Note:

New Delhi Film Society is an e-society. We are not conducting any ground activity with this name. contact: filmashish@gmail.com


Sunday, January 15, 2017

ओम पुरी: एक एक्टर की मौत




1950 - 2017
               ओम पुरी का न रहना उतना ही तकलीफदेह है, जितना उनके न रहने की वजह। सत्तर के दशक की कला फिल्मों के साथ उन्हे थोड़ा करीब से बनता-बढ़ता देखने वाले लोग जानते हैं कि बेमिसाल अदाकारी के साथ साथ शराफ़त और ईमानदारी उनकी शख्सियत का एक खास हिस्सा थी। 

उनके निधन के बाद उनके बचपन के बारे में, जवानी के बारे में, संघर्ष के बारे, रिश्तों के बारे में, तनाव के बारे में  लगातार लेख-संस्मरण आ रहे हैं। कहां से शुरु होकर कहां तक पहुंच गए- के लिहाज़ से देखें तो उनका जीवन एक फिल्मी नायक जैसा लगता है लेकिन निजी और भावनात्मक पक्ष पर गौर करें तो लगता है कि वो कला फिल्म के नायक जैसा संघर्षमय जीवन जीते रहे और एक कला फिल्म और उसके नायक की तरह ही अचानक सफ़र खत्म कर दिया।

नोट: ओमपुरी को याद करते हुए और तमाम लेख-संस्मरणों को पढ़ते हुए बीबीसी हिंदी पर राजेश जोशी का ये संस्मरणात्मक लेख ज़रुर पढ़ना चाहिए। 

http://www.bbc.com/hindi/india-38613146

Wednesday, December 28, 2016

Filmmaker Adoor seeks removal of National Film Awards jury chairperson






- Courtesy: Deccan Chronicle
                 Filmmaker Adoor Gopalakrishnan has in a searing criticism of the national film awards selection under the new dispensation called for a probe against the jury chairman (Rajendra Singh Babu), who presided over the selection of the Indian Panorama at IFFI 2016. In a nine-point letter to Information and Broadcasting Secretary Ajay Mittal, Mr Gopalakrishnan lamented the plight of “the cinema movement of purpose and integrity”.
He was also vehemently critical of the Ramesh Sippy-led jury that selected the national awards for 2015, heavily biased in favour of commercial cinema. Mr Gopalakrishnan withheld names of the two chief jurors in the letter but did not conceal his outrage since “never before have such jokers been appointed as jury chairmen”.
Reflecting sentiments of the film fraternity pursuing “purposeful cinema”, Mr Gopalakrishnan said that soon there would be an occasion to choose members as well as a chairman to the National film awards jury. “We insist that the jury should be headed by a filmmaker of eminence, familiar with modern trends in cinema and enjoys a national stature and he and other members on the jury would instill a feeling of fairness in the minds of the professionals involved”, said Mr Gopalakrishnan.

Wednesday, December 14, 2016

Rahman in Oscar Race Again


- NDFS Desk

      Music maestro A R Rahman stands
a chance to win at the Oscars once again with his work on sports biopic "Pele: Birth of a Legend".
The Indian musician, who is already a double Oscar-winner for his work on "Slumdog Millionaire" in 2009, has found mention in both Best Original Score and Best Original Song long
list of 89th Academy Awards. 145 original scores are vying for the top award in February next year and Rahman is one of the names on the list as the composer for the Jeff Zimbalist and Michael Zimbalist -directed drama on Brazilian football legend Pele. 

Similarly, "Ginga", which Rahman composed to celebrate Pele's soccer legacy, is part of the 91 songs competing for nominations in the Original Song category, according to the list released by the Academy of Motion Picture Arts and Sciences. Rahman, 49, will compete with titles like "Rogue One: A Star Wars Story", "La La Land", "Moana" and "Florence Foster Jenkins".

Nominations for the Oscars will be announced on Tuesday, January 24, 2017 with the main ceremony scheduled for Sunday, February 26, 2017, at the Dolby Theatre at Hollywood & Highland Center in Hollywood.

