fidaa is a 2017 telugu-language romantic comedy film written and directed by sekhar kammula .

it features varun tej and sai pallavi in the lead roles which marks the latter 's debut in telugu .

principal photography commenced in august 2016 .

the film received positive reviews from its audience and critics praised the performances of the principal cast .

fidaa

fidaa <EOT> this is what i see today . . . really very much excited for # fidaa . . . # fidaa # 13thjuly urltoken

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fidaa starring sai pallavi and varun tej hit the screens today . directed by sekhar kammula

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fidaa is sai pallavi ' s show all the way with her terrific performance . a one time watch

looking for movie tickets ? enter your location to see which movie theaters are playing fidaa near you .

fidaa earned varun tej his first smash hit and sai pallavi has become a sensation among the telugu audiences .

“fidaa” movie app gives you latest updates of the movie , videos , full songs , trailers , images , caller tunes , ringtones and many more . . . features : be the first person to get updates and listen on the single full tracks audio releases of the movie “fidaa” for free .  download the mp3 songs and listen offline .  get the latest updates of the “fidaa movie trailers , promos and many more . . .  download “fidaa” hd wallpapers and images .  set your favorite song as caller tune and ringtone from “fidaa” movie .  get exclusive news updates and social media feeds of “fidaa” movie .  share the latest images and videos of “fidaa” with your friends .  get exclusive updates of “fidaa” movie through push notifications . varun tej’s “fidaa” is a latest telugu family entertainer featuring varun tej and sai pallavi in the lead roles . music composed by shakthikanth karthick , the story is directed by sekhar kammula and produced by dil raju under the banner of sri venkateswara creations .

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right from the time fidaa hit the marquee , producer dil raju had been talking about its box office collections .

fidaa , which has been directed by shekhar kammula , stars varun tej and sai pallavi playing the lead pair .

fidaa is a simple yet fresh love story that rides high on the performance of sai pallavi . ( more )

varun tej’s kanche , which released in 2015 , was a commercial success . his next big release is fidaa .

' fidaa ' , which has been directed by shekhar kammula , stars varun tej and sai pallavi playing the lead pair .

fidaa movie review : the film stars varun tej and sai pallavi in lead roles while latter is debuting in telugu cinema .

fidaa movie is considered as bahubali of low budget films in tollywood . its profit share is more as compared to bahubali .

varun tej is quite busy with the first schedule of shoot for his upcoming film titled fidaa in the direction of sekhar kammula .

fidaa is an 2017 telugu film written and directed by sekhar kammula . it features varun tej and sai pallavi in the lead roles which

fidaa movie is a romantic entertainer written and directed by sekhar kammula and produced by dil raju whiel shakthikanth karthick scored music for this . . .

these pieces of paper contains all my emotions for you @ yash _ dasgupta ! hope you see it . @ yashhd _ fc # fidaa urltoken

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his latest film fidaa , starring varun tej and sai pallavi , is like his ‘daughter’ , going by what he stated at the film’s audio launch .

fidaa movie review : sekhar kammula directorial fidaa has done something unexpected yet again with this film which is to tell a story from the female perspective . sai pallavi , who is debuting in telugu cinema with this film and while she is the heart and soul of the film , varun tej is the muscle .

sekhar kammula continues to maintain his high standards with music . one only hopes that he has retained some of his filmmaking glory too in fidaa as it is a very critical film for him . his last two movies have been major disappointments . fidaa starring varun tej and sai pallavi hits screens worldwide on july 21 .

fidaa is a love story with strong protagonists . " in fidaa , the conflict is caused by personalities . i think i’ve managed to put forth a strong thought towards the end and hope girls will love it . i missed that in anamika , " said the director in an interview before the film ' s release .

fidaa official trailer was also expected to release soon and for now , with this teaser , both the actors impressed the viewers and it seems sai pallavi will steal the show with her cute looks , slang , and performance . sai pallavi is also working for another project in tamil and it is titled ‘karu’ which is under filming while varun tej has no other projects currently . shekhar kammula after fidaa will work on the hindi version of “happy days” . watch varun tej’s fidaa official teaser here .

" fidaa " has his trademark story of two youngsters finding love in love - hate - love cycle , but this time the backdrop is rural telangana and usa .

we all are # fidaa on this man always . we love him so much . we are always with you @ yash _ dasgupta for your every journey . this man ' s smile makes us happy and his every movie touches our heart and we will wish that # fidaa will be super duper hit . @ yashhd _ fc urltoken

fidaa boasts of a strong supporting cast in non - stereotypical parts - sai chand , saranya , child actor aryan from florida , seetharama sastry’s son raja and geeta bhaskar .

fidaa is the story of love between telangana girl and a nri guy . the film will have musical scores by mickey j meyer and dil raju is producing the movie .

made on a budget of rs . 16 crore , fidaa is said to have collected about rs . 57 crore at the end of its third week at the box office .

all in all , " fidaa " is a niche film that works with movie lovers who seek realistic love stories and can bear slow pace . this is not for all .

varun tej , whose new film fidaa opposite the very talented sai pallavi is set to release later in july , talks about working with sekhar kammula and doing different kinds of films .

the music of sekhar kammula’s new film fidaa is out . shakthikanth karthik has provided the music for the movie . the young musician has belted out a stunning album without any doubt .

fidaa is not without niggles . but what makes it compelling is a story rooted in reality . the girl having her way , at the end , is the icing on the cake .

her performance is the single major attraction of this movie that has some strong notes , some dull moments . the film completely belongs to her . anybody can easily go fidaa over her .

fidaa music director shakthikanth karthick full interview exclusively on telugu filmnagar . # fidaa film ft . varun tej and sai pallavi . directed by sekhar kammula and produced by dil raju . music by shakthikanth karthick . # fidaa # varuntej # saipallavi # sekharkammula for more latest telugu movie news and updates visit : urltoken telugu filmnagar is south india ' s # 1 youtube channel and your final stop for best in class content from telugu film industry . like - urltoken subscribe - urltoken follow - urltoken my mango app links : google play store : urltoken app store : urltoken

fidaa narrates the story of bhanumati , a 20 - something girl who lives in banaswada , a small town in the hinterlands of telangana . she’s the embodiment of everything that many men would want to see in a woman - smart , independent , fiery and caring . fidaa is about her journey and her life , and what happens when she falls in love with an nri .

' fidaa ' will be joining the one - million dollars club in a day . the movie witnessed extraordinary weekend collections at usa box - office . the final figures for weekend are here . sekhar kammula directed ' fidaa ' took in $ 952k in its opening weekend . this is extraordinary amount for a varun tej starrer . this is huge hit in his career as well as in the career of debutante sai pallavi .

director shekar kammula is coming before the audience with his next film ‘fidaa’ after a very long gap . varun tej and sai pallavi are pairing up for the first time for fidaa and the teaser of the film was released now . both varun tej and sai pallavi grabbed the attention of the viewers with their looks and the one and only dialogue said by sai pallavi already became popular and people are going crazy for her .

there are many reasons why ‘ fidaa ‘ turned out to be a surprise blockbuster and one of them is definitely the songs . music director shakthi kanth gave us an endearing music album which had that native feel , the soul of the movie .

