IY-I-fn-bnÂ, \mtSm-Sn-¡-e-I-fnÂ, X¨p-im-kv{X-¯nÂ, `qan-im-kv{X-¯nÂ, kmln-Xy-¯nÂ, kwkvIr-X-¯nÂ, \r¯nÂ, \mS-I-¯nÂ, kn\n-a-bnÂ, Irjn-bnÂ, Bßob-X-bn Hs¡ Akm-[m-cW {]Xn-`m-im-en-IÄ¡v Ip«-\mSv P·w \ÂIn.

 

Ch-cpsS Poh-N-cn-{X-§Ä ASp-¯-dnªp Ign-bp-t¼mÄ \mw Xe-Ip-ep¡n ka-Xn¡pw Imbepw Icn-\n-e-§fpw, hÅw Ifnbpw, IÅpw, Icn-ao-\p-sam¶paà Ip«-\mSv F¶v.

 

UnPn-ä kmt¦-Xn-I-X-bpsS \ho\ km[y-X-IÄ D]-tbm-K-s¸-Sp¯n Cu {]Xn-`-I-fpsS Poh-N-cn{X Nn{X-§Ä¡v cq]w \ÂIp-I-bmWv \thm-Zb ÌpUn-tbm.

A´ÀtZ-iob \ne-hm-c-¯n \nÀ½n¡s¸Sp¶ Cu Nn{X-§-fn kmt¦-XnI cwK-§-fnepw kÀ¤m-ßI Xe-§-fnepw kl-I-cn-¡p-hm³ XmÂ]-cy-s¸-Sp¶ bph-{]-Xn-`-IÄ Ah-cpsS s{]mss^ \thm-Zb¡v Ab-bv¡p-I.

Biographical

Films

Kuttanad

The land which shaped the individuals

and the individuals who shaped the land

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse

Akm-[m-cW {]Xn-`-IÄ

 

hÀj§Ä¡p ap¼pÅ Ip«-\mSv

H¶v k¦Â¸n-¡p-hm³ Ign-bptam?

By a statistical thumb-rule, only one person in one hundred thousand contributes to the advancement of humanity. Be it the invention of the wheel or even a better wheel; the discovery of a mathematical equation or that of a land mass; the composition of a poem or a set of words that drives social change … in all these, it is to them - a mere .001% amongst us, to whom the rest of us are beholden for their enterprise in taking the world, and thereby our lives, forward.

 

This axiom is also true for this land - rather, the ecosystem - called Kuttanad.

These individual biographical sketches are about a land which made individuals and individuals who in turn made the land. Their lives chronicled here as biographical films should teach us valuable lessons. Lessons of their genius. Also, more importantly, lessons from their failures. 

B k¦Â¸-¯n th¼-\m-«p-Im-b Hcp Pe¸nim-Nmbn amdpw! 

]pf-bv¡p¶ ]m¼p-I-sf-t¸mse AXnsâ Xnc-ss¡-IÄ \nÊ-lm-b-cmb a\p-jyÀ¡p-ta hnj-\o-ena ]SÀ¯pw!!

DcpÄs]m«n Hgp-In-h-cp¶ ag-sh-Å-¸m-¨n-ep-IÄ aS-IÄ XIÀ¯v XmWvU-h-amSpw. 

kzÀ®-hÀ®-amÀ¶ s\¡-Xn-cp-I-fpsS ivaim-\-`q-an-bmbn B Icn-\n-e-§Ä amdpw.

]s£, Ip«-\m-Snse DS-tbm\pw ASn-bm\pw F¶pw {]Xym-i-tbmsS B X®oÀ¯-S-¯n\pw A¸p-d-t¯¡p t\m¡n, PohnX hnP-b-§fn-eqsS hotcXn-lm-k-§Ä cNn-¨p.

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

A suggestion towards the narrative treatment of the film on I. C. Chacko 

Four research students - all of them  from disparate disciplines and strangers to each other, converge accidentally to meet on a common ground. 

One - a scientist in search of an isotope that will make the elusive nuclear fusion engine possible. Another - an aspiring Sanskrit scholar seeking original works in the ancient language.

Yet another - a NGO chronicling the historicity of the state's education policies for all citizens.

Still another - an enumerator of rare flora and fauna of wetlands.

They converge because of a common denominator - a personality called I. C. Chacko.

Do you think you have a better narrative treatment to portray the manifested

career of I. C. Chacko?  

Sure?                                Then contact us!

Cu Nn{X-¯nsâ kÀ¤m-ßI taJ-e-bn-tem, kmt¦-XnI cwKt¯m {]hÀ¯n-¡p-hm³ XmÂ]-cy-apÅ bph-{]-Xn-`-IÄ AhÀ¡p Cu hnj-b§-fnepÅ Ign-hpw-- tbmKyXbpw (journalism, library science, literature, historical research, or simply put  ... even an aptitude for biofilms) kaÀ°n-¡p¶ sXfn-hp-IÄ klnXw Ah-cpsS CV Ab-bv¡p-I.

 

Email - navodayastudio@gmail.com

A segment from the I. C. Chacko script (yet to be written) ... 

Time. Past Midnight. The Sanskrit verses, chanted aloud, resounded through the dark coconut groves and wafted into the open paddy fields. "Someone is practicing occult … probably an unchaste brahmin" the villagers fearfully whispered among themselves.  

 

Pushing aside Kristhu-sahasranamam - the poem which he had composed and had been reciting all night, the geologist arose from the table - the one designed himself. Took out some clover herbs from his AB Arctic - the kerosene fridge bought at Birmingham and shipped home. Home was Pulincunnoo village - an island in the midst of the vast Kuttanad wetlands. The Brahma Muhoortham prayer had given the geologist a crucial discernment. It was 3.30 in the morning. With his two-canoe convoy, if he started now, his oarsmen could get him to Quilon town by noon. Once aboard the train, the Madurai - Quilon - Trivandrum mail, Chacko could be in his office at the Geological Survey of Travancore by next morning. [Or, from Quilon to Trivandrum, wouldn't Kunju-Musaliar's Austin 12 car be a better option? … considering the urgency ... and, the steam train's coal dust]. 

 

At Trivandrum, he had to meet his king. If the young Chithira Thirunal could not grasp the significance of the Germans shipping Uranium Ore from Neendakara to Hamburg, then the geologist must sent a message to Her Majesty in London. It was year 1934. Another great war - a second world war - could break out anytime. In the hands of an enemy nation, the atoms within the Uranium ore could unleash incalculable energy. This only a geologist - a scientist, knew.  

 

----- (I. C. Chacko, a primer)

With apologies to Ms. Kinny for the version above .

Factual inaccuracies shall be eventually taken care of.

Can you come up with a better narrative?  

Sure you can!

But, first you have to  familiarize yourself with the published biographies on I. C. Chacko written by (1) M. O. Joseph, Nedumkunnam  and  (2) Prof. Mathew, Ulakamthara.

