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Top 10 Malayalam movies you should definitely watch

Mollywood has some great cinematic pieces to its credit. India's first Rs.1000 crore film was also announced in Mollywood only.

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Maayalam movies are some of the best movies produced in India. Wikimedia Commons
Maayalam movies are some of the best movies produced in India. Wikimedia Commons
  • Kerala is one of the best states in India to live, and their movies are some of the best too.
  • Malayalam film industry or Mollywood is said to be superior in terms of screenplay and plots than other film industries in India.
  • The new and old Malayalam movies, all are equally beautiful and some of them are nothing short of a thrilling ride for the audiences.

Malayalam film industry or Mollywood is highly underrated, we don’t hear much about it. Every year, this industry produces some of the best films which are not only appreciated by audiences but also by critics. Malayalam movies are a great example of sensible cinema.

Mollywood has some great cinematic pieces to its credit. India’s first Rs.1000 crore film was also announced in Mollywood only. Malayalam movies are said to be superior in terms of stories, screenplay and direction when compared to other Indian language movies. For how truth it holds, let us take a look at top 10 best Malayalam movies one should definitely watch :

Drishyam

Everyone knows about this movie. It was critically acclaimed and won audience’s hearts with its amazing dialogues and performances, especially by Mohanlal. The movie was a thrilling murder suspense, which had all of us at the edge of our seats. This Malayalam movie has been dubbed into various languages and even after years from its initial release in 2013, is still one of the audience’s favourite suspense movies to watch. It’s Bollywood remake of the same name was equally successful.

Guru

Guru was a fantasy movie which used mythological characters like Yamaraj and Chitragupt, to shine the light on the otherwise ignored topic of communal violence. This movie has a universal appeal as it is relevant even today. Guru became a landmark Malayalam movie because of its experimental plotline, and Ilayaraaja’s brilliant music composition. Guru was also India’s official entry to the Oscars’ in the year, 1997.

Loudspeaker 

Loudspeaker, directed by Jayaraj, is the story of an uneducated man who always carries an old tape recorder with him along with his strong opinions. As an organ donor for an old man, he came as a ray of hope and happiness who swipes the sadness away. This is one movie where Mammootty is seen as a simple man and he is also at his best. The story may not be the most original but it will surely give you a warm feeling inside.

North 24 Kaatham 

A story revolving around a man who is a germaphobe and is a patient of OCD? The characters, storyline, and almost everything about this Malayalam movie is different and new. The man who along with three others experience a lifetime worth of troubles is an adventurous ride for the audience. By the end of the film, a happy feeling can be experienced by the viewers.

ABCD

 

ABCD or American Born-Confused Desi is a comedy which portrays the story of an NRI boy who is sent to his hometown in Kerala in order to make him more responsible. One thing leads to another and he ends up being a face of a revolution.The movie’s title is a satire on the term ABCD which is used as an insult to the Desi people.

Rathinirvedam 

Rathinirvedam is the remake of an old Malayalam movieofh the same name. This movie deals with the taboo topic of a young man falling for an older woman. It is one of the boldest films which showcased a love story forbidden by families and societies. It is definitely a must watch for those who are searching for something new.

 Salt N Pepper

This 2013 Mollywood movie directed by Ashiq Abu has an interesting theme and plot line. This Malayali movie mixes up food and love, and there can be no better combination than that for a successful film. This film is a modern day love story of two people who share a mutual love for food. The film will appeal to both foodies and romantics. It is funny, genuine, and a break from all other action and drama flicks we see releasing everyday.

Amen

Amen is a combination of romance, fantasy, comedy and music, which is about small village situated in the backwaters of Kerala. It is the story of a struggling musician. The film stars Fahadh Faasil, Swathi Reddy, and Indrajit Sukumaran in lead roles and is directed by Lijo Jose Pellissery. However, the film’s USP is its convincing story and the smartly written script.

Manjadikuru  

Anjali Menon’s Manjadikuru is an ode to all women who hold their own in a male dominated society. The story is all about childhood  nostalgia and make-believe we often indulge in as children. The film will take you on a beautiful adventure which will make you smile and think at the same time. This beautiful film evoked equally beautiful emotions and presented Kerala in a very pleasing light.

Thira

This movie by Vineeth Srinivasan will take you on a thrilling ride. It deals with the sensitive topic of human trafficking and prostitution.  Thira is a captivating watch which will keep you on the edge of your seat at all times.

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Here’s why Bollywood Films Don’t Win Oscars

Find out why good films do not get more screen time

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Bollywood is arguably one of India's most well-known brands globally. Pixabay

BY AMIT KHANNA

There’s no denying that cinema, especially Hindi cinema, has tremendous influence on contemporary Indian culture. Bollywood is arguably one of India’s most well-known brands globally. Having spent five decades in showbiz, I am often asked some common questions at various forums — international conferences, social media and familial get-togethers. Let me try and answer a few of these questions. This is the latest bollywood news.

Why do Bollywood films not win Oscars? First, we must understand Academy Award, the official name of Oscar is an award given by a few thousand (7,000-odd) members of American Academy of Motion Pictures Arts and Sciences. Only recently, a couple of non-American artistes and a few technicians have been included in the voters’ list of the academy. We must remember until China emerged for a select number of Hollywood films, 70 per cent of the revenue of a Hollywood film came from their domestic market. Hence, all awards and promotions were largely US centric.

