Wednesday June 19, 2019
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PK Nair remembered for his contribution to Indian cinema

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Calling PK Nair a “beloved son of cinema” for his zeal for movies, their preservation, and restoration, Indian film fraternity members on Friday mourned the demise of the country’s pioneering film archivist and film scholar, who set up the National Film Archive of India (NFAI).

Nair, who won the description ‘celluloid man’ for his unimpeachable body of work as the founder and former director of the NFAI, breathed his last on Friday morning at a Pune hospital following prolonged illness. He was 82.

Filmmaker and film archivist Shivendra Singh Dungarpur, whose 2012 documentary film “Celluloid Man” explored the life and work of Nair, termed Nair’s death as “the end of a great chapter”.

On an emotional note, Dungarpar, who considers Nair his “spiritual father”, told agency: “He contributed to developing not only film archiving, but also a generation of filmmakers. He was the man responsible for NFAI”.

Dungarpur tweeted: “I am deeply saddened by the loss of my mentor PK Nair who taught me to love and live for cinema.”

Mumbai-based film historian SMM Ausaja told agency: “After Feroze Rangoonwalla, this is the second blow to the world of cinema archivists. And it’s a very small niche world as it is.”

Nair’s interest in films began with 1940s Tamil mythological dramas such as “Ananthasayanam” and “Bhakta Prahlada”. His stint with the NFAI started in 1965 as assistant curator. And 17 years later, in 1982, he became its director.

When he retired in April 1991, he had collected over 12,000 films, of which 8,000 were Indian. These include the works of legendary filmmakers such as Satyajit Ray, Ritwik Ghatak, Mrinal Sen, V. Shantaram, Raj Kapoor and Guru Dutt; and then there were films of international stalwarts like Ingmar Bergman, Akira Kurosawa, Andrzej Wajda, Miklos Jancso, Krzysztof Zanussi, Vittorio De Sica, and Federico Fellini.

It is for this reason — and his lifelong dedication to his passion — that he will remains a celebrated name in the world of films.

Condolences came in from several quarters, who hailed Nair for his work in preserving the country’s rich cinematic history.

Filmmaker Hansal Mehta, who had an audience member in Nair for his movie “Aligarh” at a film festival in Mumbai, tweeted: “RIP PK Nair, celluloid man and inspiration. Privileged that he made the long trip to Regal and watched ‘Aligarh’ at MAMI. Salute.”

Actress Shilpa Shukla, referring to a bout of unexpected showers in Mumbai on Friday morning, shared: “No wonder the thunder – Rest in peace beloved son of cinema who never abandoned her. Shri PK Nair, regards and prayers.”

Veteran movie critic Anupama Chopra said that Nair had “single-handedly preserved India’s cinematic heritage”.

“We all owe you. Salute and thanks for the education and inspiration,” added the wife of celebrated filmmaker Vidhu Vinod Chopra.

Even actress Renuka Shahane, who had once posted an exhaustive blog on Nair’s work, wrote: “Oh no really sad news! PK Nair saab no more. A great archivist who painstakingly preserved our celluloid history for us. Deep gratitude”.

Filmmaker Sangeeth Sivan shared: “His passion for cinema was unparalleled and so is his pioneering work. RIP”

Even the younger generation in Indian filmdom realizes the value of Nair’s work.

“Masaan” writer Varun Grover tweeted: “PK Nair saab goes beyond the end-credits. A man who loved cinema so much that he singlehandedly discovered many lost gems and archived them. He founded and then managed NFAI for many years – literally starting the culture of film conservation and archiving in India. Legend.

“Fighting a million bureaucratic battles along the way, he never lost that bonafide film-buff zeal. Sadly, we haven’t learnt much from him. If you want to see a man become one with cinema, do watch Shivendra Singh Dungarpur’s documentary on PK Nair saab – ‘Celluloid Man’. Great man, huge loss.”(IANS)

Next Story

Know How The Content Providers Seem To Have Decided To Capture The Attention Of Masses

There are voices that the OTT content should come under CBFC certification. It is reported that at the CBFC, while the films from big makers are cleared out of turn so that they can meet their scheduled release dates, makers of smaller films have to wait a long time for that kind favour from the censors?

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movies
Usually, the films with family entertainment, RomComs or mildly plausible action films work (Salman Khan types). The religious and saas bahu family themes have been hijacked by television channels. Pixabay

By Vinod Mirani

When a fad invades India, it does so in hordes. May it be mobile manufacturers, car makers, and so on and so forth. But, now, we have a line-up of streaming content providers. They enjoy an open, unhindered run on your small screens.

Usually, the films with family entertainment, RomComs or mildly plausible action films work (Salman Khan types). The religious and saas bahu family themes have been hijacked by television channels. Presently, though suddenly, we are now into this genre called nationalism/patriotism and biopics. But, that market is flooded and all future announcements for forthcoming films seem to be on patriotism and biopics! Not long before the law of diminishing returns takes over.

