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[24timemedia]

[reportwire]

Naslen Bloopers | Success Teaser |Chathopadhyay | Makal Movie BTS | Sathyan Anthikad |Jayaram| Meera

Naslen Bloopers | Success Teaser |Chathopadhyay | Makal Movie BTS | Sathyan Anthikad |Jayaram| Meera

The fun actor Naslen. Edit & Voiceover: Anoop Sathyan Original background score: Rahul Raj Graphics: Jishnu #Naslen #MakalScenes #MakalMovie source

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#movie trailers 2021 #movie trailers 2022

[sauravbenny]

Oru Indian Pranayakadha - Minimal Poster

#fahadh faasil #amala paul #sathyan anthikad #oru indian pranayakadha #movie poster #minimalistic #minimal poster #malayalam films #malayalam cinema #deflick designs #saurav benny

[redhackee]

Fahadh Faasil’s next titled Paachuvum Albuthavilakkum

Fahadh Faasil’s next titled Paachuvum Albuthavilakkum

Actor-producer Fahadh Faasil on Tuesday announced the title of his next movie. The film has been titled Paachuvum Albuthavilakkum, and it will be written, directed and edited by Akhil Sathyan, who is the son of ace Malayalam filmmaker Sathyan Anthikad. Paachuvum Albuthavilakkum will be bankrolled by Sethu Mannarkad of Full Moon Cinema. The film, which marks the directorial debut of Akhil, went on…

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#Akhil Sathyan #Fahadh Faasil #Fahadh Faasil movies #Fahadh Faasil upcoming movie #Paachuvum Albuthavilakkum #Sathyan Anthikad

[feedmefilm]

Njan Prakashan(2018), dir. Sathyan Anthikad

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[malayalamvaarthakalcom]

“ഉയരെ” പ്രതീക്ഷകള്‍ക്കും മേലെ, പടം നന്നായിട്ടുണ്ടെന്ന് പ്രശസ്ത സംവിധായകന്‍ സത്യന്‍ അന്തിക്കാട്‌

“ഉയരെ” പ്രതീക്ഷകള്‍ക്കും മേലെ, പടം നന്നായിട്ടുണ്ടെന്ന് പ്രശസ്ത സംവിധായകന്‍ സത്യന്‍ അന്തിക്കാട്‌

(more…)

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#parvathy thiruvoth #uyare #cinema uyare #manu ashokan #asif ali #tovino thomas #sathyan anthikad feed back #sathyan anthikad #cinema news #actress

[anoopg24365]

#fahadh faasil #sathyan anthikad #sreenivasan #malayalam #upcoming movies #upcoming malayalam movie #movie reviews #movie ratings

[cinemaglitz]

Jomonte Suvisheshangal Movie Review: Jomonte Suvisheshangal, is a clean family entertainer, which was missing from screens for some time!!!

#JomonteSuvisheshangalReview: #JomonteSuvisheshangal, is a clean family entertainer, which was missing from screens for some time!!!

Movie: Jomonte Suvisheshangal Direction: Sathyan Anthikad Cast: Dulquer Salmaan, Mukesh, Anupama, Parameswaran, Aishwarya Rajesh Music: Vidyasagar Cinematographer: S Kumar Editor: K Rajagopal Genre: Drama, Family Rating: ∗∗∗

What is it about:It’s a family drama which ponders the relationship between a father and a son, who try to cope up with the sudden failures in their life. The film is directed…

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#Aishwarya Rajesh #Anupama #Dulquer Salmaan #Jomonte Suvisheshangal #Jomonte Suvisheshangal Movie #Jomonte Suvisheshangal Movie Review #Jomonte Suvisheshangal Review #Mukesh #Parameswaran #Sathyan Anthikad #Vidyasagar

