Hey guys, here’s the complete audio from Bollywood Legend Rishi Kapoor’s session at the 16th Pune International Film Festival.
Hey guys, here’s the complete audio from Bollywood Legend Rishi Kapoor’s session at the 16th Pune International Film Festival.
With only six days to go for the 16th Pune International Film Festival (PIFF), additional information was revealed yesterday in Pune, at a press conference — helmed by Festival Director Dr. Jabbar Patel —regarding the various competitions and events to be conducted throughout the festival.
Alongside Dr. Patel, festival officials such as Mr. Abhijit Randive, Mr. Makrand Sathe, and Mr. Samar Nakhate were also present during the conference. Mr. Bhupendra Canthola and Mr. Prakash Magdum, Directors of FTII (Film & Television Institute of India) & NFAI (National Film Archive) respectively, were also in attendance at the press conference.
At the conference, the first order of business included announcing the seven movies taking part in the Marathi Film Competition. Aside from previously released films like — Muramba, Faster Fene, and Kaccha Limbu — the competition will also see unreleased movies such as Pimpal, Ziprya, Nashibvaan, and Mhorkya, join the fray.
Plus, the officials announced that the inauguration of the “Raj Kapoor Retrospective” will be done by screening the universally-acclaimed 1973 hit love-story, Bobby. His other seminal hits such as Mera Naam Joker, Sangam, Shree 420, and Aag will also be shown under this section. Furthermore, Rishi Kapoor & Randhir Kapoor will be present at the event to handover priceless negatives of 23 Raj Kapoor’s films.
PIFF will also pay homage to deceased members of the film fraternity such as Vinod Khanna, Reema Lagoo, Kundan Shah, Shashi Kapoor, and Shyama by screening their most well-known films.
PIFF will conduct special screening of movies such as Teen Kanya, Parineeta, Avargal, Gejje Pooje, and Sankarabharanam, which tackle social issues concerning women.
Dr. Patel later spoke about PIFF’s newest initiative called the PIFF Forum. He explained that the forum will allow aspiring writers, producers, and directors to connect with each other through various activities.
The key intention of PIFF Forum is to educate those interested in filmmaking without letting it become dull or stale. One can directly interact with several successful and reputed film personalities.
From January 13th to January 17th PIFF will hold a myriad of workshops and sessions on scriptwriting, films of Raj Kapoor, a discussion on Film Preservation, and much more.
Cinephiles all over the country rejoice as the 16th Pune International Film Festival draws near. The highly-anticipated film festival returns to Maharashtra’s Educational City with its 16th edition commencing from the 11th of January and ending on the 18th of January, with “Youth” as its central theme.
This was announced by Festival Director Dr. Jabbar Patel during a Press Conference held in the city today. He commented on the theme of this year’s festival by saying that:
The greatest wealth and strength of any nation is in its youth. The entire world is eyeing India as a source of skilled young and energetic manpower. India being a youth-centric country, films could be the best medium to motivate the masses and create awareness about it. PIFF being renowned for providing a responsible platform for such initiatives will contribute towards encouragement through creativity.
Alongside Dr. Patel — PIFF Secretary Ravi Gupta, Creative Head & Selection Committee Member Abhijit Randive, Trustees Dr. Mohan Agashe, Satish Alekar, also serving as Selection Committee Member, & Sabina Saghvi were present at the Press Conference.
Festival Director Dr. Patel spoke in detail about the upcoming festival and shed light on the number of films accepted for the 2018 PIFF World Competition:
The 8 day long PIFF will showcase about 200 plus films carefully selected from 1008 films received from across the globe. Out of the films received 14 have been selected for the World Competition Section.
To check out the films selected for this year’s World Competition Section – Click Here.