Tuesday, September 13, 2016

Screening at Miranda House Film Club for students


*NDFS info



 Miranda House Film Society, Celluloid,  extends a warm invitation for their upcoming event , the screening of 'Jashn-E-Azadi' 
 a film by Sanjay Kak titled  on 15th September 2016. 
followed by 
an interactive session with the Director himself on 16th September 2016  

We request you all to bring your valid College Ids for entry . 
Hope to see you there .




 

Wednesday, July 20, 2016

Singapore Film Festival in Delhi


                    
Singapore High Commission is organizing the Singapore Film Festival at the India Habitat Centre from 5 to 7 August 2016. This event is aimed to promote arts exchanges between India and Singapore, The three day festival will feature three films which will be followed by post-screening dialogues with the film makers. The events are all free and open to public. It is good opportunity for the Indian art community to be introduced to Singapore art and films, and for interaction between Singapore and Indian artistes.
                                    
                         
- NDFS Desk   

Monday, July 11, 2016

Retro Summer Japanese Film Festival





The Japan Foundation, New Delhi presents “Retro Summer Japanese Film Festival” from 18th July (Monday) to 23rd July, 2016 (Saturday) at 6.30 pm.

Enjoy the Japanese Film Festival with Six Japanese movies back-to-back.

DATE
DAY
TIME
NAME OF FILM
DIRECTOR
YEAR
Duration 
(minute)
18-07-2016
Monday
18:30
The End of Summer
小早川家の
Yasujiro Ozu
1961
103

19-07-2016
Tuesday
18:30
Sword of Doom
大菩薩
Kihachi Okamoto
1966
119

20-07-2016
Wednesday
18:30
Red Beard
                 赤ひげ
Akira Kurosawa
1965
185

21-07-2016
Thursday
18:30
Kill!
Kihachi Okamoto
1968
109

22-07-2016
Friday
18:30
Samurai
宮本武蔵
Hiroshi Inagaki
1954
93

23-07-2016
Saturday
18:30
Godzilla
ゴジ
Ishiro Honda
1954
98


Short Synopsis:
  1. The End of Summer: The film carries forward the lives of the Kohayagawa family, where each wants to do the best that he can for the family. The widower father- Manbei- often visits an old flame in Kyoto, causing concern in the family that he is not paying attention to the sake making company that he is going through financial troubles. With a venerating tone, this film is a reflection on old age, traditional values verses modern influence and mortality.
  2. Sword of Doom: Ryunosuke is a sociopathic samurai without compassion or scruples. When he is scheduled for an exhibition match at his fencing school, the wife of his opponent begs Ryunosuke to throw the match, offering her own virtue in trade.
  3. Red Beard: The Original book “Akahige Shinryotan” (Tales of Doctor RED BEARD) is the work of Shugoro Yamamoto. The entire film flourishes with the spirit of humanism centred on the magnificent character of RED BEARD. In Japan, where it is common to be playing more than one part at a time especially when shooting of one film is to be conducted over an extended period of time, this was an rare exception.
  4. Kill!: Genta is disillusioned with life as a samurai, while Hanjiro is a farmer fed up with his powerless existence, who dreams of a glory days as a samurai. Kill! Is a comical exploration of a samurai life.
  5. Samurai:  With his closest friend, Matahachi, Takezo (the town’s wild orphan kid) leaves his village to join an army on its way to battle. Takezo returns to the village and Matahachi’s family rejects his report and has him arrested for treason.
  6. Godzilla: This 1954 original pioneered special effects filmmaking and inspired many remakes. Re-live this epic classic that introduced the most fearful of all movie monsters- Godzilla.


NOTE:  No reservations or passes required for any of our event. Entry is free for all. However, seats will be given on first come first basis.

