Le Bonheur (1965 film)
Le Bonheur is a 1965 French drama film directed by Agnès Varda. The film is associated with the French New Wave and won two awards at the 15th Berlin International Film Festival, including the Jury Grand Prix. François, a young carpenter working for his uncle, lives a comfortable and happy life married to his wife Thérèse, with whom he has two perfect children and Gisou. Although finding abundant "le bonheur" in his marriage and indisputably loving his wife and children, François covetously pursues an extended happiness through an affair with a woman called Émilie whom he meets on a business trip. Émilie skeptically asks François about his marriage. Finding love with Émilie in the afternoon and with Thérèse at night, François’ wife questions him on a family day trip about the new level of happiness that he has experienced and which she has noticed. Finding himself unable to lie to his wife, François tells Thérèse the truth about his affair, but assures her that there is "more than enough happiness to go around, nothing has changed between them."
Thérèse is found dead shortly after hearing the news of her husband’s infidelity, news that shattered her character, defined by her ability to feed her husband’s happiness. Left a widower, François responds with a short period of mourning followed by a continued pursuit of Émilie, who gladly becomes his wife and the mother of his children. In completing his family with Émilie as a replacement for his late wife Thérèse, François’ life embodies a spirit of "le bonheur" once again despite his break with morality. Le Bonheur was released prior to significant social unrest in of France which peaked in May 1968 and that threatened to overthrow the decade old Fifth Republic; this film contains many feminist elements that reflect the movements that were taking place among women during that time. Jean-Claude Drouot as François Claire Drouot as Thérèse Olivier Drouot as Pierrot Sandrine Drouot as Gisou Marie-France Boyer as Émilie Savignard Marcelle Faure-Bertin Manon Lanclos Sylvia Saurel Marc Eyraud Christian Riehl Paul Vecchiali as Paul Le Bonheur on IMDb Le bonheur: Splendor in the Grass an essay by Amy Taubin at the Criterion Collection
Thiruvilaiyadal is a 1965 Indian Tamil-language Hindu devotional film written, directed and co-produced by A. P. Nagarajan; the film features Sivaji Ganesan, K. B. Sundarambal in the lead roles, with T. S. Balaiah, R. Muthuraman, Nagesh, T. R. Mahalingam, K. Sarangapani, Devika and Nagarajan in supporting roles. K. V. Mahadevan composed the film's soundtrack and score, Kannadasan and Sankaradas Swamigal wrote the song lyrics. Co-produced by A. M. Shahul Hameed, it was inspired by the Thiruvilaiyadal Puranam: a collection of sixty-four Shaivite devotional, epic stories, written in the 16th century by Paranjothi Munivar, which record the actions of Shiva on Earth in a number of disguises to test his devotees. Thiruvilaiyadal depicts four of the stories; the first is about the poets Nakkeerar. The third recounts how Parvati, is born as a fisherwoman; the fourth story is about the singers Hemanatha Bhagavathar. The soundtrack was praised, the songs "Pazham Neeyappa", "Oru Naal Podhuma", "Isai Thamizh" and "Paattum Naane" became popular with the Tamil diaspora.
Thiruvilaiyadal was released on 31 July 1965 to critical praise for its screenplay, direction and the performances of Ganesan and Balaiah. The film was a commercial success, running for over twenty-five weeks in several theatres and becoming a silver jubilee film, it was responsible for a resurgence in mythological and devotional cinema, since it was released when Tamil cinema was producing social films. Thiruvilaiyadal received the Certificate of Merit for the Second-Best Feature Film in Tamil at the 13th National Film Awards and the Filmfare Award for Best Film – Tamil. A digitally-restored version was released in September 2012, was a commercial success; the Hindu god Shiva gives a sacred mango fruit, brought by the sage Narada, to his elder son Vinayaka as a prize for outsmarting his younger brother Muruga in a competition. Angry with his father, Muruga goes to Palani, he meets one of his devotees along with way. Despite her attempts to convince Muruga to return to Mount Kailash, he remains adamant about his decision to leave his family.