Furthermore, Dr. Patel spoke regarding the multiple screening venues for the festival and other myriad activities that will take place under the banner of PIFF:
PIFF 2018 will be showcased in 10 screens at 5 different venues located in Pune and Pimpri-Chinchwad. City Pride Kothrud is the main venue for the festival. City Pride Satara Road, Mangala Multiplex, National Films Archives of India (NFAI) are the other venues. A venue in the Pimpri Chinchwad area would also be announced shortly. As always, the festival would be loaded with workshops, seminars, panel discussions
Speaking on the topic of this year’s Retrospective Section, PIFF Secretary Mr. Ravi Gupta revealed that as a part of the worldwide ‘Bergman Centenary Celebrations’ PIFF will feature films of the late Ingmar Bergman. In addition to Bergman, PIFF, as a part of the Retrospective Section, will also feature films by the late Raj Kapoor.
The non-competitive section of PIFF 2018 includes Student International Section, Just Juries, Global, Asian, Indian Cinema, Country Focus on Argentina and Italy, Kaleidoscope, Retrospective, Youth, Documentaries, Marathi Cinema Today, and Tribute.
The online registration for delegates is available at www.piffindia.com
Interested delegates can fill the form online and get an acknowledgment number for reference. Once the online registration is completed they can visit spot registration desks at the venues City Pride Kothrud, City Pride Satara Road and Mangala Multiplex. The spot registration will commence from December 20th and will be available from11.00am to 7.30pm.
For students and Film Club members (with valid ID) and senior citizens (over 60 years), the catalog fee is at a discounted rate of Rs.600/- whereas for the open category it is Rs.800/-.
On the eve of his theatre group’s performance at Vadodara’s M.S. University, I received the opportunity to converse with director Chintan Pandya about his new play, Raashi-Man.
Mr Pandya spoke with me about the difficulties he faced while adapting Raashi-Man, whether cinema is killing theatre, his favourite Akira Kurosawa film, and much more.
Raashi-man’s basically an adaptation of two short-stories namely “In the Grove” & “Rashomon” written by the acclaimed Japanese author, Ryunosuke Akutagawa. There was also a film made on Rashomon — the second short story — by the late film-director Mr Akira Kurosawa.
Raashi-man’s a murder-mystery, with the plot chronicling the events that take place after a murder. We hear testimonies from people who’ve been directly involved with the incident and from people who’ve been dragged into the incident due to various circumstances. The idea is that everyone has their own version of this event and we i.e. the audience have no clue as to whose version bears the actual truth.
So, after the publication of this short-story, there came to be coined a new term in Psychology known as the Rashomon Syndrome. The syndrome states that every person tends to have his own way of describing or recollecting an event or phenomena. Thus, sometimes we never know the real truth.
Truth is contextual, there’s not one specific defined truth. Let me explain this by giving you a real-world example. Suppose there’s been an accident on the road. The person, who’s suffered the accident, will have his own take on the incident. Similarly, the one responsible for the accident will have his/her take on the incident. And then the people, who witnessed the accident, will have their own versions regarding the event.
Everyone’s opinions, justifications, views etc will be different and unique, but in the end, they’ll essentially be true. Also, there will be different motivations behind a person’s opinion on an event.
So, in the end, Raashi-Man’s all about these various factors affecting the ultimate truth. It’s not just a murder-mystery but is also a story working on a deep psychological level.
I think the adaptation was a very well-researched process. We knew what we wanted to do. We didn’t face any major problems, but there were some minor difficulties like we wanted to set this play in Gujarat since we (the cast members) are all from here. Thus, we started finding out cultural similarities between Gujarat and Japan. But, a bunch of issues started emerging while doing that, as not only did we want to justify the story but also at the same time make sure not to compromise on the cultural aspects of India.
So, we started researching about other suitable locations in India. We also did a lot of historical research. So, despite some minor hurdles everything was well researched and we made an effort to not leave anything to the audience’s imagination.
