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Of the urge to break free There comes a time in every girl’s imagination when what she’d want above all is to throw a few things in a bag and hit the road all by herself. Now, this may not sound like the sanest thing to do, but...
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Homage to the stoic toilers in the Gulf Most every Malayali has had a whiff of the highly-perfumed Gulf-returnee or at least has heard tales of it. Pathemari presents a glimpse of the other side: the hardships and mental struggles of those who went to make something for...
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Perfectionism can be quite a nice trait to possess; except that it runs the danger of being a little expensive. Especially in filmmaking, an art form in which time is money and paying attention to a wide range of details is a requisite. Ennu Ninte Moideen (Yours, Moideen), reportedly,...
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Wannabe writers often ask me, ‘What is the best method to protect one’s script?’ There’s no foolproof way to do it, anywhere in the world, I tell them, frankly. Further, registration with a writer’s association isn’t going help at all. Look at China Town, for example; the second half...
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Some years ago, I had strongly raised an important point: that it is high time that the censor board in India introduced a PG-12 (Parental Guidance for children under 12) classification. I wonder how the mothers and their little ones, at the Doubles screening, reacted to the surprise inclusion...
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The director’s baton is not a toy; before wielding it for the first time, one is required to learn, at least, the basic theories, and spend quality time gathering some amount of practical knowledge. Maharaja Talkies, with a premise of immense potential, fails miserably, chiefly because the plot and...
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Mainstream Indian filmmakers are generally “inspired” by the premises and plots of foreign-language films. Lijo Pellissery doesn’t flick any story; he just tries, very hard and unsuccessfully, to replicate the stylization and treatment of the original City of God. Handheld cameras are used throughout. The film opens with a...
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The neorealist school of filmmaking when it came into existence advocated for a particular reason the use of a deep focus lens: it allowed reality to pervade every micro-inch of the screen. Annayum Rasoolum follows none of the laid-down rules, but strives nevertheless to be real, and only partially...
Of the urge to break free There comes a time in every girl’s imagination when what she’d want above all is to throw a few things in a bag and hit the road all by herself. Now, this may not sound like the sanest thing to do, but...
Homage to the stoic toilers in the Gulf Most every Malayali has had a whiff of the highly-perfumed Gulf-returnee or at least has heard tales of it. Pathemari presents a glimpse of the other side: the hardships and mental struggles of those who went to make something for...
Perfectionism can be quite a nice trait to possess; except that it runs the danger of being a little expensive. Especially in filmmaking, an art form in which time is money and paying attention to a wide range of details is a requisite. Ennu Ninte Moideen (Yours, Moideen), reportedly,...
Wannabe writers often ask me, ‘What is the best method to protect one’s script?’ There’s no foolproof way to do it, anywhere in the world, I tell them, frankly. Further, registration with a writer’s association isn’t going help at all. Look at China Town, for example; the second half...
Some years ago, I had strongly raised an important point: that it is high time that the censor board in India introduced a PG-12 (Parental Guidance for children under 12) classification. I wonder how the mothers and their little ones, at the Doubles screening, reacted to the surprise inclusion...
The director’s baton is not a toy; before wielding it for the first time, one is required to learn, at least, the basic theories, and spend quality time gathering some amount of practical knowledge. Maharaja Talkies, with a premise of immense potential, fails miserably, chiefly because the plot and...
Mainstream Indian filmmakers are generally “inspired” by the premises and plots of foreign-language films. Lijo Pellissery doesn’t flick any story; he just tries, very hard and unsuccessfully, to replicate the stylization and treatment of the original City of God. Handheld cameras are used throughout. The film opens with a...
The neorealist school of filmmaking when it came into existence advocated for a particular reason the use of a deep focus lens: it allowed reality to pervade every micro-inch of the screen. Annayum Rasoolum follows none of the laid-down rules, but strives nevertheless to be real, and only partially...
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