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NEWS

 

NISHAD

Hawaii International Film Festival 2002.   Programme Guide
 

Set against the backdrop of war between India and Pakistan, OCTAVE is a visually stunning film that depicts the sombre beauty of northern India�s snowy peaks and the hardships of the area�s Tibetan refugees. The story unfolds in a town is near the north Indian border. Sati (Archanaa) and Gopi (Rajit Kapur) are a middle-aged couple. Sati teaches English to children at an exiled Tibetan government run school. Gopi works as a doctor in a government managed hospital and a local prison. Over the years, the couple has endured many hardships and unthinkable loss � their only remaining son, Ashock, is a pilot in the air force, who never fails to call them every week. One day, they get a mistaken phone call from the voice of a young boy who reminds them of another son that they had lost long ago. This call awakens deep emotions and anxieties living in a time of loss and mortality. As Sati�s familial love grows for a young boy, the calls from her remaining son, end� Accomplished South Asian director Shaji N. Karun provides trance-like cinematography to capture the humanity that emerges in war zones and stark simplicity to love between family � blood and otherwise. ~ Konrad Gar-Yeu Ng

 
 

VIEWS

                                            VANAPRASTHAM (THE LAST DANCE)

 

VANAPRASTHAM,
The Last Dance," which marks noted Indian cinematographer-director Shaji Karun's third appearance in Cannes, is an elaborately produced, exceedingly handsome period film about the art form of Kathakali, which combines dance, pantomime and theater
Variety, By EMANUEL LEVY
 
THE LAST DANCE  * * * *
This is a leisurely-paced but fascinating film about an unusual and beautiful form of South Indian performance, the Keralan theater of Kathakalini, which combines dance, music, sung dialogue, and pantomime. The film's main character is a Kathakali performer named Kunhikuttan, who although a revered master of his art has little wealth. He endures a loveless marriage, mostly for the sake of his beloved daughter, performs his art for weddings and festivals throughout the year, and is often on the road with his troupe of musicians. When he meets a wealthy member of royalty, a beautiful woman named Subhadra, her love for the theatre, and especially her obsession for the character he plays so masterfully, leads to a romantic union doomed to fail. One of the most riveting elements of this film is certainly the theater performances, which are sublimely expressive nuggets of traditional South Indian culture. South Indian superstar Mohanlal learned his movements to perfection, and is so immersed in his performance, that he is completely believable as the master artist he plays. Even when his enormous frame is dressed in the spectacularly garish drag of a female role, his deep immersion in his roles and the fact that the characters he plays are larger-than-life mythical figures, inexorably draws you into total suspension of disbelief; he literally becomes those Indian gods and heroes. Lush cinematography tops off this gorgeous film, with scenes so rich in color you can smell the fertile damp of the Indian jungle and the taste sweat on Kunhikuttan's brow as he works himself into the rhythmic fever-dream his roles demand.                                                              
SFIAAFF by Allen White March 19 2002

 

                                                         SWAHAM (MY OWN)

 
The film of Shaji Karun, however would merit to preserve all ones attention. It is more than a beautiful film, a great film
Le Monde, Paris May 24 1994
 
Just as symphony which conveys through the mind, through the soul's associations, Shaji Karun has created a masterwork, a master work of image sequences.
Country's Messenger, Den Landbote
 
A film that evokes goodness
Kerala Kaumadi, Rajiv.
 
It rains in the Heart
Malayala Manorama, Jacobi
 
Even while making political statements, this streak of sadness enriches his films with a rare sensibility and lyricism.
The Week, Vinu Abraham

                                                       PIRVAI (THE BIRTH)

Outstanding
Another outstanding first feature film, from Malayalam, India. Shaji's Piravi relates the story of a rural family whose son has disappeared and liquidated by the police on account of his political involvement
The Times (UK) , David Robinson
 
Charm of Expression
Shaji is the cameraman for Aravindan, one of the senior South Indian Director, and his first feature is suffused with the same beauty and charm of expression. Indeed, for anyone who knows Trivandrum and Kerala, this story about an old man who can't find his son, who has disappeared from Univeristy after a political demonstration is clearly not to be missed.
The Guardian (UK), Derek Malcom
 
Stunning debut
Sight and Sound, Derek Malcom
 
It's the most auspicious debut in decades. One of the country's accomplished cameraman has extended his art to the direction of a feature film.
The Illustrated Weekly of India, Khalid Mohamed
 
The Poetry of the Oppressed
The Indian Express, Iqbal Masud
 
Intense experience
The week, P.Aravindakshan
 
In today's world of political immorality and state brutality, Piravi asks questions
India Today, Ramesh Menon
 
Merit-Not region was the key
Delhi Mail, Bikram Singh
 
Birth of a Director
Kala Kaumudi, Ayyappa Panicker
 
Enchanting
Kerala Kaumadi, M.V Devan

Promising
Weekend, Deepa Gehlot
 
Piravi with a bang
Times of India, S.K Bose
 
The gentle perfection of Piravi
Statesman, Amitha Malik
 
Gem from South
The Sunday Observer, Maithali Rao
 
The Birth of a Director
The Indian Post, Uma de Cunha
 
Talented Director
Screen, Ayyappa Prasad
  
ally-tenuous