[homeentertainment]

home entertainment

Why everybody like mohanlal

Mohanlal doesn't need an introduction for the Malayalam audience. In his career span of more than 35 years, Mohanlal has proved his versitality with his experimental roles, romantic, comedy and even action films. Mohanlal has acted in more than 300 films which includes films in Tamil, Hindi, Telugu and Kannada languages. Out of these, many movies have been blockbusters and have created and broken many records at the box-office. Starting from his first, Manjil Virinja Pookkal, where he played a negative character, his attitude and dialogue delivery is worth applauding. He started his career with this film and then went on to do hit films such as Kireedam (1989) directed by Sibi Malayil, Bharatham (1991) directed by Sibi Malayil, Vanaprastham (1999) directed by Shaji N. Karun, T. P. Balagopalan M.A. (1986) directed by Sathyan Anthikad, Drishyam (2013) directed by Jeethu Joseph. Mohanlal's contribution to Malayalam cinema is incomparable and worth appreciating. Mohanlal is often addressed as the 'complete actor.' Like the title given to him, he is a complete person. Before venturing into films, he was was actively involved with theatre and has performed in many plays. Mohanlal has even tried his hands at playback singing and has sung more than 30 songs. Some of his hit songs are Attumanal Payayil from Run Baby Run, Naathoone Naathoone from OruNaalVarum, AnnarakannaVaa from Bhramaram, Kaithapoovin from Kannezhuthi Pottum Thottu and Ithaloornnu Veena from Thanmathra. Mohanlal turned 55 this year. Even at the age of 55, young actresses are ready to romance him onscreen and their chemistry still looks sizzling. Some of the films where young actress were paired opposite him are Loham, opposite Andrea Jeremiah, Lailaa O Lailaa, opposite Amala Paul, Ladies and Gentleman, opposite Mamta Mohandas, Mithra Kurian and Padmapriya, Casanovva, opposite Shriya Saran, Spirit opposite Kaniha. Mohanlal has acted in 10 films in other languages like Tamil, Hindi, Telugu and Kannada. He has given stupendous performances in the Tamil films Jilla (2014) directed by R. T. Neason, Unnai Pol Oruvan (2009) directed by Chakri Toleti, Iruvar (1997) directed by Mani Ratnam. He even won Filmfare Awards South Best Actor Award for the film Iruvar in the year 1997. He has even acted in Hindi films such as Tezz (2012) directed by Priyadarshan, Ram Gopal Varma Ki Aag (2007) directed by Ram Gopal Varma and Company (2002) directed by Ram Gopal Varma. For the film, Company, Mohanlal received IIFA Awards and Star Screen Awards for the Best Performance in Supporting Role category. Mohanlal has even acted in a silent film, Reflections, directed by Bejoy Nambiar released in the year 2005.

AWARDS

Mohanlal's iconic roles were well received with different awards and honours. Mohanlal received Padma Shri Award in the year 2001. He received National Film Awards four times - Best Actor for the films Bharatham (1991) and Vanaprastham (1999), Special Jury Award for the film Kireedam (1989) and Best Film (Producer) Award for Vanaprastham (1999). Mohanlal won Kerala State Film Awards eight times-Best Actor for the films T. P. Balagopalan M.A. (1986), Abhimanyu, Kilukkam, Ulladakkam (1991), Spadikam, Kalapani (1995), Vanaprastham (1999), Thanmathra (2005) and Paradesi (2007), SpecialJuryAwardforthefilms Padamudra, Chithram, Ulsavapittennu, Aryan, Vellanakalude Nadu (1988) and Second Best Film (Producer) for the films Bharatham (1991) and Kalapani (1995). He even won Filmfare Awards South BestActorAwardforthefilms SanmanassullavarkkuSamadhanam (1986), Padamudra (1988), Devaasuram (1993), Pavithram (1994), Spadikam (1995), Vanaprastham (1999), Thanmathra (2005), Paradesi (2007), he even Special Jury Award for the film Bhramaram.

Why is Mohanlal so good?

Mohanlal doesn't need an introduction for the Malayalam audience. In his career span of more than 35 years, Mohanlal has proved his versitality with his experimental roles, romantic, comedy and even action films. Here are some more reasons as to why Mohanlal is the most loved hero of Malayalam cinema.

Multi-talented actor Mohanlal is often addressed as the 'complete actor. ' Like the title given to him, he is a complete person. Before venturing into films, he was was actively involved with theatre and has performed in many plays. Mohanlal has even tried his hands at playback singing and has sung more than 30 songsMohanlal has won five National Film Awards—two Best Actor, a Special Jury Mention and a Special Jury Award for acting, and an award for Best Feature Film (as producer), also nine Kerala State Film Awards and Filmfare Awards South and numerous other accolades.