Also, the turn of the century (19th to 20th) sociology -  of Kuttanad, Travancore & England. And also, the history and events of the tumultuous periods that saw the two World Wars and the advent of  independent Indian.

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

ae-bmf kn\n-a-bnse kqtcym-Z-b-am-bn-cp¶p Ip©mt¡m.

-{]-Xn-k-\v[n-I-tfmSv s]mcpXn apt¶-dp¶ Ip«-\m-S³ IÀj-Isâ kwc-`-I-Xz hocyhp-ambn ae-bmf Ne-¨n{X thZn-bn A¦w Ipdn¨ amfn-bw-]p-c-bv¡Â Ip©mt¡m krjvSn-¨Xv ae-bmf kn\na Ncn-{X-¯nse Ahnkva-c-Wn-b- GSp-IÄ ... P\-{]nb kn\n-a-I-fnse CXn-lm-k-§Ä.

hb-emÀ cma-hÀ½, tXm¸n `mkn, efn-Xmw-_nI A´ÀP\w XpS-§nb kmlnXy {]Xn-`-IÄ.

tZh-cm-P³, _m_p-cmPv, cmL-h³ XpS-§nb kwKoX {]Xn-`-IÄ.

kXy³, t{]w\-koÀ, sIm«mc-¡c XpS-§nb A`n-\b {]Xn-`-IÄ.

Ch-cpsSsbÃmw kw`m-h-\-IÄ ae-bmf kn\n-abv¡v A\-izc apX¡q-«m¡n amänb Ip©mt¡mbpsS Poh Ncn-{X-¯nsâ {]mcw-`-{]-hÀ¯\§-fn-emWv \thm-Z-b.

tIc-f-¯nsâ ImÀjnI Ncn-{X-¯n Htc-sbmcp Imb cmPmhv am{Xsa DÅp. sXm½³ tPmk^v apcn-¡pw-aq-«n F¶ apcn-¡³.

 

kap{Z-\n-c-¸n \n¶v Ccp-]-XSn Xmsg-bpÅ Ip«-\m-S³ Imb ]c-¸ns\, I«-Ip-¯n, hc-¼p-sI«n, Icn F©n³ h¨v shÅw hän¨v, Icn-\n-e-§-fm¡n amänb Cu AXn kml-kn-Isâ PnhnXIY Nn{Xo-I-cn-¡p-hm³ {]mcw-`-{]-hÀ¯\§-Ä Bcw-`n-¨n-cn-¡p-I-bmWv \thm-Zb.

Hollandsâ Bhmk hyhØ kwc-£n-¡p-¶-Xn-\p- Dykes sI«n DbÀ¯nbXpw ankn-kn¸n \Zn-bn \n¶pw New Orleans \K-cs¯ kwc-£n-¡p-\-Xn-\mbn Levees sI«ns¸m¡n-bXpw CXn-lm-k-§-fmbn {]IoÀ¯n-¡-s¸-Sp¶p!!

Ip«-\m-«nse ImbÂ]-c-¸n \n¶v \qdp-I-W-¡n\v F¡À Imb \ne-§Ä a\p-jym-²zm\¯m am{Xw sI«n DbÀ¯nb apcn-¡sâ `Ko-c-Y-{]-b-Xv\hpw kÂIoÀ¯n¡v AÀlatÃ?

CtXmsSm¸w sImSp¯n-cn-¡p¶ en¦n DÅ Nn{X-§Ä BZyw ImWpI.

AXp-t]mse hyXy-kvXhpw anI-hp-ä-Xp-amb Hcp Nn{X-¯nsâ km[y-X-IÄ Cu PohNcn-{X-¯n CtÃ?

\n§-fpsS Nn´-IÄ R§-fp-ambn ]¦p-sh-bv¡p-I.

Ayyappa Paniker, the quintessential Kuttanadan.

The land's own songster.

He walked the banks of the Kavalam lagoon, "eyes ploughing the rice-fields" foraging like an eager drongo for tales to tell.

Paniker ploughed new furrows in Malayalam literature with his sensibilities honed by Pleiades festival songs he heard as a child growing up in Kuttanad.

Songs that ran  ...

"His orders became dams and dykes, his thoughts
manifested as a thousand farmhands; with brushwood
and brambles they erected the dykes, the lagoons
drew back and yielded the fertile land ..."

Short-statured, sprightly and bright-eyed at seventy, the poet had a ready smile and a witty anecdote for every time and every friend.

Ayyappa Paniker wrote that ,

"Tales that please must be told;

That's what human life is for."

We can believe that the poet now roams free like the drongo over the green paddies that he loved so well.

----- (Ayyappa Paniker, a primer)

 

 

Le enfant terrible (by choice) of Malayalam cinema, John shone, albeit briefly, as brilliant spark  in the eighties.

After  an eventful stint as one of the best product to come out of  FTII - where the other maverick of Indian cinema, Ritwik Ghatak, foresaw a great future for his disciple, John made four movies before his untimely death at forty-nine. This rather slim oeuvre was overshadowed by a bohemian lifestyle.
 But John had a firm conviction that film-making should be a mass movement originating from the creative efforts of the common man. This belief gave rise to the Odessa Collective, a free movie screening outfit. Digital technology and its empowerment could have given shape to many of this Kuttanadan's dreams, had he lived on ...

----- (John, a primer)

Chembum-tharayil Zacharia of Kavalam village is the inventor of the device called 'Pettiyum Parayum'. Affectionately called 'American Kariyachan', the innovative genius on returning from England after his studies, designed the so called 'Injun Thara' (engine & pump house). The Injun Thara, with the Pettiyum Parayum installed in it, was popularized all over the farmlands. It helped to drain Kuttanad's millions of acres of paddy.

With permission from the king, the Iyers of Mancompu, along with other families in the village formed societies. They rowed into the backwaters and with long bamboo poles measured the kayal's depth. After identifying  possible areas for reclamation and paddy cultivation, bunds were built. Water was pumped out (with water wheels) from bodies of water now encircled with bund ... and thus the fields came to be.

Sreemoolam Kayal was so named since it was granted by Raja Sri Moolam Thirunal. Here, the mada (bund) breached in three consecutive years of its initial cultivation. But the fourth year was a bumper crop ... yielding twenty kettu vallam loads of rice, as against an expected five or six.

 

Ananthasiva Iyer  would do things for the benefit of the society - such as starting the Avittam thirunal school while his brother Neelakanta Iye rose to became the Chief Secretary of the Travancore government. The Iyers were held in high esteem.

 

By the time of the First World War, the British had brought rubber seeds from Latin Americas to grow in the tropical regions of Malaysia, Ceylon and Kerala's Western Ghats. Rubber was a very dear commodity and one pound (450 gms) of it would fetch about one sovereign in solid gold!

 

Vast tracts of forests were developed as rubber estates. The intrepid Iyers used to live in temporary sheds with frugal thatching on top. And the place had many tigers. Once while he was sleeping, a tiger came and lied down besides Iyer. The tiger remained there the whole night and left quietly the next morning.

