mani koya kurup is a 1979 indian malayalam film , directed by ss devadas and produced by p.p jose .

the film stars alummoodan , jayakala , k. p. ummer kuthiravattam pappu and padmapriya in lead roles .

the film had musical score by m. s. viswanathan .

mani koya kurup

mani koya kurup <EOT> mani koya kurup movie rating is na / 100 based on reviews submitted by 0 users .

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mani koya kurup is a 1979 malayalam film stars , directed by s . s . devadas & music by . 16 - 01 - 1979

. the film ' s screenplay & dialogues written by nishad . k . koya & manu prasad , as aforementioned , first half scenes & dialogues is amusing but reversely second half lagged by languorous and predictable scenes .

cast : mammooty , mohanlal , thalaivasal vijay , navya , jagathy , kalabhavan mani , saikumar music director : mohan sithara director : r . sukumar producer : a . v . anoop lyrics : year : 2010 genre : malayalam

cast : mohanlal , sukumari , jagathy sreekumar , manoj k jayan , nedumudi venu , saikumar , kochupreman music director : dakshina moorthy director : ashok r . nath producer : v . r . das , v . mohanlal lyrics : onv kurup year : 2008 genre : malayalam

. ' husbands in goa ' features with multi star cast includes lal , indrajith , jayasurya , asif ali , bhama , rima kallingal , ramya nambeeshan in the main roles along with innocent , kalabhavan mani , suraj venjaramoodu , shaju and praveena . ' husbands in goa ' is produced by utv motion pictures pvt . ltd .

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the music was composed by m . s . viswanathan and lyrics was written by p . bhaskaran .

this page was last edited on 9 january 2018 , at 10 : 54 .

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summary : the noted leftist theatre director and film star’s tale about the introduction of western - style rationalism in bengal in 1829 and its conflicts with religious and traditional reaction . the focus of the plot is the hindu college in which the portuguese indian henry derozio ( sengupta ) taught , and his students , members of the young bengal movement , who save a woman from the sati ritual . the students lose their battle against obscurantist authorities and derozio is sacked , but the initial impetus for change has been given . dutt himself , in conflict with his own political reputation , played the orthodox hindu leader radhakanta deb . the film is edited by hrishikesh mukherjee .

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bicycle thieves . director : jis joy . cast : asif ali , aparna gopinath . music : deepak dev . avg user rating : debutant director jis joy ' s bicycle thieve… | pinteres…

, which shoot starts at ernakulam . besides mohanlal , madhu , thilakan , shankar ramakrishnan ,

nandu , tini tom , kaniha , kalpana , lena etc . roped into the cast list .

. kaniha will perform as heroine and thilakan takes up the pivot role of this film .

a leading film production house for mohanlal ' s films . in the musical , lyrics done by rafeeq ahmed in shahabas aman ' s music composition .

, directed by anil in rajan kiriyath ' s script . poonam bajwa , suraj venjaramoodu , kottayam nazeer , kalabhavan shajon , riyas khan etc . will perform the crucial roles with jayaram . anandkumar has produced this film , under the banner of him ' yes cinema company ' .

director anil , one of the twin directors known as anil - babu , they have contributed umpteen films to malayalam . this is one of the film which anil directed independently and he has done a lot of films in rajan kiriyath ' s script .

joseph alex ias and bharathchandran ips are working in new delhi on deputation and they joins together to investigate the murder of scientists sudarshan and emma john . they reveals the real culprits behind the murder .

the film first half sequences are a permanent pattern of shaji kailas and ranji panicker . ' the king & the commissioner ' is the mixture of their 4 films ' ekalavyan ' , ' roudram ' , ' the king ' and ' commissioner ' .

mammootty and sureshgopy play the roles of joseph alex ias and bharathchandran ips respectively and torrid , but their sequences are not much better because the roles recycle in a languid way . especially their joint scenes are indigestible . the villain roles done by saikumar , jayan cherthala , devan etc . are time - consuming and other characters are clutter

shaji kailas directs this film in his permanent making style , most of the scenes and shots are outdated and obnoxious . ranji panicker ' s story and screenplay recalls his previous films and lot of dialogues are screech and obscene

. the cinematography which is done by sharavanan dft . and bharani . k . dharan is turbulent and

the unstructured editing is done by samjith mhd . rajamani composed the bg music is the incursion of ineffective .

megastar mammootty made a lot to get the attention of the viewers , choose some different and peculiar roles recently . for instance , he performs as a roadside rogue in a new film

, which shoot is progressing at major locations in kerala . ' thappana ' is a family drama film , laced with humorous route , directed by johny antony and written by m . sinduraj . belle actress charmee will be the heroine of mammooty and muraly gopi , lakshmi priya , vijayakumari urltoken this film .

. the script written by m . sinduraj who famed in laljose ' s recent hit ' elsamma enna aankutty ' . ' thappana ' is considered as charmee ' s second film in malayalam , first is ' aagathan ' which is a dileep starrer flick .

and their previous film ' 4 freinds ' , ' kunjaliyan ' - those did not create major ripples at box office . actor

the film is produced by utv motion pictures pvt . ltd , one of the premium company ' s in india

, starring nivin pauly , bhagath , aju in the lead along with sreenivasan , manoj . k . jayan , ahmed sidique , sunny wayne , aparna nair etc .

produced by actors mukesh and srenivasan under their production house ' lumiere films ' .

nivin pauly , bhagath , aju - they were performed as important roles in ' malarvady arts club ' and vineeth sreenivasan again applies these actors through this film as in lead roles .

, nivin pauly will play the protagonist and famed model isha will be the pair .

is an upcoming malayalam film , directed by avira rabeka , written by n . prabhakaran . besides jayasurya , ramya nambeeshan , harisree ashokan , suraj venjaramoodu in the lead , also m . r . gopakumar , baburaj , jaffer idukki , reena basheer perform crucial characters . ' pigman ' is a family drama film produced by t . r . sreeraj in the banner of sree surya films .

jayasurya and the film has commendable technical crew handling the technicalities . the film which completed in one schedule shot at

is an upcoming family drama film , directed by m . padmakumar , written by s . sureshbabu and jayram , jagathy sreekumar , nedumudi venu , haripriya , kishore , samudirakani are in the lead characters . the film is produced by alexander john under his own banner jini films .

according to kishore who made his debut entry through this film . samudirakani again appears after his clapping performance in ' shikar '

. haripriya play the pair of jayaram , in outset sneha was assigned to do this role but later she relinquished this project due to date issues of her commited films .

, story & directed by debutant sugeeth , starring kunchako boban , biju menon , asif ali , ann augustine , shritha in the lead .

iravikuttan pillai ( kunchako boban ) & sukumaran ( biju menon ) , they are working as conductor & driver in a ksrtc ordinary bus , which services ' pathanamthitta - gavi ' . their life is going well with the relationship between the villagers , but an unexpected event which turned the life of iravi & suku to a mysterious fact .

kunchako boban ' s and biju menon ' s performance is the main attraction of ' ordinary ' , their scene chemistry is superb and absorbing , specially the film first half scene included characters made an accolade performance eg . actors baburaj , salimkumar , dharmajan and niyas is good and applaud

. other crucial characters done by asif ali , jishnu , lalu alex while shritha and ann augustine plays the heroine roles , not much quotable . according to asif ali , the role is different but his performance is crummy and overact .

the film ' s positive factors that cinematography , editing and music handled by faisal ali , v . sajan and vidyasagar respectively

. faisal ali garnished with dazzle visuals and v . sajan trimmed the sequences very well . vidyasagar ' s soundtrack is nice , especially the songs ' enthinee mizhi . . ' , ' sun sun sundari . . ' and end credit song ' chenthamara . . '

is a forthcoming film , directed by v . k . prakash with expert cast includes indrajith , thalaivasal vijay , nithya menon , padmini kolapuri , asokan etc . and written by balram mattannoor .

