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Bhale Bhale Mogadivooi Promo

Watch Bhale Bhale Magadivoi Movie Promo .Starring Nani , Lavanya Tripathi in lead roles. Directed by Maruthi Dasari and Produced by Geetha Arts, UV Creations. Music Composed by Gopi Sunder.

Nani Forgets His Movie Title

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Kayamkulam Kochunni: Mohanlal to play infamous robber Ithikka Pakki in Roshan Andrrews’ film

Superstar Mohanlal has joined the sets of upcoming Malayalam period drama Kayamkulam Kochunni, based on the story of famed highwayman Kochunni, which will bring on screen the life of Kerala’s most wanted thief who was active in central Travancore during 19th century.

Mohanlal. YouTube

Mohanlal. YouTube

He robbed from the rich and gave it to the poor. The film, which features Nivin Pauly in the titular role of Kochunni, is being directed by Roshan Andrrews, best known for helming Mumbai Police and 36 Vayadhinile. Speaking to Firstpost, Andrrews opened up about Mohanlal’s character — that of legendary robber Ithikkara Pakki — while clarifying that he does not play a cameo. The project marks the first time collaboration of Pauly and Mohanlal.

“He’s playing a character called Ithikkara Pakki who was considered the first Robin Hood of Kerala. Lalettan’s role is very important from the story’s perspective and he’d been seen for about 40 minutes in the film. His role has scope for lot of action, thanks to how Pakki operated. Even look-wise, his character will be a revelation for the audiences,” Roshan said, adding that Mohanlal will shoot for the film in Mangalore, Goa and Sri Lanka. The team has already shot for about 60 days and another three months of shoot is pending.

Talking more about Lal’s character, Roshan said not much information was available to develop it. “In our research, we found lot of information about Kochunni but very little material was available on Pakki. Therefore, we had to rely a lot on fantasy. It wasn’t easy to write the character of Pakki, who was Kochunni’s predecessor and paved the way for him to follow in his footsteps.”

To play his part, Nivin Pauly got trained in Kalaripayattu, the ancient martial arts form of Kerala. Nivin would take classes every morning for few hours before joining the team for shoot.  He was trained by a team of martial arts experts who were flown in from Kerala. For his role, Nivin will be seen sporting a shot crop and a handlebar mustache. The team has so far predominantly shot in Mysore, particularly in places such as Manjeshwar and Udupi.

The film also stars Priya Anand and she will be seen paired opposite Nivin. On signing the project, she told this writer, “It’s been extremely exciting for me. I had met Roshan a long time ago and we were supposed to work together but things somehow didn’t materialise. He went ahead and started working on this film. He called me again and asked if I’d be interested to be part of this project. I had actually signed a few projects in Kannada but I had to back out to accept Kochunni. It’s such an amazing project and it’s been my dream to work on a period film because everything is so different about it.” Priya’s role was originally bagged by Amala Paul who opted out as her dates for this project were clashing with her other commitments.

Being produced by Gokulam Gopalan, the film has cinematography by Binod Pradhan of Rang De Basanti-fame and music by Gopi Sunder.

Published Date: Feb 17, 2018 10:32 AM | Updated Date: Feb 17, 2018 10:32 AM


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Aiyaary: SC refuses to stay release of Sidharth Malhotra starrer after complaint filed by Adarsh Cooperative Housing Society

IANS

Feb,17 2018 10:44 58 IST

New Delhi: The Supreme Court on Friday refused to stay the release of Hindi film Aiyaary starring Manoj Bajpayee and Sidharth Malhotra.

A still from Sidharth Malhotra's upcoming movie Aiyaary/Image from YouTube.

A still from Sidharth Malhotra’s upcoming movie Aiyaary/Image from YouTube.

A bench of Chief Justice Dipak Misra and Justice Sanjay Kishan Kaul dismissed the plea of Adarsh Cooperative Housing Society which sought a stay on film’s release claiming the Society and and its member were projected in bad light.

“Movies don’t influence the court’s judgement,” it said after the society mentioned the film was likely to defame its members and can adversely affect the trial of the case related to the Adarsh scam.

The bench said criminal cases are decided on the basis of evidence and documents placed on record and the court does not get influenced by movies.

The court also could not restrict the artistic freedom of filmmakers which is one of the most cherished right under the Constitution, the bench said, taking into consideration that the film was cleared by the CBFC after consultation with Army authorities. The court could not interfere in the functioning of a statutory body, said the bench.

Written and directed by Neeraj Pandey, “Aiyaary” released on Friday.