“i felt that fidaa encompasses a lot of progressive thinking and that’s the change i want to see in the society as well . i believe that men and women are equal , and a man should stand by and support whatever decision a woman makes .

in an exclusive chat , actor varun tej opens up on his forthcoming telugu release fidaa , the experience of working with filmmaker sekhar kammula , sharing screen space with sai pallavi and why he likes to break the monotony by doing different kinds of cinema .

music - directed by sashikanth karthick , ' fidaa ' brings together a range of lyricists . suddala ashok teja , sirivennela , chaithanya pingali and vanamali pen the numbers . hemachandra , deepak , madhu priya , ramky , aravind srinivas , renuka , sindhuri and sinov raj are the singers .

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while the producer has never been so outspoken about the box office collections of his films , fidaa seems to have been an exception . however , this did not go down too well within the industry , as it was followed by allegations that the collections were fabricated to falsely promote the film .

every movie has a central character around who the plot is built and fidaa revolves around bhanumathi ( sai pallavi ) . she is the point of impact , and the effect forms the rest of the plot . she is beautiful , charming , headstrong and in her own words , hybrid piece .

sekhar kammula ' s heroine in ' fidaa ' not only speaks telangana , but also sings telangana . thus , we have suddala ashok teja replacing the high - brow sirivennela to write a song that borders on that marriage song from mani ratnam ' s ' sakhi ' in terms of essence .

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right now the shoot of fidaa is happening in bhaswada , nizamabad where introduction scenes on the lead pair are being canned . sai pallavi has also joined the sets of the film and she is playing the character of an telagana girl . mega prince is all set to sport ultra stylish avatar in this film .

fidaa is an upcoming telugu film directed by sekhar kammula with varun tej and sai pallavi as a lead . shakthi kanth karthick who debuts in ko ante koti , composes music for the first time for sekhar kammula . let ' s check out whether sekhar able to extract magical tunes from shakthi kanth or not .

fidaa revolves around the fiesty bhanumati ; she’s innocent , haughty and unpredictable all at once . we are sucked into bhanu’s world as she eavesdrops on conversations between the bride and groom , curses when she scurries along in the rain to get usirikai pachadi and wonders why daughters have to move away from parents after marriage .

if it shows same strong muscle power at box - office , the film will touch $ 2 million dollars by end of its total run . ' fidaa ' featuring varun tej and sai pallavi is directed by sekhar kammula and is produced by dil raju . it is also running in packed houses at domestic market .

earlier he was introduced by shekhar kammula’s good friend anish kuruvilla in ‘ko ante koti’ . his next offer came from rgv for ‘satya 2’ but no one recognized him . now , the music director turned out to be the latest sensation with ‘fidaa’ . ‘vachindey’ , ‘pillagadaa’ and ‘oosupodu’ are on the top of the chartbusters list .

regardless of d situation we find ourselves in , we can choose how we respond to it . even if we cannot change the situation itself , we can choose to change how we look at it and how we respond to it . and in our response lies the right answers to our next # fidaa quiz by @ sonalinov urltoken

fidaa takes him out of his comfort zone , with its deep - rooted telangana setting . he had to read up on sounds unique to the region . “the fact that you don’t know the language or a certain culture makes you put in extra effort . had i been familiar with the region or tastes , my horizons could have been restrictive . it’s more interesting this way — especially while working with sekhar kammula . all said and done , music is universal , you need to balance that with your quirkiness , understanding of the roots and add flavour to a track . ” from ‘vachinde’ and ‘edo jarugothondi’ in fidaa , he seems to have got it right .

you will certainly fall in love with fidaa . sekhar kammula will take you to the romantic past and link you to your sweet experiences . youth need not go to the movie separately but can comfortably accompany their family members . you will not forget sai pallavi ' s acting so soon , with her free style ac . . . ( more )

verdict : sai pallavi shines in this super cool love story . fidaa , starring varun tej and sai pallavi in lead roles , is written and directed by sekhar kammula and produced by dil raju under the banner sri venkateswara creations . sai pallavi , who received a lot of praise for her role as malar in malayalam movie premam [ ] . . .

usa audiences are completely bowled over by the charm and magic of sekhar kammula ' s ' fidaa ' . exceeding expectations , the film is showing terrific growth at us box - office . even in its second weekend , the film has collected nearly 400k dollars . currently , the movie ' s total cumulative gross stands at 1 . 62 million dollars .

fidaa is one of the best love stories made in the recent times . the film has superb fun , good romance and moreover some moving emotions which will be loved by the entire section of the audience . the film is bound to do well in the overseas and other areas as it has clean entertainment . if you ignor . . . ( more )

if a viewer had to go “fidaa” over something , then the music is surely it . shakthi kanth has done a splendid job and the music is just magical . be it the romantic number or the very cheeky wedding song , he has given the film something that no one else probably could . and in combination with the cinematography , one must say marvellous .

" fidaa " is a niche film that works with movie lovers who seek realistic love stories and can bear slow pace . this is not for all . but one must appreciate sekhar kammula for making a movie with such a strong female character and going with the flow vis - a - vis commercial thinking . at the box - off . . . ( more )

it would be the climax scene . it breaks the tradition of how marriage is viewed in our society . it’s not a very contemporary issue and has been around for a long time but the way sekhar dealt with it in his writing and even while filming the sequence made me fall in love with the story . that would be my fidaa moment in the film .

now , when i come back to doing a love story , like fidaa , the whole idea is to push the bar a little more in terms of realism and address more social issues . the film will make you think about our families , places we grew up in , and the pain and separation from her family that a girl experiences when she gets married . ”

fidaa is pleasant melody and though nothing extraordinary in terms of tune and the arrangements also , the track is adequately listenable till it lasts . hemachandra and malavika sound adequate enough to keep the song afloat . the composer effectively blends hey pillagada sound cue towards the end of the song . one wishes that babu ' s banjo could have been used extensively and it would have made song more interesting one .

youngsters are humming these songs which have the repeat value to last for many days . this young music director who is receiving huge praise for the songs is yet to get offers from tollywood said in a recent interview . but , the success of ‘fidaa’ is sure to turn his life in tollywood . let’s wait and see who would be the first filmmaker to make shakti kanth the music director of his film .

romantic musicals are becoming a rare breed . tougher to come by are on - screen romances that seem so real . watching fidaa is like taking a stroll on the countryside in a drizzle . it’s beautiful , dreamy and yet not escapist . nothing is overtly romanticised . at the heart of this drama are powerful characters drawn to each other and find that their own misgivings stand in the way of taking their relationship forward .

sekhar kammula who once happened to enjoy a star director status in overseas market , specifically in youth segment , seemed to have lost his midas touch in the recent past . in an attempt to regain his former glory , the director came up with a youthful entertainer fidaa in association with dil raju who is also known for family pleasant movies . lets find out if this film work in favor of the actors and makers ?