the film has creditable crew handling the technicality such as camera and editing done by r . d . rajasekhar and beena paul . ouseppachan done the soundtrack ' s composition

which shoot is commenced on 2012 . starring fahad fazil with three heroines samvrutha sunil , gauthami nair , anusree in the lead and sreenivasan , rohini plays as vital roles .

is also categorized this genre , directed by abhaya simha , features mammootty and poonam bajwa play the pivot roles . shikari is an interpret film released on 09 mar . 2012 in kannada and malayalam , that received

abhilash ( mammootty ) a software engineer who begins to read a manuscript of novel named ' shikari ' , which is set in the pre - independence era and falls in love with the characters of novel ' karunan and renuka ' , . but the novel is unfinished and abhilash began to seek the rest of the novel ' s copy , it causes the chance to reveal the secrets behind the novel .

shikari ' s story is superb , the first half includes few good sequences it keeps the curiosity , but the second half goes out the story ' s intention because it leads an adrift route . especially the shikari ' s climax and some of the sequences are not focused the movie ' s target point

shikari ' s main characters done by mammootty and poonam bajwa . both of them played dual roles and made an accolade performance . mammootty plays the role ' abhilash ' and ' karunan ' felicitously . the roles ' nandita ' and ' renuka ' done by poonam bajwa who smartly handled the respective characters

. other crucial characters performed by innocent , suresh krishna , tini tom , aditya , mohan are good in their parts . if it is clearly said that ' shikari ' is a mammootty - poonam bajwa movie because story and all sequences are revolve around these characters .

' shikari ' is a good venture from the director abhaya simha and also he inscribed the story and screenplay .

as aforementioned , story is superb but reversely the screenplay is not much better . mainly ' shikari ' is a pre - independence era film but it is directed in a silly way eg . : ' karunan is a freedom fighter whose rivals against the british army ' scenes are abortive and shatters the pace of viewers and the movie contains undeserved points to enrich the curiosity

. the movie contains good technical sides ; cinematography , editing done by dr . vikram shrivastava and s . manohar consecutively , but others are not much quotable .

doing the protagonist , besides him poonam bajwa , innocent , suresh krishna , tini tom etc . perform crucial roles .

is listed in this category , directed by t . k . rajeev kumar . nithya menon , unni mukundan , swetha menon , baburaj , sidique , maniyan pilla raju features the lead . the film was released on 02 mar . 2012 , garnered poor response and the review that

. the film is produced by reel 2 reel cine productions pvt . ltd .

manjula ayappan ( nithya menon ) , who is an upland girl and the first competitor of a live reality show named ' tathsamayam oru penkutty ' , a special program features the daily life of auditioned girls and broadcasted by a channel company titled ' real tv ' intents to cure the social problems .

the film contains an strange story , first half and second half covered by amorphous sequences that depicts as an irrational and antithesis route . subsequently most of the sequences and shots are stultify because it included out dated and substandard humour situations

. other vital roles done by unni mukundan , baburaj , sidique , maniyan pilla raju and other meaty roles are schmaltz . differently from these roles , swetha menon and suraj venjaramoodu are good in their scenes and

. cinematography and editing sections are not quotable , done by vinod illampally and b . ajithkumar .

, directed by james watkins and the lead roles enacted by danniel radcliffe , ciaran hinds , janet mcteer , sophie stuckey , jassica raine and liz white . the film is recently released and

. the film is produced by hammer film productions and distributed by momentum pictures & cbs films .

a widowed lawyer named arthur kipps ( daniel radcliffe ) who is assigned to handle the island estate known as eal marsh house which located in a remote village facing the deceased eccentric because the eal marsh house is haunted by the women ' s ghost and keeping a deadly secret . kipps tries to unveil the horrendous secret , what is the reason the vengeful ghost is terrorizing the village ?

basically the film ' s story and title is adapted from susan hill ' s novel , each sequences and shots has been done excellently that increases the fathom of fear and whole sequences are goes on the awestruck situations . specially the film has an excellent ending that the shot is the woman in black stares the straight then turns her eyes gazes towards the viewers

. other characters are good done by ciaran hinds , janet mcteer , sophie stuckey , jassica raine respectively .

eg . arthur kipps paranormal experiences in the remote village . and the scenes of arthur kipps feels the haunt by ghost of women at eal marsh house fills up with unexpected horror ' s struck are superb

. apart from jon haris has trimmed the scenes accurately and ' the hurt locker ' music director marco beltrami did the good scores for this film .

cast : naga chaitanya , manjima mohan music director : a . r . rahman director : gautham vasudev menon producer : m . ravindher reddy lyrics : sreejo year : genre : telugu

cast : raghuveer yadav , masha paur , aditya pancholi , kunika , shakti kapoor , mohan joshi , mukesh tiwari , manoj joshi , sitaram panchal music director : sanjay pathak director : jasbir b . bhati producer : chandrapal singh lyrics : thamarai , priti pathak , manjeet mahipal year : genre : hindi

cast : silambarasan , manjima mohan , baba sehgal music director : a . r . rahman director : gautham vasudev menon producer : lyrics : thamarai , priti pathak , manjeet mahipal , thamarai , madhan karky , vignesh shivan , adk , sri raskol , pavendhar bharathidasan year : 2016 genre : tamil

cast : mohan babu , vishnu manchu , jayasudha , shanvi srivastav music director : sai karthik director : ram gopal varma producer : r . vijay kumar , p . gajendra naidu , m . parthasarathi naidu lyrics : gangotri viswanath year : 2014 genre : telugu

cast : dharmendra , amitabh bachchan , hema malini , sanjeev kumar , amjad khan , jaya bachchan , a k hangal , satyen kappu , mac mohan , sachin pilgaonkar , jagdeep , asrani , leela mishra music director : r . d . burman , basu manohari , maruti rao director : ramesh sippy producer : g p sippy lyrics : anand bakshi year : genre : hindi

cast : prithviraj sukumaran , mamta mohandas music director : m . jayachandran director : kamal producer : kamal lyrics : palani bharathi year : 2013 genre : tamil

cast : sanjay mishra , vishwa mohan badola , pragati pandey , zakir hussain , sitaram panchal , ranjan chabbra , disha pandey , pramod pathak , paritosh sand music director : manish j . tipu director : anshul sharma producer : ashok pandey lyrics : naveen tyagi year : 2013 genre : hindi

cast : mohanlal , manoj k . jayan , biju menon , kavya madhavan , k . p . a . c . lalitha , meera nandan , thambi ramaia music director : ratheesh vegha director : joshiy producer : antony perumbavoor lyrics : year : genre : malayalam

cast : mohanlal , rajeev pillai , bineesh kodiyeri , biju menon music director : m . g . sreekumar director : major ravi producer : haneef mohammed lyrics : dr . madhu vasudevan year : 2012 genre : malayalam

cast : raja , ghazal chand thakur , suman shetty , babu mohan music director : mohini raj director : p c reddy producer : alladi sridhar lyrics : dr . madhu vasudevan , veerendra kaparthi , praveena , dr jaladhi vijaya year : 2012 genre : telugu

cast : vineeth kumar , meera vasudevan , manoj k jayan , kollam thulasi , saikumar , vijayaraghavan , ambika mohan , subair , aniruddh . . . music director : ts radhakrishnaji director : pr john ditto producer : renjan lyrics : onv , gireesh puthenchery , sudhamsu , saahil sultanpuri , anwar sagar , raja ram , lekshmi narayan year : 2011 genre : malayalam