I think there are two parallel phenomena taking place in India both on Cinematic grounds as well as Theatrical grounds. I think those big budget Bollywood films which used to do very well on box-offices and we would have at least five to ten big-budget films and other small-budget films couldn’t come to main-stream is no longer the case. A lot of people are making smaller budget films. So, something that used to happen as parallel cinema is now coming into the mainstream. And now the same thing is happening in the theatrical scene which has no-doubt suffered a lot, in fact, is still suffering a lot in terms of financial condition because there are so many mediums of entertainment and people are less and less inclined towards mobilizing themselves unless it’s a personal motivation.
I think in theatre also a lot of new ventures have emerged. We have lots of new alternative places that have popped out. I don’t know about Vadodara, but in Mumbai, Surat, and Ahmadabad there are a lot of new small-scale alternative performance venues. Due to this a lot of youngsters are also helping out the scene in their own ways and of course, social media’s helping us out a lot.
I liked Throne of Blood, which’s his adaptation of Shakespeare’s Macbeth. I think it’s a wonderful film. Kurosawa’s a master at adapting different stories. It’s amazing how he picks up stories and then adapts them into his own cultural context. His adaptation technique’s so great that I think anyone who’s not seen or read Macbeth will consider Throne of Blood as an original story.
As far as current projects go we revived one of our older plays called “Dakhla Tarike”. It’s in Gujarati and has been written by me. The play is a satire on the contemporary Gujarati theatre scene and the youth of today. We recently did a show in Gandhinagar and are planning on having shows in Ahmedabad and Vadodara.
I received the opportunity to converse with Jay Hunter, one of the founding members of OSW Review – an old school wrestling video podcast which sees him chronologically critiquing vintage wrestling storylines PPV-by-PPV along with his best friends.
We take 18 ounces of sizzling ground beef and soak it in rich, creamery butter… I mean, same process since day 1(ish)! I do my homework, we all watch the PPV separately and take our own notes. I create a script (which is the structure of the review) and we come to my place to record the podcast, the session lasting 3+ hours! Then I edit the audio 4 times (trimming it to ~half the length to make it tight) and then edit the video 2-3 times over. At the same time, I’m Mr. Manager, liaising with artists, musicians and animators to create various bits and bobs that I think’d be awesome!
Recently my friend and super-talented video creator Chris from Reload Last Save has come aboard the production team so I can start work on the ‘flourishes’ earlier. He’s amazing! I’m breaking V1 into the production side too 🙂 After editing 63 episodes myself, it’s a bit weird loosening the reins!
Well OOC is ‘the funny one’ so that’s all on his shoulders 😉 Did you know? OOC & I recorded Survivor Series 1989 (V1 couldn’t make it that day) but it wasn’t the same, a bit too calm and proper, so we rescheduled and re-recorded. Much better! We’d never re-do entire segments from a show though; it wouldn’t work, sure our best bits are spontaneous. The show is very similar to what it’s being like around us (minus the FIFA talk), we just talk bollocks and try to make each other laugh! We have a blast recording and hopefully, ye guys do too.
I thought we were too late to the party back in 2011! Having choice and hearing different voices & perspectives is fantastic. I love how not just wrestlers, but behind the scenes writers (like ex-WWE writer Brian Mann) and bookers (eg Kevin Sullivan) have podcasts. Mike Quackenbush just started a new one (Kayfabe 2.0) last month. The Chikara owner! How awesome is that? Wrestling podcasts give us unprecedented backstage access, for free, on demand. Rock on!
Also, podcasts are about talking about your favourite topic, hopefully with people, you love talking to, and sharing that with the world. I do mine with my two best friends in the world. It’s a tremendous creative outlet. Everyone should give it a go!
Short answer yes with an if, long answer no with a but. We’re in our 30s now and have a lot more responsibilities, and with production time spiralling out of control, I was at literally at 1 every 3 months, maybe. Now it’s half that, whilst also producing full-on film reviews and other projects to keep things fresh and myself creatively interested.