“music , people need to understand , is an industry . every fine detail that you want to add to a song will involve money . with fidaa , i had freedom to find my way and even scrap a track if i didn’t like it . that’s a luxury i didn’t have in my earlier films . smaller budgets are tricky - you have a lot of tensions and yet get to explore more , ” he explains .

during his interview to the hindustan times , varun tej , who plays the lead role in the film , said , “it would be the climax scene . it breaks the tradition of how marriage is viewed in our society . it’s not a very contemporary issue and has been around for a long time but the way sekhar dealt with it in his writing and even while filming the sequence made me fall in love with the story . that would be my ‘fidaa’ moment in the film . ”

sai pallavi exclusive interview | | fidaa movie | | varun tej , sekhar kammula | | ntv for more latest updates on news : ► subscribe to ntv news channel : urltoken ► like us on facebook : urltoken ► follow us on twitter at : urltoken ► circle us on ntv news channel g + : urltoken watch ntv telugu news channel , popular telugu news channel which also owns india ' s first women ' s channel vanitha tv , and india ' s most popular devotional channel bhakti tv .

the film fidaa has harshavardhan rane in a guest appearance . the romance coated film will have a lot of fun elements and sequences which will make you laugh out loud . the picturization and screenplay of the movie are sure to leave a mark . with the debut of the heroin , sai pallavi the film is expected for great success as she has put a lot of struggle and energy in making the character look straight like the directors wanted . overall the movie is a one time watch for the audience specially the fans of varun tej .

every movie has a central character around who the plot is built and fidaa revolves around bhanumathi ( sai pallavi ) . she is the point of impact , and the effect forms the rest of the plot . she is beautiful , charming , headstrong and in her own words , “hybrid piece” . she doesn’t want to leave her country , or her father behind after marriage , but she falls in love with her brother - in - law’s brother , varun ( varun tej ) . produced by dil raju , and directed by sekhar kammula , this film is a refreshing romantic tale .

fidaa telugu romantic movie , which finally released has been getting positive reviews from audience all over . it starring varun tej and sai pallavi in the lead roles . the cast of the film include raja chembolu , danielle gregory , sai chand , lydia pagan , sharanya pradeep , nathan smales , harshvardhan rane , geetha bhaskar and sarah berry in the important roles . the shoot of the film commenced in august 2016 . the movie trailer has caught the attention of the audience already and have impressed them . the film is shot in some us locations and banswada with the cinematographer vijay c . kumar .

no discussion on sekhar kammula and his films seem complete without music . they are not mere cherries on the cake in his personalised narratives , they do more than enhance his frames - anand , godavari , happy days , leader and life is beautiful are proof of that . when the filmmaker invited shakthikanth karthick to compose for fidaa , the composer intended to sustain the trust . having worked for ko ante koti , satya 2 and yerupu in the past , shakthikanth was aware that he had set afoot on his biggest project to date , in terms of scale , star cast and audience reach .

shakthikanth feels sekhar kammula deserves at least 50 per cent of the credit as fidaa’s composer for the context he gave to the songs . “he’s very different among the directors whom i have worked with ; he has a concrete vision of what he wants and you need to make an effort to get his zone . he’s clear on saying ‘this is how it should sound’ . shakthikanth comes from an independent background but doesn’t mind many people involving in okaying a film tune , “it’s better if you have a middle man saying this is good or bad ; the inputs can make you a better composer . ”

“it’s almost as if the concept of true love and pain doesn’t exist anymore and we see heroes indulging in all sorts of things , including stalking , threatening and abnormal behaviour , in the name of love . i think women will feel really good after watching fidaa . there’s tremendous amount of positivity . you’ll really feel like crying and believe that your world will turn upside down when you miss someone . this is the reality of life , and sadly , this is rarely shown in our films . in my films , there are no external conflicts . the struggle is all in their minds , ” he confesses .

synopsis / plot : fidaa is a feel - good family story of two couples . bhanumati ( sai pallavi ) and her sister renuka live in a village near banswada in telangana . raju ( raja chembolu ) who is an nri , in match making process , visits renuka�s house along with his younger brother varun ( varun tej ) . raju likes renuka and as they prepare for marriage , love blossoms between bhanumati and varun . while raju and renuka are happily married , there is a conflict between the lead couple . raju , renuka and varun leave for usa . rest of the story is about how the conflict between varun and bhanumati develops and subsequently leading to the climax .

watch & enjoy # fidaasambaralu live ( fidaa success meet ) starring varun tej , sai pallavi , music composed by shakthikanth karthick , directed by shekar kammula and produced by dil raju and shirish and co produced by harshith reddy under the banner of sri venkateswara creations . for more latest updates on news : ► subscribe to ntv news channel : urltoken ► like us on facebook : urltoken ► follow us on twitter at : urltoken ► circle us on ntv news channel g + : urltoken watch ntv telugu news channel , popular telugu news channel which also owns india ' s first women ' s channel vanitha tv , and india ' s most popular devotional channel bhakti tv . producers : dil raju music composer : shakthi kanth karthick cinematography : vijay c . kumar

fidaa is the latest offering by shekar kammula and varun tej from dil raju ' s banner . this movie is heard for quite some time , and the teaser brought everything together . after duvvada jagannadham and before that shatamanam bhavati , dil raju is flying high , contrast to varun and shekar . both of them are struggling and wanting a huge hit . time will resolve whether both will get success or not . shekar ' s earlier movies anamika and life is beautiful didnt work at box office . even though leader was critically acclaimed , i guess it too didnt work at box office . similarly varun tej is looking for decent hit as his earlier film loafer sunk without a trace at box office . in this context getting to work with golden hand producer dil raju is for sure a blessing in disguise for them to hope they will get some too from him .

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sekhar’s third romantic movie after anand and godavari , fida is touted to be fresh and youthful .

director sekhar kammula is coming up with yet another love story after a two - year hiatus . titled fida , the film is being shot in bansuvada in nizambad . this love story is of a telangana girl and a boy from the us , and is marking the telugu debut of premam - fame sai pallavi as the heroine opposite varun tej .

“sekhar narrated a good love story and i immediately accepted the movie . we will shoot for nearly 40 days in bansuvada and then , we will move to the us , ” says producer dil raju .

sekhar’s third romantic movie after anand and godavari , fida is touted to be fresh and youthful . varun , who was busy shooting for a film with srinu vaitla , didn’t attend the first day’s shoot .

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the times of india , tnn , updated : apr 2 , 2018 , 11 . 37 am ist

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in order to put an end to such speculations and negative publicity , ace producer allu aravind has reportedly advised dil raju to refrain from making such statements .

the film marked sai pallavi’s debut in the telugu film industry . produced by dil raju and shirish under the banner sri venkateswara creations , the film hit the marquee on july 21 , 2017 .

while the songs have been composed by shakthi kanth karthick , the background score has been done by jb vijay c . kumar has cranked the camera for this flick with marthand k . venkatesh editing it .

sai pallavi has chosen a great debut in tollywood . for the first time , we see the dancer in her , which is pleasing to watch on the silver screen . then we have varun tej who plays the male lead . initially , you might feel that the male character doesn’t have as much depth as the female one . you might feel that the movie is tipping to one side , and something is amiss .

sekhar kammula has done something that is unusual not just for tollywood but in any film industry . it is to tell a tale from the female perspective . the beauty lies in the fact that the plot segues so beautifully with the idea that at the end , you end up falling a little bit in love with the characters . especially sai pallavi . while she is the heart and soul of this movie , varun tej is the muscle that supports it all . sekhar has done something unexpected , yet again .

as a director , it was a great move to cast sai pallavi . however , the one thing that irks the audience a little is the absence of a strong supporting cast . yes , there is great camaraderie between varun and his brother , there is affection between him and his new sister - in - law , but in an important scene , a conversation between varun and his sister - in - law falls flat .

there is a lot of magic that can happen on the silver screen when the man behind the camera really understands his subject . it looks like vijay c kumar understands banswada extremely well . especially the shots of bhanumathi and the rain look stunning . the attention to detail will awe you in places and amuses you in others .

jai lava kusa box office collections day 1 : jr ntr starrer collects rs 47 . 25 cr and sets a record