cast : mohanlal , suresh menon , v . g . muralikrishnan , bhoomika chawla , lakshmi gopalaswami , jayalakshmi , madan babu , baby niveditha music director : mohan sithara director : blessy producer : raju mallyath , sulfikar lyrics : year : 2009 genre : malayalam

cast : rejith menon , nithya , seetha , vijayaraghavan , laloo aalex , seema , jagathy sreekumar , ambika mohan music director : johnson director : i . v . sasi producer : raju c . m . lyrics : year : 2010 genre : malayalam

cast : prithviraj , indrajith , geethu mohandas music director : m . jayachandran director : viji thampi producer : lyrics : year : genre : malayalam

cast : mohanlal , suresh gopi , kaveri , biju menon , hari sree asokan , jyothirmayi , vijayaraghavan , vijayakumar , ganesh kumar , sambath , ranjit menon , krishna music director : director : n . r . sanjeev producer : arun lyrics : year : 2010 genre : malayalam

cast : mammootty , vinu mohan , manok k . jayan , janardhanan , vimala raman music director : director : shafi producer : lyrics : year : 2010 genre : malayalam

cast : mohanlal , santhanu bhagyaraj , bhama , jagathy , salimkumar , suraj , jayasoma , bineesh kodiyeri , bheeman raghu , geetha , ambika , baiju music director : ouseppachan director : s . l . jayasurya producer : narayana das lyrics : , saseendra varma , subhash year : 2009 genre : malayalam

cast : mohanlal , jagadish , kiran kher , lakshmi , saikumar music director : m . g . sreekumar director : murali nagavally producer : v . b . k menon lyrics : year : 2010 genre : malayalam

cast : ramesh aravind , rekha , mohan , tilak , balaji , pooja gandhi , music director : rikki , k . g max director : aravindh producer : ragunath . g lyrics : year : 2009 genre : tamil

cast : vinay anand , mithun chakraborty , gulshan grover , rohini hattangadi , reema lagoo , ram mohan , suresh oberoi , vishwajeet pradhan , priyanka , rami reddy music director : tabun director : t . rama rao producer : lyrics : year : genre : hindi

cast : amarnath , madhu mauti , mahipal , mohan choti , parveen choudhary , sapru music director : dutta n director : pal premi producer : nagin prod . lyrics : pal premi year : 1969 genre : hindi

cast : baby sadhna , iftekhar , mohana , mukri , nargis , raj kapoor , randhir music director : madan mohan director : t . trilochan producer : sabharwals lyrics : rajinder kishan year : 1952 genre : hindi

cast : beena roy , kuldeep kaur , manmohan k , noor jehan , pradeep kumar music director : c . ramchandra director : nandlal jaswantlal producer : filmistan lyrics : year : 1953 genre : hindi

cast : venkatesh , tabu , rao gopal rao , mohan babu , sarada music director : ilayaraja director : raghavendra rao producer : d . ramanaidu lyrics : veturi sudhararamamurthy year : genre : telugu

cast : ajay devgan , antara mali , manisha koirala , mohanlal , vivek oberoi music director : sandeep chowta director : ram gopal verma producer : verma corporation ltd . lyrics : year : 2002 genre : hindi


njan ekananu is a 1982 indian malayalam film , directed by p chandrakumar and produced by madhu .

the film stars madhu , dileep , poornima jayaram and sukumari in lead roles .

the film had musical score by mg radhakrishnan .

njan ekananu

njan ekananu <EOT> njan ekananu ( original motion picture soundtrack ) by m . g . radhakrishnan on spotify

njan ekananu ( original motion picture soundtrack ) — m . g . radhakrishnan | urltoken

watch | njan ekananu☟malayalam non stop movie song | movie njan ekananu | sung by k j yesudas , k s chithra | music by m g radha krishnan | liric by . . .

oh mridule hrudaya muraliyilozhuki vaa . . . ! njan ekananu ( 1982 ) . ( prajeesh )

njan ekananu ( original motion picture soundtrack ) - ep by m . g . radhakrishnan on apple music

njan ekananu ( original motion picture soundtrack ) by m . g . radhakrishnan on amazon music - urltoken

free wallpapers download of njan ekananu movie , hero , heroine , etc is available in our gallery section .

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we do not sell pirated njan ekananu dvds & vcds . we recommend you to buy movies of original dvd & vcd .

malayalam movie song | pranaya vasantham | njan ekananu | malayalam film song directed by p chandrakumar , produced by madhu , music by mg . . .

malayalam movie song | rajani parayu | njan ekananu | malayalam film song directed by p chandrakumar , produced by madhu , music by mg . . .

watch the evergreen romantic hit pranayavasantham thaliraniyumbol sung by kj yesudas and ks chithra from the super hit film njan ekananu . cast : madhu . . .

listen to the tracks of the malayalam movie njan ekananu , directed by p chandrakumar with madhu , dileep , poornima jayaram and sukumari in the lead roles .

malayalam movie song | o mrudule | njan ekananu | malayalam film song directed by p chandrakumar , produced by madhu , music by mg radhakrishnan , . . .

listen to the heartfelt sad song " oh mridule " in kj yesudas ' s magical voice from the super hit film njan ekananu starring madhu and poornima jayaram .

thaazhampoo thaalil nin premalekhanam kandu njan . . ! ! ( mini anand ) mp3

malayalam movie song | o mridule ( sad ) | njan ekananu | malayalam film song directed by p chandrakumar , produced by madhu , music by mg . . .

watch the hit melody rajani parayu sung by ks chithra from the super hit film njan ekananu . cast : madhu , poornima jayaram music : mg radhakrishnan lyrics . . .

watch the evergreen romantic hit song oh mridule in yesudas ' s magical voice from the super hit film njan ekananu . cast : madhu , poornima jayaram music : mg . . .

njan ekananu is a malayalam drama starring madhu , dileep , sankaradi , janardhanan , poornima jayaram and sreevidya , directed by chandra kumar . madhavankutty , an ias officer , has a large family and devotes his entire life and earnings for their well - being . but have his sacrifices been worth it ? watch the full movie , njan ekananu , online , only on hotstar .

listen to the evergreen romantic hit song " oh mridule " in yesudas ' s magical voice from the super hit film njan ekananu . cast : madhu , poornima jayaram music : . . .

njan ekananu | malayalam film song | dileep [ old ] & poornima ; jayaram lyrics : sathyan anthikkad . music : m . g . radhakrishnan . singers : k . j . yesudas . k . s . chithra . . .

malayalam full movie | njan piranna nattil actoin movie | ft . mohanlal , m . g . soman , aruna , raghavan

njan ekananu | malayalam film song | dileep [ old ] & poornima ; jayaram lyrics : sathyan anthikkad . music : m . g . radhakrishnan . singers : k . j . yesudas . k . s . chithra channel subscription links : urltoken rmation = 1 , urltoken ☟reach us on web : urltoken facebook : urltoken twitter : urltoken blog : urltoken

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the movie narrates the story of a middle aged chronic bachelor who had forgot to live his life for himself because he wanted to settle the lives of his siblings .

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dekalog : nine ( polish : dekalog , dziewięć ) is the ninth part of the television series dekalog by polish director krzysztof kieślowski , connected to the ninth imperative of the ten commandments : " thou shalt not covet thy neighbor 's wife " .

a man who has become impotent ( piotr machalica ) discovers that his wife ( ewa błaszczyk ) has a lover .