 

By the time of the Second World War, the cost of pepper had skyrocketed ... one sack fetching around Rs. 600, a big revenue for those days. The rubber estates at Pangode had also been planted with pepper as mix-crop. By this time Ananthasiva Iyer had some issues with the Divan, Sir C.P. Ramaswamy Iyer. With an arrest warrant likely to be made, he had to leave the Travancore area ... and off he went to Wynad.

What makes the Brooklyn Bridge story emotionally compelling is the sacrifice of the Roebling family in making this architectural dream come true.

Both father and son engineers - John Roebling and Washington Roebling, along with 27 other people lost their lives in the 13 years that took to build the bridge. It was  Emily Warren Roebling, Chief Engineer Washington Roebling's wife - who after studying on her own the principles of higher mathematics, the calculations of catenary curves, the strengths of materials, bridge specifications and the intricacies of cable construction -  went on to complete the work on behalf of her husband.

The Kayal Bunds

 

How Muricken's family constructed the Vembanadu kayal bunds is also an emotionally compelling story.

 

Muricken took it upon himself to reclaim large areas of paddy fields from vast open waters when unprecedented famines occurred in Kuttanad during the two World Wars. 

It was done upon the encouragement of the then Travancore king - Sree Chithira Thirunal.

The irony of it is that, after the formation of the state of Kerala in the Indian Union, the first communist government with a special ordinance to Muricken's, took over all the kayals as state property.

These vast tracts of fertile fields were then laid waste. (same as what the Czech communists did to Skoda).

Joseph Muricken, the king of kayals, died a most ordinary man in a Govt. hospital general ward.

One other lesson to be learned from this family saga is the wake a patriarch leaves behind in the course of his domineering life journey. Muricken's enterprise didn't survive beyond his lifetime to a next generation. This predicament is true for many family businesses in the catholic communities of Kerala.

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

SARDAR

PANIKKAR

but first, a knowledge test

 

tNmZyw 1. 

1915þÂ Xncphn-X-mwIqÀ Pntbm-f-Pn-Ìmbpw 1921þÂ hyh-kmb Ub-d-IvS-dmbpw \nb-an-X-\mb Ip«-\m-«p-Im-cs\ Adn-bptam?

tNmZyw 2. 

tI{µ-km-lnXy A¡m-Uan AhmÀUp-t\-Snb ']mWn-\ob {]tXymZw' F¶ IrXn-bpsS cN-bn-Xm-hv Bcv?

tNmZyw 3.

'{InkvXpkl-{k-\m-aw, tlàzm-ar-tXm-taiz' XpS-§nb kwkvIrX {KÙ-§-fpsS cN-bn-Xm-hv Bcv?

 

D¯-c-w =- FÃmw HcmÄX-s¶!!

Research Directors - Josey Joseph, B.R. Prasad.  

Research Illustrator - Radhakrishnan (RK).

 Project Drector - Jijo 

Panel of Consultants - 

Production Designer - K. Sheker.

Biographic series Creative Director - T. K. Rajeevkumar

sF. kn. Nmt¡m

1876 Unkw-_À 25þmw XnbXn ]pfn-¦p-¶n P\n¨v hfÀ¶v, Englandse C¼o-cn-b tImtf-Pn \n¶v  BSC F©n-\n-b-dnwKv, F.-BÀ.-F-kv.-Fw(-ssa-\nw-Kv) F.-BÀ.-F-kv (^n-\m³kv) _ncp-Z-§Ä t\Sn sF. kn. Nmt¡m F-¶ {]Xn-`m-im-en.

sF. kn. Nmt¡msb Ipdn-¨pÅ Hcp Poh-N-cn{X Nn{X-¯nsâ {]mcw-`-{]-hÀ¯-\-§Ä \thm-Zb ÌpUntbm Bcw-`n-¨n-cn-¡p-¶p.

kÀZmÀ sI.Fw.]Wn¡À
Ip«\mSv \n¶v UÂlnbnse¯n PhlÀem s\lvdp, SmtKmÀ, ktcmPn\n \mbnUp F¶nhcpsS kulrZw k¼mZn¨v, 1925 Englandse¯n _mcnÌÀ ]co£ ]Tn¨p Pbn¨v, bqtdm]y³ ]cyS\w \S¯n, 1928 Imivaocnse¯n Ccp]XphÀj¡mew D¶XØm\§Ä hln¨v, 1946 tIm¬Ìnäyphâv Akw»n AwKambn, 1948 ssN\okv Aw_mknUdmb Ip«\m«pImc\mWv kÀZmÀ sI.Fw.]Wn¡À F¶ am[h¸Wn¡À.


CSbv¡v ]»nIv kÀÆokv I½oj\nepw tPmen sNbvXv ]ns¶b­pw At±lw Aw_mknUdpsS Ip¸mbaWnªp. CuPn]vXnepw, {^m³knepw, Imivaocnepw ssakqcnepw kÀÆIemimeIfn sshkv Nm³kdembn tkh\a\pjvTn¨mWv At±lw Xsâ HutZymKnI PohnXw Ahkm\n¸n¡p¶Xv.


Cu Xnc¡pIÄ¡nSbnepw {KÙImc³ F¶ \nebn {it²bamb kw`mh\IÄ \ÂIm\pw At±l¯n\p Ignªp. \m«pcmPy§fpw {_n«ojv Kh¬saâpw, tIcf¯nsâ kzmX{´y kacw, XpS§nb ]T\{KÙ§Ä, IhnXmIuXpIw, IoÀ¯\ame XpS§nb ]ZyIrXnIÄ. ]gÈncmPmhnsâ IY ]dbp¶ tIcfknwlw F¶ t\mh XpS§nb [mcmfw IrXnIfpw At±lw cNn¨p. kmÀÆtZiobcwK¯v {it²b\mb BZyIp«\m«pImc\mWv kÀZmÀ sI. Fw. ]Wn¡À.

MURICKEN

MURICKEN

MURICKEN

MURICKEN

 

MURICKEN

 

MURICKEN

MURICKEN

MURICKEN

MURICKEN

The story on Muricken has visual possibilites for a spectacular film.

Yes, the emergence of a 10,000 acre land mass out of boundless expanse of water is one.

Another one is the sight of a floating walkway materializing and connecting the banks of two kuttanadan karas (villages).

 

During the funeral of a Muricken, the procession carrying the coffin from the ancestral house at Kavalam, had to cross the 600 feet wide stream (river Manimala flowing from Kidangara to Vembanad through Kavalam) to reach the church/ cemetery on the other side. Just as the 500 plus mourners and pall bearers reached the north bank, dozens of Kettuvallom boats lined-up parallel to one other to bridge the two banks. With planks laid over the boats, in the next few minutes, the procession crossed over to the church on the south bank. The cavalcade crossed over, and the 'bridge' got dismantled. Transport boats soon resumed plying the waterway.

Imb cmPmhv apcn-¡³

On Muricken Biopic, food for thought ...