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sekhar kammula’s insightful screenplay makes all the difference to a simple story . he takes us into the rustic bhanswada where bhanumati ( sai pallavi ) , an agriculture student , comes home in the wake of an nri suitor ( raja ) meeting her sister ( saranya ) . kammula establishes the family’s line of thinking without much ado . they don’t make a big deal of inter - caste marriage ; the father puts his daughters’ welfare above everything . if bhanumati has an assured head on her shoulders , it’s because she’s never been made to feel secondary to anyone .

the meeting and subsequent romance between bhanu and varun ( varun tej , younger brother of the groom and a doctor ) happens in a love - hate - love manner . they’re both enamoured , yet don’t go weak in the knees blinded by love . the setting adds to the charm . the bhanswada house looks lived in , not like a make - believe set . the telangana dialect is spot on and a lot of humour is woven in matter - of - factly . jeevan’s background score adds mirth to the already lively proceedings .

did kammula write bhanumati with sai pallavi in mind or was she chosen after the character was written ? she’s so good you can’t take your eyes off her . she makes the entire film her own . varun , in comparison , gets a part where he has to be measured , subtle and he does it well . long after kanche he gets a film that channelises his acting abilities .

the first major point of conflict comes through a misunderstanding , which is a downer . when everything else seems non - filmy and contemporary , lovers torn apart over a misunderstanding seems a little staid . but the actors make up for it . when the drama shifts to the us , the tone gets a little uneven .

songs by shakti kanth and vijay kumar’s cinematography complement the narrative . supporting actors sai chand , raja , geeta bhaskar as the aunt , child actor aryan and satyam rajesh are good in their parts .

story : a telangana girl and an nri from the us fall in love , overcome ideological differences .

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while on a trip to india for his brother ' s wedding , nri varun meets village belle bhanu , and the two develop an instant connection . however , the vast difference between their worlds drives a wedge between the couple soon after . will their love prevail over their differences ?

varun ( varun tej ) comes down to india to get his brother married . there , he falls in love with bhanumati ( sai pallavi ) . as time passes by , love blossoms between the couple but they both do not disclose their love for each other . after going back to the us , varun finally comes forward and proposes to bhanu who in turn rejects varuns proposal .

the plot of the movie set upon the life of varun tej who is an nri to comes to the telangana village on a visit . there he falls in love with sai pallavi , who is playing the role of the telangana belle , marking the love at first sight .

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varun and bhanu , both from different worlds , face challenges in their relationship .

what is the fastest way to reach chennai airport from central station ? we find out . . .

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sekhar kammula , the director of classic hits such as " anand " and " happy days " , has returned to the genre of love stories after a long gap .

the recently released trailer and the soothing melodies coupled with sai pallavi ' s charm raised expectations on the film . find out if kammula has come back to form or not .

story : varun ( varun tej ) , a nri , lands in rural village in telangana to attend the wedding ceremony of his brother ( raja ) and meets bhanumathi ( sai pallavi ) , the bride ' s sister . they get attracted to each other and start finding out about themselves .

due to a misunderstanding , they part ways on a bad note . though he likes her , she hates him for some incident .

months later , bhanumathi comes to usa to see her pregnant sister . will they fall in love this time ? does the story end on happier note ?

artistes’ performances : though it is a love story , it is the heroine who gets complete dominance . the story is more about bhanumathi , played by sai pallavi , than varun .

and in the role of bhanumathi , debutante sai pallavi ( who played the role of lecturer in malayalam ' s premam ) steals the show . it is her show from the start to finish . she has terrific screen presence and her performance is quite believable . quite impressive that she got the telugu language with telangana dialect so perfectly .

sai chand as heroine’s father and sathyam rajesh are good . sharanya pradeep as sai pallavi ' s sister and raja have done decent job as well .

technical excellence : music director shakthikanth karthick has come up with three good songs - " vacchinde " , " edo avuthondi " and " oosupodu " but the songs are not filmed properly . except " vacchinde " , rest come as montage songs .

next technician that deserves pat on the shoulder is vijay kumar . he has filmed both rural telangana and usa locations beautifully .

editing work doesn ' t impress much as pace of movie is quite slow . production values by dil raju are first rate .

analysis : sekhar kammula ' s recent movies like " life is beautiful " and " anamika " have failed to strike a note with the audiences . hence he has gone back to his roots - telling simple love stories with a strong female character .

what he has done this time is telling a story with a spirited young woman called bhanumathi , who claims to be ' single piece ' , as there is none like her .

the characterisation of bhanumathi is different . her attitude , her dialogues , her idealistic nature is likable to the core .

and luckily , sekhar kammula found a perfect heroine for his character in the form of sai pallavi . she has owned the role and lived in it .

she is not what can term a conventional beauty ( she has acne on her face ) , but the girl - next - door looks and killer performance wins over .

sekhar kammula begins the movie in a shaky manner , but the romance of sai pallavi and varun tej take us into the story .

there are not any moments or scenes that we haven ' t seen before , but the realistic handling makes all the difference . entire first half of the movie is so cool and heart - warming .

once the intermission happens with the misunderstanding between the two lovers , the story shifts to the us . from here , the movie loses its pace and the fun element also wears off .

sekhar kammula has included some heavy and dull situations post interval and that sort of drags on the story .

yet , moments like varun tej expressing his love towards her during their car journey and asking her to be a friend at least make an impression . the scene of sai pallavi coming to a party in modern dress is good too .

all through the film , we see love and hate , hate and love sequences . but the love moments are lovely to some extent . the hate moments are not that impressive . we get a feeling that the misunderstanding scene should have had a stronger reason .

the biggest striking point of the movie is realistic portrayal of village , characters and conversations . though the dialogues mouthed by sai pallavi may not be easily comprehended in andhra and rayalaseema areas , they in fact sparkle with wit .

but one must appreciate sekhar kammula for making a movie with such a strong female character and going with the flow vis - a - vis commercial thinking .

at the box - office , the film has high chances to click in a centres and overseas .

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the plot line is too flimsy and simplistic ; the climax is also a la anand . the cinematography is flawless and the frames have a rich visual appeal . the music is in line with shekhar kammula ' s earlier films and although there ' s nothing special about the songs , they ' re not harsh on the ear either . the . . . ( more )

there is a lot of magic that can happen on the silver screen when the man behind the camera really understands his subject . it looks like vijay c kumar understands banswada extremely well . especially the shots of bhanumathi and the rain look stunning . the attention to detail will awe you in places a . . . ( more )

the plot of the movie set upon the life of varun tej who is an nri to comes to the telangana village on a visit . there he falls in love with sai pallavi , who is playing the role of the telangana belle , marking the love at first sight . then there love story takes a turn . sai pallavi slag and body language throughout the movie is impressing as in the scene where she says the dialogue ‘badmaash’ and she angrily waves her hair . lot more scenes from the movie that are sure to impress the audience .

taarak mehta ka ooltah chashma’s kavi kumar azad died , who played dr . haathi

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putaani party ( kannada : ಪುಟಾಣಿ ಪಾರ ಟಿ , english : the kid gang ) is a 2009 kannada language feature film .

produced by children 's film society , india , the film was shot in a village called honnapura situated near the town of dharwad in south india .

the film uses local actors , most of them first timers who are new to the medium of films .

the film has a particular dialect of kannada that is spoken by a few in that part of india .

this film has been scripted and directed by ramchandra pn , a graduate of the film and television institute of india , pune .

his earlier film suddha had won the best indian film at the osian 's cinefan festival of asian films , new delhi , 2007 .

putaani party is his second feature film and his first in kannada language .

putaani party

putaani party <EOT> jayashree rajagopalan writes about indian children ' s films . - putaani party included . . .

happy to note that ' putaani party ' gets mentioned even after six years of its making .

putaani party shown in a school in dehadun on the 19th of april , 2016 . thank you sudarshan juyal , taru

m umbai - based p n ramachandra won this year ' s prestigious national award for the best children ' s film putaani party .

a friend tells me that ' putaani party ' was screened at the tinsukia orange film festival on 2nd april 2013 in tinsukia , assam .

putaani party ( the kid gang ) 78mins / 35mm / cinemascope / dolby / kannada / india / 2009 . a film by ramchandra pn

an article whose title is ' claps , whistles and cheers for putaani party " - reflecting the mood of the children who saw the film recently at mangalore .

enjoy latest south indian kannada full movies super hit children ' s comedy adventure movie puttani party ( the kids party ) starring : sharukh mulla , ranjeeta . . .