In fact, this week’s release, Romeo Akbar Walter, may prove to be an indicator to that considering the lukewarm reception the film has got. The thing is, those people who want to watch these films, they are mainly available in cinema halls. These films would not be as much fun on a small smartphone/tablet screen, also known as Over The Top (OTT).

The content providers seem to have decided to capture the attention as well as the initial eyeballs through a nonconventional way; providing content which is not available on cinema screens. That is to majorly deliver content that is morbid, gory, semi pornographic, drugs and all those things that are repulsive to a normal entertainment seeker and the family audience. Now this is the content designed for personal viewing with no one else watching over your shoulder!

movies
The CBFC does not work on precedents. Does not matter that a number of films, Hollywood as well as Indian with lengthier kissing scenes, have been passed with UA certificate! There is no consistency in policy. Pixabay

The target viewer is the youth and the purpose is to change their taste and preferences. Indian, Spanish, Mexican, all the content that I scanned through had gore, sex, and all that as common as well as the dominant factors. While providing such content, there are also some decent features but not enough yet.

But, how long can this trend last? There was an era when Malayalam films with a lot of titillation and suggestive sex were dubbed in Hindi language and, for the interior audience, interpolation was a regular practice as explicit sex scenes from porn films were added. They worked for a while but faded soon.

So, the issue is, while the Central Board Of Film Certification (CBFC) makes all kinds of demands from a feature film producer before his/her film is approved for public exhibition, this morbid mobile OTT streaming goes unchecked! The CBFC, in fact, has become the moral guardian of the Indian moviegoer; one to check on its ethics and morals!

Pahlaj Nihalani, the recent past Chairman of the CBFC, asked to delete a kissing scene from a Bond film from some 15 seconds to six seconds. Isn’t that ridiculous considering that Nihalani in real life can’t finish a sentence without adding a couple of BCs and MCs no matter if women or kids are around! Is it possible that a single panel member of the examining committee of CBFC, who watches films to rate them, has never watched an illicit porn film? And, to think that these people think a film is kosher only for six seconds, not 15! Do this politically connected panel members really qualify to sit in judgement over what the people should watch? That has been an eternal debate.

The CBFC does not work on precedents. Does not matter that a number of films, Hollywood as well as Indian with lengthier kissing scenes, have been passed with UA certificate! There is no consistency in policy. As is the wont of Indians, a seat of authority robs them of logic. It is a high to be able to judge others, especially when in an official position. As a rule, this lot found fault with every film presented for clearing. For example, the examining committee suggested 14 cuts to a children-oriented film, Mr India, in 1980. I can quote numerous such examples.

But, the issue is about parity. That is to say, while almost all other mediums are free of a watchdog, why are films censored? Why not OTT content? Come to think of it, what does the ‘power’ that the CBFC panel members and the Chairman
amount to when a motely mob negates their certification and blocks a film? Padmaavat, Manikarnika and so many other examples.

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Also, considering every other so-called group or organization or a community can ignore CBFC clearance and block a film’s release, the Board means nothing. And, this despite the highest court order ages back that the CBFC is the ultimate authority on cinema content! Pixabay

Coming back to streaming content and films, how come the film, PM Narendra Modi, is denied even the courtesy of a screening for the examining committee yet while the streaming episodes on the same subject, Modi, are already on people’s mobiles? So, how is the CBFC and Censor Certificate relevant anymore when a biopic on a person is blocked indefinitely while the same subject OTT platform, Modi: Journey Of A Common Man, produced by Eros Now, has already started streaming?

There are voices that the OTT content should come under CBFC certification. It is reported that at the CBFC, while the films from big makers are cleared out of turn so that they can meet their scheduled release dates, makers of smaller films have to wait a long time for that kind favour from the censors? In that case, suppose OTT content had to pass through censors, what would be the scene? Would it be the Amazon and Netflix that will get priority or a score of others who apply? After all, big shots get priority! Imagine the chaos that can follow. A 30-minute episode can end up
being chopped off to 15 minutes and the second episode of a series may appear weeks after the previous one!

Also, considering every other so-called group or organization or a community can ignore CBFC clearance and block a film’s release, the Board means nothing. And, this despite the highest court order ages back that the CBFC is the ultimate authority on cinema content! Something needs to be set right in the Cinematograph Act. To start with, the word Digital Content, should be made part of the Act.

@The Box Office
*The latest release, a highly promoted film, Junglee, just about manages to stay afloat. With a meagre opening day collections of three crore, it managed a face-saving weekend of around 13 crore. The film had a tapering effect at the box office with the start of the new week and closed its first week with a total of over 19 crore.

*The other release of the week, Salman Khan’s production, Notebook, failed to make its mark. With an opening weekend of Rs 2.3 crore, it had a low opening week figures of Rs four crore.

Also Read: Cambodia Approves Hydropower Dam, Solar Energy Plant to Meet Electricity Demand

*Akshay Kumar carries Kesari on his popularity though a regional subject with a limited appeal, it collects Rs 19 crore for its second weekend and Rs 30 crore for its second week taking its two week tally to Rs 135 crore.

*Badla has collected Rs 5.3 crore in its fourth week to take its four week total to Rs 79.3 crore. (IANS)