 

The Brooklyn Bridge - world's longest suspension bridge when built in 1883, is considered as one among the greatest engineering feats of the modern world.

https://en.wikipedia.org/wiki/Brooklyn_Bridge

Yet another of the spectacles are the raucous harvests at the Kayals.

 

In the 1960s, thousands and thousands of workmen with families came from distant places in the mainland and camped at the kayals during the month-long harvest season.

(Akin to how estates were created in the western ghats by swarms of people from the valley).

The surrounding open waters would rebound with songs, shouts, arguments and instructions as sheaf-pounding, winnowing, drying and loading of grain to hundreds of kettuvallam boats took place.

 

Before these activities commenced in the early morning of any given day, Muricken would have emerged after completing his morning prayers at the church he had built on the bank of Chithira Kayal.

video 

Murikkan's church, built by a landlord

XIgn inhi¦c¸nÅ
 

""Fcpa{X aTw BÀt¡m Xmak¯n\p sImSp¡m³ t]mIp¶p. hmÀ¯ tI«]mXn tIÄ¡m¯ ]mXn tImSm{´ aq¯mim³ At§mt«mSn. Iogv\S¸nÃ. Fcpa{X F«psI«n A§s\ IpSpw_ambn Bcpw Xmakn¨n«nÃ. X{´ntbm apdP]¡me¯v Xncph\´]pc¯n\v t]mIpw hgn t£{XZÀi\¯n\v F¯p¶ sshZnItcm am{Xsa AhnsS Xmakn¨n«pÅq. {_mÒWÀ¡pÅ BebmWv Fcpa{XaTw''


Hcp aebmf t\mh apgph³ \ndªp \n¡p¶ kmaqlnI ]cnhÀ¯\§fpsS XpS¡amWnXv. Fcpa{X aT¯n\pw AXv \ne\n¶ hyhØbv¡pw, AXn\v B[mcambn \n¶ {_mÒWm[n]Xy¯n\pw Cf¡w X«p¶ Cu CXnlmkIYbpsS t]cv \n§Ä¡v HmÀ½ns¨Sp¡phm³ Ignbptam? 
""IbÀ'' F¶ t\mhenemWv B CXnlmkIY XIgn inhi¦c¸nÅ ]dbp¶Xv. IY ]d¨nensâ kzÀ®\mcpIÄ Cg ]ncns¨Sp¯v Ip«\mSnsâ tZiImes¸cpaIsfbpw \m«pPohnX¯nsâ X\naIsfbpw A£c§fneqsS A\izc\m¡nb, aebmf¯nsâ hniz kmlnXyImcsâ PohnXw \n§sf {]tNmZn¸n¡p¶psh¦nÂ, anI¨ Hcp PohNcn{XNn{X¯n\pÅ cq]tcJ AXn \n§Ä ImWp¶psh¦nÂ, R§Ä¡v FgpXpI.

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

AYYAPA

PANIKER

AYYAPA

PANIKER

AYYAPA

PANIKER

AYYAPA

PANIKER

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

KAVALAM

KAVALAM

KAVALAM

KAVALAM

KAVALAM

KAVALAM

Imhmew \mcmbW¸Wn¡À
 

Ipcp¯w
sI«nsbmcp¡nt¨mÀ¨hcmsXþ
bpd¸n¨ hc¼n³
sNdp apdnhn¡qsSþ
¯Ånbnc¼nb shÅw
aÀ¯ys\bq«mþ
\pXnÀaWn
IXnÀaWnsI«ns¡m­WvSmSpw
Imb \nes¯ hngp§n.
\mS³ lrZb¯nse hntZzjþ
{]fbw s]cpIpw hS\neanXnÂ
hnfhp s]men¨ a\ÊpIÄ
hoWSnbpt¼mÄ

aShoW a\¡mb \ne§fnþ
temcpIe¡¯nend¡pw thcpIfn¸mgvþ
t¸mfs¨SnIfeªp \S¡pt¼mÄ, 
\Kc¯nseþ 
bdnhnsâbdbv¡pÅn 
¯ncnbp¶ kz\{Kmlnbnþ
"seS\mS³ ]m«n'se £oWw
Xncbps¶³ ioembva
]nSn¨ Ipcp¯w

(Ienk´cWw F¶ IhnXm kamlmc¯n \n¶v)

Ip«\mSnsâ \mtSmSn hg¡§fpsSbpw ¢mÊnIv Iem]mc¼cy¯nsâbpw X\Xp ka\zbamWv Imhmew \mcmWbW¸Wn¡À F¶ _lpapJ{]Xn`bpsS Ipcp¯w. 


\Kc¯nse Adnhnsâ Adbv¡pÅnembncn¡pt¼mgpw, b{´hnZybpsS kmt¦XnIXbneqsS Ip«\mS³ IYmKm\amb "CS\mS³ ]m«n'se CuWw Xncbp¶ B Ipcp¯amWv Imhmew IebpsS ]ina.


{KmaoWXmf§fpsS hmsamgn ]mc¼cyhpw \rXyþ\r¯þ\mSy§fpsS ¢mÊnIv ]mc¼cyhpw tNÀ¯v At±lw \mSIthZnbnte¡v ]IÀ¶mSnb PohnXm\p`h§Ä¡v ]Icw shbv¡m³ asäm¶panÃ. 


Ip«\mSnsâ ImÀjnIkwkvIrXnbpw, X®oÀ¯S§fpsS ssPh{]IrXnbpw, kÔymt\c§Ä¡v Zo]tim` \ÂInb cmambW, `mcX CXnlmk§fpw, Ip©³\¼ymcneqsS ]q¯peª \m«pXmf§fpw, kwkvIrX Imhy]mc¼cy¯nsâ _nw_mhenIfpw tNÀ¯v IhnXIfpw \mSI§fpw XoÀ¯ Imhmew \mcmbW¸Wn¡À! 

þ Hcp Ne¨n{XImc\v CXntesd shÃphnfn DbÀ¯p¶ Hcp PohNcn{Xw thsd GXp­v?

 

B shÃphnfn GsäSp¡phm³ Xm¦Ä¡pÅ IgnhpIÄ kaÀ°n¨p R§Ä¡v FgpXpI. 

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

Apart from our  two national anthems, in the last five decades if there is one tune familiar to most people in all the four south Indian states, it is the Sanskrit Slokam Harivasanam Vishwamohanam.

https://wiki2.org/en/Harivarasanam

JANAKI

AMMA

JANAKI

AMMA

JANAKI

AMMA

JANAKI

AMMA

JANAKI

AMMA

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

Before aspiring to achieve a better than the best biographical on John Abraham, one has to first study the currently best  by that benevolent friend of all serious filmmakers - the late Saratchandran.

