Issue - 7

dįÉÊ July 2014

Vol - 5 Pages : 8RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2012-2014REGISTERED :

July 2014

Inside

Independence Day Movie: Lucky

celebrationsPlays, Music, Screening,Panel Discussion

BISFF : Aug 22 -24

Suchitra Birthday August 28Movie Screening: Andaz

German movie of the month

Kalakendra programs

Zohra Seghal – Obituary

IDSFFK – A Report

Suchitra

August 28

Celebrating Cinema

all year round

August 28

Celebrating Cinema

all year round

BISFF, 2014 making new attempts- Shraddha N V Sharma

One of the busiest months at Suchitra, the

time for the Bangalore International Short Film

Festival is here. While showcasing shorts made

by some of the world’s best, the festival makes

considerable space for burgeoning talent. The

three day festival will see those from the

industry who have had their share of short-

film making in their early days.

This year round, BISFF has received over 350

films from across 30 countries within a month

of calling. Of these and counting, around 170

films will receive their premier screening.

Alongside the premiers, the festival will

feature a few short films selected for their

subtly crafted scripts, technical finesse and

intriguing style. The key note address will be by

National Award winning film editor Bina Paul.

The 2014 edition hopes to try newer methods

to help participants make best use of the three

days. Going by popular demand, a special half

hour will be allotted to interact with directors

of the films screened each day, to analyse their

works.

Besides these sessions, industry practitioners

will share their knowledge in hour long

discussions on specialised topics. We will see

director Rakshit Shetty, speaking on adapting a

script to the screen, presenting a case study of

h is work Ul idavaru Kandante . A lso

participating in these talks are Umesh Kulkarni

who will focus on promoting short films and

Jamie de Silva, who will cover on-location

recording. Sessions on effective casting and

production will be organised too.

27 Jul 2014: Actor/filmmaker Rakshit Shetty and music director Ajaneesh Loknath discussion with the

audience after the screen their movie Ulidavaru Kandante at Suchitra

Ph

oto

Co

urt

esy:

Sri

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Read Suchitra Appreciation Newsletter Online

http://issuu.com/suchitrafilmsociety

Become a Suchitra MemberAnnual – Rs.1000Renewal – Rs. 600

2July 2014

7th Edition of IDSFFK 2014, ThiruvananthapuramA report by Preeti Prakash

J u l y 1 8 t h t o 2 2 n d s a w s l e e p y

Thiruvananthapuram come to life as it played

host to the 7th edition of the International

Documentary and Short Film Festival of

Kerala. Filmmakers from places as far flung as

Finland and the Middle East, funders from

agencies like the Asian Documentary Fund,

distributors, students from some of the

premier film and design schools in the

country, writers and artists came together

with the famed cinema loving audiences of

Kerala to watch films at the state owned

Chalachitra Academy Theatre. As in other film

festivals, the curators and audiences alike

seem to be spoilt for choice. Every coffee, tea

and lunch session was spent discussing one's

choices, with films in the fiction and

d o c u m e nta r y s h o r t cate go r y, l o n g

documentar ies, internat ional f i lms,

animation and even music videos competing

for our attention.

As regards the documentary offering, the film

festival had a good mix with work by beginner

filmmakers, and longer works by established

names such as Kamal Swaroop with

'Rangabhoomi' and Saba Dewan who was the

Filmmaker in Focus. 'Rangabhoomi' won

Saumyananda Sahi an award for Best

Cinematography (Documentary), while his

work on an alternative school in Karnataka,

'Chikka Putta' was equally, lovingly shot.

'Chronicles of a Temple Painter' by Shravan

Katikaneni won the Best Long Documenatary

award, while 'Babai' by Kavita Datir and Amit

Sonawane won the Best Short Documentary

award.

The Saba Dewan showcase featured her work

located at the intersections of gender, culture,

modernity and change in the Indian context.

Her masterful 'The Other Song' is an

exploration of the marginalization and

gradual disappearance of the 'Tawaif'. If 'The

Other Song' touched upon complex ideas of

womanhood and desire, self censorship and

memory, 'Sita's Family' was a deeply personal

tale about daughters, mothers, parenting,

childhood, growing up, and the complexities

of finding and maintaining an individual

identity while being a 'good mother'.

