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"Before entering into Cinema, i thought why emerging star doing same kind of Film & not taking Tamil cinema to Next Level🫰. After #LIK, I'm going to Direct & Act in Sci-Fi film, it's unpredictable, they'll see different Pradeep😲🔥" - #PradeepRanganathan

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AmuthaBharathi

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170,791 Aufrufe • vor 10 Monaten •via X (Twitter)

Wissenschaft & TechnologieKunst#LIK#PradeepRanganathan
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Whomsoever is pairing with PradeepRanganathan attracts the spot 😀 After Ivana, Kayadu & Mamitha, it's going to be a breakthrough film for KritiShetty too in Tamil with #LIK♥️

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Some studio executive somewhere probably saw this scene at the end of The Godfather Part II & thought to themselves “wow, how can I bastardize one the greatest slices of Cinema ever into a few more dollars?!” What are we doing? A fourth Godfather film does not need to be made.
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Some studio executive somewhere probably saw this scene at the end of The Godfather Part II & thought to themselves “wow, how can I bastardize one the greatest slices of Cinema ever into a few more dollars?!” What are we doing? A fourth Godfather film does not need to be made.

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#JanaNayagan is a literal remake that could've been far better and not the deserving Farewell for the Tamil Cinema's Box Office Samrat! Thalapathy Vijay, who is now the CM of Tamil Nadu, was one of the biggest commercial stars Tamil cinema has ever witnessed after Superstar Rajinikanth, and the kind of farewell film he deserved should have hit much harder. Despite being around a 60% remake of Bhagavanth Kesari, the team has added political and sci-fi elements to differentiate both films. The political portions were decent, but the sci-fi elements in the final act felt completely out of place. The film constantly feels like it is changing its identity—from a father-daughter emotional drama to a political film and finally into a sci-fi action film. CM Vijay as Thalapathy Vetri Kondan, also known as "TVK," shines throughout and carries this mediocre film from H. Vinoth almost entirely on his shoulders. It was so good to see him back in action, especially during the interval and post-interval fight sequences. Thalapathy Kacheri was an absolute blast and a perfect celebration for his last dance on the big screen. Mamitha Baiju shines alongside Vijay as his daughter and delivers a memorable performance, especially in the climax. Pooja Hegde, Prakash Raj, Narain, and others didn't have much scope and felt like typical template characters. Bobby Deol, as the main antagonist, also suffers from the same issue. Musically, Anirudh delivered some banger songs, but the background score felt repetitive, especially with the reuse of themes like "Raavana Mavada" and "Oru Pere Varalaaru” but still elevates TVK’s screen presence whenever he gives entry. If this film was handled by someone like Lokesh or Atlee, who truly understand Vijay's legacy and stardom, it could've been the perfect farewell for the CM that he deserved. Criticism aside, this is the last time we are going to see our favourite entertainer VIJAY on the big screen. So let's celebrate him for one last time in cinemas. ❤️

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William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin
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William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin

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On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")
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On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")

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American filmmaker David Lynch said multiple times that Billy Wilder's classic film noir “Sunset Boulevard” (1950) is one of the films that shaped his artistic vision more than any other. When he said “I want a dream when I go to a film. Sunset Boulevard has that dream world for me”, he wasn’t just praising Billy Wilder — he was describing the foundation of his own cinema. In Wilder’s world, Lynch found that suspended space between reality and vision that would define his films: a decaying Hollywood, hypnotic atmospheres, characters trapped in their own illusions, and above all that “dream feeling” constantly slipping into nightmare. It’s impossible not to see the echoes of “Sunset Boulevard” in Mulholland Drive: the same contrast between glamour and darkness, between Hollywood’s golden promise and its shadows. For Lynch, Wilder had already opened the door to a dreamlike, unsettling dimension — he simply pushed it further. Rewatching “Sunset Boulevard” through Lynch’s eyes reveals how deeply the film influenced a whole generation of directors who turned dreams into cinema, and cinema into a dream.

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"F.W Murnau’s 'Nosferatu' (1922) is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula & his plague-infected rats." --- Werner Herzog Full Excerpt: "I did not want to remake 'Nosferatu'. My film stands entirely on its own. It is a completely new version that we’re dealing with here. The context and the characters are different, and the story is somewhat different. But you’re right, I feel very close to Murnau. He is my favorite German director. In fact, I rank him well above Fritz Lang. He sees things much too geometrically. Murnau’s 'Nosferatu', made in 1922, is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula and his plague-infected rats. He gave German cinema a legitimacy that was lost during the Hitler era. That is why the film has taken on such importance for me. We belong to a generation of orphan filmmakers with no recourse to tradition, with nothing to fall back on. There is no equivalent in France, the Soviet Union, or Italy, where they were able to secure cultural continuity. In Germany, by contrast, there was a hiatus, an emptiness that nothing will ever fill. Before the war, we had important philosophers, composers, and mathematicians. All that came crashing down. The missing links in the chain can never be replaced. But a certain affinity exists between our current cinema and that of the twenties. It is not so much about a similarity in style as it is a similarity in attitudes toward film production. There is a collective way of envisioning cinema as an art, as a serious mode of expression." (Excerpt from Werner Herzog's interview with Simon Mizrahi, 1979)

DepressedBergman

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