IFFI Bulletin - 26 th November - International Film Festival of India

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H$ê$Z, àXrn {~ñdmg, dr. Eg. Hw$§Sy>, gwaoe qOXb, {Jare H$mgadbr, Ho$VZ ‘ohVm Am{X. e§H$a ‘mohZ Or Zo H$hm {H$ `h dH©$em°n H$m’$s g’$b ahm h¡. gwaoe qOXb H$m H$hZm Wm {H$ AnZr ng§X H$s {H$gr EH$ {’$ë‘ H$m Zm‘ boZm ~hþV H${R>Z hmoVm h¡ Š`m|{H$ {’$ë‘m| Ho$ H$B© ê$n hmoVo h¢, H$B© dJ© hmoVo h¢. 04 IFFI | November 26, 2012 Bâ’$s So>br : qhXr g§ñH$aU gånmXH$: S>m°. amOrd lrdmñVd / gånmXH$s` gh`moJ: àoaUm e‘m© AmO Ho$ `wdm na {deof {Oå‘oXmar Z`r Ymam {gZo‘m Ho$ {bE {deof {WòQ>a H$s ‘m§J ‘rQ> X S>màoŠQ>g©:B§{S>`Z ’$sMa E§S> Zm°Z-’$sMa {’$ëåg Ho$ A§VJ©V H$b Am`mo{OV g§`wº$ àog dmVm© ‘| `§J B§{S>`Z {’$ë‘-‘oH$g© Am¡a Z`r Ymam {gZo‘m Ho$ {ZX}eH$m| Zo Am°’$ ~rQ> {’$ë‘m| Ho$ {bE {deof {WEQ>a ~ZmE OmZo H$s ‘m§J H$s. 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Bgr {’$ë‘ go ZB© H$bmH$mam gwhm{gZr ‘wbo Zo {µ’$ë‘r Xw{Z`m ‘| H$X‘ aIm. ASy>a JmonmbH¥$îUZ Zo H$hm {H$ do ‘Zng§X {’$ë‘ Ho$ ~mao ‘| EH$ K§Q>m ~mVMrV H$a gH$Vo h¢ Am¡a CZH$s ng§X H$s {’$ë‘ h¡ gËÒrV ao H$s Anam{OVmo , Omo {H$ ‘mVm Am¡a nwÌ Ho$ gå~ÝY na AmYm[aV h¡. CÝhm|Zo ~Vm`m {H$ H$moB© {’$ë‘ ‘Zng§X Bg{bE hmoVr h¡ Š`m|{H$ Cggo Xe©H$ Hw$N> AbJ AZw^d àmá H$aVm h¡ , Omo {H$ Cgo BgHo$ nyd© Z AZw^d hþAm hmo. {Og àH$ma AbJ AbJ àH$ma Ho$ B§gmZ hmoVo h¢ Am¡a CZH$s ng§X ^r AbJ- AbJ hmoVr h¡, R>rH$ Bgr àH$ma {µ’$ë‘| ^r {^Þ {^Þ dJ© Ed§ àH$ma H$s hmoVr h¢. gw{‘Ìm ^mdo Zo AnZr ng§X H$s VrZ {’$ë‘m| Ho$ Zm‘ {bE {~‘b am°` H$s ~pÝXZr, Ja‘ hdm VWm gm{h~ , ~r~r Am¡a Jwbm‘. emOr H$ê$Z Zo H$hm {H$ Aa{dÝXZ H$s Wåny ‘b`mbr {’$ë‘ CZH$s ‘Zng§X {’$ë‘ h¡. dr. Eg. Hw$§Sy> Zo ~Vm`m {H$ O~ do {dÚmWu Wo V~ Cg g‘` XoIr {’$ë‘ J§Jm-O‘wZm {’$ë‘ Zo ~hþV Aga {H$`m Wm. `h {’$ë‘ 1961 ‘| ~Zr Wr O~{H$ CÝhm|Zo Bgo 1977 ‘| XoIm Wm. lr Hw$§Sy> {’$ë‘à^mJ Ho$ S>màoŠQ>a OZab h¢. Ho$VZ ‘ohVm go O~ ò nyN>m J`m Vmo CÝhm|Zo ‘Zng§X {’$ë‘ ‘oKo T>mH$m Vmam H$mo ~Vm`m, {Ogo Ñí`-l¥ì` H$s Ñ{ï> go ‘mohH$ ‘mZm.{Jare H$mgadbr Zo H$hm {H$ ^maVr` {’$ë‘m| ‘| CZH$s ng§X H$s {’$ë‘ h¡- nmWoa n§Mmbr Š`m|{H$ {Og n¥ð>^y{‘ na `h {’$ë‘ ~Zr h¡, dh ~‹S>r geº$ h¡. CÝh| AmO ^r `h {’$ë‘ AmH${f©V H$aVr h¡. AnZr ‘Zng§X EH$ Am¡a {’$ë‘ H$m Zm‘ ~VmVo hþE CÝhm|Zo OmnmZr {’$ë‘ Am`b¢S> H$m ^r C„oI {H$`m. BÝhr MMm©Am| Ho$ gmW Mm` EZ MoQ> H$m g‘mnZ hþAm. gmoZb ‘mIrOmZr AmµOmX
IFFI | November 26, 2012 05 IFFI tribute to two masters of Indian Cinema IFFI has always endeavoured to remember and pay tributes to some of the greatest minds in Indian and international cinema, and the large feast of cinema this year is testimony to this effort. As part of this, IFFI has paid laudable tributes to two Indian filmmakers who have excelled in their own ways on screen. While Muzaffar Ali has given us some films which will always be memorable for their music and depiction of culture, Girish Kasaravalli has presented gems that have left their sheen even on the international scene with the large number of awards they have garnered in India and overseas. At a time when India is marking one hundred years of Indian cinema, these two names gain a special significance. Muzaffar Ali is showcasing his films Umrao Jaan (1981), Aagman (1982) and Anjuman (1986) while Girish is presenting Mane (1989), Thai Saheba (!997) and Dweepa (2002). Muzaffar Ali aka Raja Muzaffar Ali was born in Lucknow on 21 October 1944. He is not only a Hindi- Urdu filmmaker of repute but also a composer, a poet, an artist, a fashion Designer as well as a Social Worker. Born in the royal Muslim Rajput family of Kotwara, he had gone to La Martiniere College and later on graduated in Science from Muzaffar Ali Aligarh Muslim University. He was the eldest son of Raja Sajid Hussein of Kotwara while his mother belonged