His mother, the goddess Parvati, arrives there and tells the stories of four of Shiva's divine games to calm Muruga. The first story is about the opening of Shiva's third eye when he visits Madurai, the capital city of the Pandya Kingdom. Shenbagapandian, the king, wants to find the answer to a question posed by his wife, announces a reward of 1,000 gold coins to anyone who can come up with the answer. A poor poet named Dharumi wants the reward, starts to break down in the Meenakshi Amman Temple. Shiva, hearing him weeping, gives Dharumi a poem containing the answer. Overjoyed, Dharumi recites it. On hearing this, Shiva argues with Nakkeerar about the poem's accuracy and burns him to ashes when he refuses to relent. Shiva revives Nakkeerar and says that he only wanted to test his knowledge. Realising it was Shiva's will that Dharumi should get the reward, Nakkeerar requests Shenbagapandian to give it to Dharumi; the second story focuses on Shiva marrying Dhatchayini against the will of Dhatchan.
Dhatchan performs a Mahayajna without inviting his son-in-law. Dhatchayini asks Shiva's permission to go to the ceremony, but Shiva refuses to let her go because he feels that no good will come from it. Dhatchayini goes, only to be insulted by Dhatchan, she curses her father and returns to Shiva, angry with her. Dhatchayini says, he disagrees, burns her to ashes. He performs his Tandava, noticed by the Devas, who pacify him. Shiva accepts their oneness. In the third story, Parvati is banished by Shiva when she is momentarily distracted while listening to his explanation of the Vedas. Parvati, now born as Kayarkanni, is the daughter of a fisherman; when she is playing with her friends, Shiva approaches in the guise of a fisherman and tries to flirt with her. The fishermen are troubled by a giant shark who disrupts their way of life, Shiva says that he alone can defeat the shark. After a long battle, Shiva marries Parvati; the last story is about a devotional singer. Hemanatha Bhagavathar, a talented singer, tries to conquer the Pandya Kingdom when he challenges its musicians.
The king's minister advises the king to seek Banabathirar's help against Bhagavathar. When the other musicians spurn the competition, the king orders Banabathirar to compete against Bhagavathar. Knowing that he cannot win, the troubled Banabathirar prays to Shiva—who appears outside Bhagavathar's house in the form of a firewood vendor the night before the competition, shatters his arrogance by singing "Paattum Naane". Shiva introduces himself to Bhagavathar as Banabathirar's student. Sheepish at hearing this, Bhagavathar leaves the kingdom and leaves a letter for Shiva to give to Banabathirar. Shiva gives the letter to Banabathirar, reveals his true identity. After listening to the stories, Muruga realises that this too was one of Shiva's divine games to test his patience; the film ends with Avvaiyar singing "Vaasi Vaasi" and "Ondraanavan Uruvil", in praise of Shiva and Parvati. Sivaji Ganesa
Antonio das Mortes
Antonio das Mortes is a 1969 Brazilian western film directed by Glauber Rocha. A sequel to Black God, White Devil, it features the return of the character Antonio das Mortes, now as the protagonist, again played by Maurício do Valle; the original title is a reference to the tale of the Dragon. After the World War II, in the Brazilian sertão. A group of impoverished peasant mystics gathered around Dona Santa, a female spiritual figure, join in veneration of Saint George with an obscure figure named Coirana. Coirana claims to have restarted the cangaço and seeks to take the revenge of Lampião and other cangaceiro martyrs, presenting the tale of Saint George and the Dragon in a contemporary class conflict context, they threaten the town of Jardim de Piranhas governed by Coronel Horácio a blind and old cattle owner married to younger and attractive Laura. Dr. Mattos, the corrupt police chief of the town, hires Antônio das Mortes as a jagunço against Coirana and Antônio fatally wounds Coirana in a duel.