( a minor character in this film , a young singer with a heart condition , inspired kieślowski 's and piesiewicz 's next film , the double life of véronique . )

dekalog : nine

dekalog : nine <EOT> for info on the entire dekalog series , including a short film about love & a short film about killing—plus special dekalog trivia ! —click here .

the film sufi : dekalog 9 : “thou shalt not covet thy neighbor’s wife . ”

dekalog : nine roman and hanka have a loving marriage , but his impotence has led to her having an affair . the unbearable situation drives roman to extreme measures both physically and mentally , testing their love and his own will to live .

dekalog : nine is ultimately about faith and trust , a commitment to the sanctity of marriage , even when forces beyond one’s control threaten to disrupt life’s best laid plans . how kieslowski deals with everything so effortlessly is a marvel… and infinitely enlightening .

together with ‘dekalog : one’ , this is the finest episode of the series dealing with ( extra ) marital affairs between a couple with genuine emotions and unparalleled sensitivity to its characters ~ 5 * / a + [ dir . krzysztof kieslowski | 1988 | poland | drama | 60 mins | not rated ] dekalog : nine / © telewizja polska s . a . # dekalog # decalogue # krzysztofkieslowski # kieslowski # criterioncollection # bluray # affair # marriage # emotion # sensitivity # poland

together with the first episode , this represents the very summit of ‘dekalog ' , a series with many peaks . shot by piotr sobocinski , who photographed kieslowski ' s later three colours : red ( 1994 ) , dekalog : nine is a masterful drama dealing with the ( extra ) marital affairs of a couple , roman ( piotr machalica ) and hanka ( ewa blaszczyk ) .

kieślowski , krzysztof , and krzysztof piesiewicz , dekalog , in iskusstvo kino ( moscow ) , march - december 1993 .

“dekalog” opens at the ifc center in new york on september 2nd , at cinefamily in los angeles on september 17th , and will be followed by a national roll out . the criterion collection will release “dekalog” on blu - ray and dvd release on september 27th . don’t sleep on this one .

in dekalog : nine , any eroticism is left out ( after all , this was made for polish television ) , with kieslowski focusing on his characters instead . he gives roman and hanka unparalleled sensitivity , allowing them to develop emotionally through the course of the hour , with the intricate plotting giving us a sense of the psychological ambiguity that would besiege them as they deal with their set of marital issues .

soundtrack of " dekalog ix " by krzysztof kieslowsky dekalog is a 1988 polish television drama series directed by krzysztof kieslowsky . it consists of ten one - hour films , each of which represents one of the ten commandments and explores possible meanings of the commandment —often ambiguous or contradictory—within a fictional story set in modern poland . music by zbignew preisner

oh , there’s one other connecting thread . all but two of the 10 films feature a silent young man ( artur barcís ) who appears in different guises—student , hospital orderly , homeless dude—and just stares balefully in the direction of that film’s protagonist , almost always at some decisive moment . this device risks coming across as a bit precious , but it provides a welcome sense of mystery to some of the more straightforward entries ( notably dekalog eight and dekalog nine ) and strengthens the feeling of continuity . ( even though the 10 films employ nine different cinematographers , they share the same utilitarian look ; only the two shot by the great piotr sobocinski , who’d be oscar - nominated a few years later for his work on red , stand out visually . ) truly , dekalog is a single grand entity , greater than the sum of its sometimes stupendous parts . think of it as the televisual and / or cinematic equivalent of joyce’s dubliners , providing a monumental , probing yet playful snapshot of warsaw in the late 1980s . then hunker down and burrow in .

originally made for polish television , dekalog focuses on the residents of a housing complex in late - communist poland , whose lives become subtly intertwined as they face emotional dilemmas that are at once deeply personal and universally human . the series’ ten hour - long films draw from the ten commandments for thematic inspiration and an overarching structure , and grapple deftly with complex moral and existential questions concerning life , death , love , hate , truth , and the passage of time . shot by nine different cinematographers , written alongside longtime collaborator krzysztof piesiewicz , with stirring music by zbigniew preisner and compelling performances from established and unknown actors alike , dekalog arrestingly explores the unknowable forces that shape our lives .

verdict : together with ‘dekalog : one’ , this is the finest episode of the series dealing with ( extra ) marital affairs between a couple with genuine emotions and unparalleled sensitivity to its characters .

in honor of janus films’ new restoration of krzysztof kieślowski’s dekalog , now playing in limited release , fandor keyframe shared this video essay about the ten hour - long films bound together by the ten commandments .

in honor of janus films ’ new restoration of krzysztof kieślowski’s dekalog , now playing in limited release , fandor keyframe shared this video essay about the ten hour - long films bound together by the ten commandments . originally made for polish television in 1988 , the ten films focus on the residents of a housing complex in late - communist warsaw , poland . their lives intertwine as they face moral , ethical , and emotional dilemmas . though the series was shot by nine different cinematographers , as the above essay shows , the overall vision was unified .

this new digital transfer of dekalog was sourced from the 35mm original camera negatives provided by telewizja polska and stored at filmoteka narodow . when possible , the restoration of each episode was supervised and approved by its respective cinematographer .

rather than leading the viewer to think and wrestle with complex moral issues , this is like a little morality play ; in which selfish actions produce great pain and suffering amongst those closest to them . dekalog nine , is far from being the best of the series , it lacks the complexity and intrigue of the best of the works . it is still memorable in its own way though , because of the rawness of the human tragedy which underlies it . another wonderful thing in this episode is the hauntingly beautiful soundtrack music by zbigniew preisner , which seems to perfectly amplify the emotional darkness of the characters .

polish music icon zbigniew preisner , who first worked with the dekalog director on 1985’s no end and went on to contribute to all of his subsequent films . here , we present a selected playlist of preisner’s most memorable work for kieślowski .

just as everyone’s personal ranking of , say , the coen brothers’ movies will be wildly different , so will everyone’s opinion regarding which dekalog films are the standouts . not a single one is bad , though , and some quick poking around suggests that just about everybody considers at least four or five of them superb , even if folks don’t always agree on which four or five . dekalog six , about a young man who becomes voyeuristically obsessed with an older neighbor and inspires her obsession with him in turn , ranks among the greatest studies of toxic romance ever made . ( the feature - length expansion , a short film about love , is also terrific , but has a radically different and much weaker ending . ) dekalog five juxtaposes a truly brutal murder and the murderer’s subsequent execution , to equally nauseating effect . the most tender is dekalog three , in which a woman corrals a married ex - lover into helping her find her missing husband on christmas eve ; the most disturbing and thought - provoking is dekalog four , centered around a letter written by a dying mother that’s discovered by her adult daughter two decades later . the series even concludes with a ( jet - black ) comedy , as if to counterbalance the general intensity .

there are few cinematic experiences that you’ll have in your lifetime that will equal krzysztof kieslowski ‘s “ dekalog . ” it’s ten hours of some of the finest filmmaking you’ll ever see , and with its return to the big screen , it’s not to be missed .

dekalog : ten jerzy and artur’s father dies , leaving behind a valuable stamp collection , which , they discover , is coveted by dealers of varying degrees of shadiness . the more involved the brothers get in their father’s world , the more dire and comical their situation becomes .

dekalog : six a teenage postal worker , tomek , routinely spies on his older neighbor magda , a sexually liberated artist who lives in the apartment across the courtyard from his . as their private worlds merge , fascination turns to obsession , and the line between love and curiosity becomes violently blurred .

dekalog : seven as a high school student , majka bore a child , ania , whom majka’s mother , ewa , has been raising as her own . now that majka is ready for motherhood , ewa refuses to let go , leading majka to kidnap her own daughter , with unexpected emotional consequences .

dekalog : one krzysztof , a semantics professor and computer hobbyist , is raising his young son , paweł , to look to science for answers , while irena , paweł’s aunt , lives a life rooted in faith . over the course of one day , both adults are forced to question their belief systems .

dekalog : four a father and daughter , michal and anka , have a unique intimacy , that the college - aged anka is beginning to feel conflicted about . when she finds an unopened letter from her deceased mother , it seems to justify her attraction to michal , who may not in fact be her father .

