When Ghosts Come Calling | Re-projecting the Disappeared Muses of Malayalam films

Naayika - Malayalam film poster

[ Co-authored by Darshana Sreedhar and Vinu Abraham, this originally appeared in the Sarai Reader No 9: ProjectionsDarshana Sreedhar is a PhD scholar at the School of Arts and Aesthetics, Jawaharlal Nehru University. Her work focuses on the history of Malayalam cinema. Vinu Abraham, journalist, novelist and scenarist, is better known for his novel  Nashtanayika, the fictionlised biography of PK Rosy, which formed the basis for Kamal’s Celluloid (2013 ). ]

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The Songs of PB Srinivas | Those that you may have missed

PB Srinivas - Playback Singer
Pix Credit & Rights : The Hindu

{ This is a guest post by Harikrishnan Nair, as an addendum to Susie’s tribute to PB Srinivas’ songs, as he felt he had to place on record his favorites amongst them some which might have not have been got the due recognition it deserved. “A silent lover of this blog”, he mailed this across as a slightly extended response to Susie’s post, but I felt it needed a place of its own in here. – cinematters }

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The Sathyan Tribute | Chellappan from Anubhavangal Paalichakal (1971)

{ This part -personal, part incisive perspective on Anubhavangal Palichakal is by a dear friend who goes by the name of BlueGreenSalad :). Seriously.}
Anubhavangal Paalichakal Title (1971) I first saw this movie in my childhood, off a VHS cassette bought by Father during the early 80s, along with Yavanika, Muthassi, Vilaykyu Vangiya Veena, Kuttiydathey, Neelakuyil, Vivaahitha, Thulabhaaram, Elippathayam and a few other movies sold by V G Paneerdas in Bombay. My Dad and Mom were fans of actor Sathyan, having known him while residing in Madras during the mid-to-late 60s. Under their influence, I too, grew up to admire this actor and his quality and dedication to the art. When I saw this movie, I was struck by the reality it attempted to depict: gone were the tinsel sets, caked makeup, fancy costumes, bouffant hairdos, and even more fantastic stories. Here was a different story- something I grew to like.

Continue reading The Sathyan Tribute | Chellappan from Anubhavangal Paalichakal (1971)

Sarvakalashala (1987 ) | In the Mood for Melancholy

[ This is a guest post by Prakash Rajan, from Bangalore India, now residing in New Jersey, USA. Prakash is an inveterate cinephile and an 80’s -era Malayalam films junkie.”I love Sathyan Anthikad, Satajit Ray and Stanley Kubrick“, says Prakash. Touch base with Prakash here.]
Sarvakalashala (1987) -Title Card

‘Sarvakalshala’ is quintessential Venu Nagavalli. Why? This is because, like the man himself, the film is philosophical and brooding. There is a pervading sense of melancholy in the movie, just like our man who is known for his pensive image. However, there is more to Venu Nagavalli than what meets the eye.

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The MT Classic 500 Contest | Here is the Winning Entry .

[ This is the prize-winning entry from the MT Classics 500 Contest entries submitted, which ran in the month of May, 2011 at Old Malayalam Cinema. The author Mohammed Naseef is a software engineer working in Bangalore, from Malappuram, passionate about films and reading. He says, “M.T Vasudevan Nair is one of my favourite literary & film personality, and Oru Vadakkan Veeragatha is one of my favourite movies. This prompted me to put forth my thoughts about it at your site. I owe a lot to my friends with whom I have discussed this movie, whose thoughts are also reflected in what I have sent as my entry for the contest.” ] Congratulations Mohammed !

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Guest Post | Is The Guild System Returning Through Malayalam Cinema?

Shankaradi in Mrugaya(1989)

Cinematters’ note: This Guest post is by  P.S.Remesh Chandran, Editor, Sahyadri Books & Bloom Books, Trivandrum. Remesh Chandran blogs at  SAHYADRI BOOKS  and you can mail him at sahyadribooksremesh@gmail.com.

In the middle ages, an experienced and specialized worker could work and make his living only if he joined the respective Guild. Painting, drawing, sculpting, moulding, gold-working, all were controlled by the respective guilds. The guild master or the foreman of that particular guild would be the omnipotent in that particular field of human activity. Plumbers, painters, artists, brick-builders, kiln-workers, goat-herders all had their own guilds. The powers of these guilds were such that they controlled the respective industry, enterprise or establishment as the case may be. The guild master and foreman could do with or do without any worker. People and their families lost their lives or living, according to the whims and fancies of these guild masters.

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