to a noble family of Sheikhpur, Badaun. His son Shaad Ali is also a filmmaker in his own right. Before turning a filmmaker, Muzaffar had worked in the advertising and publicity department of Air India. As a filmmaker he had made his debut on the silver screen with ‘Gaman’ in the year 1978, winning high critical acclaim. His next feature film was Umrao Jaan, a courtesan melodrama based on a novel, which remains his most celebrated work till this date and one which fetched a National Award for its lead actress Rekha besides being still remembered for its melodious musical score. Ali then went on to make several feature films, TV Series as well as documentaries and short films. The other features include Anjuman and Aagman. The documentaries include Khizan, Ganga Teri Shakti Apar, India – An Unusual Environment For Meetings, Kuye Yaar Mein, Together Forever, Vadakath: A Thervad in Kerala, Laila Majnu Ki Nai Nautanki, Venue India, Woodcraft Of Saharanpur, Vasiqedar: The Pensioners Of Avadh, and Sheeshon Ka Masiha. The TV Series that gave him a name was Jaan-e-Alam and his short films include ‘Aaya Basant Sakhi’, ‘Congregation’, ‘Kali Mohini’, ‘Semal Ka Darakht’, ‘Wapas Chalo’, ‘Sunehre Sapne’ and ‘Wah! Maan Gaye Ustaad’. He made a feature film ‘Zooni’ shot in Kashmir with Vinod Khanna and Dimple Kapadia but it is yet to be released. Umrao Jaan narrates the story of a woman abducted as a child and sold in Lucknow. She trains as a singer and dancer. She falls in love with an aristocratic Nawab, later finds companionship with her childhood friend, before escaping her claustrophobic life with a bandit. In Aagaman, farmer Ram Prasad dares to revolt against the stranglehold of the mill on their lives. His son Mohan goes to Lucknow and returns as a lawyer. Together, they liberate the villagers from this tyranny. Anjuman is the story that deals with the plight of those involved in chikan embroidery. Anjuman does chikan work to augment her family’s income and demands fair treatment for Girish Kasaravalli the chikan workers. Girish Kasaravalli is a Kannada film director who in a career spanning 30 years has not only won International and National Awards but also 41 state film awards. Born in Karnataka, he had graduated in Pharmacology before going on to graduate from the Film and Television Institute of India, Pune, with a Gold Medal in the year 1975. He was inspired by films of Akira Kurosawa, Ray, Ozu, Fellini, and Antonioni and his conviction in neorealist cinema deepened. In his final year, he was chosen to be the assistant director of legendary filmmaker B V Karanth for his film Chomana Dudi. His student film Avashesh won the President Silver Lotus Award for Best Experimental Short Film. He played a major role in shaping New Indian Cinema in the 70s by creating some of its masterpieces. He had made his debut as a director with Ghatashraddha in the year 1977 which had gone on to win a National Award for Best Feature film, a hat trick which he had achieved with three of his other films like Tabarane Kathe, Thai Saheba and Dweepa. The last two are being showcased in the tribute section, highlighting his prolific career as an acclaimed director. In addition, other critically acclaimed films that Kasaravalli has made are, Kraurya, Grihabhangha, Hasina, Nayi Neralu, Gulabi Talkies, Kanasemba Kudureyaneri, and Koormavatara. Mane was also made in Hindi as Ek Ghar. While both the celebrity directors Girish Kasaravalli and Muzaffar Ali have also been bestowed with the Padam Shri Award, Muzaffar Ali has also won a Filmfare Award. Mane is a Kafkaesque tale about a young couple whose marital life is disturbed because the rented one room tenement is disturbed