' putaani party ' ( 2009 ) directed by ramachandra p . n . , tackled a subject few have ventured to broach with any seriousness or honesty : the right of children to det

had a screening of putaani party at mysore on the 10th of october under the aegis of mysore film society and a intresting post screening discussion after it . thanks manu mysore , vn laxhminarayana

the best children’s film award was shared by putaani party in kannada and keshu in malayalam . jeeva and anba karaus shared the best child actor award . telegu film magadheera bagged awards for special effects and choreography .

17 . overview chillar party  chillar party is a 2011 indian children ' s film directed by nitesh tiwari and vikas bahl and produced by ronnie screwvala  it also features ranbir kapoor in an item - number . chillar party won the 2011 national film award for best children ' s film . 17

the best children’s film award was shared by ‘putaani party’ ( kannada ) and ‘keshu’ ( malayalam ) . jeeva and anba karaus shared the best child actor award . ‘magadheera’ ( telugu ) awards for special effects and choreography .

' putaani party ' to be screened at kairali theater in tiruvanantapuram at 6 . 15 pm on 16th may and 11 . 15 am as a part of the kerala at icffk ( international children ' s film festival of kerala .

democracy is the best we have . but what needs to be seen is whether governance is reaching the grassroot level . we need to have structures that ensure this process . putaani party deals with one such structure that involves children .

trailer of the kannada feature film ' putaani party ' ( the kid gang ) ಪುಟಾಣಿ ಪಾರ್ಟಿ produced by : children ' s film society , india scripted and directed by : ramchandra pn details of the film putaani party ( the kid gang ) 75mins / 35mm / cinemascope / dolby / kannada / india / 2009 . in a small village in south india , a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .

had a screening of putaani party at chhabildas school at dadar in mumbai this morning for the high school kids arranged by the ngo sujaya foundation - thanks batul for coordinating it . it is always wonderful to have the reactions of kids to the film . . .

some are . but communication mostly happens through dialogues so i see no problem . putaani party was also criticised for being dialogue heavy , but i felt those many dialogues were required as it was a film that showcased children initiating a dialogue about issues and trying to find their own voice .

the eminent film maker from mumbai pn ramachandra has made a leap in to a children film titled ‘putaani party’ ( the kid gang ) that cater to a small village in south india where a group of elected representatives children discover own voice and how they implement their rights is systematic and constitutional .

putaani party is a film that talks about children ' s right to self - determination and governance . it has been shot in dharwad and mostly local actors have been used . it has been produced by the children ' s film society of india ( cfsi ) . it is my second feature film .

manipal : ramchandra p . n . , an award winning film - maker , delivered a talk on “cinema and censorship” at the school of communication ( soc ) auditorium on tuesday , august 18 , 2015 . ramchandra p . n . who is credited for works like ‘suddha’ and ‘putaani party’ educated a packed hall of enthusiastic media students . . .

‘putani party’ ( the kid gang ) has music by vijaya prakash and it is edited by arunabha mukerjee . ranita jadhav , sharad anchatgiri , gurudut jodhi are in the lead cast .

suresh gujar , my associate calls me the other day to tell me that ' putaani party ' has been screened by cfsi at vasai in mumbai along with a few other cfsi film . happy that it was screened . . still wondering if a system could be worked out by cfsi , the producers and the exhibitors of the film , to keep in loop the concerned filmmakers whenever such screenings happens .

“bankrupts penetrates ones mind and consince with its own taka tak way” . i am sure like his earlier films ( suddha and putani party ) this film will fetch ram accolades at national and international levels .

my active association with mysore film society dates back to the day they screened ' putaani party ' in october , 2014 . sometime later , in march 2015 , v n laxminarayana a retired lecturer in mysore and the motivating force behind the society expressed a desire to screen my new film ' haal - e - kangaal ' ( the bankrupts ) . he had heard about this film from my bangalore based filmmaker friend ms prakash babu .

12 . indian children ' s films 12 101 chodyangal abhayam athisayan ayyappantamma neyyappam chuttu baaja balak - palak bari theke paliye bharath stores the blue umbrella ( 2005 film ) care of footpath charandas chor chillar party chithrakuzhal chithrasalabhangalude veedu ente mamattikkuttiyammakku gattu gippi goopy bagha phire elo goopy gyne bagha byne halo ( 1996 film ) hawaa hawaai hirak rajar deshe i am kalam jadu ka shankh jagriti jajantaram mamantaram keshu lilkee mahek makdee manjadikuru manu uncle mr . india my dear kuttichathan naunihal ( 1967 film ) neel rajar deshe oomakkuyil padumbol oridathoru puzhayundu poovarasam peepee putaani party raja aur runk ramayanam ( film ) rani aur lalpari safed haathi shiva ka insaaf sonar kella stanley ka dabba t . d . dasan std . vi b taare zameen par thanga meenkal thutturi tomchi tora ( film ) woh ghar yeh hai chakkad bakkad bumbe bo

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i had extensively done such screenings in parts of karnataka with my first feature suddha ( the cleansing rites ) thanks to an exhibition grant provided by the hubart bals . the children ' s film society of india ( cfsi ) , the producers of my second feature ' putaani party ' ( the kid gang ) have their own exhibition set up where they screen some of their films in association with the local district administration and the theater exhibitor ' s association . yet to gauge audience reactions , i had also screened the film , on my own , in some fifteen alternative venues , again in karnataka .

in their initial days , the villagers were skeptical . but these days they always manage a hot debate each time they screen the film – making people realise the importance of conservation and the need to respect nature . after the screening , they are invariably invited to dinner at any one of the houses . by mid night they are back in the town of tiptur , back to their daily lives . thus relentlessly and ferociously they have been going on for quite some time now . they now want to start a film club , the preview screening of ‘putaani party’ was the first film in their list . it amazed me that they had wanted to screen the film for the tiptur school kids for six months now !

19 . market analysis movie year budget box - office rating koi mil gaya 2003 30 crore 80 crore 7 . 0 taare zameen par 2007 12 crore 88 crore 8 . 6 chillar party 2011 25 crore 63 crore 7 . 5 i am kalam 2010 3 crore 6 crore 7 . 9 bum bum bole 2009 5 crore 12 crore 7 19

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a group of elected representatives of kids in a small village find their own voice when they outsmart their adult counterparts to set right those things that they think are undesirable to their constituency .