[rupimusuf]

Kadha thudarunnu malayalam movie song

  KADHA THUDARUNNU MALAYALAM MOVIE SONG >> DOWNLOAD LINK vk.cc/c7jKeU

  KADHA THUDARUNNU MALAYALAM MOVIE SONG >> READ ONLINE bit.do/fSmfG

        mallumusic malayalam songs ordinary movie songs hemanta malayalam songskadha thudarunnu movie songs download kadha malayalam movie songs ordinary songs kohinoor malayalam movie songs download kadha malayalam movie mp3 songs free download

  Kadha Thudarunnu Songs Download - Listen to malayalam songs from Kadha Thudarunnu MP3 songs online free. Play Kadha Thudarunnu songs MP3. Aaro Paadunnu song lyrics from Kadha Thudarunnu Malayalam Movie. Directed by Sathyan Anthikad. Produced by Thankachan Emmanuel under the banner True LineKadha Thudarunnu ( transl. The Story Continues) is a 2010 Malayalam-language drama film written and directed by Sathyan Anthikad. The film stars Jayaram, *Kadha thudarunnu*. Directed by:Sathyan Anthikkadu,Produced by:Thankachan emmanuel, cinematography:Venu,editing,K.Rajagopal. Story A Family entertainer.

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[radkrishkurup]

Good morning and Happy Sunday!

In the picture, from left to right, are: Actor Sreenivasan, Kurupettan, MP Veerendra Kumar, Director Sathyan Anthikad, Dr. Jayaraj and PV Gangadharan.

#Kozhikode #Kurupettan #nbkmemorial

[technologyinfosec]

Dulquer on the dream team of 'Varane Avashyamund'

He completes eight years in the film industry; the Malayalam film industry to be precise. He is not just a star son, but has proved his mettle by acting in over 25 movies and producing three movies, most of them box office hits. A heartthrob in every sense, he handles every role with élan. DQ - as he is fondly known - has spread his magic to the Tamil, Telugu and Hindi film industries as well. In a telephone conversation with City Times ahead of the release of his latest production venture Varane Avashyamund, starring him alongside debutant Kalyani Priyadarshan, Suresh Gopi and Shobana, and directed by Anoop Sathyan, Dulquer Salmaan gets candid about movies, arranged marriages and more...