However, Antônio is changed by his experiences with the poor, so he demands that the coronel distribute the food stored in a warehouse to the remaining cangaceiros. The colonel sent Mata Vaca to kill Antônio das Mortes, but Antônio das Mortes with the help of his friend "Professor" kills his jagunços. The coronel is killed by Antão, the helper and lover of Dona Santa in a scene reminiscent of Saint George slaying the Dragon iconography; the movie ends with Antônio das Mortes walking by the roadside, carrying on the struggle - in some ways hopeless or unending - which extends beyond the killing of the colonel and the expropriation of his land. Maurício do Valle - Antônio das Mortes Odete Lara - Laura Othon Bastos - Professor Hugo Carvana - Dr. Mattos Joffre Soares - Coronel Horácio Lorival Pariz - Coirana Rosa Maria Penna - Dona Santa Vinícius Salvatori - Mata Vaca Mário Gusmão - Antão Emmanuel Cavalcanti - Priest Santi Scaldaferri - Batista Conceição Senna - Waitress Paulo Lima Rocha won the award for Best Director at the 1969 Cannes Film Festival.
It was chosen by the Ministry of Culture to represent Brazil in the 42nd Academy Awards, but it was not nominated for Best Foreign Language Film. List of submissions to the 42nd Academy Awards for Best Foreign Language Film List of Brazilian submissions for the Academy Award for Best Foreign Language Film Antonio das Mortes on IMDb Antonio das Mortes at AllMovie
Gate of Hell (film)
Gate of Hell is a 1953 Japanese jidaigeki film directed by Teinosuke Kinugasa. It tells the story of a samurai who tries to marry a woman he rescues, only to discover that she is married. Filmed using Eastmancolor, Gate of Hell was Daiei Film's first color film and the first Japanese color film to be released outside Japan. During the Heiji Rebellion in 1159, the samurai Morito desires the lady-in-waiting Kesa, but she is married to Wataru. Morito decides to get rid of his rival, he makes Kesa explain to him. Kesa provides precise instructions, yet when Morito follows through on her plan it is Kesa who gets killed. Morito understands that Kesa has sacrificed herself because she was determined to save Wataru's life and her honour. After the Japan Society sponsored a U. S. release of the film in December 1954, Bosley Crowther reviewed it for The New York Times. According to Crowther: "The secret of its rare excitement is the subtlety with which it blends a subterranean flood of hot emotions with the most magnificent flow of surface serenity.
The tensions and agonies of violent passions are made to seethe behind a splendid silken screen of stern formality, self-discipline and sublime esthetic harmonies. The essence of ancient Japanese culture is rendered a tangible stimulant in this film." Gate of Hell won the grand prize award at the 1954 Cannes Film Festival, a 1955 Academy Honorary Award for "Best Foreign Language Film first released in the United States during 1954", along with the Academy Award for Best Costume Design and the 1954 New York Film Critics Circle Award for "Best Foreign Language Film". It won the Golden Leopard at the Locarno International Film Festival. In the United Kingdom, Gate of Hell was released in 2012 on Blu-ray Disc and DVD as part of the Masters of Cinema line. List of jidaigeki films List of historical drama films of Asia Gate of Hell on IMDb Jigokumon at AllMovie Gate of Hell: A Colorful History an essay by Stephen Prince at the Criterion Collection
Amara Shilpi Jakkanna
Amara Shilpi Jakkanna is a 1964 Telugu, devotional biographical film and directed by veteran B. S. Ranga under the Vikram Studios banner, it stars Akkineni Nageswara Rao, B. Saroja Devi in the lead roles and music composed by S. Rajeswara Rao. Thespian Akkineni Nageswara Rao enacted the role of Amarashilpi Jakanachari, known for sculpting Kalyani Chalukyas and Hoysalas; this film is the first Telugu Eastmancolor production. In the song "Malligeya Hoovinantha", Jayalalithaa danced and the song is hailed as classic till date; this movie is a remake of director's own Kannada movie Amarashilpi Jakkanachari. There existed a great sculptor named Mallanna in the current day of Karnataka region, his son Jakkanna inherits these qualities from his father and becomes a great sculptor by the time he reaches young age. He spends most of the time inbetween dreams of making them into great sculptures, it is at this moment he falls in love with a dancer named Manjari, a breathtakingly beautiful woman and a great dancer.
