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--Telugu Movies Chit Chat Corner-- (Page 7)

supercool3 IF-Veteran Member

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Posted: 11 February 2014 at 8:48pm | IP Logged
Originally posted by -Nakshatra-

They have changed the story line while remaking it. Ermm
Doesn't that kill the point of the movie? Ermm The protagonist being this pregnant woman was the USP of Kahaani. 

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-Nakshatra- IF-Rockerz

Joined: 27 November 2011
Posts: 5334

Posted: 11 February 2014 at 9:16pm | IP Logged
But they had other plans. I will post the excerpt for you. May be he should have developed a new script instead of remaking Kahaani.

Sekhar Kammula speaks on Anamika

Filmmaker Sekhar Kammula, who has remade Hindi blockbuster "Kahaani" in Telugu as "Anamika", says it is always challenging to remake a hit film in any language as it requires adapting to local sensibilities.

"When you're doing a frame-to-frame copy then a remake might be easy to execute but adapting a remake to local sensibilities is always a challenge, irrespective of the language it is being made in. 'Anamika' is not a frame-to-frame copy of the original, it has been adapted to suit the local flavour," Kammula told.

Nayantara reprises the role of Vidya Balan in "Anaamika", which was shot in Hyderabad.

"The film is made in such a way that for all those who haven't watched the original, it will appear as a different film. All those who have watched 'Kahaani' will also connect with Anamika as it is made keeping in mind the local sensibilities," he said.

"I have made changes to ensure the audiences feel that the film is different from the original in many ways," he added.

While Vidya Balan played a pregnant woman in search of her missing husband in the original, Nayantara will not be playing a pregnant character in Anamika.

"The film's premise is about the protagonist's search for her missing husband. I didn't find the need to retain the pregnant part because my film is not a frame-to-frame copy. Nayanthara still had to work hard in her role because she doesn't get to earn any sympathy for being pregnant," added Kammula.

The film, produced by Endemol India, also features Harshvardhan Rane, Vaibhav Reddy and Pasupathy in important roles.

Anamika will be dubbed in Tamil and it is titled "Nee Enge En Anbe".

Edited by -Nakshatra- - 11 February 2014 at 9:29pm

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supercool3 IF-Veteran Member

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Posted: 11 February 2014 at 9:27pm | IP Logged
^ Thanks!

That's actually an interesting article. And in a way, it seems like a good idea that he didn't retain the character as being pregnant. A frame-to-frame copy doesn't seem like a good idea, especially when most of the audience are familiar with the original.

That being said, this makes me curious about how the climax would be executed. LOL

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-Nakshatra- IF-Rockerz

Joined: 27 November 2011
Posts: 5334

Posted: 11 February 2014 at 9:37pm | IP Logged
^ Kahaani was praised and dissed for the climax. It was lifted from Taking lives so yeah keeping that in mind I would say good to go without it. But Vidya did a great job with Kahaani, Nayantara will be compared like there's no tomorrow. 

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munnihyderabad Cool Viewbie

Joined: 20 May 2005
Posts: 34395

Posted: 11 February 2014 at 10:16pm | IP Logged
that will be interesting to watch kahaani of a woman who isn't pregnant ...hopefully it is well adapted to the local audience...Kammula is a very good filmmaker, hope the movie does well for him :D
and I absolutely loved Vidya in Kahaani .

thnx for sharing  the article 

Edited by munnihyderabad - 11 February 2014 at 10:16pm

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PutijaChalhov IF-Sizzlerz

Joined: 21 October 2009
Posts: 24229

Posted: 12 February 2014 at 12:06am | IP Logged
Preserving Tollywood's timeless classics

Film archiving gets a shot in the arm, but is it too late to salvage the work of old masters? Hyderabad Times finds out...