Audiences were treated to documentaries on

a variety of subjects, be it a hearing impaired

wrestler in the 'Goonga Pehalwan' , the

struggle of Adivasis in 'The Red Data Book - An

Appendix', a profile of the 'foreign' director

Ellis Dungan in the early Tamil film in 'An

American in Madras' or a daughter's ode to

filmmaker Sukhdev, in 'The Last Adieu'. Short

fiction films were made with equal finesse as

seen in the winning and spectacular looking

'Puppet' by Satyanshu and Devanshu Singh.

Amongst the short films, one saw a greater

desire to experiment with non linear

narratives, say in fiction films like A Dream

20 Aug: Panel Discussion - Locating Violence on Women(L-R) Dr. Gayatri Devi (Formerly of ISEC), Aparna Ravi (Centre for Law and Policy Research)

Gopal Hosur, IPS (Retd), B Suresha (Filmmaker) and Prof. Vivek Benegal (Nimhans)

J Sasikumar(1927-2014)

Malayalam Filmmaker

Obituary

Animal and Grandmother and the techniques, as in

the 'True Love Story' by Gitanjali Rao, that animated

a timeless, Bollywood like romance and won the

award for Best Animation.

The film festival also payed homage to Alan Resnais,

Michael Glawogger, and homegrown talents Razak

and KK Chandran. One also appreciated the careful

curation of films on memory and absence, films by

women filmmakers put together by IAWRT, and a

focus on films from the Middle East. But what makes

the IDSFFK most special, as observed by Rajiv

Mehrotra of PSBT in his inaugural address, is its

willingness to put the 'documentary genre' at the

centre of its celebrations. It is a welcome change for

the 'underdog' and much needed form of

recognition for an alternative, independent, plural

voice, so critical in a vibrant democracy.

Anand Varadaraj met Bina Paul – Festival Director of IDSFFK attending the

festival in Trivandrum, Kerala.

3July 2014

Zohra Sehgal-Obituary – reprinted from The Guardian

1912-2014

Zohra Sehgal, who has died aged 102, was

one of the first female Indian actors to

achieve a truly international profile, with

roles in the films Bend It Like Beckham (2002)

and Bhaji on the Beach (1993). Typically in

her later years she played the part of a

traditional south Asian woman struggling to

come to terms with the pressures of living in

a modern, alien culture as her children and

grandchildren increasingly abandon the old

ways. She also appeared in a number of TV

series, including The Jewel in the Crown

(1984) and Dr Who (1964-65), and her

Bollywood output was prolific well into her

90s.

Zohra arrived in the UK in 1962, to take up a

British Drama League scholarship. After

working as a dresser at the Old Vic and

playing bit parts in the theatre, she became

the face of the BBC's early attempts at

multiculturalism, presenting programmes

aimed at new migrants and appearing in the

1977 serial Padosi (Neighbours). This led to

roles in Courtesans of Bombay (1983), a

docudrama directed by Ismail Merchant, but

it was The Jewel in the Crown that brought

her wider recognition, and made her a

reliable feature of many subsequent British

Asian productions, including Channel 4's first

Asian comedy series, Tandoori Nights (1985-

87). She was in her 80s by the time she

moved back to India, but went on to appear

in a string of films, culminating in Cheeni

Kum (2007), in which she played the mother

of the Bollywood superstar Amitabh

Bachchan.

She defied expectations throughout her life:

a career in show business was not the

conventional choice for a girl from an

aristocratic Muslim family in Saharanpur,

northern India. Born Sahibzadi Zohra Begum

Mumtaz-ullah Khan, she was one of seven

siblings; her mother died when she was

young and her father rather spoiled her. She

first encountered art and culture at Queen

Mary College, Lahore, where strict British

schoolmistresses educated the daughters of

the Indian upper classes.

Having resolved to become a dancer and

actor, she managed to get to Germany in

1933, where she studied under the dance

pioneer Mary Wigman. She later toured

several countries with the dancer Uday

Shankar, elder brother of Ravi Shankar, who

was then a small-part dancer in his company.

She met her husband, the painter

Kameshwar Sehgal, in an arts centre founded

by Uday Shankar in the Himalayan foothills.

Again, it was an unconventional choice:

Kameshwar was eight years younger than

Zohra and he was a Hindu. They married, in

the face of considerable opposition, in 1942.

The couple started a dance school in Lahore,

but the tensions over their marriage forced

them to move to Bombay, which was then a

comparatively liberal city. They joined the

Indian People's Theatre Association (IPTA),

which consisted of progressive and secular

intellectuals, poets, writers, film-makers,

actors and artists. Most of the country's

leftwing luminaries were active IPTA

members.

