Lohi's obit. Easy to notice it when you observe Seema's character in this film. A lot of similarities to her ALkUttathil thaniyE character.

[gardeniyas]

Deepak,

Nice to see you mention about Aksharangal and Alkootathil thaniye. If only you had mentioned that Jayamohan is the character name of Mams in Aksharangal [the teacher role - always felt Mam - IVSasi -MT combo was superb], less initiated would have understood it well.

Another happy news is Mammookka's latest movie "Loud Speaker" directed by Jayaraj and released today seems to be very good. The reviews have been good so far. Here is one

Loud Speaker -Review

By Cine Critic | 20th september, 2009| 3:40:15

Mammootty has proved time and again that he is at his best in family-oriented films. Thaniyavarthanm, Valsalyam, Kazhcha, Amaram,are some of the films which have evoked wholehearted response from the cine-goers. It is a big relief to note that after a brief flirtation with flippancy in Bhootham and Love in singapore, the Malayalam megastar is back on familiar ground in Loud Speaker. The result of the Mammootty-Jayaraj team-up is a delectable mind-blowing family entertainer.

This is the second time Mammootty and Jayaraj have come together, the first time being in Johny Walker. Family-centric plots are Jayaraj’s forte too. Two of his films that spring to mind are Thalolam and Deshadanam, both of which secured critical as well as popular acclaim.

Story starts when Mike Philippose coming from a village to the city to donate his kidney for his financial needs. Menon, (Sasikumar) he lost both kidneys and living on dialysis who requires an emergency kidney replication. Philippose comes and started staying with Menon in flat. Philippose is a loud speaker by nature and becoming a nuisance for both Menon and other people who lives in other flats. But slowly but gradually Philippose becoming a part of their whole life and how this relationship grows and leads into a stunning climax.

Strong point of Loud Speaker is competent performances from, Mammootty and Sasi kumar . And when it is propped up by a powerful script (Jayaraj) and crisp dialogues, the outcome is a fare that appeals to all, cutting across gender and age barriers.Then there is Salim Kumar & Suraj whose mahout provides the comic element, and Gracy Singh who plays an home Nurse, nothing much to do for her but done her part well. Kochin haneef, Jagathi and KPAC Lalitha acquit themselves well in supportive roles.

Bijipal’s music meshes well with the mood of the movie. One song remix of , “Alliyambal” sung by Vijay Yesudas has caught on popular imagination.

All in all, Loud Speaker is a simple story told in a simple way. Jayaraj takes a mighty swipe at modernity that kills relationships and blights fraternal bonds. No matter the hurdles, love ,Friend ship and kin triumph in the end. That is the enduring message of Loud Speaker. And Jayaraj has conveyed it convincingly.

Verdict: Excellent

Waiting for Chennai release.

Regards

[jinnamys]

[tscii]

If only you had mentioned that Jayamohan is the character name of Mams in Aksharangal [the teacher role - always felt Mam - IVSasi -MT combo was superb], less initiated would have understood it well.

He meant writer Jeyomahan, who wrote a series of posts about Lohitadas when he passed away. In those posts he contrasted the way MT Vasudevan Nair and Lohitadas portrayed their women.

ஜெயமோகன்[/url]]எம்.டி.வாசுதேவன் நாயரின் கதாநாயகிகளுக்கும் லோகியின் கதாநாயகிகளுக்கும் நிறைய வேறுபாடு உண்டு. எம்.டியின் பெண்கள் எல்லாரும் ரெண்டு வார்ப்பு. 1, திமிரான பெரிய இடத்துப்பெண்கள்.2. அடக்கமான அன்பான கிராமத்துப் பெண்கள் இன்னொரு வகை. இந்த இரண்டாம்வகைப்பெண்கள்தான் துக்கபுத்திரி என்று கேரள மனதிலே பதிந்திருக்கிறார்கள். அந்தமாதிரி கதாபாத்திரங்களைத்தான் பிறகும் நிறைய்பேர் உருவாக்கினார்கள் . ஆள்கூட்டத்தில் தனியே என்றபடத்திலே சீமா பண்ணிய கதாபாத்திரத்தை உதாரணமாகச் சொல்லலாம். அவள் பணம் இல்லாதவள். ஆகவே கைவிடப்படுகிறாள். ஆனால் அது அன்பையும் பாசத்தையும் காட்ட தடையாக இல்லை. ஏனென்றால் அது அவளுடைய இயல்பு. அதேமாதிரி கதாபாத்திரம் மீண்டும் மீண்டும் எம்டி கதைகளிலே வரும். சீமாவே நாலைந்து பண்ணியிருக்கிறார்.