Thursday, May 12, 2016

प्रतिरोध का सिनेमा: ग्यारहवां गोरखपुर फ़िल्म फेस्टिवल


                                                                                                                                                   -एनडीएफएस डेस्क

             प्रतिरोध जितना ज़रुरी है, उसकी निरंतरता भी उतनी ही ज़रुरी है। मौजूद दौर में इसकी ज़रुरत और भी बढ़ गयी है। सिनेमा इसके लिए कितना प्रासंगिक और कितना सशक्त माध्यम हो सकता है 'प्रतिरोध का सिनेमा' आयोजन इस बात की मज़बूत मिसाल है।

दरअसल हम ऐसे दौर में रह रहे हैं जब आसपास की गतिविधियां और आयोजन न सिर्फ सारहीन, तत्वहीन और निरर्थक प्रतीत होते हैं, बल्कि थोड़ा पड़ताल करने पर मार्केटिंग और पीआर इवेंट साबित होते हैं। ऐसे में 'गोरखपुर फिल्म फेस्टिवल' से शुरु हुआ 'प्रतिरोध का सिनेमा' कैंपेन एक भरोसा देता है, ढांढस बंधाता है और हिम्मत न हारने की हिम्मत देता है। कोशिश कहीं भी हो, किसी भी रुप में हो... होती ज़रुर रहनी चाहिए।

इस  सिनेमा आंदोलन ने आम शहरी मध्य वर्ग को सिनेमा के जनवादी स्वरुप से न सिर्फ परिचित कराया है, बल्कि उसकी सार्थकता का भी अहसास दिलाया है। इस बार 'गोरखपुर फिल्म फेस्टिवल' का आयोजन 14 और 15 मई को हो रहा है। हर वर्ष मार्च के महीने में होने वाला ये आयोजन इस बार थोड़ा सा लेट हो गया है, लेकिन ग़ौर करने वाली बात ये है कि पूरा आयोजन हमारे और आपके निजी सहयोग से होता है, किसी कॉर्पोरेट स्पॉन्सरशिप या सरकारी ऐड से नहीं।*

सिनेमा में गहरे डूबे दर्शक हों या उत्साही आम मध्यमवर्गीय जन, हर बार इस आयोजन में ऐसा कुछ नया मिलता है, जो इसे यादगार बना देता है। गोरखपुर वालों के साथ साथ शहर के आसपास और दूरदराज इलाकों में रहने वालों के लिए भी ये आयोजन एक अमल बन चुका है, और वो हर साल बेसब्री से इसका इंतज़ार करते हैं। एक नज़र इस साल के शिड्यूल पर।










































* अगर आप प्रतिरोध का सिनेमा: गोरखपुर फिल्म फेस्टिवल  को आर्थिक मदद देना चाहते हैं तो साइड पैनल पर लगा विवरण पढ़ें।

साभार: संजय जोशी, मनोज सिंह

Sunday, May 17, 2015

The Poet’s Film in Cannes



               

 

The celebration of the best in cinema is on in Cannes. It is happening from 13th to 24 May 2015. Here there are multiple fora to showcase the cinematic  genius of our times.  Short Film Corner is one of them, where Satat (Continued), a short film by Delhi based poet-filmmaker Devi Prasad Mishra is featured. It is the  assertion of independent cinema. We find joy in talking about the film, the film maker and the hope that such films bring about for the revival of meaningful cinema. - NDFS Desk

               

 

 

    The 18 minute long film Satat (Continued) has been featured in the Cannes Film Festival in Short Film Corner. Its director is Devi Prasad Mishra, who is the renowned Hindi poet and short story writer – he lives in Delhi. 

 

Satat (Continued) The Film:


 The film that features in the Cannes Film Festival is about two Indian adivasi children. In  the backdrop of the twittering  birds,  shriek of cranes and rumbling of mining at a distance the two village children are playing ‘gulli danda’ on a dusty village road.