SWAMI
NATHAN

SWAMI

NATHAN

SWAMI
NATHAN

SWAMI

NATHAN

JOHN

ABRAHAM

JOHN

ABRAHAM

JOHN

ABRAHAM

JOHN

ABRAHAM

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

]Ån¯m\¯v eq¡ma¯mbn


th¼\m«v Imb¸c¸n DÕhtaf§Ä DbÀ¯n Hcn¡Â A¿¦mfnsb Ip«\mSv hcthäp! 

ssI\Snbnse ]pcmX\ bmYmØnXnI kndnb³ It¯men¡m IpSpw_amb ]Ån¯m\t¯¡mbncp¶p B BtLmjbm{X!! 
]Ån¯m\¯v eq¡m a¯mbn Bbncp¶p A¿¦mfnbpsS BXntYb³!!!

kmaqlnI A\oXnIÄ XpS¨p \o¡p¶Xn\pÅ A¿¦mfnbpsS t]mcm«§sf lrZbw Xpd¶v AwKoIcn¨ IÀjI{]amWnbmbncp¶p eq¡ma¯mbn. 
]nXmhv acWaSªtXmsS, 18þmw hbÊn IÀjI\mb eq¡ma¯mbn, Imb \nI¯nsbSp¯v ]mStiJc§Ä \nÀ½n¡p¶Xn A{KKWy\mbn¯oÀ¶p.
sNdpIc ImbÂ, ]Ån¯m\w aqhmbncw ImbÂ, aS¯n ImbÂ, (1898þ1904), C t»m¡v Imb (1914), F¨v t»m¡v Imb (1917), BÀ t»m¡v Imb (1921) þ Cu Imb \ne§sfÃmw ]Sp¯pbÀ¯nbXv eq¡ma¯mbnbmWv. 

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

s]m³Ip¶w hÀ¡n


""]Ihm³ NotX tXtct¡äp¼w
Rms\sâ NncptXt¨tct¡äpw.
]Ihm³ ]m¼nsâ ]ÃS¯oSp¼w
Rms\sâ tN¼nsâ hn¯S¯oSpw.
]Ihm³ NotX tXmWot¡äp¼w
Rms\sâ NncptX RmtWt¡äpw''

Nm¯sâ Cu ]mt«msSbmWv s]m³Ip¶w hÀ¡nbpsS "Nm¯sâ aIÄ' F¶ sNdpIY Bcw`n¡p¶Xv. X¼pcm\pw Ah\pw F¶v A`nam\n¡p¶ a®nsâ aI\mb Nm¯³, X¼pcmsâ aS hogpt¼mÄ Xsâ Poh³ _enbÀ¸n¨p X¼pcmsâ ]mSs¯ c£n¡p¶ Cu IYbn Ip«\mS³ PohnX¯nse I®oÀ bmYmÀ°y§Ä \ndªp \n¡p¶p. 


1910 Pqsse H¶n\v Ip«\m«nse FSXzmbn I«¸pd¯phÀ¡nbpsSbpw A¶½bpsSbpw aI\mbn«mWv s]m³Ip¶w hÀ¡nbpsS P\\w. 1917 IpSpw_w Xmakw s]m³Ip¶t¯¡p amäp¶tXmsSbmWv Ip«\mSpambpÅ `uXnI_Ôw s]m³Ip¶w hÀ¡n¡v CÃmXmIp¶Xv. F¶m Ip«\mSpambpÅ ssPh_Ôw, a®nsâbpw IrjnbpsSbpw ssPhkwkv¡mcw, At±lw Xsâ IrXnIfnepS\ofw ]peÀ¯n. 


aÀ±nXsâbpw A[xØnXsâbpw bmX\ \ndª PohnXs¯¡pdn¨v, Imev]\nI `wKnIfnÃmsX cNn¨ IYIfneqsS BZÀtim·pJamb a\pjyk¦ev]s¯ s]m³Ip¶w hÀ¡n DbÀ¯n¡m«n.

""tIcfob kaqlw km£mXvIcn¨ \thm°m\aqey§fpsS BÄcq]amWv s]m³Ip¶w hÀ¡n'' F¶v {]ikvX \ncq]I\mb tUm. sI. Fkv. chnIpamÀ FgpXn. 
Cu {]tNmZ\mßIamb hm¡pIÄ¡v Zriy`mjmcq]w \ÂIphm³ \n§Ä¡v Ignbptam? 
s]m³Ip¶whÀ¡nbpsS PohnXw, Fgp¯pPohnXw, Chbn \ns¶Ãmw Hcp PohNcn{XNn{X¯nsâ cq]tcJbnte¡v IS¡phm³ Ignbp¶ Hcp kv^penwKw \n§fn ImWp¶pthm? R§Ä¡v FgpXpI                                        

Email - navodayastudio@gmail.com

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

LUCA
MATHAI

LUCA

MATHAI

LUCA
MATHAI

LUCA

MATHAI

VARKEY

VARKEY

VARKEY

VARKEY

VARKEY

tIcf\S\w þ \r¯hpambn _Ôs¸« shdpsamcp hm¡pam{Xambncn¡mw AXv ]eÀ¡pw. F¶mÂ, tIcfw KpcptKm]n\mYneqsS temI¯n\p \ÂInb \ho\ \r¯cq]w F¶ \nebn NneÀs¡¦nepw B hm¡v ]cnNnXhpambncn¡pw. 

 

Imew \an¡p¶ \r¯ kuµcy¯nsâ tXtPmabamb {]Imi\ambn B hm¡v, Hcp \nXy hnkvabambn aebmfnbpsS at\mapIpc¯n sXfnb­Ww! A§s\bÃmXmIp¶p F¦n \½psS Ncn{Xt_m[y§fpsS ]nghmWv AXv shfns¸Sp¯p¶Xv. 


N¼¡pfw ]m¨p]nÅbpsS Cfb ktlmZc\mbn, Ip«\m«nse Kpcp¡³amcpsS Iogn IYIfn A`ykn¨v hfÀ¶ tKm]n\mYv, aämcpw NphSpshbv¡m¯ \S\ hgnbmWv sXcsªSp¯Xv. B[p\nI temI¯nsâ A`ncpNnIÄ¡v CW§p¶ hn[w IYIfnbn \n¶v At±lw F¯nb ]pXnb \r¯ssienbmbncp¶p tIcf\S\w. C³Uy³ ¢mÊn¡Â \r¯IebpsS Nnc]cnNnX {]tab§Ä¡v ]pdt¯bv¡p t]mIm\pw At±lw N¦qäw ImWn¨p F¶Xpw HmÀ½n¡­p­I.

GURU

GOPINATH

GURU

GOPINATH

GURU

GOPINATH

GURU

GOPINATH

GURU

GOPINATH

GURU

GOPINATH

GURU

GOPINATH

CHAVARA

CHAVARA

CHAVARA

CHAVARA

CHAVARA

CHAVARA

CHAVARA

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

AMERICAN

KARIA

AMERICAN

KARIA

AMERICAN

KARIA

tXmakv ]m¸n the¦fw


ZiI§Ä¡v apt¶, Ip«\m«nse N¼¡pfs¯ \m«pN´bn \n¶v tIcfsa¼mSpw {]ikvX\mbn¯oÀ¶ Hcp {]km[I³ P·saSp¯p F¶ Ncn{Xw C¶v N¼¡pfw Xs¶ hnkvacn¨ncn¡p¶p.