dekalog : eight zofia , a professor of ethics , is visited by elzbieta , an american researching the fate of jews who survived world war ii . a daytime classroom conversation turns into a night of confrontation , and zofia is forced to answer for a decision she made decades ago that directly affected the course of elzbieta’s life .

dekalog : five jacek , an angry drifter , murders a taxi driver , brutally and without motive . his case is assigned to piotr , an idealistic young lawyer who is morally opposed to the death penalty , and their interactions take on an emotional honesty that throws into stark relief for piotr the injustice of killing of any kind .

a dekalog pass , good for admission to any screening of each of the five , paired hour - long parts plus a screening of each of the two a short film about features , is available for $ 55 ( $ 35 for ifc center members ) online or at the box office . just select the appropriate ticket price when purchasing .

dekalog : two dorota is in love with two men : her gravely ill husband , andrzej , and a fellow musician who is the father of her unborn child . andrzej’s doctor , himself no stranger to loss , is dorota’s downstairs neighbor ; she implores him to swear to a prognosis for her husband , and in doing so puts a very serious decision into his hands .

dekalog : three it’s christmas eve , and ewa has plotted to pass the hours until morning with her former lover janusz , a family man , by making him believe her husband has gone missing . during this night of recklessness and lies , the pair grapple with choices made three years ago , when their affair was discovered , and with the value of their present lives .

spread across ten chapters , “dekalog” tackles the ten commandants in a series of loosely connected stories all set around the same housing complex in warsaw . the result is a powerful look at humanity in all its complexity , from the same director who brought you the “three colors” trilogy and “ the double life of veronique . ” here’s the synopsis of the anthology plus a breakdown of each episode :

none of these films is a simple demonstration of black and white moral issues . “decalogue five” is about a murderer who seems completely amoral . to understand him is not to forgive him . but the story also focuses on his defense attorney , a young man trying his first case and passionately opposed to the death penalty . “decalogue nine” is about a man who discovers his wife is having an affair . he hides himself to spy on them , and eavesdrops as she breaks up forever with her lover - - and then discovers the husband in hiding . she did the wrong thing ( adultery ) and the right one ( ending it ) ; his spying was a violation of her trust - - and then there is an outcome where pure chance almost leads to a death , which was avoidable if either had been more honest .

in the late 1980s , the celebrated polish filmmaker , krzysztof kieślowski , set out to make ten short interlinked films . the films all shared a common location , a giant monoform set of flats in warsaw , which create a drab and deadening canvass for each piece . the films all share a common form , in that they are all dramas built around the human relationships in the flats . the films sometimes even overlap , with characters and scenes from one film appearing as extras or backdrops in others . most significantly though , the films are each loosely connected to one of the biblical ten commandments : " the dekalog " . having previously admired kieślowski ' s tricolore series , i was intrigued to learn that he had previously attempted something with its roots in the bible .

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" thou shalt not covet thy neighbour ' s wife " . roman , after discovering his impotence , urges his wife hanka to take a lover . she reluctantly complies , and roman , despite his earlier words , . . . see full summary »

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" thou shalt not covet thy neighbour ' s wife " . roman , after discovering his impotence , urges his wife hanka to take a lover . she reluctantly complies , and roman , despite his earlier words , becomes obsessively jealous . spying on her , he learns of her affair , and vows to kill himself - not knowing that hanka was in fact breaking off the relationship . . .

surgeon reacts to a diagnosis of impotence as if it were a terminal illness , urging his wife to take a lover and plunging into suicidal depression . his wife , however , is willing to live with the diagnosis and swears to a love above and beyond sex , which he rejects , at first ; the movie is about his struggling with and final acceptance of this platonic ideal . jealousy leads him to spy on and covet his own wife , ergo the commandment . but this only humiliates him further . in a parallel , somewhat superfluous plot , a young female patient asks his advice about a risky operation which would enable her to sing , her life ' s dream . both face the same dilemma of whether or not to accept a physical limitation which deprives them of their life ' s passion . unlike him , the young woman is willing to live with her disease and forego singing . he changes her mind . i thought the surgeon and the film , both , over - reacted to the diagnosis , assigned too much weight to it . the melodramatic lack of perspective makes the movie as moribund as its subject matter . of course , it ' s amply color coded ; the passing stranger in white rides by again ; and , again , there ' s lapse of credibility : the surgeon shares a cigarette with the patient who is supposed to have a disease so debilitating as to prevent her from singing - - this makes no sense . but , once again , k . knows how to make the final scene count , canceling earlier shortcomings , at least for a moment . overwrought arty soap opera . by this stage of the series one is right to be more than a little weary and wary of having the same heart strings tugged on to play the same melancholy tune .

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roman and hanka have a loving marriage , but his impotence has led to her having an affair . the unbearable situation drives roman to extreme measures both physically and mentally , testing their love and his own will to live . ( 60 minutes )

jerzy and artur’s father dies , leaving behind a valuable stamp collection , which , they discover , is coveted by dealers of varying degrees of shadiness . the more involved the brothers get in their father’s world , the more dire and comical their situation becomes . ( 59 minutes )

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: roman and hanka have a loving marriage , but his impotence has led to her having an affair . the unbearable situation drives roman to extreme measures both physically and mentally , testing their love and his own will to live .

: jerzy and artur’s father dies , leaving behind a valuable stamp collection , which , they discover , is coveted by dealers of varying degrees of shadiness . the more involved the brothers get in their father’s world , the more dire and comical their situation becomes .

roman and hanka have a loving marriage , but his impotence has led to her having an affair . the unbearable situation drives roman to extreme measures both physically and mentally , testing their love and his own will to live .

jerzy and artur’s father dies , leaving behind a valuable stamp collection , which , they discover , is coveted by dealers of varying degrees of shadiness . the more involved the brothers get in their father’s world , the more dire and comical their situation becomes .

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a drama about marriage as an optimum laboratory for the training of the heart .

krzysztof kieslowski ' s treatment of the ninth commandment , " thou shalt not covet thy neighbor ' s house , " focuses on the itch we all have for something more , better , or different . being content with what we have takes patience , perseverance , and gratitude whether we are talking about our relationships , work , or possessions .

roman ( piotr machalica ) , a surgeon , goes to a doctor and learns that he is impotent . deeply upset , he returns home to his beautiful wife hanka ( ewa blaszczyk ) of ten years . they have no children . when roman tells her that his sexual dysfunction is permanent , she responds , " love is in one ' s heart not between one ' s legs . " nevertheless , he tells her she should take a lover .

unbeknown to roman , hanka is already having an affair with mariusz ( jan jankowski ) , a physics student . increasingly restless , roman starts spying on his wife by bugging the phone and following her around . learning that hanka and her lover meet at her mother ' s place , he waits outside when he knows they are making love . but hanka is already planning to break off the affair , even though mariusz wants to marry her . she believes that her marriage can be saved by adopting a child .

a subplot in this drama deals with roman ' s treatment of a young woman with a heart condition ; she has a beautiful voice but will be unable to sing very passionate music unless she has her heart fixed . kieslowski wants us to see the many angles to the health of a heart . how much can it take ? in roman and hanka ' s case , a lot . sex turns out not to be the determining factor in the future of their marriage .

initially roman ' s problem proves to be so devastating that both he and hanka are unable to be honest emotionally with each other . they lose heart , to put it simply , by coveting something beyond their love relationship . in the end , through several traumatic incidents , roman and hanka realize that they must make a fresh commitment to each other . marriage , you see , is an optimum laboratory for the training of the heart in gentleness , compassion , forgiveness , and personal renewal .