Academy members, bulk of whom were retired artistes and technicians, were largely ignorant of global cinema. Condescendingly they gave out one award for best foreign film every year. A lot of canvassing and trade marketing and PR happens before nominations and winners are announced. Indian filmmakers don’t have either adequate skill or money for this promotion.

Besides, there is no substantive financial fallout by winning this award. For some it’s a mere ego massage. At the end of the day, I don’t see much difference between a Filmfare award and an Oscar. As neither impact the box office returns of a film and both involve a lot of lobbying and PR. Oscars and similar awards cannot even ensure the people involved get work because of these awards. Of late, our media has gone on a hyperdrive every award season, egged on by an equally ignorant bunch of social media ninjas.

Bollywood
Bollywood filmmakers don’t have either adequate skill or money for promoting their films to have them nominated for Academy Awards. Pixabay

Today, almost every organization from your neighborhood club to leading media houses run dozens of award shows where the only criterion for such awards is either to attract TV audiences or sell advertising. In most cases, strange categories of awards are created to “honour” every and anyone who attracts eyeballs. Many get paid to receive awards in person or at least some assured media coverage in lieu of being honoured. Our insecure creative fraternity collects these poorly designed trophies by the bagful, some TV media coverage and indulge in some mutual back slapping at these made-for TV shows and the accompanying red carpet and after parties, often in borrowed outfits.

Some organizations like IIFA and IFA are actually running a thriving business on the basis of these shows and awards. Similarly, while dozens of Indian films are screened in film festivals regularly, few win prizes at major festivals like Cannes or Berlin. The reasons are again akin to the Indian performance at the Oscars. Since there is hardly any economic payback (except an occasional Lunchbox or two) not enough time and effort are invested in the festival circuit. There is very little government support in this regard. If some younger filmmakers are carving a niche for themselves, it is only their talent and spunk which is responsible for their success. Media and audiences confuse red carpet appearances with a festival presence. The same set of half a dozen critics keep writing their obscure columns read only by few filmmakers and cineastes.

Another question I am often asked is why don’t ‘good’ films get screen time or are not even released in many cases? Again, the answer is simple. One cinema theater is a part of a business and not some film society promoting good cinema. When they have an oversupply of films every week, they obviously select those films which will have maximum footfalls. Why should they be responsible for either safeguarding ‘art’ or give opportunity to new talent at the cost of a haemorrhaging bottom-line.? For true cinephiles, there are enough film festivals where such films can be viewed. Besides, several film clubs and institutions hold regular screenings of award winning and off-beat cinema in dozens of towns and cities. I watch almost 30/40 such films at such screenings.

Bollywood
There is great exploitation and gender inequality in bollywood. Pixabay

We must remember India is a hugely under screened country. With a population of over 1,300 million cinema lovers and production of 2,000 films and just 9,000 screens, it becomes obvious that half the films will never get released as the cinemas can’t accommodate them. Since there is no embargo or qualification on producing films, all and sundry jump into film making, many with no talent and others with no resources. The result is several disgruntled filmmakers, writers, artistes and technicians and, of course, a small section of the audience. Leading the chorus of how unfair multiplex chains are is a group of film critics, cineastes and some cultural interlopers. Let’s not forget, since the beginning of cinema in India over a century ago, many a talented and brave people have fought against odds and not only succeeded but even made landmark films in spite of lesser cinemas.

A third question one is often asked is about the personal life of stars. Fueled by a surfeit of gossip, slander in media (traditional and social) and ‘insider information’, most people believe that all of us in showbiz are on some 24×7 party. The assumption is most of us are debauched, amoral, irresponsible and uneducated purveyors of lust, lucre and lubricity. I am often accosted by strangers and friends alike wanting to know about some young star’s purported love affair.

For many film folks specially, stars have nothing to do apart from sleeping around. Much to the disdain of my inquisitors, I have to disappoint them by my plain-speaking denial of existence of any such El Dorado in showbiz and the many modern myths that are nothing but fertile imagination hard at work. Less than .1 per cent of film professionals can even afford a luxurious lifestyle. Even the very few who do make millions do it at a considerable cost of losing their privacy, family life and even simple pleasures like eating out or going for a walk. A lot of the time is spent working in trying conditions for hours in grime and greasepaint. Even looking good all the time is a painful task. Stars today are under a severe fitness regime and often are under strict dietary restrictions. Filming long hours, sometimes in remote locations, is not an easy life.

Also Read- Doing “83” Was a Refreshing Change: Actress Deepika Padukone

It is assumed, largely based on hearsay and stray misdemeanors, that all film people are promiscuous. There is great exploitation and gender inequality. Of course, there is but perhaps far less than in other occupations. Nowadays, most production houses and all studios practice a healthy work environment and discrimination on caste, creed, language, religion and sex is discouraged. Today, there is a greater awareness and observance of copyright and seldom are writers, technicians, artistes, musicians and other creative professionals denied their credit. A $ three billion industry, employing over half a million people, is definitely not what people imagine. Behind tinsel and glamour, and neon lights, there is struggle, ignominy and loneliness. (IANS)