I love OSW (I think about it pretty much all day, every day) so I could never stop, and thanks to NoggerU I can work on it full-time and go crazy! Like in our Bound For Glory 2007 episode, we had pixel versions of ourselves at the Final Fantasy VI opera, complete with a custom orchestral version of our theme tune! Chris and Ryan did an incredible job. It took weeks to get perfect but now it’s a piece of Episode 66 forever
So I was standing at the docks, looking for a good time and this car rolls up…We’re three knobs from Dublin, Ireland! I’m the youngest of 6 (4 brothers). We all watched WWF in the 80s – they got me into liking heels, and as a kid, of course, I loved the faces. So I was just marking out all the time! My first vivid memory was the ‘89 Rumble Ultimate Posedown with Rick Rude and the Warrior. I know, right? Side note; I think everyone’s mam, auntie and sister fancied the arse off Rick Rude.
I met OOC in secondary school (our clique was called “The Brig”) and I met V1 in college. I remember it was anatomy class where we both noticed the other was wearing a Brock Lesnar tee! The interlocking beards I can’t explain.
Get the boat! That’s not even a contest mate, even Test’s great value rip-off, Tramp Stamp Hoyt, would flatten him! As for V1 & Subway, my sources tell me…. yes!
All-time favourite games: A Link To The Past, Super Mario World, Shadowrun (SNES), Resi Remake, SSF2T, MK2 and KI. Special shout-outs to The Last of Us, I’ve never cared about two characters so much, and MK9 for being an incredible rebirth of the franchise, whilst re-telling games 1-3.
Those franchises all have whopper soundtracks and you’ll hear ‘em sneaking in my videogame music radio show, Super OSW 64! I created it so I could keep together my favourite VGM Dead Rising 4 has a great Christmas soundtrack, No Man’s Sky by 65DaysofStatic is the first record I’ve ever bought – incredible “math-rock”! Life is Strange is amazing chill music, Mafia 3 (but that’s cheating!), Far 3 Cry: Blood Dragon is, wow, just mind-blowing 80s synthwave awesomeness….too many to list! At the moment I have Cuphead’s old-timey big band jazzy OST on loop. MY BOY Edgar from the Retro VGM Revival Hour just sent me Silent Hill & Revenge of Shinobi which I’m going to unwrap after this, cheers brah! I love the fans requesting tracks, it’s opened me up to so much more awesome videogame music, like Ashley’s Song from Smash! Blown away – it’s the videogame equivalent of Shawn Michaels’ Sexy Boy!
I don’t have a Switch but I will steal V1’s and his copy of Odyssey when he isn’t looking. Steve, if you’re reading this, what’s that over there?
Sure, it’s the Lex Express. Keep it under your hat…and act surprised!
Em… The Cat’s in the cradle and the silver spoon… yes, we have no bananas.
Thanks for being awesome! You keep watching and I’ll keep making ‘em, deal?
Hello readers, thank you for reading this interview. In conclusion, I would like to thank Mr Hunter for giving me the opportunity to interview him. You can follow him on Twitter, @OSWreview and his co-host Stephen Roe aka V1, @V1_OSW
Plus, you can check out their stuff on YouTube at OSW Review HD
And, if you liked what you saw on YouTube, you can probably support them on Patreon to get access to exclusive movie reviews, deleted scenes from their PPV reviews, and more~! To check-out OSW Review on Patreon click here!
With a total of 30 books on his portfolio and 600 columns published by major news outlets, Mr Devdutt Pattanaik shows no signs of stopping.
A former medical professional by trade, Mr Pattanaik considers studying and writing about mythology his true calling. Mr Pattanaik’s known worldwide for writing best sellers such as My Gita, Sita: An Illustrated Retelling of the Ramayana, Jaya: An Illustrated Retelling of the Mahabharata, and 7 Secrets of Shiva to name a few. He’s also written books on Management namely; Leader: Insights from Indian Mythology, The Success Sutra: An Indian Approach to Wealth, and The Talent Sutra: An Indian Approach to Learning to name a few.