Published Date: Feb 17, 2018 10:44 AM | Updated Date: Feb 17, 2018 10:44 AM

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Black Panther empowers its women to go beyond token feminism but falls short of revolution

By Sharanya Gopinathan

The most enticing part of the Black Panther extended trailer was, for me, the fact that it sampled Gil Scott-Heron’s iconic 1970 protest poem and song, The Revolution Will Not Be Televised. Not exactly the most promising of genres on the social justice and anti-racism front, Black Panther was supposed to break the mould of superhero movies as we know them and show us what revolution in Hollywood could really look like: Black people in complex roles that see them representing and exploring characters, personalities and plot points beyond that of the hackneyed Black sidekick, roles that don’t kow-tow to a white gaze or points of reference, and that celebrate the complexity of Black identity in the USA today.

But what about the women?

A still from Black Panther. YouTube

A still from Black Panther. YouTube

I mean, there is reason to be anxious about how Black women would be portrayed in this movie about Black revolution. When feminist legal scholar Kimberle Crenshawe first coined the term ‘intersectionality’ back in 1989, she was referring to the unique oppression and struggles Black women face by the virtue of being both Black and female. She said that Black women faced oppression on a level that was different from the oppression faced by white women and Black males, since they had two separate forces of dis-privilege working against them, and had to break two barriers of sorts. This concept became a seminal part of critical race theory and teaches us that in order to really break down oppressive power structures, you need an intersectional approach to social justice that is concerned with the most marginalised of all, not one that liberates the most privileged of the oppressed first.

So, when I gleaned Black Panther’s revolutionary aspirations from its trailer, I was intrigued to see just how intersectional this revolution would be. The trailer promised to burn everything down to the ground and to start a new world afresh. But would a revolution for Black media, characters and imagery leave Black women behind?

Well, not very far behind, I guess.

Don’t get me wrong. Black Panther is incredibly enjoyable, and gets a lot of things very very right. It has got a complex plot that sees Black characters exploring tangled, confusing aspects of their identities, and Black women in powerful, impactful and emotive roles that they assume unquestioningly. It continually urges you to imagine alternatives to the white-supremacist world we live in, and shows you the possibility of amalgamating technology and ‘progress’ with cultural traditions that look different from white ones.

The country of Wakanda, which is where Black Panther takes place, is the mythical El Dorado that was presumed (by white folks) to be in South America for centuries but was, of course, in Africa all along. The Black Panther, or T’Challa (Chadwick Boseman) is the King of a Wakanda in flux.

The women in Wakanda, like the spy, warrior and object-of-Black-Panther’s affections Nakia (Lupita Nyong’o), and Wakanda’s general and Black Panther’s ex Okoye (Danai Gurira) are used to being powerful, and having their opinions and wishes obeyed. They are completely at ease with their power, and are not playing the roles of ‘female’ spies and ‘female’ generals. The women of Wakanda naturally enjoy roles of power and prestige, and are not surprised or humbled by the very fact of occupying them. In the movie, they kick ass, save men and women alike and make complicated decisions about honour and allegiance that again, have nothing to do with either race nor gender.

Which is kind of what we keep asking for in movies: Women exploring difficult and emotive subjects that go beyond their stereotypical femininity and romantic inclinations, and that do not try to end the project of female empowerment at a mere sort of switcher of gender roles. In passing, we see the complexity and depth that women can bring to the table even casually in the everyday living of Wakandan life, like when Nakia stops T’Challa from killing an enemy who was held captive and trained since he was a child.

In Wakanda, sexism does not seem to be a thing: No one is objectified, abused, put down, belittled or questioned for being powerful and female. Even insults, like the one the head of the Jabari tribe threw at Wakanda’s tech-genius inventor princess Shiru, bypass femaleness and focus on her youth and inexperience instead.

Is it a false criticism, though, to watch a movie named Black Panther that was supposed to be the revolution, and wonder why a woman was not heading it? Is it too much to ask for a revolutionary movie’s highlight fight to include a woman instead of two brothers (yawn), for women to occupy roles outside of guards, Queen Mothers and spy-cum-love-interests?

It’s a weird place to be, as a brown woman who appreciated Black Panther’s racial politics. Black Panther does have more women in casually powerful and influential roles than most movies, and certainly most superhero movies, but this was supposed to be the revolution. We were supposed to burn it all to the ground and start afresh, to create a blueprint for a new kind of perfect. Black Panther comes tantalisingly close on many fronts but I think I will not be happy until I see a Black woman headlining a superhero movie that does not have the word ‘Black’ in its title.

The Ladies Finger (TLF) is a leading online women’s magazine.

Published Date: Feb 17, 2018 11:16 AM | Updated Date: Feb 17, 2018 11:29 AM


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