Pedestrians, herdsmen, cyclists and motorcyclists pass by them. It does not bother the two playing lads. They go on with their game.
One motorcyclist is even suspicious of the camera crew that is apparently shooting the playing boys. He is the mining contractor.
 In a while one of the boys is called by his mother. He rides his bicycle and cycles out to reach his mother. The other boy walks a distance to drink water.  He comes back but the other boy has yet to surface from his not so distant home- he finally materializes but hurries down and upand down to the pond to tend to his fishing net in the nearby pond. Eventually the left-alone boy follows him and brings him back. The play starts again.
 The play may have interruptions and suspensions but it cannot be terminated. The play is metaphor of life that must continue.  The film is almost without the spoken words. It is tacit, imagistic, metaphorical, and poetic. It articulates itself through innocence of human presence and metaphor of continuity. 

How Satat (Continued) happened:

 

Satat happened accidentally- Devi was in a tribal belt on the cusp of Madhya Pradesh – Orissa border doing a communitarian documentary when he saw two village boys playing gulli danda. He immediately had a sketchy narrative popping up with a blurred beginning, middle and end. He talked to children and briefed them as to what he wanted. The film was shot endlessly through the glare of the morning and mid day sun as the game went on. He told his cameraman Tarique Mohammad that the film will go to Cannes and it did.  So he found the characters and the story then and there on the kuccha road; he made the non- actor Adivasi boys Sardar and Balchand to act in an impromptu, sketchy and uncertain cultural venture. It took him and his editor Ajmal Khan days and months to carve out a visual narrative and to put together the right images at right places. 

The Devi Prasad Mishra:


Known for his moral courage, reclusive poetic habitat, and his disdain for literary machinations Devi won two documentary projects from PSBT, and got National Award  for one of them The Female Nude.    He has almost completed a documentary feature All This Because. It is about the loneliness of womanhood amid the male dominated social prejudices, male gaze and male desires. It is about a rebel woman poet Jyotsana who eventually committed suicide. He has almost completed a  feature film Mahabhinishkramana ( The Great Going Out),  in shoe string budget, wherein the non- actor Adivasis have acted.  It busts the primary education system atrociously designed for the remote rural children.
 Having been awarded Sanskriti Samman, Bharat Bhushan Smriti Samman, Sharad BilloreSamman and chosen by one among thirteen faces by Illustrated Weekly of India for his poetry Devi follows Cannes phenomenon avidly watching its official selections over the years, the French Cultural Centre being the primary source. Even though he is not in Cannes due to his pressing schedules he thinks that it certainly is an exciting hub for filmmakers.  Here the best experiments and concepts  in cinema, and spirit of iconoclasm are exhibited left, right and centre, literally .
 A  film buff involved in running a film society in his home town Allahabad he now lives in New Delhi with his artist wife Hem Jyotika, and son Udbhav who is learning sculpture at Jamiaand making some  real weird music,  a small part of it Devi has used in his film Satat.
Devi started as a poet, he wants to live it out as a film maker, he quips. 


On Independent Cinema & Contemporary Hindi Cinema:

 

He feels that the true independent cinema is like writing poetry- you don’t have money, you are not paid for your cultural production, you are always discouraged to do what you desire to do, you are doubted as deviant, you don’t have a structured audience. So even if he has three screenplays almost ready for full feature length films based on his own three short stories he is sceptic about taking them to a pragmatic end. 

He feels that the present phase of Hindi cinema has discovered the rawness of underclass dialect and vernacular. But alas, except for Vishal and to a certain degree Dibakar no cinema director has a philosophical and ideological and political mooring. The new main stream Hindi cinema has generally ceased to be that stupid but it is  violence centric, or libertarian - it is forgetful of Ritwik and Satyajit Ray. It is Hollywood way where you have enviable performances, gangsters, spectacular scenarios, smart camera work, witticism at its best but no innate narrative. It only reflects the neo liberal market spirit. The underclass is being portrayed as Lampat. “If we can take a reference from contemporary cinema then what we need to be inspired from is the cinema of Dardene Brothers(France ) or Kaurismaki Brothers(Finland) or Mike Leigh(England)or AsgharFarhadi and JafarPanahi(Iran) or Nuri BilgeCeylan(Turkey),” he avers.