dulquer salmaan✔@dulQuer Love. Life. Family. Relationships. Bringing together all these in one super special movie. Here is the trailer for #VaraneAvashyamund releasing on the 6th of Feb in the GCC and 7th Feb all across India. So excited!!! https://youtu.be/M3i-VGCY69c  YouTube ‎@YouTube2,1213:33 AM - Feb 1, 2020Twitter Ads info and privacy441 people are talking about this Varane Avashyamund is a movie literally bursting with highlights - directed by Sathyan Anthikad's son, Anoop; the leading lady is Lissy and Priyadarshan's daughter Kalyani and, of course, it stars you. How did you manage to put together this elite group? This is a dream cast, all credit to the director. He had this in his mind for some time. I was not on board initially. But he was sure about Suresh sir (Suresh Gopi) and Shobana. There was also a bit of confusion about the heroine. Wasn't Nazriya cast initially? Yes. There was some clash in dates and so she could not join the team. Then Kalyani came in; I came on board and things got fleshed out a little more. Are Suresh Gopi and Shobana present throughout the movie? (Laughs) Yes, they are! It's not just cameo roles. It's like a multiple narrative. They are coming together after 14 years and some narratives are similar to Manichithrathaazhu. There is lot of curiosity among fans regarding the movie. Expectations are rather high. Yes, but it's all very organic. I don't think it's gimmicky in any way. We have been correct in terms of casting. I am excited about the narratives, they are very interesting. The movie talks about arranged marriage. What is your take on this? I don't think you can put it down to just arranged marriages. I think the trailer did that, giving that sort of impression. Well, my take . (laughs) I don't think there is any right way in meeting the right person. Actually there is no particular way. These things just happen in life. It's great to see 'slice of life' movies which the audience can relate to. Is that a genre you are particularly comfortable with? I think it's important to me that I relate well to the role that I do. That could be the reason I get drawn to 'slice of life' movies. Believable roles. Even the books I read, I need to be able to relate to the book, the characters in the book. Overly commercial roles . well, they are not for me. I cannot do them. I don't think I will be convincing. Yes, I tend (to do) more realistic movies. You are the epitome of fashion, the suave male of Malayalam cinema. How do you maintain your 'style-factor'? That is not a conscious decision. I like clothes, it's something I liked from a very young age. I have an eye for good things. I don't know, style is something unique to people. But it's not just about clothes. It's about how you come across, the sophistication. That's not conscious. I have been noticing people, their styles. This is how I am, you know. You work hard for your movies and it is reflected in your success, not just in Malayalam, but in Hindi, Tamil and Telugu films, as well. Has the fact that you are Mammootty's son helped you or hindered you in any way? Maybe in the beginning it has helped me. You know, to get my portfolio right, that sort of thing. Beyond that it all depends on how you do, how hard you work. How you perform and how ardently your fans like you and accept you, that's what counts in the end if you need to survive. Does it irk you if your capabilities are taken for granted? (Laughs). No matter what, I have had to work hard, very hard. Otherwise you cannot stay on in the industry. But initially expectations would have been high... That would not be fair on any person when you are kind of comparing us to their 20 to 30 years of solid experience. You can't compare that to a new comer, it's just not fair. The success of a movie is more daunting when you produce one. Is it in anyway different from just being an actor? It's exciting. Yes, it's different, but thrilling. My initial intent in producing a movie was to be able to create. I needed to make a team of my own to start with. That took some time and I got together a good team. I did not want to make experienced people do all the work. I have ambitions. I want to be a regular content provider. It's about a group of youngsters getting together. It's an opportunity.  So that's bringing young blood into the Malayalam film industry. I love doing that. I think it's about providing opportunity. And in turn, I get great opportunities. But then again, let me tell you, it's not charity. It's something we should be doing for the industry. And, in return, I get to do what I love doing.  Has your degree in Business Management helped you when it came to production? I don't know. I am waiting for the results. I have done two movies earlier. But they were different. Each movie is a learning experience.  What excites you about acting? It's exciting to be a part of any project in any capacity, and the more roles you take up the more exciting it is. If you are an actor there are specific times to come in, and specific roles to do. But as a producer, you are involved full time. You play various roles. I just enjoy that. Are you looking at direction also? No. I don't want to take too much time out of my acting career. I enjoy acting.  Malayalam cinema is back on track with new-age movies telling real stories. Budgets do not seem to matter now. What is your take on big-budget movies in the present scenario? I think there is space for that also. People have the appetite for all kinds of movies. If you feed them with just one type of movie, like what you call new age movies, it may not go down well, may not always entertain them or get them excited. You have to constantly give them different genres. I don't believe the time has come for just real-life movies. There is space for all types of movies. I truly believe that. When the old school comes back, there is still a lot of excitement.  But don't you think young actors are getting more opportunities now? Yes, definitely. But then age does not matter in the Malayalam film industry. Everybody has work now. There are a lot of good movies; lot of scripting is happening. It's a great time now. It's not like there is a particular type of appeal, everybody is trying different types of cinema, different stories, different roles. There is so much happening.  Is this phenomenon only in Malayalam movies? Yes. We are coming out with good movies. It encourages artists when the content is good. A movie like Anjaam Pathiraa is essentially a thriller. The fact that there are numbers for such movies is very encouraging. And people are viewing it repeatedly though they know the thread, even though they know the mystery. The suspense is known, there is no shock value, but still people are watching it because it's a well made film. That predominantly has to do with Malayalam movies and its audience. You won't find it anywhere else. Be it Driving Licence, Anjaam Pathiraa, Kumblangi Nights, all these have numbers. That's Malayalam cinema for you. What is the major difference when you act in a Malayalam movie and a Hindi movie? Well, it really depends on the type of movie you are doing, the team you are working with. It's difficult to generalise the entire industry. I have been lucky to work with good teams trying to put out good work. Do you discuss your movies with your father? We both hear from directors all the time. Sometimes when I lock something or I kind of like an idea, yes, I discuss with him.  Would you take up only path-breaking cinema or would he encourage you to mix them with commercial cinema like he does? He does a mix. And he has been successful in that, that's his experience speaking, his talent. I will, maybe. But not now. Again, the movies we do have numbers, and then such movies become commercial movies. What is your criteria in selecting a movie? I generally go with my gut. It's like when you read a book, you know whether you like it or not. I know when I like something.  So, it's the script above the team? It's both. Sometimes it could be a great team but the script may not be up to the mark. Sometimes it could be a great script but the team does not deliver. So, it should be the right combination. Read the full article