In 1946, Zohra appeared in Dharti Ke Lal

(Children of the Earth), a film about the

Bengal famine of 1943 that formed part of a

new wave of socially engaged Indian cinema.

The same year, she featured in Neecha Nagar

(The Lowly City), a groundbreaking social

rea l i st f i lm, Indian c inema's f i rst

international critical success and winner of

the Palme d'Or at the Cannes film festival.

The atmospheric soundtrack of both films

was provided by Ravi Shankar.

After partition in 1947, Zohra, as a leading

lady of Prithvi theatre (run by Prithviraj

Kapoor), toured the country performing

plays advocating communal harmony.

In 1959, tragedy struck when Kameshwar

took his own life, leaving her to bring up their

two young children. Three years later, she

took up the British Drama League

scholarship and they went to London.

It may have been her regular yoga exercises

and absolute discipline in matters of eating

and sleeping that gave Sehgal the energy of a

woman less than half her age. When I asked

her in early 2013 what she had enjoyed most

in life, her eyes lit up. "Sex! Sex! And more

sex!" she declared.

India's National Academy of Music, Dance

and Drama made her a fellow in 2004, and

she was honoured with the country's high

Padma Vibhushan title in 2010. She is

survived by her dancer-choreographer

daughter, Kiran; her son, Pavan; four

grandchildren; and a great-granddaughter.

There won’t be any dearth of workshopping

either, as this time BISFF attempts to have

technical experts set up what it calls

‘Resource Shops’. Interested participants can

simply walk in to try first hand the experts’

suggestions. These Resource Shops will

cover lighting, varying options of camera,

and editing on professional software among,

other aspects.

Suchitra hopes that BISFF will bring together

enthusiasts and practitioners to create

possibilities of quality filmmaking in the

future with a relevant understanding of past

works.

Independent filmmakers, film buffs,

students of all streams, are welcome to try

and outnumber the engineers at the festival!

For those looking to be more than audience,

the BISFF team will be happy to have you

help us out. Mark your calendars for 22, 23

and 24 August, 2014.

BISFF, 2014…

4July 2014

1931-2014

CFD - 10: Moving AheadIt was on 14 August 2004 that Centre for Film

and Drama was launched on the 5th Floor of

Sona Towers, Millers Road, Bangalore, with a

film and media school, a photography studio,

art gallery space and a 90-seater auditorium for

screening films and staging performances and

seminars.

Many people contributed to its beginning; in

chief, Shiva Subramanian, who co-owned the

floor comprising some 6,000 sq.ft and offered

hugely generous terms in letting out the space;

art director and designer Shashi Adapa, theatre

expert, the late A.Na. Ramesha and our own

Neeli (Neelakantha Bhatta), who miraculously

built an auditorium in what was essentially an

office space; and then budding filmmaker Bijoy

Nambiar, screenwriter and line producer MG

Sathya, journalist and author A Suryaprakash,

financial consultant Narasimha Prasad, artiste

Bhargavi Narayan and many others who made

donations.

Software professional Dinesh Jagannathan,

theatre people Amaan (Md. Amanulla), Ram (E.

Kodandaram), Harish Seshadri and actor and

director Mallika Prasad spent weeks in it as it

was being built, coughing and sneezing in the

space filled with wood and gypsum dust, the

smell of paint and generally intoxicating air.

Photographer Asha Thadani set up her studio

and journalist Vedam Jaishankar joined us to

launch Bangalore Bias, which started as a

weekly and graduated to a daily before shutting

down after two years of run.

Ninasam graduates Arun Murthy and later

Raaghu (Shimoga Raghavendra) managed the

auditorium space, keeping it performance

ready, till Raaghu moved on to become a

professional actor and director after five years

of commitment to CFD. Jija Harisingh, IPS

(Retd.) ran her Gallery Mantram at the CFD

space for a few years. Ram Ganesh Kamatham,

Vivek Madan and the late Vijay Nair rehearsed

and staged plays there. Collective Chaos,

Bangalore Film Society and Pedestrian Pictures

did weekly screenings in that hive of art,

cinema, theatre, photography, and journalism.

Filmmaker Anand Subramanian, the late

Sanath Kumar, Basavaraj Urs, Jyotsna Kamat

and Vinod Raja have been instructors for CFD

courses.