ஆனால் லோகியின் பெண்கள் வேற் மாதிரி. அவர்களும் மிகவும் கஷ்டத்தில் இருப்பார்கள். ஆனால் அந்தக் கஷ்டத்தை துணிச்சலாக சமாளி¢ப்பார்கள். எதற்கும் பயப்பட மாட்டார்கள். ‘வீண்டும் சில வீட்டுகாரியங்கள்’ படத்தில் வரக்கூடிய சம்யுக்தாவர்மா கதாபாத்திரம் போல. துணிந்து நின்று உலகத்தை சமளிக்கிற அபலைகள் அவர்கள்.

[wepoiyub]

Thanks Prabhu for the clarification. The name Aksharangal mentioned by Deepak made me to write that. Now reading his sms type message again [obit etc], I get it.

Regards

PS: On second thoughts, the teacher jayamohan - is it Aksharangal or Anubandham?

[ImapFidaarram]

Murali Sir,
The Anubandham character is 'Muralidharan Master', I believe . In AksharangaL Mammootty plays a writer called Jayadevan.

P_R has rightly pointed out the article I was referring to. I was in a rather cryptic mood while typing the post. Possibly because I didn't expect many people to read it.

I am actually more happy for Jayaraj if Loud Speaker is good. For someone who made films like kaLIyAttom and DeshAdanam, 4 the people and its likes were a significant drop in quality.

It seems there have been a few good Malayalam movies of late (KANA kaNmaNi, oru black and white kudumbam, Loud speaker...). And Pazahassi Raja is expected in a couple of weeks.

[incizarry]

Thanks Deepak for the Jayadevan -Jayamohan clarification again.

Regarding Jayaraj, you are right. He had made films in two extremities. If you see his latest films like Rain ! Rain --, you would be shocked to the core and would wonder whether this was the same guy who did Deshadanam and Kaliyaattam. Now it seems he has redeemed himself with Loud Speaker. This is the first time he had written the screenplay by himself [Mams asked him to do it. Earlier Ranjit was supposed to write it] and it has come out well.

But I am not sure of other films you had mentioned. While Kaana Kanmani seems to be a horror movie [Prethabaadha pidikkuna oru kochukutti] and is average, I heard. After Veruthe Oru Bharya, Jayaram is struggling to sustain that success though Baagya Devatha helped a bit [thanks to Sathyan Anthicaud].

Black and White kudumbam seems to be a disaster. That's what I was told.

Regarding PAzhassi Raaja, the film is scheduled to hit the theatres on Oct 2nd, though the Tamil version may release on Deepavali day. Yesterday the audio release function took place in Ernakulam and here is the link.

http://www.keralapals.com/2009/09/th...lusive-report/

Regards

[rushiddink]

Thiraikkadha. Prithviraj - Priyamani. Supposed to be based on Kamal-Srividya affair. Too dramatic for my taste. Disappointing. And for those hype and hoopla that Priyamani would get national award for this film, blasphemy. Oru wig vechchukitta, award kuduththiduNama!

[Gazeboss]

Thiraikkadha. Prithviraj - Priyamani. Supposed to be based on Kamal-Srividya affair. Too dramatic for my taste. Disappointing. And for those hype and hoopla that Priyamani would get national award for this film, blasphemy. Oru wig vechchukitta, award kuduththiduNama!

It is being dubbed in Tamil to cash in on 'Prithvi-Priyamani' affair.

[Gymnarnemia]

pranayavarnangal...

TV-la sariyA pakkala.. so oru DVD kidaichadhu..

nice movie.. :P

[masterso]

Bhramaram got released here is it worth a watch ? anyone please confirm

[SAUNDERSAN]

Saravana,

You can watch Bhramaram solely for Mohanlal. He had given out a splendid performance. [Ofcourse, that's what I heard. I have not seen myself].

Regards

PS: You tell me one info! The film Josh - starring Nagarajuna's son [Naga Chaithanya] and Radha's daughter [Krithika], how was it? Is it a hit?

[clorkergo]

Two great posts on writing, the differences between Thamizh and Malayalam cinema (or at least what Malayalam cinema used to be) and the literary nature of a screenplay in Jeyamohan's posthumously published interview of A.K.Lohithadas. I am translating it to English because I believe a wider audience needs to read it.

[uaodnabnjz]

Thanks Deepak. It was a good read. Lohi is one of my favourite screenplay writers and this was a good introspection.