#technology #technologyinfosec

[afghankings-blog]

@_._d.e.v.u_._ Devika Sanjay is a young Malayalam actress who made her acting debut with the movie ‘Njan Prakashan‘ in 2018. The movie was directed by Sathyan Anthikad. She came into the film industry when she was 16 and got an opportunity to work with actor Fahadh Faasil in her debut movie itself. Name: Devika Sanjay Real Name: Devika Sanjay Nickname: Devika Profession: Indian Film Actress Date of Birth: 2002 Age16 (as of 2018) Zodiac sign: Yet to be updated FamilyFather: Sanjay Mother: Sreelatha https://www.instagram.com/p/BxkodvmHiNN/?igshid=ehp5zqb6flif

[bijoybenny1]

മമ്മൂട്ടിയും സത്യൻ അന്തിക്കാടും

Mammootty and Sathyan Anthikad come together for film after 22 years. Mammootty and director Sathyan Anthikad’s last film together was ‘Oral Mathram’ made in 1997

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[bharatiyamedia-blog]

As Kabir Singh battles brickbats, a have a look at Malayalam cinema's latest subversion of poisonous alpha males- Leisure Information, Firstpost

http://tinyurl.com/yxdlm6xr On this 12 months’s Kumbalangi Nights, one of many primary leads Saji (Soubin Shahir), believing himself chargeable for the surprising loss of life of his good friend, is nearly on the verge of a meltdown when he turns to his little brother—”I believe I’m shedding it. I need assistance. Can you’re taking me to a health care provider?” Within the second that he confides to the Physician and sobs throughout him, we’re witnessing the overhaul of the poisonous masculinity that has been celebrated in Malayalam cinema for ages. The scene concurrently subverts one among its oldest and most profitable tropes—the highly effective, protecting elder brother. In any case, Saji is the eldest in that dysfunctional household of 4 brothers. In the identical movie, his youthful brother (Shane Nigam) proves to be a by-product of poisonous masculinity and will get enraged when he realises that he isn’t entitled to take possession of his girlfriend but. The girlfriend, in the meantime, calls out her misogynist brother-in-law who considers himself the protector and the legislation of the household. “In our household we give ladies affordable freedom” being the fixed chorus. The brother-in-law, Shammi (Fahadh Faasil), the image of an “supreme household man” who can also be casteist, snobbish and misogynist, finally ends up being the psychopathic antagonist within the movie. Kumbalangi Nights, directed by Madhu C Narayanan and written by Syam Pushkaran, not solely succeeds in overthrowing the celebrated alpha male but additionally factors out that in idea he’s the villain of the story. “However I want they hadn’t made him right into a psychopath. He truly represents the typical chauvinistic Malayalee male,” says CS Venkiteswaran, movie academician. A nonetheless from Kumbalangi Nights. Having stated that, the movie nonetheless doesn’t drift away from the bigger narrative in Malayalam cinema — exhibiting ladies as nurturers, about ladies anchoring the boys and providing them objective in life. Agrees movie critic Sreehari Nair, who says Kumbalangi Nights was additionally about “what number of sturdy, gifted, impartial ladies willingly hand over their very own character to grow to be captives of bushy brutes.” “In Kumbalangi, the reactions of these ladies within the Shammi family, the best way they virtually tense up in his presence, how they, by conditioning, cower down earlier than his masculine grandeur, is a actuality in lots of Indian and Malayali households. These reactions, I believe, are as vital to review because the character of Shammi. The reality is that quite a lot of ladies, by placing love earlier than their very own honour, carry slavishness upon themselves. I personally don’t suppose this is a component that wants ‘correction’. It merely is one among our nation’s many poetic insanities,” Nair observes. Malayalam cinema, which has been on a studying curve publish WCC and New Wave, is consciously making an attempt to rephrase the century-old conditioning layered within the basically male-centric narrative. Although Malayalam cinema has not at all times glorified the poisonous male, it can’t be discounted that standard cinema at all times gave credence to him over the feminine voice. There have been the occasional KG George (thought of one of many most interesting filmmakers of all instances) movies (1980s) with advanced women and men who fell from the excessive pedestal of morality, obtained up and continued with their lives with out being judged. Whereas the 1980s had a mix of real looking portrayal and endorsement of the poisonous male hero, it