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a ' gram panchayat ' ( village governing body ) in rural india facilitates the functioning of the ' makkala samiti ' ( children ' s committee ) . this is a children ' s body elected by the children themselves . the committee acts as a pressure group in trying to get the local governance react to various social issues that it raises . guided by a sympathetic school teacher , the children ' s honesty and persistence ruffles many feathers among the adults . some of the adults have been using the ' makkala samiti ' for their own needs . what follows is a subtle cat and mouse game , by the end of which the children hope to get their voice heard .

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a gram panchayat ( village governance body ) in rural india , encourages and facilitates the functioning of a kid’s body elected by children themselves . these kids , unbound by the baggage of personal gains , work with diligence , acting as a pressure group to inspire the adult governing body to act on socially relevant issues . many adults try to influence them for their own personal benefits . but guided by a sympathetic and honest school teacher the children fight back with integrity and persistence . a subtle game of cat and mouse ensues between the children and adults before their voice if finally heard .

tera jalwa jalwa ho tera jalwaa . performance . ( hindustan ki kasam ) . . rashid hussain rgr peer bahora

ermine their own future and quality of life . shot on location at a village named honnapura in dharwad district , the plot concerns a bunch of children trying to form a local self - government body . when their solutions and bracing commonsense make the villagers see reason , their popularity and acceptance rises , to the chagrin and spite of the powers that be . as the balance of power in the village tilts to and fro , the children fight against all odds to get their point across to an apathetic world of adults . the film was widely praised for its deft use of locations , dialects and , above all , of actors most of who had no prior acting experience , let alone on screen . the film was awarded the swarna kamal ( golden lotus ) for best children ' s film at the 57th national awards .

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the indian children’s film industry lacks the attention enjoyed by its adult counterpart , commercial cinema , yet several indian films for and about children have created a distinct space for themselves . this article examines four indian children’s films that delve into contemporary socio - political i…

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hailing from karnataka , p . n . ramachandra is best known for making critically acclaimed short films , television serials , documentaries as well as feature films . his first feature film , suddha ( tulu ) , which was filmed in 2004 won the best indian film category at the 2006 osians cinefan festival . . .

in a small village in south india , a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .

the director , who earlier won laurels for his tulu film suddha , talks about his award winning kannada film and more .

there have been attempts to empower children in matters relating to them the world over . the powerful makkala panchayat attempt at kundapur is one example and i had even made a documentary on it . i had heard about the bal panchayat experiment in rajasthan and children ' s parliament in arnavayil village , tamil nadu as well .

in brazil ' s barra mansa also , there is something called the children ' s participatory budget council in their municipality . here elected children are allocated a budget where they get to decide on which areas they will spend it on . i felt the need for the spirit of these initiatives to be on celluloid and thus the film happened .

whether one wants or not , a child is made aware of politics at a very young age . what is important is the kind of politics they are exposed to .

cfsi is the distributor and interested people can obtain copies of the film from them . from my side , i am letting people know about the film through the internet . i am also working on sending this film to various film festivals .

take taare zameen par for instance . while i ' m not sure if it is really a children ' s film , it is considered so . i find that the structure , style and narration of the film are fine tuned to the star who is acting in it rather than the child . the mainstream rarely gets into the children ' s film category as its a risky proposition financially .

therefore it has to piggy bank on a star , an animal , a supernatural element or a mythological character . if i want to make a feature film on a child desperate to prepare and eat gobi manchurian - - the dish that he likes - - i find it difficult to find private financiers .

my mantra for any film is to keep it simple , more so in the case of children ' s film .

for starters , a separate national award for children ' s films is encouraging . also karnataka government ' s initiative of giving subsidies to childrens ' films is a one of its kind in the country . further cfsi has been consistently producing children ' s films over the years . they have also been dubbing them in various languages .

there is freedom in the usage of style and treatment that a director enjoys at cfsi . it also holds film festivals in association with local bodies for children . whether these films have reached a large section of children in india is a different question . there is reluctance on the part of the mainstream film distribution system to pick up films from cfsi and vice versa . this is very sad because the quality of some of the cfsi films is top class .

i decided to get into film - making after i saw girish ' s gatashraddha . he has been consistently making films of his choice . his commitment towards the medium is unquestionable . people trust him to deliver . at some point in my life , i would like to achieve this status . he is an inspiration to many of us .

like i said girish kasaravalli . then there is aravindan , bunuel and kundan shah .

i believe that there are two ways of making a film - - either make films on one ' s own strength or piggy bank on a popular name and thereby get finance to make the film . i prefer the former for there is little room for maneuvering when compared to the latter .

of the few recent mainstream kannada films that i have seen , i liked chaitaniya ' s crisp narration in aa dinagalu . girish ' s kanasemba kudureyanneri also impressed me with its non - linear structure . only girish could have pulled off such a film . also although i haven ' t seen vimukthi , i admire sheshadri for having attempted a project like that .

also i have ensured that the dialogues are not the kind that adults would mouth . so i see no problem there . having said all this , i am also not for including dialogues just to create a dramatic edge so as to gain more applause .

yes . right from college days in udupi , i have been associated with theatre . i there on went to study in pune film institute and here i am today .

two feature length documentaries which have been in the making for eight - nine years are now on the verge of completion . meeyaru house is one of them . it is on the demolition of an ancient house and the memories and lifestyle that get buried with it .

the second one is mumbai montage . it is a montage of various personalities who have migrated to mumbai from karnataka . from former defense minister george fernandes to a semi - educated rag picker , many have been featured here .

besides these i am also collaborating on the screenplay of a film being made on the agricultural situation in india . i will also be directing it .

i guess they should do what sudhir mishra calls riyaz . make your film even while you are not making it !

m . s . reddy bhujangaraya sarma m . v . s . haranatha rao ( dialogues )

as lord rama . it received the national film award for best children ' s film .

the film has all child actors , about 3 , 000 in number . they were chosen from 25 - 30 schools in and around hyderabad and secunderabad .

this article is issued from wikipedia - version of the 11 / 29 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .

to mk raghavendra greetings . i have today sent you a dvd copy of my new feature film called ' haal - e - kangaal ( the bankrupts ) ' . i was wondering if you could see the film at your convenience and give an opinion on it . * * * * * * *

i watched your film and found it very interesting conceptually . but here are some critical comments :

it is a very personal film , i think , about the dreams film students have , the compromises they make and where they finally go . i would say that it is very , very pessimistic . it shows how most lives are actually wasted . 20 years after graduating people are forced to tell lies to those who were once closest to them – to look better than they are . it is also about the end of friendships

its difficulty is that it is too personal . it is like making a film only for those who have gone through the same experiences . there will be very few who will feel what you feel by watching your film – which should be your purpose .

the reason , i think , that you film remains too personal to be effective with any kind of general audience is the format . a film as a conversation between two people is ok but then too much pressure will be put on the actors – which they should be able to handle .

i don’t think your actors are capable of holding the audience’s attention . an outside person will not find them interesting . in a film school and hostel you would have become involved with ordinary people in deep relationships . but such relationships evolve over two to three years . you can’t use ‘ordinary’ people as actors because they have to become interesting to us – hold our attention – from the very first frame . you actors are too ‘average’ as people to do that .

the script is ‘realistic’ in the sense this is the way people actually talk , this is what happens in real life . but cinema cannot be realistic in that way . cinema must also be expressive . it cannot show such ordinary things like people farting and shitting and expect audiences to be interested . you script would have had to be much sharper , come to the emotional gist and give much more emphasis wherever required . there would have to be exaggerations .