There were so many people who came to CFD,

who contributed to its activities (and so some

names have been omitted here), that

graduated and continued their helpful

association with it, fulfilling the prophecy at its

founding made by film maker TS Nagabharana:

"I don't see just a school and auditorium here; I

see a movement." In 2010, CFD became a trust

mandated by Suchitra Cinema and Cultural

Academy to build and operate an academy for

cinema and drama at the Suchitra premises in

Banashankari II Stage. We are now set take the

movement forward and realise the mandate in

full measure.Prakash Belawadi

Co-Founder, Centre for Film and Drama

EventTimeDate

Thu, 14 Aug 6:30 PMMD Pallavi and Group perform raga-based film songs in Hindi and Kannada. (RSVP Only , Limited seating)

5:00 PM 'HAVE WE FAILED OUR DEMOCRACY, Panel Discussion (Await details)

:00 PM

THE LADY OF BURMA (Play in English, Dur: 90 mins)Featuring Rukmini Vijayakumar, Written by Richard Shannon, Music by MD Pallavi, Sound by Nikhil Bharadwaj, Lighting by Arun Murthy,Designed and Directed by Prakash BelawadiTickets: Rs 100/-

Fri,15 Aug

Sat, 16 Aug 7:00 PM

COPENHAGEN (Play in English; Dur: 135 mins)Featuring Sharanya Ramprakash, Prakash Belawadi and Balaji Manohar,Written by Michael Frayn, Lighting by Arun Murthy (Original design by the late Dr Paresh Kumar) Sound by Nikhil BharadwajDesigned and Directed by Prakash BelawadiTickets: Rs 100/-

5:00 PM

'2025 - The Next 10', Panel DiscussionAbhishek Majumdar - On TheatrePrakash Belawadi - On CinemaMD Pallavi - On MusicRukmini Vijayakumar - On Movement Arts

Sun, 17 Aug

Vasant Shetty - On KannadaNaresh Narasimhan - On SpacesKey Speaker, Mayor Katte Sathyanarayana-On Bangalore(Open to all - 100 seats)

GAAJINA GOMBEGALU (Play in Kannada, Dur: 75 mins)Featuring Sudha Belawadi, Karthik Saragur, Meghana Belawadi and Kishore AcharyaAdaptation by Prakash Belawadi, inspired by Tennessee Williams' 'The Glass Menagerie',Directed by Balaji Manohar.

Tickets: Rs 100/-

7:00 PM

(Venue: Suchitra)

5July 2014

WHO is he?

Iconic American filmmaker, screenwriter and

editor who directed over 500 short and feature

length silent films during the first three

decades of the 20th century. Close to 450 of

these were made during a staggeringly

productive 5-year period between 1908 and

Know Your Filmmaker

D. W. Griffith(Jan 22, 1875 – Jul 23, 1948)

1913. Griffith faded to obscurity and his career

came to an abrupt halt after the arrival of

talking pictures.

WHAT are his films about?

Themes

Griffith’s “novelistic” movies could be seen as

some of the earliest examples of the kind of

genre cinema that Hollywood mastered during

its golden age: gangster movies, melodrama,

Westerns and war pictures. Some of these films

are also very ideologically charged, be it leftist

screed against the avarice of capitalism or

reactionary glorification of the Ku Klux Klan and

the suppression of slave revolts. The others are

paeans to universal values such as undying love

and the brotherhood of men.

Style

Though a controversial figure in terms of his

ideology, Griffith is now unanimously hailed for

his revolutionary technical discoveries. His

films harness the full power of crosscutting in

which two sequences interrelated in time or in

spirit are intercut in such a way that they

enhance each other’s power. Also noteworthy

are the shots with moving camera such as the

makeshift dolly shots or crane shots that he

invented, close-ups to better describe objects

and irises to emphasise key portions of the

frame.

WHY is he of interest?

Widely considered the father of narrative

cinema and the greatest pioneer of the

American film industry, Griffith is responsible

for many of the tenets of cinematic storytelling

that we have internalised today. His editing

innovations, opposite in function to Soviet

montage theories, laid the foundations of a film

grammar that have come to be taken for

granted. It would not be a hyperbole, in fact, to

say that every narrative film made today owes

something to Griffith.

WHERE to discover him?

Often relegated to the sidelines by the long

epics he directed, the 15-minute Marxist

classic A Corner in Wheat (1909) might perhaps

be the most powerful film Griffith ever made.

Centring on a wheat tycoon’s manipulation of

the market and the social malady it triggers, the

film employs crosscutting to an exhilarating

end, contrasting the excesses of the upper class

with the struggles of the poor.