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) , but was not . in this story roman , a successful , thirty - something heart surgeon , visits a colleague friend and learns that his own sexual dysfunction problems are permanent and incurable . he has a beautiful wife , hanka , and now must come to terms with how , or whether , he is going to live the rest of his life with her .

roman returns to his wife and hesitantly , but stoically , tells her the grim news . he dolefully offers to do the honorable thing : if she chooses to stay with him , she can start seeing other men . hanka swears by her love for roman , but finds the conversation about sex a bit too explicit - - love for her is more than just those kinds of physical aspects .

nevertheless roman’s new feelings of inadequacy start eating away at him . he begins to watch his wife’s habits a bit more than he used to . he notices an unusual notebook belonging to some physics student in the glove compartment of his car . he constructs an electronic device to secretly tap his wife’s phone conversations . and finally , he makes copies of the keys to his mother - in - law’s apartment , which is currently vacant while his mother - in - law is away . he suspects that his wife is having trysts with the physics graduate student there .

after awhile all of romans’ jealous suspicions are confirmed . his wife has a lover , and this has been going on for some time , even before his medical problems . the physics student lover , mariusz , is shown to be seriously in love with hanka . but hanka is now ov

ercome with feelings of concern for her troubled husband and feeling guilty about the affair .

hanka’s moral crisis concerns how she should manage her love life and how honest she should be with her husband about what has happened . roman’s crisis concerns his self - image as a man . he wants to avoid being jealous about something that he cannot provide for his wife , but at the same time he cannot hold himself back from finding out the horrible details .

there is a side story in the film that reflects on roman’s situation . a young patient , ola , is faced with a potentially risky operation to rectify a heart condition . if she doesn’t have the operation , she will have to abandon her promising career as a classical singer . she asks dr . roman what she should do , and he tells her that these operations are usually only performed as a last resort . she nods and says that she only wants to live , not risk death just to acquire fame as an opera singer . roman then ruefully reflects on the value of a diminished life that cannot reach fulfilment . ( later on in the story , ola is talked into going ahead with the operation , but , she says thoughtfully to roman , she will then become “someone else” )

break off her affair with mariusz , but it’s a little late : roman has spied on her and knows everything . he is shattered by the explicitness of what he sees , and his feelings of hopelessness and oblivion generate thoughts of suicide .

when hanka faces up to everything and tries to reconcile with roman , she humbly begs forgiveness and agrees that they should go ahead and adopt a child ( thereby affirming concretely that their marriage is forever ) . at this point , we might expect that the story has reached its dramatic conclusion , but not quite .

roman , not surprisingly , has not really recovered from his moribund thoughts and insists that they need some time apart in order for him to regain himself . hanka suggests that he might travel somewhere , but roman says that he cannot bear to be away and think about leaving his wife alone in the same town with “that physicist” , so it is agreed that hanka will go on a ski holiday . it turns out , however , that mariusz , “that physicist” , hasn’t given u

p on his relationship with hanka and heads out to the same ski resort to meet her . and roman’s suicidal thoughts haven’t disappeared , either . this leads to a dramatic conclusion of the film that is one of the most moving in the

a further comment is in order concerning the camera work of piotr sobocinski in this film . it is masterfully carried out with all sorts of inventive and evocative shots that highlight the dramatic elements of the storytelling . this is one of the key features that make this episode stand out .

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plot : roman and hanka have a loving marriage , but his impotence has led to her having an affair . the unbearable situation drives roman to extreme measures both physically and mentally , testing their love and his own will to live . ( from the criterion collection )

awards : won fipresci prize & children and cinema award ( venice ) . official selection ( cannes ) .

roman is impotent and suggests to hanka that she should find another lover to satisfy her sexually . she has been discreetly dating mariusz ( jan jankowski ) , a younger physics student who becomes obsessed with her . roman , plagued by obsession himself—that of extreme jealousy—begins to spy on them .

this sounds like a simple setup of a plot , one that would normally kick - start one of those saucy erotic thrillers about infidelity , a subgenre exemplified by such films as louis malle’s damage ( 1992 ) , and adrian lyne’s twin pairs fatal attraction ( 1987 ) and unfaithful ( 2002 ) , for example .

there’s clever use of phallic symbolism , particularly a shot where roman fills up his car’s fuel tank , momentarily reminding him of his impotence . there are also some great visual motifs that kieslowski uses repeatedly to accentuate the emotional state of his character . roman’s faulty car glovebox is an example .

what makes this episode so essential a viewing is kieslowski’s astute handling of its main theme of infidelity with complementary ideas of love and sex , of parenthood and adoption , and most crucially , of not wanting to be wronged . there are strong depictions of guilt , especially in the final act , which is a masterclass in building tension through characterisation vis - à - vis plotting , and expressed succinctly without dramatic manipulation through the technique of time - sensitive cross - cutting .

production : polish television , tor studios ; colour , 35mm ; running time : 10 films 53–57 minutes each . released 1989 . decalogue 5 and decalogue 6 released theatrically in 1989 as a short film about killing and a short film about love . filmed on location in warsaw , 1988 .

producer : ryszard chutkowski ; screenplay : krzysztof kieślowski , krzysztof piesiewicz ; photography : wieslaw zdort ( decalogue 1 ) , edward klosinski ( 2 ) , piotr sobocinski ( 3 , 9 ) , krzysztof pakulski ( 4 ) , slawomir idziak ( 5 ) , witold adamek ( 6 ) , dariusz kuc ( 7 ) , anrzej jaroszewicz ( 8 ) , jacek blawut ( 10 ) ; editor : ewa smal ; sound : malgorzata jaworska ( 1 , 2 , 4 , 5 ) , nikodem wolk - laniewski ( 3 , 6 , 7 , 9 , 10 ) , wieslawa demblinska ( 8 ) ; production designer : halina dobrowolska ; music : zbigniew preisner .

cast : 1 : henryk baranowski ( krzysztof ) , wojciech klata ( pawel ) , maja komorowska ( irena ) . 2 : krystyna janda ( dorota ) , alexander bardini ( consultant ) , olgierd lukaszewicz ( anrzej ) . 3 : daniel olbrychski ( janusz ) , maria pakulnis ( ewa ) . 4 : adrianna biedrzynska ( anka ) , janusz gajos ( michal ) . 5 : miroslaw baka ( jacek ) , krzysztof globisz ( piotr ) . 6 : grazyna szapolowska ( magda ) , olaf lubaszenko ( tomek ) . 7 : anna polony ( ewa ) , maja barelkowska ( majka ) . 8 : maria koscialkowska ( zofia ) , teresa marczewska ( elzbieta ) . 9 : ewa blaszczyk ( hanka ) , piotr machalica ( roman ) . 10 : jerzy stuhr ( jerzy ) , zbigniew zamachowski ( arthur ) .

kieślowski , krzysztof , and krzysztof piesiewicz , the decalogue , london , 1991 .

michalek , boleslaw , and frank turaj , the modern cinema of poland , bloomington , 1988 .

garbowski , christopher , krzysztof kieślowski ' s decalogue series : the problem of the protagonists and their self - transcendance , boulder , 1996 .

coates , paul , editor , lucid dreams : the films of krzysztof kieślowski , wiltshire , 1999 .

insdorf , annette , double lives , second chances : the cinema of krzysztof kieślowski , new york , 1999 .

ciment , m . , and others , positif ( paris ) , december 1989 .

rigney , f . j . , film criticism ( meadville , pennsylvania ) , spring 1990 .

magny , j . , and a . de baecque , " les régles du hasard , " in cahiers du cinéma ( paris ) , march 1990 .

tobin , y . , and others , positif ( paris ) , may 1990 .

cavendish , phil , " kieślowski ' s decalogue , " in sight and sound ( london ) , summer 1990 .

insdorf , annette , " the decalogue : re - examining god ' s commands , " in new york times ( new york ) , 28 october 1990 .

tarantino , michael , " the cave , " in artforum ( new york ) , december 1990 .