there is very little art direction . here again , you seem to be showing people dressing like this and having such a location because that is ‘real’ . but this makes the visuals very dull . i am not saying that you should have posh clothes / location but that the locations / costumes have to express something . you should also develop your characters to make them interesting as characters different from each other and dress very differently . here it looks like the actors have come to the location wearing whatever they have . both actors look ordinary and are boring as people .

trips should have been more interesting – given his professed experiences . ( is he based on the utpal dutt character in ray’s agantuk ? ) but he comes across unconvincingly . no person with so many experiences could be so dull . he does not hold our attention even for a moment – which is necessary . if he is lying , lokesh does not seem disbelieving as he should have .

the story maternity leave is a confusing story and , i think , cannot make a good film script . since so much time is spent relating it , all this time looks badly spent .

to convey what you are trying to say , which is deeply felt , you need to distort , use techniques which are not simply realist . the camera would also need to be used more creatively .

j ) the best moment in the film is when lokesh brushes his teeth and trips says anu doesn ' t like the taste of nicotine . that is very expressive .

thank you for taking time off and watching the film and making an effort to write your opinion on it . the sum of your opinion seem to be this : - it has a limited audience because it is a personal film , a pessimistic film , and the format does not work because the actors in the film can not hold attention . the script , camera , characterization and art direction are realistic with out any exaggeration or distortions ; and hence dull . correct me if i am wrong . can you throw some light on what do you mean when you say that your actors are too average as people or look ordinary and boring as people ? does it mean they are bad actors , or does it mean their characters are boring and average ?

1 . i think the dialogues and actions are too full of the mundane . any artistic venture needs to eliminate the mundane .

2 . this handicaps the actors . their personal charisma might have contributed / compensated but they are not able to do this . 3 . they may not be bad actors by themselves but they do not give arresting performances - necessary , given the fact that nothing except the two occupy screen time . 4 . the actor who plays lokesh sounds / looks better in the youtube clip where he talks abut the film than in the film itself . in the film he could have been more relaxed . 5 . when i say that it has a limited audience i mean that it is too private a film . it is unlikely to mean to other people what it obviously means to you .

dear mk raghavendra thanks again for the clarification . i think i now am beginning to figure out what do you mean by realistic / mundane . i did see agunthuk when it was first made . it occurred to me that there could be a bit of similarity when a cinephile friend of mine told me so . the characters in the film are a combination of the characters of a few people , i think , i know . i also am of the opinion that a film need not necessarily mean the same thing to other people what it means to the director . i have a blog , which i write occasionally . can i post this opinion of yours on it ?

so , here is it - the other point of view seen from the prism of film realism .

it is a prism that i had kept at an arms distance , when i was making haal - e - kangaal .

naveen sunag is an independent film maker based out of uk . he is a graduate from the vgik film school in russia . his views after watching the film the bankrupts ( haal - e - kangaal ) : -

" the bankruts ( haal - e – kangal ) , a film made by dear friend , film maker p . n . ramchandra effectively narrates the intellectual ,

emotional , ethical , cultural , professional so on and so forth , bankruptcy of the society .

it is a productive piece that shows the decadence of the present world around us . a world of adjustments , easily jumping to conclusion and passing on judgements on one another .

needless to say both actors have done good justice to the characters they have played . in all the film engages the audience well and the content of the film makes them sit back and watch till the end .

thanks ram for making such a beautiful film and let me watch it . "

recently , chaitra acharya , asked me a few questions regarding tulu cinema , on which she is doing research . here is the response .

' i do not hold a brief for tulu movies , except the fact that i originally hail from a tulu speaking area of karnataka , i am sympathetic to the cause of tulu films and my first feature film is in this language . i do believe that more and more films should be supported , made and exhibited in regional languages like bhojpuri , awadi , konkani , tulu etc . . - films that reflect the unique multiple cultures that these languages represents .

it is often said that language is inseparable from culture . destroy a language and you have destroyed its culture . the tulu people , though living in only two districts of the state of karnataka in india take pride in their language . among other things , it is a home to a matrilineal system of family , it is rich in its oral traditions especially the epics , the literacy rate here is almost 100 % , it is environmentally rich and traditionally , more than the gods that we know of , it is the humane but benevolent sprits who are being worshiped here . despite its negotiations with globalization , the distinct nature of the tuluva culture is still noticeable .

the foot print of the tulu film industry , if there is one , is just two tulu speaking districts .

although there are sizeable number of tulu speaking people in bangalore , mumbai and even in the middle east , these centers could at best be a secondary market for the tulu film industry .

since the money invested in a tulu film would come from its limited local audience , the making costs of such a film too would have to be limited . the budget of many tulu films work around the subsidy that the government of karnataka gives for films made in the state .

of late , i have been told that the making cost of a tulu film has increased and that there are investors who are willing to pump in heavy money , thanks to the monetary success of a few tulu films . i have my doubts if the limited audience the industry has would sustain such heavy budgets in the long run , as we see has happened in bhojpuri films .

i see the development of tulu films in the following possible paths . initially , the tulu films found its support base in chennai , as the entire kannada film industry was based there . the tamil films during those days were know for their melodrama , and the tulu films made by tuluva migrants involved with filmmaking there , mirrored this .

this continued even when the kannada film industry gradually sifted to bangalore , and when tuluva migrants involved in the kannada film industry in bangalore started to make tulu films . there are other set of filmmakers who were the tuluvas working in the action department in the mumbai film industry . they too made tulu films , mainly to be in touch with their culture . so , the films they made were mainly action oriented .

but the imputes to the tulu film industry , i would like to believe , came from within - from mangalore and other centers in coastal karnataka . locals took up to making tulu films , taking this as a semi - profession . they probably has other business or professional interests to look after , but within their own limits they tried to consistently make tulu films .

and finally , off late , there are semi professional theater actors who have ventured into film making , taking off from where they left in their highly successful comic stage plays . they have managed to bring in the audience back to the screens , for they have their own loyal following in theater . how long will this trend last , only time would tell .

i do not believe that there is a tulu way of film making or for that matter a kannada way of film making or a hindi way of film making . there could be an indian way of film making that borrows heavily from natyashastra , the ancient treatise for performing arts .

many of the formal devices prescribed in the natyashastra are found in most indian films , including tulu films - insistence on incorporating all the rasas ( roughly translated , emotions ) and focusing on one , the characterizations , the structure and even the use of music , song and dance etc . . .

as far as the content goes , with some exceptions , tulu films have not really reflected upon the socio - economic and environmental developments of the area , over the years . although there are a few films made based on the tulu folk lore , bringing tulu culture into tulu cinema has normally come to mean that you show tulu landscapes , traditional practices and rituals .

it is only when tulu cinema dwells on the issues that the tulu land is presently dealing with , that there could be a truly tulu way of film making - issues pertaining to indiscriminate use of natural resources , caste equations , the impact the industry has had on environment and the displacement it causes , the growing intolerance in an increasingly polarizing world etc . . '

nostalgia sucks , but for some strange reason , i have cut one frame of the negative film of an unused take of my diploma film that i had done at the film and tv institute of india ( ftii ) in 1990 and i have preserved it over the years . a diploma film is the final exercise that any student does at ftii .

my film ' s name was gotala ( the mess ) and since it was in black and white , it was 30 minutes in length . the ones who choose color then , had to go only up to 20 minutes .

again for some strange reason , mathi azhagan the cameraman who shot my diploma film had preserved a copy of the script of gotala for all these years . mathi was a faculty in the cinematography department at ftii when i was studying . he had just graduated from the state film school in chennai and he had already shot my song exercise .