XIgn inhi¦c¸nÅsbt¸mse {]ikvXcmbhcpsS IrXnIÄ¡v H¸w UnäIvSohv t\mhepIfpw At±lw {]kn²oIcn¨p.


sNdpIYIÄ¡p am{Xambn 'sNdpIY' F¶ t]cn Hcp amknIbpw At±lw {]kn²oIcn¨p. tXmakv ]m¸n the¦fw F¶ {]km[Isâ hnkvacn¡s¸« PohnXhpw Ip«\mS³ PohNcn{X Nn{X ]c¼cbneqsS \thmZb ÌpUntbm ]p\ÀkrjvSn¡pIbmWv.

THOMAS
PAPPI

THOMAS 

PAPPI

THOMAS

PAPPI

THOMAS

PAPPI

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

The director called 'action' and dozens of dancers started sensuous hip-swaying while winnowing rice in the vast R-Block Kayal. They were shooting film 'Inapravukal' (lovebirds) - a romance novel of rustic settings by  Muttathu Varkey. Though such revelries rarely happened in real-life Kuttanad-an fields, for its audience's sake the film had a harvest song - 'Pathu Para Vithu Paadu Mannu' by Dakshina Moorthy

 

The song playback started blaring through the speakers. It put a sudden stop to the activity of hundreds of laborers at the other side of R-Block Kayal. The threshers abandoned their sheaves and rushed in to witness the fun. Even before that, the loaders who were filling rice into two score kettuvalloms docked on the R-Block jetties, had dropped their baskets and come away. Yet it was the harvesters who beat all the others in a race to reach the shooting site first. Despite the overseers' abuses, all of them were drinking in the sight of their lifetime -  A Film Shooting! 

The only person who watched the melee unimpressed was Murikkummoottil Thommen Joseph, the raja of the kayals. After looking daggers at his Kaaryasthan for gaping at lead actress Sharada, Muricken turned to film producer Appachan to whom he had unwittingly given permission to shoot at his R-Block Kayal. 

"Slightly less noise please … just as you have a cinema to make,

I have a harvest to complete" 

The producer, finding the farm-king's indifference a bit strange, in all curiosity asked, "Outhacha, when have you last gone to a cinema?" 

Answered Muricken,
"Never! … If I were distracted by such things, I wouldn't have converted 2000 acres of waterbodies into these paddy fields. Men, women and children would still be dying of famine in Kuttanad these last two decades …!!"

----- (Muricken, a primer)

On Janakiyamma Biopic, food for thought ...

In this year 2017, the jury is still out on whether it is our poet who authored Harivasanam Slokam. If the overwhelming evidence wins, the outcome would be similar to that great dispute which divided the geographic community for a whole century from the day both Robert Peary and Federick Cook claimed the conquest of the Arctic  …  Who discovered the north pole?

http://www.smithsonianmag.com/history/who-discovered-the-north-pole-116633746/

A single Biographical Film on the two Panicker cousins from Kavalam.

Food for Thought ...

 

There is a Channel 4 documentary titled MEN OF IRON.

The story is about two great Victorian engineers - through rivals, yet great friends - Robert Stephenson and Kingdom Brunel. Men of Iron brings the extraordinary achievements of these two great pioneers to life.

 

Similarly, in contrasting the ways of each, the personalities of Ayyappa Panicker & Narayana Panicker can be narrated in a single documentary.

 

On a John Abraham Biographical Film, food for thought ...

 

John Abraham was a genius from whom the world expected at least one masterpiece film.

The irony , rather the tragedy, is that he could never make it. He used to narrate the screenplay of 'Joseph Oru Purohithan', 'The Schoolmaster's Award', etc; in telling words and abstract images. These would leave the listener enthralled … and eagerly expecting to see on the screen these film/s made by John.

 

One such narration session took place on the rooftop of a building at Kozhikode town with John, as usual enthralling his audience. By midnight he completed the story narrative … only to fall back before the very eyes of the ones he had enthralled ... into a void three stories down (no pun intended).

 

This is similar to Jean François Champollion having a heart-attack at the greatest moment in his life … when he finally deciphered the Egyptian Hieroglyphics which had remained unknown for millenniums!

At that moment in exultation he shouted "I got it!" ... and collapsed to the ground the next moment.

 

https://en.wikipedia.org/wiki/Jean-François_Champollion

 

{]Xn-`-IÄ @ Ip«-\mSv

Ip«-\m-«nse Akm-[m-cW {]Xn-`-IÄ

Ip«\mSnsâ a®n \n¶v, AXnsâ ]cnanXnItfmSpw {]XnIqemhØItfmSpw t]mcmSn hfÀ¶ {]Xn`Ifn It¯men¡m k`bnse hnip² ]Zhnbnse¯nb Hcp ]ptcmlnX\pw DÄs¸Spw.

{^m³kokv amÀ¸m¸ hnip²\mbn {]Jym]n¨ Nmhd Ipcymt¡mkv Genbmkv BWv B alXv hyànXzw. {InkvXob ]ptcmlnX³ F¶ \nebn am{Xaà kapZmb ]cnjvIÀ¯mhv, hnZym`ymk {]hÀ¯I³, PohImcpWy {]hÀ¯I³ F¶ \nebnsems¡ {it²b\mbn¯oÀ¶ At±lw ]ptcmlnXhr¯nbpsS alXzw temI¯n\v t_m²ys¸Sp¯n.


PmXnaXt`ZNn´ IqSmsXbmWv Nmhdb¨³ {]hÀ¯n¨ncp¶Xv. ]ÅnItfmS\p_Ôn¨v ]Ån¡qS§Ä Xpd¡m³ At±lw ap³ssI FSp¯p. ]mhs¸« ZfnXv hnZymÀ°nIÄ¡v kuP\y `£Ww \ÂIn Cu hnZymeb§fn At±lw {]thi\w \ÂIpIbpw sNbvXp. kmaqlnI cwK¯pw kmwkvImcnI cwK¯psams¡ Hcp ]ptcmlnX\v Fs´ms¡ k¡À½§Ä sN¿phm³ Ignbpsa¶v kzPohnX¯m At±lw sXfnbn¡pIbpw sNbvXp.

Kpcp tKm]n\mYv

Donald Campbell, aged 46, was killed a split second before breaking his own water speed record in his jet-powered boat, the Bluebird K7.        

He was traveling at more than 300mph (483 km/h) on Coniston Water when the boat was catapulted 50ft (15m) into the air after its nose lifted.

Campbell on radio shouted:

“She's tramping, the water's not good ... I can't see much ... I'm going ... I'm on my back ...”

(he screams)

“... I am gone.”

The boat hit the water and disintegrated immediately. The wreckage from the lake bottom could be recovered only 33 years later in 2000. His body was found in 2001.