They get married. When things go on a relaxed pace, the king Gopadevudu lusts for Manjari. In dramatic circumstances, Manjari happens to dance in the court of Gopadevudu. Seeing that, Jakkanna is left heartbroken, he establishes a huge temple compound. With severe sadness, Jakkanna leaves to an unknown location in grief, he gets abuses in return. It is when Bhagawan Ramanujacharya rescues Jakkanna and takes him towards the direction of service to God. Jakkanna rightfully dedicates himself to make beautiful temples. Meanwhile, Manjari, pregnant attempts suicide because her husband left him, she delivers a baby boy. She names the son Dankana. Dankana becomes a great sculptor. Vishnuvardhana, the Emperor of Hoyasala makes a huge temple in Belur on the advice of Ramanujacharya. Jakanna and Dankana meet there. However, they don't realize that they are son respectively. Dankana points out a flaw in a brilliantly made sculpture by Jakkanna in public. Jakkanna takes the challenge and when Dankana hits the sculpture with a hammer, a frog comes out of it.
Jakkanna chops his arms off. Manjari reaches and gets sad to see her husband and son. After the prayers in Belur temple in the presence of Ramanujacharya, Jakkanna gets back his hands; the family reunites. Jakkanna gets the title Amarasilpi, thereby making history. Akkineni Nageswara Rao as Jakkannacharya B. Saroja Devi as Manjari Chittor V. Nagaiah as Mallanna Haranath as Dankanna Udaya Kumar as Gopadevudu Dhulipala as Ramanuja Charya Relangi as Sundaram A. V. Subba Rao as Vishnu Vardhanudu Suryakantham as Rajamma Girija as Gangu Pushpavalli as Shanthala Jayalalithaa as Dancer Art: Shekar Choreography: Heeralal, Dandayagapaani, A. K. Chopra, Sarasa Stills: Kuppu Swamy Dialogues: Samudrala Lyrics: Samudrala, C. Narayana Reddy, Kosaraju Playback: Ghantasala, P. Susheela, Madhavapeddi Satyam, Swarnalatha, Padma Music: S. Rajeswara Rao Editing: P. J. Mohan, M. Devendra Nath, Chakrapani Cinematography - Screenplay - Producer - Director: B. S. Ranga Banner: Vikram Studios Release Date: 27 March 1963 Music composed by S. Rajeswara Rao.
Music released on Audio Company. National Film AwardsNational Film Award for Best Feature Film in Telugu - 1963
Color motion picture film
Color motion picture film refers both to unexposed color photographic film in a format suitable for use in a motion picture camera, to finished motion picture film, ready for use in a projector, which bears images in color. The first color cinematography was by additive color systems such as the one patented by Edward Raymond Turner in 1899 and tested in 1902. A simplified additive system was commercialised in 1909 as Kinemacolor; these early systems used black-and-white film to photograph and project two or more component images through different color filters. During 1920, the first practical subtractive color processes were introduced; these used black-and-white film to photograph multiple color-filtered source images, but the final product was a multicolored print that did not require special projection equipment. Before 1932, when three-strip Technicolor was introduced, commercialized subtractive processes used only two color components and could reproduce only a limited range of color.
In 1935, The Kodachrome was introduced, followed by Agfacolor in 1936. They were intended for amateur home movies and "slides"; these were the first films of the "integral tripack" type, coated with three layers of differently color-sensitive emulsion, what is meant by the words "color film" as used. The few color films still being made in the 2010s are of this type; the first color negative films and corresponding print films were modified versions of these films. They were introduced around 1940 but only came into wide use for commercial motion picture production in the early 1950s. In the US, Eastman Kodak's Eastmancolor was the usual choice, but it was re-branded with another trade name, such as "WarnerColor", by the studio or the film processor. Color films were standardized into two distinct processes: Eastman Color Negative 2 chemistry and Eastman Color Positive 2 chemistry abbreviated as ECN-2 and ECP-2. Fuji's products are compatible with ECN-2 and ECP-2. Film was the dominant form of cinematography until the 2010s, when it was replaced by digital cinematography.