in 2009 , i had been to the lv prasad film institute to conduct a documentary film workshop . mathi was a faculty here . i had lunch at his house , after which he carefully opened a file from a cupboard and showed me the contents . it was a copy of my script and shot breakdown of gotala . he treated it as something valuable . you can down load the script

i myself see gotala , today , with mixed feelings . believe it or not , the plot goes like this , lord krishna comes down to earth to supply some trishuls ( an ancient indian weapon ) to a group of fundamentalists who call themselves ' pandurangists ' . in the process of doing so , he falls in love with a lady and takes her back into the skies .

i wanted a title song recorded for the film , which was supposed to be the anthem of the ' pandurangist ' . i met a few music directors in pune , but things did not work out . there was a person in udupi , my home town , with whom i had participated in a theater workshop . he knew singing and accompanied it by playing the harmonium .

i went to his house situated in a temple premises in a village near udupi to ask him if he can compose the song . he read the script , looked up with a grim face and sternly said something like this , ' you do know what they did to salamn rushdie , don ' t you ? would you like it if we also do the same thing here ? you guys will learn a lesson , if we also do it here . "

i was taken aback . he was otherwise very friendly and amicable . but he got offended by this modern version of ' krishna leela ' or the ' play of lord krishna ' . it was a time when the implications of different versions of our epics had not yet taken the overt political tone that it has now taken . it was a year since ayatollah khomeini had issued a fatwa calling for the death of rushdie for his wok ' satanic verses ' .

two years later the babri masjid mosque at the disputed ram janabhoomi ( birth place of lord ram ) site was demolished in frenzy by right wing groups after a ceremonial procession centered around a chariot carrying the image of ram went all over india and culminated in ayodhya , the place of the site .

i came back to pune , convinced in my mind that there won ' t be any song in the film . thanks to my sound recordist chandidas mishra ' s initiative , the night before the shooting , we recorded the song sung and composed by nirmal pandey , who also acted in the film . nirmal ' s theater stint with bv karanth helped him do this .

i completed the film and went back home , since i was the first one in the schedule . sharmaji was the head of production at that time . when i came back after a few months , he told me that the film will not get a censor certificate because of its content . i do not remember if he meant that the institute did not sent it for certification at all ; or if it was sent and was rejected .

without a censor certificate , the film was not considered for the national awards or the international film festival of india . it was shown at the initial versions of the mumbai short and documentary film festival , of which one of the curators was amrit gangar . that was about it , as far as teh film goes .

i had a vhs copy of the film that got fungus infested . after many repairs , my vhs player too stopped working . ever since i dumped both of them , i have been wanting to go to the institute and make a digital copy of the film for myself , if nothing else just to see where is it that i had stared .

the script of gotala , as i see it now , is structurally a bit flawed . but as i read it again , it still haunts me . i am not sure that i can make it today into a feature film without aligning it to the conformist ideology of a film like

' indian cinema - form and content ' is an essay i had written twenty six years back , while i was studying at the film and tv institute of india . this exercise was a part of our course , where we had to write something about sociology of indian cinema .

anil zankar was my supervisor on this one . i remember while in my third year he asked me if he could publish parts of this in a marathi language book that he was editing on indian cinema .

i found this in the attic of our house in udupi , my home town . the version uploaded in the one that has been typed , if i remember well , by the tutorial section at the ftii . i have scanned it as i have found it - so it has some typo errors , some spelling errors and the likes .

i am now amused by certain assumptions that i have made , but the essay makes a broad point that indian films over the years have not come out of the mythological framework that has been thrust upon them ever since we have seen and known cinema a century ago , both in form and content . hence , the regressive nature of our mainstream cinema .

i still stick by this broad point , more so when i see recently released films like ' bajrang baijaan ' or ' msg : the messenger ' .

it was clear during the very conception of the film ' haal - e - kangaal ' ( the bankrupts ) that it would be difficult to find a conventional release for it . despite this , the small crew that the film had , did get enrolled into the making of this film . they found it worth giving their time and effort for the film and i am thankful for them .

we shot the film in 2013 , had a rough cut in 2013 itself . i then met a producer who had once asked me to come to him , if i had an edit in hand . it would be easier to for him to ' pick ' the film because half the work was already done . he met me , heard me patiently and told me that he would be needing a minimum of 25 lakhs of rupees to be put into publicity and marketing for any film to have a conventional release , however limited it maybe .

' if i had that kind of money , i would put it into real estate ' , he added . very logical . he already had two such small films that he was involved with , as a co - producer - either he had supplied his equipments to the film making team or let them use his post production facilities .

small films act as fillers between two big films in multiplexes . many times they are given non - viable slots for exhibition and sometimes i wonder if even the electricity cost of the exhibitor of that particular screening would be covered at all , with such small films .

so , i participated in the market section of the mumbai film festival conducted by the mumbai academy of motion pictures ( mami ) in 2013 where i had about twenty meetings with prospective buyers , distributors etc . .

the game was to chase these people during the three to four days the event was held and pitch the film in five - ten minutes , to each of them . some people did take a liking to the project , asked me to follow up and i when followed up , emails were not replied .

' work - in - progress ' lab at the international film festival in goa did not select this film . the few existing international post - production grants followed suit ; the nerves started getting into me .

i had shown this film to a few friends , who were fired up after watching the film . some said , it was too verbal , but it portrayed the reality of the film industry , the subject matter of the film . others said , it was a bit too long . some liked one actor ' s performance , while some others preferred the other actor . some liked the unsettling structure that was employed in the film , some asked me , ' why ? ' .

taking this interactive process to the next level , i showed the rough cut of the film to the second year direction students at the film and tv institute of india , thanks to sandeep chaterjee , head of the department of direction at the institute ; and to the manipal school of communication students who were conducting a film festival under the guidance of hs shubha .

based on the reaction and feedback that i received , i made certain changes in the film , mainly incorporating certain jump cuts into the structure of the film .

satisfied , i finalised the sound in march 2015 . that ' s when i gathered the courage to send the film to film festivals . while i was waiting for some of these film festivals to respond , it occurred to me that i should arrange some screenings of this completed film , albeit at alternative screening venues .

so , i thought i should have a whirlwind tour of karnataka with ' haal - e - kangaal ' ( the bankrupts ) using the same network .

, into screening the film in kalamandira , one of the biggest halls in mysore . they took aid from the karnataka chalachitra academy . the academy helps film societies in karnataka to screen movies that are deprived of mainstream theaters .

so , on 13th of august 2015 the bankrupts ( haal - e - kangaal ) had its premiere in mysore .

lakshminarayana lauded the techniques used in the film , opined that there were many extraneous elements that were packed in the film . later on during dinner time , i asked him if these extraneous elements overshadowed the main concern of the film , he vehemently denied , saying that these were essential to the very nature of the film and to what it proposes to says .

the next day , there was one a show in bangalore at the indian institute of human settlement ( iihs ) . filmmaker subasri krishnan heads the media lab of iihs . when i wrote to her to ask her if they would want to screen the film at the iihs , she had instantly agreed . i was pleasantly surprised as i thought they have a history of showing documentaries and not fictional work .

matthu kanaja ' ( fig fruits and the wasps ) is making its film festival rounds presently , helped arrange a screening at the ' kv subanna aapta mandira ' ( kv subanna intimate theater ) at bangalore on the 16th of august , through the film study circle run by samuha gopinath .