 

What is remarkable about this particular BBC narrative is that, for those viewers who are unaware of Malcolm Campbell's Bluebird disaster at the Scotland Loch, this climax comes as a shock. Till then, the narrative doesn't give any indication that Campbell's life had ended in an accident.

Now, our Guru Gopinath's life ended on a drama stage. Even though he wished to die while being an active performer, there was no indication that the end would be so 'dramatic'.

On Guru Gopinath Biographical Film, food for thought ...

 

There is this story of Donald Malcolm Campbell CBE (1921 – 1967), a British speed record breaker who holds eight world speed records on land & water.

One documentary on him by BBC starts with Campbell's attempt to create a final record.

 

http://www.bbc.co.uk.edgesuite.net/programmes/b0074r9h/broadcasts

With preparations going to create the said record, the BBC narrative flashbacks on the fast & furious life of the legendary Campbell. The last scene of this 30 minutes program brings us back to Campbell's final record creating attempt.

For Biographical Film on American Kariyachan, food for thought ...

 

There is a documentary about the extinct animal 'Tasmanian Wolf/ Tiger'.

The last last known member of the species died in captivity around 1933. The said documentary shows every 'reconstructed' detail of the animal as the narrator takes great pains to give us an idea of how the extinct animal behaved and moved.

It is only in the final minutes of the documentary is it revealed that there exists a rare, real footage of the last specimen. This footage - one of the earliest in 16mm amateur cinematography, discovered decades after the animal's extinction, was found recently in a home album collection.

 

Last Tasmanian Tiger, Thylacine, 1933

 

'American' Kariyachan's biographic film could end with the discovery of the elusive design-drawing of the first 'Injan Thara'.

For Biographical Film on Ananthasiva Iyer, food for thought ...

 

Actor Charlie Chaplin offended the most powerful man in the U.S. - Edgar Hoover, for which he had to pay a heavy price.

It meant exile from the country and also professional oblivion.

 

In the film Chaplin - a biographical, this confrontation is portrayed with a frivolous pantomime Chaplin does in Hoover's presence.

Bread dance/Chaplin-1992,Charles Chaplin meets J.Edgar Hoover

 

 Ananthasiva Iyer offended Sir C. P. Ramaswamy Iyer - the most powerful man in the Kingdom of Travancore.

Iyer too, like many others, had to go into exile during those days of pre-independence India.

A biographic film on Chavara Kurioakose - the saint, is about spirituality.

The tone could be set in the beginning itself.

Open with a dispute on factual data and controversy about its inconsistencies. In effect, the script writer/ director takes the role of the 'Devil's Advocate'.

There is no single factor more inconsistent than the very 'photograph' of Kuriakose Elias that is being circulated today by the Carmelite Congregation. Any wonder? The subject lived and died during a period when photography was in it's infancy, at least in this neck of the woods.

 

At the end of it all, however, what makes a person a saint is not the legitimacy of a portrait;  it is not his/ her great social deeds; neither the miracles adorers swear by; nor the need of an icon for the native church.

What defines a saint is how best that person conformed to the Lord's Will in the conduct and course of his/ her life. Catholic spirituality is very unambiguous on this. Hence, if the film on Chavara Kuriakose Elias can address this truth, nothing else matters.

Ipcymt¡mkv Genbmkv Nmhd

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

I. C.

CHACKO

By 1966, Swaminathan was Director of the Indian Agricultural Research Institute in New Delhi, spending his time in fields with farmers trying to improve productivity.

 

That was tough. Immersed in traditional ways, the Indian farmer couldn't be easily convinced to grow the new breeds.

 

Then came the most impossible part ... lobbying the  politicians on implementing prudent policies!

 

India, at that time, was importing vast amounts of grain to feed its millions. Swaminathan believed that importing food was like importing unemployment because 70 percent of the Indians were employed in agriculture. But successive governments chose to ignore his pleas! 

 

Suddenly, out of the blue, the then Prime Minister Indira Gandhi bluntly asked Swaminathan that how could India be free of food shortage. That was the turning point for the geneticist who had in all frustration given up hope! He was given a free hand to organize a new agricultural programme. The result was the Green Revolution. Today India grows some 70 million tonne of wheat a year, compared to 12 million tonne in the early 1960s.

The turning point in the 'Swaminathan narrative' can come suddenly as in the biographic film

Sophie Scholl – Die letzten Tage.

https://en.wikipedia.org/wiki/Sophie_Scholl_–_The_Final_Days

 

Sophie, who had been told that everyone had 99 days after conviction before they were executed, learns that she is to be executed that day. That is when in disbelief she breaks down.

Ip©mt¡m

In the night there was a violent storm. Both the thatched sheds collapsed in strong winds. Those were the studio's shooting floors. The place was Alappuzha. The year was 1962. The film company Udaya - recently re-opened after a closure of 5 years of trying financial times, had shooting sets erected inside those huge sheds. Come morning, a score of performers, about the same number of film technicians, twice that number of workers and laborers stood gaping at the wreckage which should have been the arena of their activities that day.

In the film's leading man, Mr. Prem Nazir's words,

 
" … as I turned my gaze from the debris to look at the people, I saw uncertainty written large in every face … about the film under production, doubts about the future of the re-started studio … and, anxiety about one's own tomorrow. Couldn't blame the poor folks. It would take months to repair this.

Even I was wondering how to extricate myself from the predicament! …"

 

That was when Chackochan (Mr. Kunchacko), shielding himself from the drizzle with an umbrella held in right hand, walked in. In his hand was also a bunch of jasmine flowers freshly picked from the studio grotto of the Immaculate (Mary).

Cu Nn{X-¯nsâ AWn-bd-bn {]hÀ¯n¡phm³ Ign-bp¶, apJy-[mcm am[ya k¦Â¸-§-fn \n¶v thdn«v Nn´n-¡p-¶ bph-{]-Xn-`-bmWv \n§-sf-¦n \n§-fpsS C.V. R§Ä¡v Abbv¡pI.

tIm¶I¯v Pm\Inb½
1893 ]pd¡m«v tIm¶I¯v ho«nemWv Pm\Inb½bpsS P\\w. i_cnaebnse Ahkm\ shfn¨¸mSmbncp¶ A\´IrjvW¿À Bbncp¶p ]nXmhv. 
Ip«\m«nse IÀjI\mb i¦c¸Wn¡cmbncp¶p `À¯mhv. Irjnbn \jvS§Ä h¶Xns\ XpSÀ¶v ChÀ imkvXmwtIm«bnte¡v Xmakw amän. Pm\Inb½ imkvXmwtIms« [À½imkvXmhnsâ `àbmIp¶Xv A§s\bmWv. 