was in the direction of the mid-1990s that it grew out of hand. A lot earlier than Ranji Panicker-Ranjith-Shaji Kailas trio scripted their alpha male icons, Director Balachandra Menon (between 1979-mid 1990s) had created and popularised a story the place the best girl was somebody who bowed to her man and was not able to making large selections in the home. He made positive that every time the standard position play obtained disrupted (or every time a girl spoke towards this male-order), he introduced them again within the patriarchal order, as he believed solely that stabilised the right household. A number of of his movies rallied across the “actual man” syndrome. Maniyan Pillai Athava Maniyan Pillai has a hero who rapes a girl to reveal his masculinity, whereas Prashnam Gurutharam’s protagonist opts for suicide over residing as an impotent man. “Within the 1980s there wasn’t a lot age parity between the hero and the heroine, which helped to carry an equality within the relationship, not like post-2000. Be it Jayabharathi-Soman, Venu Nagavalli-Jalaja or Shobha. However after superstardom, the age hole between the hero and heroine drastically widened, making the creation of alpha males simpler. Now after all, we see the age hole decreasing,” observes CS. Director Padmarajan has depicted poisonous masculinity in a number of of his movies. In Kariyila Kattu Pole, we see a hero (Mammootty) raping a girl to “educate her a lesson” and to point out her “what an actual man” can do. And worse, her trauma is hardly addressed within the movie which opts to digress into the bond between the daddy and youngster. In the meantime, his 1983 movie Koodevide has an entitled misogynistic hero who results in jail for murdering the scholar of his lover. In Thoovanathumpikal, his most celebrated work, the main man, Jayakrishnan is a product of poisonous masculinity, unable to take a woman’s rejection leading to a one-night stand with a name woman. However even there, his fragile male ego makes him responsible of coveting a woman’s virginity as he believes like each patriarchal male that it defines a girl’s existence, prompting him to supply her marriage. Within the late 1990s, when heroines have been being sidelined, alpha males rose in prominence. Director Rajasenan’s standard mainstream movies that includes Jayaram had appalling plotlines woven round middle-class households. In all his celebrated movies, be it Ayalathe Adheham, Meleparambil Aan Veedu or Njangal Santhushtaranu, males steeped in patriarchy mocked, judged or introduced the “drifting ladies” again into the household. In Ayalathe Adheham, the hero is a grouchy sexist who believed that exhibiting affection or flaws earlier than his spouse would make him much less of a person. So, they find yourself demonising the one who overtly made a present about loving his spouse. Whereas Meleparambil Aan Veedu makes an announcement that society considers a girl virtuous as alongside as her unborn youngster is claimed by the daddy. The heroine in Njangal Santhushtaranu is the stereotypical trendy spouse who can’t prepare dinner or be motherly and wears trendy garments. She is named out for not being the standard obedient spouse. However the minute she “realises her errors” she wears a sari and turns into the motherly determine he needed her to be. Sathyan Anthikad made positive his heroines have been the catalyst for his heroes to know their objective in life. As soon as that’s completed, the women go into the standard gender roles. In Priyadarshan’s Mithunam, it’s once more a hero who doesn’t speak in confidence to his spouse concerning his financial points, as he both thinks she is simply too dim-witted to know him, or she would suppose much less of him as a person. Finally, she is pressured to apologise for not empathising along with his silent remedy of her. Lohithadas’s Kanmadam has a hero (Mohanlal) who thinks he can weaken a girl’s (Manju Warrier) defences with a kiss, as he feels that’s all she yearns for. However then she can also be proven as a daring, grumpy girl who’s being pressured to shoulder the accountability of her household within the absence of her brother. The overall thought being sketched is {that a} girl is happiest when a person takes care of the home and she or he performs the spouse and mom. A minimum of the hero’s motion and her response reinstate that idea. Although Malayalam cinema has had comparatively fewer romantic films, the notable ones had stalking (Vandanam, Chithram, Annayum Rasoolum) getting used as mandatory instrument for wooing. Whereas these are largely depictions, the narrative took a disturbing flip by the late 1990s