Mortality and the Legacy of the Artist in Kamal Haasan’s Uttama Villain (2015)
Kamal Haasan, an Indian film actor, screenwriter, director, producer, playback singer, choreographer, lyricist, philanthropist and dancer, has, over the course of his career, become a cinematic and cultural icon throughout India. Popularly referred to as ‘Ulaga Naayagan,’ which roughly translates from Tamil to ‘actor of the world,’ his work has won much critical acclaim, and is often hailed as having the uncanny ability to meld together aspects of high art with popular entertainment.
One of his more recent films, Uttama Villain (2015), which translates to ‘Righteous Villain’ (or perhaps, as the interpretation of the title by a character in the text suggests ‘Expert
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Nomenclature plays a crucial part throughout the text, and the names of characters often become indicators of important traits and significant roles. The name ‘Margadarisi’ roughly translates from Sanskrit to ‘one who shows the path,’ and as Manoranjan’s artistic guru, Margadarisi becomes a very important element in the realisation of the artistic vision in the text. His views on art, and his disapproval of Manoranjan’s commercial work is made clear from the very outset of his introduction, when a reporter presents the following question to Poornachandra Rao:
Manoranjan sir odiya guru, Mr. Margadarisi ivlo nalla nadigara pakkathukulla vechikuttu, avulo kodi sellavu panna vendi avasiyam illai. Kadhai dhaan avasiyam, indha maari masala namba kalaachaarathuku avasiyam illai … (Uttama Villain)
Manoranjan sir’s guru, Mr Margadarisi [says]: when you have such a good actor by your side, there is no requirement to spent so many crores. A good story is what is necessary; masala films like these are unimportant to our culture … (self-translation)
Furthermore, it is worth noting that the casting of K. Balachander as Margadarisi, mentor to Manoranjan, an actor played by Kamal Haasan, is a heavily significant choice due to Haasan’s history with Balachander. K. Balachander, Haasan’s mentor in many ways, is credited with having nurtured a number of eminent actors in Tamil
In this essay I intend to tell you more about the director Dennis Dungan. Firstly, I will tell you about his childhood. Who Dennis was brought up by. Where he grew up. What kind of Education he had and where he went. Second, I intend to speak about his personal life, whom he married if he had children. Also I will describe his work and what success he had in his career. Thirdly share what I learned about who influenced him. The award he received during his careers in the movies he directed.
fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould.
Overall, the actor’s in Today’s Special were well correlated together by the production system and director. The actor’s performance throughout the film allowed for the viewer to be entertained and involved in the culture of an Indian family. In addition, the ending left the viewer at ease with Samir’s new start as the chef he always dreamt of.
Sripathi’s intolerance of spending money on anything but himself leads to the disgust of his wife. During the planning of Maya’s engagement, he worries about “how much that [would] cost” (102) and even calls his wife a “foolish woman” (102). This is significant because it shows that Sripathi cannot bear the thought of splurging on his daughter’s engagement. This shows that he does not care about pleasing other people who are invited to ceremony; rather, he cares about his own financial future. Through the exchange between him and his wife, Sripathi is portrayed as a selfish person who only cares about his own opinions. He even belittles his wife for not accepting his opinion as the best idea. However, after Maya’s death, Sripathi copes by becoming more empathetic. He recalls what he has done to Maya and wonders how he will be able to face his grandchild with the knowledge that he is responsible for her mother’s death (245). This is significant because Sripathi begins to reflect and consider how others feel. Through this personal thought, this reveals how much his character has changed since the death of Maya. He now understands that he will not be able to face his grandchild because of how disowning Maya contributed to her death. Sripathi now tries to atone for what he has done to Maya by attempting to get closer to Nandana. This helps him to
Kothari employs a mixture of narrative and description in her work to garner the reader’s emotional investment. The essay is presented in seventeen vignettes of differing lengths, a unique presentation that makes the reader feel like they are reading directly from Kothari’s journal. The writer places emphasis on both her description of food and resulting reaction as she describes her experiences visiting India with her parents: “Someone hands me a plate of aloo tikki, fried potato patties filled with mashed channa dal and served with a sweet and a sour chutney. The channa, mixed with hot chilies and spices, burns my tongue and throat” (Kothari). She also uses precise descriptions of herself: “I have inherited brown eyes, black hair, a long nose with a crooked bridge, and soft teeth
...n acts even in the face of danger not due to an artistic principle, but due to the need to put food on the table for her family. Even though Gittoes arguments fall short, the Taliwood film industry should be encouraged. As Shah Rukh Kahn, a famous Bollywood actor and director in India said in an interview for NPR on Bollywood films “"Our fantasies are about earning a good living, having maybe a car — not two. Getting an education for your kids. Our fantasies are not about getting to be president of the country, to sit in a rocket and go and break a meteor. Our fantasies are very real.” A movie obtains popularity not because it is foremost trying to change culture, but because it reflects of the hopes, desires and fantasies of their audience. Free expression of common hopes, desires and fantasies will provide the a true bridge between the Western and the Pashtun.