elia , m . , " l ' art du risque calculé , " in séquences ( montreal ) , september 1991 .

klinger , m . , " strazce brany , " in film a doba ( prague ) , summer 1992 .

holden , stephen , " chance , fate and the bible , " in new york times ( new york ) , 8 march 1996 .

falkowska , j . , " krzysztof kieślowski ' s decalogue series : the problem of protagonists and their self - transcendence , " in canadian journal of film studies ( ottawa ) , no . 2 , 1997 .

perlmutter , r . , " testament to the father : kieślowski ' s the decalogue , " in film criticism ( meadville ) , no . 2 , 1997 / 1998 .

there are artists who are late bloomers , who must try out various timbres before they find their own voice . it took antonioni over ten years and a dozen films , both fiction and documentary , to make il grido , his first truly " antonionian " film . it took kieślowski over ten years and two dozen films , both fiction and documentary , to make decalogue , which marks both the climax of a long search and a dramatic shift in direction and quality . that the seed was there is clear in the 1981 feature blind chance , which sketches out three possible futures for a man who , like a tabula rasa , is open to either one . the film shows how the filmmaker sensed what was soon to become his territory in art , but didn ' t yet have the formal means to make that territory his own . that decalogue changed kieślowski ' s life is evident in the way that all his following films— the double life of veronique , blue , white and red —stem from decalogue , developing the earlier work ' s motifs and sharpening its filmic finesse .

from decalogue on , kieślowski focused exclusively on the invisible and how it can be seen . he himself could show it with an incomparable grace : the mysterious links that tie us all together ; the signs and omens that nature , uselessly , sends our way ; the doom , materialized in things and machines ; the sadness of the pond and the clouds . in this world , an ink - spill prophesies trouble , and when somebody dies , holy water freezes in the church . this kind of cinema dangerously balances between the profound and the pretentious . but if kieślowski slipped into pretentiousness in the occasionally ponderous blue , decalogue has a luminosity of milk , left ( in decalogue 1 ) out in the cold overnight and turned into white ice . its light breaks the glass of the gratuitous bottle .

decalogue ' s world—the world of a grim warsaw housing development where all the stories originate—is not a collection of entities and events , but a dense substance in which everything is connected with everything . the focus is shifted from things to what lies between them . this philosophy puts kieślowski into a glorious chain of artists—dreyer , bresson , iosseliani ( the line continues with atom egoyan and wong kar - wai ) —and explains why his preoccupation with cycles may not be so odd after all . as people are linked in his films , so are the films themselves . the heroine of blue shows up in the courtroom of white and then , along with the principals of white , in the coda of red . a fictitious dutch renaissance composer van den budelmayer from red originates in decalogue 9 , as does white ' s tragi - comic theme of male impotence . the brothers from decalogue 10 don ' t want to stay home ; they spill into the story of white . a model auteur , kieślowski in all his later years shot one film ; perhaps his decision to stop , which he made in 1994 after completing the three colors trilogy , grew out of a realization that his film had come to an end . ( it has been reported that kieślowski was planning another project at the time of his death . )

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and the three colors trilogy is being revived in austin as well . updated through 10 / 1 .

, created a miniseries consisting of 10 hour - long films , each of which riffs on one of the ten commandments . the result ranks among the greatest achievements in television history—but it also produced two feature films , expanded from two of the episodes . one of them ,

. " you marvel at the precision of its filmmaking even as it spreads an atmosphere of moral unease . each episode takes place , at least partly , in a massive warsaw apartment complex . and while individual flats vary from luxurious to monk - like , the overall mood is bleak , verging on despair . kieslowski would become something of an aesthete and a mannerist in later years… , but in

, maybe due to its tv origins , his camera is mostly still and close , though the films don ' t lack poetry . the tales start quietly but gather complexity , ambiguity , and emotional force as they proceed . they pose ethical conundrums and present simple , dramatic scenarios ; by the end of each installment , we ' re faced not with answers , or even hints of answers , but with the irreducible , unresolvable messiness of life . "

notes that " episodes are uniquely aestheticized , befitting their own distinct thematic fixations ; kieslowski even went so far as to employ a different director of cinematography for almost every episode . one of the all - time great wielders of color , the filmmaker uses subtle color tints to evoke specific moods . the icy blues that connote a cold winter in episode one , for example , are offset by the sickly , unnatural greens of the computer screens that fill the professor’s apartment . episode three , set on christmas , finds clever ways to incorporate festive reds , using car taillights and flashing police warnings to shade the frame . episode six , given its extensive fixation on voyeurism , is appropriately cloaked in shadow , and much of its shots are composed at a distance , peering through barriers like windows and doorframes to add to the sense that the characters are under constant surveillance . "

, in the only blurb he ever provided , wrote , ' i am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work . ' " but kieslowski and piesiewicz , kubrick argued , " have the very rare ability to

" over time he struck me as alternately witty , colorful , relaxed , charming , closed off and intense . "

introduces a conversation with kieslowski " culled from a series of interviews with the filmmaker dating from september 1989 to november 1994 , done either individually by zbigniew banas , myself or the two of us in collaboration . they were done in cannes , toronto and chicago . "

' s 2000 review : " there is a young man who appears in eight of [ the episodes ] , a solemn onlooker who never says anything but sometimes makes sad eye contact . i thought perhaps he represented christ , but kieslowski , in an essay about the series , says , ' i don’t know who he is ; just a guy who comes and watches us , our lives . he’s not very pleased with us . ' directors are notorious for not pinning down the meanings of their images . i like the theory of annette insdorf , in her valuable book about

, who are ' pure gaze ' —able to ' record human folly and suffering but unable to alter the course of the lives they witness . ' "

. " the truth is that these characters are hopeless , which is a good deal more disquieting . "

trilogy , one film each thursday , before rolling out the decalog . these " are some of the most visually arresting films of contemporary cinema , " writes afs head of film & creative media

’s highest endorsement in spite of its many iniquities—it’s almost certainly the one most dense with life . and yet , for a biblically - scaled film cycle so rich with irony that it seems to be chipping off the walls of the brutalist apartment complex where most of it takes place , perhaps the greatest irony of them all is that

for npr : " perpetually confounded , these ordinary folk inhabit a film masterpiece of urgent philosophical inquiry that asks the eternal question , how shall we live ? and as every storyteller knows , we are never messier , funnier or more poignant than when we are trying to be good . "

, which brought a similar spirit of religious and existential inquiry to a different narrative universe , using the story of a new jersey mob boss as a way to explore american family life and the decaying social contract of the 21st century .

was much more than a series of short movies accidentally jammed into television and more than a peculiar cultural artifact of late communism . it was the beginning of a process that set television free . "

served as one of krzysztof kieslowski’s closest collaborators—he worked on all of the director ' s films until kieslowski’s death in 1996 , with several of their collaborations actually revolving around the world of music . "

, who composed the spare , sometimes otherworldly score . his other collaborations with kieslowski include the radiant

. " the father , a professor , lectures a class of students on the estranged intimacy of a foreign language : how do you get to know what’s hidden beneath history , politics , culture , and the soul of a language that isn’t your own even if you know it well ? the professor singles out technology to sort the obstacle of translation—an unfortunate choice . in the

, kieslowski strips his native being down to a universal visual language , and with the help of collaboration from his peers , unpacks the plethora of complexities hidden beneath and within all that is human in this ferocious masterpiece . in short , ditch formula and equation , and just rip through to the meat no matter the means . "

for criterion , “poles’ subjection to an increasingly oppressive , dysfunctional materiality ironically generated an immaterial place at which they met : the discourse of humble dreams… . metaphysics and revolution percolate through each other as people grasp their status as ghosts in the machine , incompatible with it . if such everyday suffering affects first the working - class protagonists of kieslowski’s earliest films , in

it extends to other social strata , such as doctors , rock stars , and university professors , indicating its pervasiveness in society . ”