6July 2014

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G¥À£Áå¸À-28-07-2014 ¨sÁªÀ - ªÀiÁ¹ÛAiÀĪÀgÀ DvÀäPÀxÉ «ªÀj¸ÀĪÀ PÀÈw

MAzÀÄ SÁ¢æ J¸ï. CZÀÄåvÀ£ï

8

Owned, Printed & Published by N Shashidhara (President) Suchitra Film Society; Printed at Suchitra Printers & Publishers;36, 9th Main (B.V. Karanth Road), Banashankari 2nd Stage, Bangalore-560070 Ph: 080-26711785

Editor: Prakash Belawadi, suchitrafilmsociety@gmail.com Posted at GPO Bangalore-560001 on the last day of every month

July 2014

Sat 9 Aug 2014 | 6-30 PM

Eliane, to help herself get over the loss her son, commissions the famous artist Max Hollander to paint a portrait of Alexander, based on photographs of the boy, together with his sister Lilli. Lilli, herself has her own problems.The talented dance and voice student,Lilli, is disturbed with her dance teacher and boyfriend. And finally she thinks her mother's plan to hang her brother as "decoration" on the wall is ridiculous. Courtesy: Goethe Institut

A YEAR AGO IN WINTER (128m, 2007, Germany)

Dir: Caroline Link

Fri 15 Aug 2014 | 10:30 AM

LUCKY(104m, 2011,South Africa)

Dir: Avie Luthra

Thu 28 Aug 2014 | 6:00 PM

A 10-year-old South African orphan leaves

his Zulu village to make his own life in the

city... only to find no one will help him,

except a formidable Indian woman.

As part of our Independence Day

celebrations, we will have a flag hoisting

before the screening .

After the movie, a discussion with

Smt. B Jayashree hon' MP will be held.

ANDAZ(166m, 1971, Hindi, India)

Dir: Ramesh Sippy

Films are subject to change or cancellation without prior noticeFilm screenings are for members of Suchitra.Screenings @ Suchitra

Suchitra Film Society turns 43 years on August 28. To celebrate it, we are screening the movie, Andaz, which was released in the same year (1971) .

Andaz is a family drama that involves a widow with son, Sheetal (Hema Malini) and a widower with daughter, Ravi (Shammi Kapoor) who meet each other through their children. Ravi is the step-son of the (female) head of a business family and Sheetal is the abandoned daugher-in-law of a rich man (Ajit), because his son, Raj (Rajesh Khanna) had married her against his wish.

Ramesh Sippy has worked on this unusual plot, studding the narrative with some of Hindi cinema's most-loved songs composed by Shankar-Jaikishan (their last work), including Hai Na Bolo Bolo, Papa Ko Mummy Se, Mummy Ko Papa Se Pyar Hai, Zindagi Ek Safar Hai Suhaana, Dil Usse Do Jo Jaan De De and Re Mama Re Mama Re. It's Shammi Kapoor's last hit in a romantic role. Hema Malini broke into stardom with this movie. Just then emerging superstar, Rajesh Khanna (ANAND was released the same year) appears in a guest role and the child actors steal the show.

Blast from the PastReview of a old classic

The Lady From Shanghai87 mins/1948/USA/Director: Orson WellesCast: Everett Sloane, Orson Welles, Rita Hayworth

There's such outrageous brilliance in Orson Welles's brash and sexy noir melodrama from 1947,

now on re-release. There are some opaque plot tangles, perhaps due to 60 minutes being cut from

Welles's original version by the studio, but the sheer brio and style make it a thing of wonder,

whisking the audience from the streets of New York City, to the open seas, to a tense courtroom

and then to a bizarre house of mirrors.

This is arguably Welles's best acting performance: theatrically romantic, with warmth, wit and a

gust of pure charisma. He plays O'Hara, an Irish merchant seaman induced to sign on as part of the

crew of a luxury yacht belonging to wealthy lawyer Bannister (Everett Sloane), having fallen in love

with his young wife Elsa (Rita Hayworth) – a beautiful woman with a shady past in the far east

whom Bannister evidently blackmailed into marrying him. Soon O'Hara is mixed up in a murderous

plot cooked up by Bannister's partner Grisby (Glenn Anders). Welles creates a dreamlike (though

never surrealist) fluency and strangeness, along with a salty tang of black comedy and an electric

current of doom and desire between O'Hara and Elsa. It has an irresistible energy.