...ing care of Shankar and feels good doing so. He is constantly sacrificing his money and time by helping others This empathy helps him change his life journey by helping him meet new people. Even though helping people delays his own success he does ultimately achieve his dreams.
Over the years, Bollywood has emerged as its own distinct identity in the global film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. (Pillania 1) However, Hollywood is still the leader in revenue generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets.
People clinging to the sides of a train is a common sight in both Pakistan and India, and as one could imagine, they are clinging for their lives, for if they let go, they will fall off the train and quite likely be killed. She compares her desire to hold on to the henna, which represents the Indian aspect of her identity, and the Indian identity she discovered in the bazaar, to holding on desperately for your life on a fast train. This illustrates to the reader how desperately she wants to keep this experience and her newfound identity. Moniza Alvi employs a wide variety of techniques, from end-stopped lines and formatting in structure, to rhyme, tone, and even imagery and language to attempt to explore the vast concept of identity. She successfully manages to explore the concept of identity, and conveys to the reader the meaningful message that discovering your true identity is dearly valued and highly significant.
Rao, S. (2007). The globalization of bollywood: An ethnography of non-elite audiences in india. The communication Review, 10(1), 57-76. doi: 10.1080/10714420601168491
In this Persuasive essay I will be comparing two films, "Memento" and "Ghajini". I will discuss the genres, the casting of the films, and how effective they were. I will also look at the cast, action, plot and productions, and how these are aimed at each film's target audience. Though both films have more similarities than differences, there are some major differences too.
Mahasweta Devi, always writes for deprived section of people. She is a loving daughter, a clerk, a lecturer, a journalist, an editor, a novelist, a dramatist and above all an ardent social activist. Her stories bring to the surface not only the misery of the completely ignored tribal people, but also articulate the oppression of w...
In The Guide, the blend of modernization and tradition brings about conflicts to the characters. Raju the central character encounters several transformations in his life. We might say that Raju’s transformations are due to his own desire. However, a deep thought will suggest that the transformations and conflicts he faces are also the result of the collision between modernity inside him and the religion belief his parents refined in his childhood.
The theme of the movie Lagaan is the realistic portrayal of life. The use of the country's most liked game, cricket, is a great example of Bhuvan’s characteristics. He taught different skills like leadership, team spirit, motivation and stress management.
Padosan is a film based on the characters Bindu and Bhola, played by Sunil Dutt and Saira Banu. Bhola is simple man and is the nephew of Thakur Kuwar Pratap Singh. Bindu is a rich pampered girl who is the only child. Both Bhola and Bhindu are living in India. Bhola is living with his uncle, Kuwar Pratap Singh. He is a twenty six year old humble man who follows principles from the book Shashtras. He believes that a man should remain a bachelor until the age of twenty-five, and afterwards enter the life phase of a married householder at the ages of twenty five to fifty years old. One day as Bhola is reading the Shashtraas near a river, he discovers that he is eligible to get married and coincidentally he meets Bindu the same day and falls in love with her instantly. As Bhola returns home, he is disgusted with his uncle since he plans a second marriage to a young girl. Bhola then decides to live with his aunt instead. Fortuitously, when Bhola moves into his aunt’s house, he is thrilled to find the girl he loves as his ...