Mr Pattanaik’s also hosted two shows on CNBC-TV18 & CNBC Awaaz called Business Sutra & Shastraarth respectively. He frequently works as a consultant for Star TV and hosts Devlok with Devdutt Pattanaik on Epic Channel.
In this interview, Mr Pattanaik discusses his childhood, his writing process, his recently launched book My Hauman Chalisa, and much more.
It was a regular suburban upper middle-class upbringing where the focus was on education and establishing a good career. I had a very regular, stable, unimpressive childhood with two sisters and parents who loved us and each other very much. Today, I realise how privileged I was. We were not particularly religious. And like all children of that time read Amar Chitra Katha and Chandamama comics through which we accessed mythology.
I guess I had a natural inclination for religion, folklore, fantasy and philosophy, and my parents never stopped me from buying books: everything from the Art of Boris Vallejo to the Bhagavatam by Kamala Subramaniam. It’s only after I completed Medicine that my interest in mythology became intense and serious, as an escape from the world of healthcare, which I did not find particularly exciting.
I write every day in the morning till noon. It’s my daily routine. I write whatever comes to mind. A tweet. An article. A chapter of a book. An idea for a new book. I wish I exercised as regularly as I write. Then you would be healthier. Instead, I have to settle to be a prolific writer. I usually don’t suffer from writer’s block as I write on multiple topics and themes and so just go with whatever excites me at a time. Some days are great. Others terrible.
It is about paying attention to a prayer that is common amongst most Hindi speaking Hindus. It is chanted often but do we know what are we chanting? Who wrote these words? And what connection do these verses have to Puranas and eventually the Vedas? It helps us realise how Hindu thought reached the masses since Hinduism does not have a tradition of preachers and missionaries. Wisdom reached through story and song.
I really do not see the difference. With children, you have to be more clear, more directive, more simple. And so it helps us unravel complex themes. With children, I use many more themes and weave them into a wider, more intense, fabric. I try not to make philosophy binary and simplistic for children as I feel children can handle complexity. For example, Sita makes choices. Not always. And not all choices work out. So what does that mean? Is choosing good or bad? Why do we say a choice is good or bad? Children need to reflect on these ideas so that they become responsible adults. We must not give them ridiculous wishful ideas like good actions result in good reactions.
Yes, hopefully, next year. I have written a short story though which is fiction, ‘Is he Fresh?’ published by Tehelka. Some young people want to make it a short film.
Ram actually because everyone is so eager to vilify him without actually appreciating the complex structure of the epic. It reveals the vast gap between the Vedic transmitter and the modern receiver.
Justice is a Greek concept. And they did not believe in equality. Justice was about keeping everyone ‘in their place’ – destroying hubris of man who seeks he can be god. In Greek mythology, some people are special as they are children of gods. Rest are mediocre. Equality as a concept comes from Christianity. We are now conditioned to see the world through the Greco-Christian lens that we assume is rational and real but is actually simply a Western discourse. The world is what it always has been: full of predators and prey, eaters and eaten, rich and poor, kind and cruel people. Our suffering comes from assumed benchmarks and technology that is designed to benefit one tribe at the cost of the other. And so industrialisation benefits the West and destroys the old feudal order, but replaces it with a new class of the economically and politically privileged. Nothing really changes. At least that is the traditional Indian lens. Ram and Krishna are not ‘superheroes’ who are seeking to make the world ‘a better place’. They are finite forms (avatar) of ‘infinity’ (ananta) showing us how to live in the world, at peace, no matter what the context and challenges.
Death and coping with death and so finding meaning is a consistent theme underlying all mythologies. In Greek mythology, meaning comes from achievement. In Abrahamic mythology, meaning comes from submission and alignment. In Indian mythology, from witnessing the world by empathizing with multiple points of view.
I avoid talking about things that I am working on. Needless to say, they will all deal with mythology, and one will be a fiction.