Regards

PS: Pleasantly surprised to see my letter still there in his blog. Earlier the entire thing [Sivaji -MGR kindal] had been removed.

[Roorseprate]

Two great posts on writing, the differences between Thamizh and Malayalam cinema (or at least what Malayalam cinema used to be) and the literary nature of a screenplay in Jeyamohan's posthumously published interview of A.K.Lohithadas.

Oh yeah. I was just mentioning it in the other thread.

As he mentions in his second post, it was apparently published in 2003 itself in a journal edited by documentary filmmaker Leena Manimekalai. He republishing it in his blog.

[OWV9LSxH]

Murali Sir,

You are welcome.

P_R,
I think in the post-Padmarajan/Bharathan era, Lohithadas written films were the last bastion before Malayalam cinema fell into complete disarray. It seemed that he was losing his touch slightly since SoothradhAran (Jeyamohan indicated possible reasons in his obit).
As artists Lohi and Bharathan are incredibly close to my heart. Which is ironic because we could not be from more dissimilar backgrounds. I am if anything, quintessential middle class, while they were salt of the earth people. And yet I understand nearly every sentiment of theirs. I was so into every word of that interview I translated most of part 1 and posted it on the google groups created for those who attended the workshop. I felt it is sort of essential reading. But as aapiser Panneerrrrselvam might say "Response-E sariyilla" !
Anyway these are movies I would recommend in Lohi's filmography:
1.ThaniyAvarthanam
2.Kireedom
3.Jathakam (unmentioned usually but I think it is a lovely small film)
4.Mudra
5.His Highness Abdulla (there is a lot of comedy here and I am not sure if subtitles can do it justice - I have the VCD).
6.Bharatham
7.Amaram
8.Venkalam
9.BhoothakkaNNAdi (directed by him)
10.Kanmadam (directed by him)
That is 10 films. How many filmmakers can you say that about in India?

[Bromikka]

compli, link to your translation please

[BlackBird]

Plum,
It isnt posted anywhere you can read it immediately... So I will post the part I am done translating here. P_R, Murali Sir and others may correct any mistakes. If there are enough requests I will continue translating the whole thing.

Jeyamohan (JM): Why did you choose cinema as your medium? What kindled your interest?
A.K.Lohithadas (AKL): Cinema became my medium much later. My first medium was literature. My first introduction to the written word was at a young age. To be honest, I think writing came to me well before reading.
Every child looks to express itself, to justify its existence. It finds an outlet based on its own character, talents and surroundings. Music, sports, studies etc… Writing was something that reached me in this manner. From a very young age, I found indescribable strength in giving my worries and tears words. I felt untouchable … as if I was beating my worries…

JM: Your youth was quite sorrow-filled.
AKL: Yes. My father abandoned us when I was young. I grew up a hungry orphan. Lived in many of m relative’s homes. The written word was my greatest companion. I am a littérateur at heart. Cinema is the medium for my literature.

At the same time, words were insufficient. I needed acting as well. I would always act out what I wrote in my mind. I started writing in a manner that engendered acting and these became suitable for theatre. By 22 I was a recognized theatre writer, my first play “The Sindhu flows peacefully”.

In 1985 my first movie ‘ThaniyAvarthanam’ was released, directed by Sibi Malayil. That was a play I had originally conceived. I believe theatre is a basic art form. Acting is older than literature, maybe even language…

JM: Yes. In “The Gods must be crazy” the Bushmen act out their hunting experiences. Their language is still a very basic sound…

AKL: Everyone is an actor. Every second that we speak with our mouth, we speak with our body as well. As we grow older we grow extremely conscious of our bodies. That self-consciousness becomes a barrier to ac. It is harder to make an intelligent person act than it is a slightly developmentally challenged person. Youngsters are usually very willing actors. Teenagers are especially melodramatic…

JM: What is the relationship between theatre and literature?
AKL: Literature that can be acted out is theatre. At some point in history they should have been one and the same.