and early-mid 2000 when superstars (Mammootty and Mohanlal) have been crafted as demi-god alpha males and their heroines the place diminished to arm sweet. They adhered extra to hegemonic and hyper masculinity. There was Renji Panicker, who created heroes who at all times judged the “trendy lipstick sporting girl with a thoughts of her personal,” gave them a category on self-discipline, traditions, and household. After which there was writer-director Ranjith who made positive he created ladies who prostrated earlier than their main males and eagerly jumped at their flippant, sexist marriage proposals. In all these narratives, a person’s value is at all times weighed on the paternity scale — “If you’re born of a single father, carry it on,” is the ISI mark of heroism in Malayalam cinema. Dileep movies endorsed misogyny and sexism within the guise of household entertainers, passing off crude humour concentrating on ladies in each movie. As soon as the development of alpha male superstars began to say no (although this 12 months, one of many greatest hits is a celebrity glorification car known as Lucifer), the New Wave set in. That and social media collectively prompted the emergence of girls writers in movie criticism and the formation of WCC. Conversations started on ladies’s illustration and misogyny in older Malayalam movies, leading to extra insightful discussions. Political correctness was thought of as essential to a movie’s acceptability because the story, medium and method. The change is clear in latest instances, when audiences are woke in the direction of misogyny, racism, and casteism being glorified on display screen. A nonetheless from Varathan. The result’s the likes of Varathan and Ishq. In final 12 months’s Amal Neerad directed Varathan, the hero is a metrosexual, the subversion of poisonous masculinity. He’s mild, type, giving, and doesn’t react to conditions like how society perceives a person ought to. He’s additionally susceptible, emotional, and compassionate, traits typically seen as weaknesses in a person. Of their marriage, he makes no fuss about being helpful within the kitchen or in not being the salaried associate. “It’s an fascinating depiction, however his climactic transformation is that of a celebrity’s, which I believe was deliberate,” says CS. Whereas director Anuraj Manohar’s Ishq has a extra advanced layering. It’s a few younger couple who tries to rescue themselves from the clutches of a creep who harasses them within the garb of ethical policing. However as soon as the issues tide over and the vengeance has been extracted, comes the reality concerning the hero. It’s solely when he’s reassured that the villain didn’t contact his girlfriend that he decides to stroll again into her life. He endorses machismo and has all of the particular traits of a poisonous male who thinks his manliness has been mocked and challenged when he couldn’t “shield and defend” his girlfriend. It’s that alone which makes him plot a revenge plan that goes utterly towards his character. However in the long run when that façade falls in entrance of her, it’s heartening to observe her take a stand. Between all that is the baffling indisputable fact that Arjun Reddy, the 2017 Telugu movie which has been remade in Hindi as Kabir Singh (and is at the moment operating in theatres) which in flip has been aggressively slammed by North Indian movie critics for its blunt glorification of poisonous masculinity was effectively acquired in Kerala. Shahid Kapoor in a nonetheless from Kabir Singh. YouTube Most likely we should always simply take coronary heart in the truth that Malayalam cinema and a piece of the discerning viewers has although belatedly acknowledged poisonous masculinity and the dangerous, abusive methods it’s reared its head, the conversations are in full swing. The change may even be effectively on its means. 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Athmavin Akasathil(Full Song Video) from Njan Prakashan

Athmavin Akasathil(Full Song Video) from Njan Prakashan

Njan Prakashan is a Malayalam Movie, which is directed by Sathyan Anthikkad and written by Srinivasan. Movie features Fahad Fazil.

[embedyt] https://www.youtube.com/watch?v=QzqBhMdkT6o%5B/embedyt%5D

Lyrics: Hari Narayanan Music: Shaan Rahman Singer: Gouri Lekshmi & Shaan Rehman Movie: Njan Prakashan Movie Director: Sathyan Anthikad Producer:Sethu Mannarkkad Banner:Fullmoon Cinema Content Owner:…

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#Athmavin Akasathil(Full Song Video) from Njan Prakashan #Fahad Fazil. #Njan Prakashan #Njan Prakashan Malayalam Movie #Sathyan anthikkad #Shaan Rahman #Srinivasan