. " the episode opens with a punk singer belting out a song poking fun at the ten commandments . the vocalist (

) reunites with his conservative brother over the death of their father when they discover that he’s left them a priceless stamp collection . the plot turns on a con game but kieslowski centers the film on the brothers’ emotional journey through sacrifice , suspicion , and loss until , when all looks bleakest , they find within themselves a sense of hope and family connection . kieslowski leaves us with humor and ends the series on a quiet , modest , lovely grace note endowed with hope . "

" with anything by kieslowski , engagement is more important than understanding , " writes andrew welch for movie mezzanine . " most of us would prefer it the other way around , but the decalogue challenges us switch them . "

by kieslowski represents the commandment , “thou shalt not covet thy neighbor’s wife . ” unlike many of the previous episodes , this episode deals with this specific commandment first hand . kieslowski used a married couple as the main characters , but brought in a few outside characters to represent the coveting which was present throughout this film . at the beginning of the film , the main character roman discovers he is impotent . he and his wife , hanka , talk about this issue , and he realizes that his wife should take on an outside lover to satisfy her sexual needs . however , she rebukes that idea , remaining faithful to roman . throughout the film , roman discovers that hanka has actually

on a secret lover . although roman wished that for her in the beginning , he becomes jealous and hurt from this affair . hanka eventually breaks off the affair , but roman was not aware of this , and consequently made an attempt at suicide . after surviving that attempt , he learns that hanka truly broke off the affair and realizes her love for him .

throughout the film there are many visual tropes and cinematic devices that add to the suspense and meaning of the film . first , there is one visual trope of a man riding a bike towards the beginning of the episode . during one scene , after roman learns he is impotent , he drives off the road due to his frustration with the issue . the man on the bike rides by looking at roman , yet continues to walk away . during another scene towards the end of the movie , roman drives his bike off a cliff , concluding his attempt at suicide . the camera shows roman lying there on the ground unconscious . then it shows the

same man we saw before , riding his bike . he looked down at roman , yet continued to ride by . this man on the bike can symbolize many things . he can represent the undying issue at hand that simply will not go away ( roman’s impotency ) ; he can represent the fact that roman just has to let go of this issue and “ride away” or get over his problems ; or he could simply represent the constant intruding of the man that is interfering roman and hanka’s relationship ( the man that hanka is having an affair with ) . regardless of the meaning , kieslowski used this man on the bike to represent a visual trope throughout this particular episode .

another visual trope that occurs many times throughout the film is the glove box in roman’s car . many times , when the scene is depicting a serious contemplative moment , the glove box pops

. there were also scenes where the glove box would not shut after a few attempts at shutting it . this is a visual trope because it not only occurs during those specific moments throughout the film , but also because it is trying to convey an important message . this message was not particularly clear , but it was clear that it was meant to be portrayed as a symbol .

also throughout the film were many cases of cinematic devices that added to the message of the film . kieslowski used specific camera work in order to carry out and highlight

scenes that are important for the dramatic story . for example , one scene depicts a conversation between roman and hanka . during the scene , the camera is focused on hanka’s face , and the viewer can see roman’s blurry back . however , the camera is also focused on a mirror directly behind hanka which allows to viewer to see roman’s face reflected through the mirror . this specific cinematic device not only allows the viewer to see both faces throughout the conversation , but it allows us to recognize their facial expressions as they carry out their conversation . this is important to the film because it contributes to the emotional effect it has on the characters , in turn pulling the viewers closer to the plot and message of the film .


the film , produced by a.g. subramaniam , had musical score by ilaiyaraaja and was released on 1 may 1992 .

chinna pasanga naanga

chinna pasanga naanga <EOT> tamil full movie | chinna pasanga naanga | superhit movie | ft . murali , revathi

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chinna pasanga naanga is a 1992 tamil drama film directed by raj kapoor . the film features murali , revathi and saradha preetha in lead roles .

chinna pasanga naanga is a tamil movie , directed by raaj kapoor , starring murali , revathi along with others . here , on the movie page , you will find every thing that you need to know . watch the latest songs videos in full hd right here on gomolo . we recommend you to start with chinna pasanga naanga trailer to get a hang of the movie . check out what others are saying about the movie on twitter .

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movie title - - - chinna pasanga naanga untold stories complete report cast - - kumarimuthu as kannayiram marthandan murali as muthukaalai r . p . viswam as ambalam below actors passed away - - kumarimuthu died on 28 - feb - 2016 murali died on 08 - sep - 2010 movie details - - music by - ilaiyaraaja produced by - a . g . subramaniam running time - 150 mins imdb rating - - 6 . 5

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murali , revathi , saradha preetha , r . p . viswam , goundamani , senthil

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romance or romantic usually refers to romance ( love ) , love emphasizing emotion over libido . it may also refer to :

a song is a single ( and often standalone ) work of music intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that often include the repetition of sections . written words created specifically for music or for which music is specifically created , are called lyrics . if a pre - existing poem is set to composed music in classical music it is an art song . songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants . songs in a simple style that are learned informally are often referred to as folk songs . songs that are composed for professional singers are called popular songs . these songs , which have broad appeal , are often composed by professional songwriters , composers and lyricists . art songs are composed by trained classical composers for concert performances . songs are performed live and recorded . songs may also appear in plays , musical theatre , stage shows of any form , and within operas .

a film , also called a movie , motion picture or photoplay , is a series of still images which , when shown on a screen , creates the illusion of moving images due to the phi phenomenon . this optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession . a film is created by photographing actual scenes with a motion picture camera ; by photographing drawings or miniature models using traditional animation techniques ; by means of cgi and computer animation ; or by a combination of some or all of these techniques and other visual effects . the word " cinema " , short for cinematography , is often used to refer to the industry of films and filmmaking or to the art of filmmaking itself . the contemporary definition of cinema is the art of simulating experiences to communicate ideas , stories , perceptions , feelings , beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations .

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tamil superhit movie | sendhoorapandi | full movie | ft . vijay , vijayakanth , gouthami tadimalla

mundhanai mudichu | tamil movie comedy | k . bhagyaraj | urvashi | poornima bhagyaraj

ஏழேழு ஜென்ம பந்தம் | | ezhelu jenma bandham | s . janaki , s p b , love duet melody h d song

jodi nalla jodi . mp3 artists : malaysia vasudevan , k . s . chithra duration : 4 : 56 min

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sangita is an indian actress , who has worked in tamil and malayalam film industries , predominantly in the 1990s . [ 1 ] the actress is best known for her role of nirmala mary in actor vijay ' s breakthrough film poove unakkaga ( 1996 ) . [ 2 ] she started her career as a child artiste in the movie snehikkan oru pennu , a malayalam movie released in 1978 . her debut film as a child artist in tamil was en rathathin rathame , which is the tamil remake of hindi movie mr . india . the first film she acted as a heroine was ellame en rasathan in 1995 .

she is born as the youngest among four children , to malayali parents , settled at chennai . her father , madhavan nair is from kottakkal , malappuram and mother , padma is from kuzhalmannam , palakkad . her father migrated to chennai for fruit business and the family settled there . she had her primary education from sri gujarati vid matriculation school , chennai . [ 3 ] she has two sisters , mallika and raji and a brother , nitheesh . [ 4 ]

she married cinematographer saravanan in 2003 and retired from acting after marriage . she assisted her husband when he directed his first film , silambattam starring silambarasan , sana khan and sneha . [ 5 ] [ 6 ] they have a daughter , sai tejaswithi .

this page was last modified on 22 may 2016 , at 10 : 26 .

this article ' s content derived from wikipedia , the free encyclopedia ( see original source ) .