JM: In Meera Kathiravan’s thamizh translation of P.Padmarajan’s screenplay of Peruvazhiyambalam, Balu Mahendra insists that “screenplay is not literature, it cannot be read”. It is just a note for a director… (Translators Note: He said as much at the workshop on the last day)
AKL: That is a perspective. I do not want to argue. My perspective is a reflection of my reading and influences. A screenplay is definitely literature. If screenplay is not literature neither is playwriting. Shakespeare did not write to be read, he wrote to be acted. Keerthanai’s were written to be sung, yet they are literature too…

JM: Ingmar Bergman is a favorite director of mine. His Seventh Seal is unrelated to language. It is a scenic description, but reading it felt like reading literature. In our the reality of our imaginations is a greater cinema than he intended…
AKL: Theatre is considered literature only because the reader is able to visualize and act within oneself. People enter and exit our viewfinders. Screenplay is the same…

JM: But a screenplay will always be restricted by the requirements of film. Is that not a handicap?
AKL: Does theatre not have space constraints? Does it not need to fit in a cube? But the great playwrights turned this into the strength of the medium (Translators note: I remember reading how Sujatha created a play rehearsal as a play because his actors did not have time to learn the lines. This way they could carry their dialogs on stage…). They make all of life’s inequities and conflicts meet at a central point. There is a phrase called “Nadakaantham kaviththuvam”.
A screenplay is similar to that. It has to SHOW everything. It cannot meditate or think. It has to SHOW. That is its strength. Screenwriters have SHOWED life’s greatest tragedies, questions and happiness. That is how a screenplay becomes literature. Because when we read it everything comes to life in our imagination.

JM: Since the beginning in Malayalam writers have written screenplays.. Uruf wrote for ‘Neelakkuyil’, Thakazhi Sivasankarap Pillai, Vaikkom Muhammad Basheer, S.K.Petracott, Paarappuraththu Maththai, S.Suseendran so on and so forth. Malayalam cinema was shaped by great writers…
AKL: Pay attention though... these writers did not bring towards language (Translators note:I believe this might be a point against what happened in Thamizh where the sing-song nature gave way to verbosity, which was novel for its time, but does not seem relevant now). They built it as a visual art. Thoppil Bhasi, S.L.Puram Sadanandan, M.T.Vasudevan Nair (writer of the upcoming historical Pazhassi Raja), P.Padmarajan … the list goes on. They all wrote visual screenplays. Vice-versa today’s literature has been significantly affected by cinema.

JM: What is the beginning of a story?
AKL: The same way a short story or novel or painting begins. It is never planned. It is a lightning urge. That is all I can say as that is my experience. It is like full cloud waiting to burst in rain. It looks like it will happen now. But it might never deliver. One can never say when, where and why. It starts instantaneously. First as drops then as a downpour.

JM: I have heard that a character is the start of a screenplay.
AKL: Yes that is certainly important. A drama or a screenplay is a portion of life. Whose life? The question springs immediately. Hence a character is an important starting point. But a conflict or a basic question can serve as the start. My ‘Padheyam’ and ‘EzhuthAppurangaL’ were begun with the central conflict. ‘ThaniyAvarthanam’ and ‘Kireedam’ (Translators Note: My personal favorites in his work) were begun with a central character.

JM: Has a philosophy or idea been a starting point?
AKL: Rarely. Of my screenplays only ‘Jathagam’ (Translators note: another lovely small movie) was started this way. It is an observation of the belief in astrology. A screenplay’s seed is planted in the recesses of our mind well before it begins to be written. The unrest or lack of peace in you is the beginning.

For example my first directorial venture ‘BhoothakkaNNAdi’, came from a story of sexual exploitation of underage girls. It created great unrest within me, particularly a photograph of the schoolbag of one such girl. I could only view that through the eyes of a father!

VidhyAdharan was born from that unrest. He is very nervous about everyday life in the current social scenario. But he doesn’t say or do anything because he is a middle-class coward. And so his mind slips. I viewed my problem through his eyes.

JM: When I write a novel I write with a head full of steam. Then I discuss it with my editors. But here screenplays are discussed at the concept stage.
AKL: My screenplays are written like your novels. I never discuss the idea. Only after writing it completely do I discuss it with the director or actor. Discussing the central conceit will make the story seem contrived.

JM: Have you ever discussed?
AKL: Once. A story called ‘VisAraNai’ got stuck and did not gain momentum. That is the problem with a story discussion. Each person has a perspective and the central idea gets pulled in different directions. It is like fighting blindfolded. I can only make my point if I let it unfold completely as a screenplay. I can only debate certain technical aspects of screenplay writing with others.

JM: But in thamizh the norm is still to discuss.
AKL: Here cinema is a form of entertainment that tries to bring together multiple other forms of entertainment. That can always be discussed and brought into existence. A certain format or template has even been reached for this. But the soul of a story cannot be arrived at through discussion. There will be no unity in a ‘discussed’ story.

This much for today……. The rest at a later date.

[20170425yuanyuan]

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