The first motion pictures were photographed using a simple homogeneous photographic emulsion that yielded a black-and-white image—that is, an image in shades of gray, ranging from black to white, corresponding to the luminous intensity of each point on the photographed subject. Light, shade and movement were captured, but not color. With color motion picture film, information about the color of the light at each image point is captured; this is done by analyzing the visible spectrum of color into several regions and recording each region separately. Current color films do this with three layers of differently color-sensitive photographic emulsion coated on one strip of film base. Early processes used color filters to photograph the color components as separate images or adjacent microscopic image fragments in a one-layer black-and-white emulsion; each photographed color component just a colorless record of the luminous intensities in the part of the spectrum that it captured, is processed to produce a transparent dye image in the color complementary to the color of the light that it recorded.
The superimposed dye images combine to synthesize the original colors by the subtractive color method. In some early color processes, the component images remained in black-and-white form and were projected through color filters to synthesize the original colors by the additive color method; the earliest motion picture stocks were orthochromatic, recorded blue and green light, but not red. Recording all three spectral regions required making film stock panchromatic to some degree. Since orthochromatic film stock hindered color photography in its beginnings, the first films with color in them used aniline dyes to create artificial color. Hand-colored films appeared in 1895 with Thomas Edison's hand-painted Annabelle's Dance for his Kinetoscope viewers. Many early filmmakers from the first ten years of film used this method to some degree. George Méliès offered hand-painted prints of his own films at an additional cost over the black-and-white versions, including the visual-effects pioneering A Trip to the Moon.
The film had various parts of the film painted frame-by-frame by twenty-one women in Montreuil in a production-line method. The first commercially successful stencil color process. Pathé Color, renamed Pathéchrome in 1929, became one of the most accurate and reliable stencil coloring systems, it incorporated an original print of a film with sections cut by pantograph in the appropriate areas for up to six colors by a coloring machine with dye-soaked, velvet rollers. After a stencil had been made for the whole film, it was placed into contact with the print to be colored and run at high speed through the coloring machine; the process was repeated for each set of stencils corresponding to a different color. By 1910, Pathé had over 400 women employed as stencilers in their Vincennes factory. Pathéchrome continued production through the 1930s. A more common technique emerged in the early 1910s known as film tinting, a process in which either the emulsion or the film base is dyed, giving the image a uniform monochromatic color.
This process was popular during the silent era, with specific colors employed for certain narrative effects. A complementary process, called toning, replaces the silver particles in the fi
Piya Ka Ghar
Piya Ka Ghar is a 1972 Hindi comedy set in Mumbai in the 1970s. It is a remake of Raja Thakur's Marathi film Mumbaicha Jawai, it portrays the difficulties of life in India's biggest city during the 1970s in the form of a comic family drama. The two main characters are Malti. Ram lives in an apartment in Mumbai. Malti lives in a comfortable home in an unidentified village. Ram and Malti are hooked up through a matchmaker. We first see the matchmaker visiting Malti's house. Ram and Malti fall in love, Ram's family visits her in her village. Soon, they are married, Malti moves to Ram's apartment, not knowing what to expect. Since there is little room left in the apartment, the newlyweds are forced to sleep in the kitchen, they failed, attempts to have some privacy. At last, Malti can bear it no longer, her uncle arrives to take her back to the village, but when they see all her in-laws offering to move out on her account, they change their minds, saying that such love overcomes the difficulties of living in Mumbai.
In the end, the couple finds the privacy they were seeking. The following songs, listed in the order in which they appear, are from Piya Ka Ghar: "Ye Zulf Kaisee Hai" — This love song is well known. "Ye Jeevan Hai" — This was a popular song in Piya Ka Ghar. It is the film's theme. "Piya Ka Ghar" — In this song, Malti tries to make the most of her new life. "Bambaee Shahar Kee" — This obscure song portrays Mumbai more optimistically and romantically. Piya Ka Ghar on IMDb MusicIndiaOnline page - includes first three songs and lyrics to "Ye Jeevan Hai" Piya Ka Ghar