all the time. Thai Saheba narrates the story set in a period immediately before and after India’s independence about Narmada Thai, the second wife of freedom fighter Appa Sahib, who decide to adopt the child of Venkobanna, a close relative. Dweepa deals with the issue of building dams and the displacement of the natives. -Shaheen Raaj Filipino filmmaker says he wants to present universal themes in his films He worked 15 years as production designer in films, before a friend offered to fund his first film The Masseur in 2005 for only 50,000 pesos. It went on to win the Audience Award at the well-known Locarno film festival. Today, Brilliante Mendoza is the most acclaimed contemporary filmmaker from the Philippines. He has made as many as 16 films within a period of only ten years, which have been screened at the top festivals of the world, and won many awards. The biggest prize of course was the Best Director Award at the Cannes Festival in 2009 for Kinatay, a story of corruption, sex and gruesome violence that shocked many, but became a kind of cult film. The soft-spoken director who seems out of sync with his violent films, made a multi-national film ‘Captive’ earlier this year starring French Brilliante Mendoza actress Isabelle Huppert, which dealt with the famous kidnapping case in his country by the ruthless Abu Sayyaf Muslim terrorist group in 2001. He followed this with a small, moving film Thy Womb, centering round the Muslim fishing community of a picturesque but little-known town in his country. The movie won two awards at the Venice Festival features at IIFI in Competition. Asked about the two totally different films in the same year Captive and Thy Womb which have Muslim themes though different in style, he said the story was what mattered to him. “Captive was a big film which dealt with many issues, and I got funds from many sources, to make it. Thy Womb was the simple story of a child-less couple, and I used my funds and my team as with my other movies. That’s why the styles are very different in the two films. He denied any intention of wanting to show two sides of the Islamic religion. “I base all my films on true stories”. “I thoroughly researched on Captive, and showed the events as objectively as possible. There was no intention to vilify any group or religion. The intention of the film was to show not merely the issue of hostage-taking, but how humans can withstand an extreme situation” . He said it was always the content of the film that mattered. “I see no boundaries when I make my film. What’s important to me is the story of ordinary people in extraordinary situations, and their struggles and triumphs.” Focusing on landscapes was deliberate - to show the beauty of that part of the country and of a town like Tawi-Tawi that not many know about. “As a filmmaker, I feel that it is my duty to show also the beautiful landscape that our country has been gifted with.” He said international festivals are very important to him, because they are the portals to world cinema. They serve as a venue to showcase different cultures and perspectives. They are also an avenue for him and other Filipino directors to make an inroad into other countries. Many Filipino directors are known internationally today, because of these film festivals. He added: “India has a special place in my heart, as it has such a rich and diverse culture. IIFI Goa has opened many opportunities for me. I got to meet many important people in the Indian film industry, as also world cinema here.
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IFFI Bulletin - 26 th November - International Film Festival of India

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