IenbpKhcZs\ ]mSnbpd¡p¶ lcnlcmßPmjvSI¯nsâ cNbnXmhv Ipw`¡pSn Ipf¯qÀ A¿cmsW¶mWv `àkl{k§Ä IcpXnbncp¶Xv. F¶m lcnhcmk\w F¶ {]kn²amb Cu IoÀ¯\w 1963 Pm\Inb½bmWv cNn¨Xv F¶ A`n{]mb¯n\v C¶v {]m_eyw e`n¨ncn¡p¶p. 
A¿¸`àbmbncp¶ Pm\Inb½ aWvUeIme§fn ITn\{hXw A\pjvTn¨ncp¶p. Pm\Inb½sb 'ta¨ndbn A½' F¶mbncp¶p \m«pImÀ hnfn¨ncp¶Xv. lcnhcmk\w DÄs¸sS tIm¶I¯v Pm\Inb½ FgpXnbn«pÅ IoÀ¯\§fpsS ssIsbgp¯p {]XnIÄ C¶pw kq£n¡p¶p­ F¶v ]n³Xeapd¡mÀ AhImis¸Sp¶p.

1972Â Pm\Inb½ \ncymXbmbn. 

Fw.Fkv. kzman\mY³


as¦m¼v kmw_inh³ kzman\mY³ F¶v tIÄ¡pt¼mÄ, Hcp Ip«\m«pImc³ F¶v Xncn¨dnbm³ Ignbpw.

F¶m Fw. Fkv. kzman\mY³ F¶msW¦ntem? 
al¯mb t\«§fpsSbpw AwKoImc§fpsSbpw hÀ®i_f§fmb Nn{X§Ä \n§fpsS a\Ên sXfnbpw


1977þ amKvkmsk AhmÀUv
1987þ tdmanse sFIycmjv{S`£ytIm¬{Kkv A²y£]Zhn
1987þ thÄUv ^pUv ss{]kv
2000þ {^m¦vfn³ dqkvshÂäv ]pckvImcw
2000þ ]ß{io, ]ß`qj¬ AhmÀUpIÄ


lcnXhn¹h¯nsâ ]nXmhv þ `mcXw BZcthmsS Fw.Fkv. kzman\mY\v \ÂInb AwKoImcamWXv. 


]pcmX\amb sIm«mcw Xdhm«nse AwKambncp¶ kzman\mY³ th\eh[n¡v ap¯Ñ\mb IrjvW¿cpsS as¦m¼p Xdhm«n apS§msX F¯pambncp¶p. Cu PohnXm\p`hhpw ]nXmhnsâ kzm[o\hpamWv Xs¶ Hcp Irjnimkv{XÚ\m¡n amänbsX¶v Fw.Fkv. kzman\mY³ ]dbp¶p. Ct±l¯nsâ ]cn{ia§fmWv sX¡pIngt¡jybnse an¡ cmPy§sfbpw ]«nWnbn \n¶pw IcIbänbXv. 
M. S. Swaminathan FoundationeqsS Xsâ KthjWk]cy kaql¯n\msI KpWIcam¡phm\pÅ {]bXv\§Ä C¶pw XpScpIbmWv At±lw. 

KUN

CHACKO

KUN

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Towards a Biographical Film on Kunchacko, food for thought ...

 

Today in year 2017, actor Kunchacko Boban has a cherished desire and stated goal. That is to bring Udaya Studios - his grandfather M.Kunchacko's studio (1946 to 1996) at Alappuzha, back to active life.

 

Meanwhile, there is this biography on Mozart titled 'AMADEUS' (the Broadway stage play - version 1999 directed by Peter Hall, not the film by Milos Forman).

https://en.wikipedia.org/wiki/Amadeus

In the play, the antagonist - character Antonio Salieri the Musician, starts talking about the protagonist - the late genius Wolfgang Amadeus Mozart. Then, right on the stage itself, Salieri transforms himself into Amadeus … and plays the part of the central character also!

Similarly, Actor Kunchacko Boban could play both the roles - the narrator as well as Director Kunchacko, the film's subject.

With a calm smile he announced, 


"Everything would be up and ready by tomorrow morning. My brother Appachan shall be here any moment now with two boatloads of pura-kettukaar (expert thatched-shed builders) from our native Pulincunnoo. While they complete their job, let us not waste precious time … we shall be doing rehearsals today … Lets start, Now!"

Shooting resumed the very next morning in one of the floors. The other floor was ready by the second day. In all they had lost just one day of the planned schedule.

----- (Kunchacko, a primer)

K. M. Panikker's deep insight about human affairs could be similar to how Zuckerberg (played by actor Jesse Eisenberg; film The Social Network) while designing Facebook, is shown to comprehend human mind's dark desires.   

 

Realizing the curiosity of every man and woman about the opposite sex, the designer puts in the 'relationship status field'. 

1947. The tumult heralding the climax of the Indian Independence struggle had started. With a heartrending division, the birth of two nations was in the offing. Cyril Radcliffe had hastily drawn out the partition lines. In the British Parliament, the Labor Government of Attlee had passed the resolution for transfer of power to India & Pakistan. It should take place no later than the 15th of August. The Indian Constituent Assembly was asked to take over with an Oath of Allegiance to Free India on the said date. 

 

Many Indians, unlike the British, believed in astrology and hence thought that the future of their nation is written in the stars. (The Brits hardly cared. Having survived the Spanish armada, Napoleon and Hitler, their centuries old nation seemed secure for the moment). No sooner the news was out, eminent astrologers in Delhi divined that the 15th of August as an inauspicious day! Instead, the 14th, by the stellar charts, would be better for a new nation, they said. But as decided by the British authority, on the 14th morning Viceroy Lord Mountbatten was off to Karachi to officiate the transfer of power to Pakistan. He would be flying back in the evening for an early morning transfer of power in Delhi on the 15th. The corridors of power in the capital started resonating with doomsday predictions for India.  

 

Sardar K. M. Panikker, once Prime Minister handpicked by the English for the princely state of Bikaner, who years ago had outlined partition as an exit strategy to his colonial masters, was ready with a solution. This he could. Having understood the eastern and the western mindsets, and now become a diplomat, it as his duty. His solution did appease the superstitious Indian without upsetting the scientific Englishman.

The members of the Constituent Assembly would meet on the 14th, about half-an-hour before midnight, suggested the tactician. This would placate the stars. They would, however, take the oath of allegiance to Free India after the stroke of midnight which, according to British who swear by the Greenwich Meridian, would be the 15th. 

----- (Sardar, a primer)

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The film Flash Of Genius is a biographical on Robert William Kearns - an American professor who invented the intermittent windshield wiper systems used on automobiles.

The subject of the film is about patent infringement and ethics.

 

https://en.wikipedia.org/wiki/Flash_of_Genius_(film)

 

The tone of the film's narrative is set in the first scene where Professor Kearns is giving a lecture to his mechanical engineering class at Wayne State University:

 

"The artificial heart valve and the Nazi gas chambers were both created by engineers. ... Engineering involves ethical decisions". 

stageplay Karnabhaaram

 Chathante Makal

Vellappokkathil

Kakkanad - Kerala, India | ©2017 Navodaya Studio | navodayastudio@gmail.com

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