Hemanth Kumar

   Last weekend, Hyderabad's film enthusiasts got a chance to watch four rare films which were made between 1913 and 1949. Dadasaheb Phalke's Raja Harishchandra (1913), Throw of Dice (1929), Mukti (1937) and Mahal (1949) were screened as a part of Archival Film Programme, which was jointly organised by a city-based film club and a film school. Gauri Nori, who teaches liberal arts, says, "It's quite unfortunate that we treat our cultural heritage as a contemporary commodity. We need to appreciate it for its own sake. Every time you watch a black and white film, it's like going back in time. The reason we chose to screen such old films is that they were made at a time when the idea of India as a nation was gaining momentum and they were an integral part in shaping our thoughts. It's not about good vs evil, but we look at such old films as what it means to be human."
   The Telugu film industry which fetes only box office darlings, is now waking up to the fact of treasuring the past. Recently, a parliamentary committee mandated that every movie made in India has to be compulsorily canned and preserved at the National Film Archive of India (NFAI), Pune.
   Over the past few decades, NFAI, under the aegis of its founder, PK Nair, has been able to preserve thousands of classics made in several Indian and foreign languages; however, scores of films made prior 1950 are hard to find. The situation is all the more alarming in the Telugu film industry which has never taken the concept of preserving and archiving too seriously. "The other day we were watching ANR's Devadasu (1953) and we realised that a lot of scenes and shots, were exactly like those in Pramathesh Barua's version of the same film in Bengali, which was made in 1935. Such vital information will be lost forever if we don't preserve old films. In the West, archiving is seen as an important medium to understand how much each person has contributed to cinema," explains Gauri Nori. Not surprisingly, Bhishma Pratigya, the first silent film in Telugu and Bhakta Prahlada, the first Telugu talkie film which was made in 1931, are nowhere to be found and the list goes on. "Unfortunately, we have never been serious about preserving our classics. Very few people have had the urge to archive their films, leave alone restoring them. It's a pity that some of the classics made before 1970 are lost forever," says producer, K L Damodhar Prasad.


Apart from the lack of awareness about preservation and archiving, one of the reasons so many classics are lost in the sands of time is because of poor maintenance. Initially, film reels used to contain cellulose nitrate (the reason we call it celluloid industry) which made them highly susceptible to fire. After their initial theatrical run and re-releases, since the producers didn't quite find any value in preserving film reels, they were sold and later, prints containing cellulose nitrate, were melted to extract silver. Once colour films came into vogue, the colour from these film reels was used to make plastic bangles!
   "A film reel needs to be stored at 5 C and every six months, it has to be rolled and cleaned. The chemicals can be changed or reprocessed to make more copies, but this procedure is quite expensive and there aren't too many takers. The average age of a film print, if maintained properly, is about 15 years. Post that, the chemical
nitrate starts to deteriorate
and blotches appear on
the reel. It becomes
unusable after a
point," explains
Praveen K L, editor.


The late ANR was one of the few connoisseurs of cinema, who collected film reels of most of his movies and now his family is digitising the content. Supriya Yarlagadda, from the Akkineni family, reveals, "The longevity of a film reel is limited, especially if it is not kept in appropriate climatic conditions. In a country like India, where it's always so hot and humid, preservation of films is a herculean task. We have been able to procure as much footage of ANR's films as we could. Some of the footage is in a bad state and there's nothing we could do about it. We are in the process of digitising the content and it's quite a laborious and expensive process. If N FA I makes it mandatory to archive every film, then maybe it'll open new doors for preserving our movies."


The switch to digital from films has been rather quick. Already, several post production facilities, which dealt with film stock, have been shut down in Hyderabad and Chennai. One silver lining in terms of film preservation in the digital era is that unlike film reels, footage shot on digital format is hassle free to store or retrieve. "We store them as DPX (Digital Picture Exchange) files, on LTO (Linear Tape-Open) tapes. With
   this format, I believe we can
   retrieve the footage
   even after 20
   years," avers


Incidentally, four years ago, a Hyderabadbased company acquired the rights of KV Reddy's classic Mayabazar (1957), to release a digitally re-mastered version, that too in colour. The new version received great response from the audience upon its theatrical release; however, the company has abandoned its plans to release 14 other such classics in colour format. Jagan Mohan C, who supervised the whole conversion process of Mayabazar's remastered version, says, "Most of the producers have sold the rights of the negatives to TV channels and they have no control over it once the negotiations are done. Besides, there are a lot of legal issues over ownership and copyright issues, in case a third party wants to do something on their own. Before Mayabazar, we had restored Dev Anand's Guide, which was screened at the Cannes Film Festival in 2008 and the entire procedure cost us 1.75 crore."
   Giving a gist of how much one needs to spend on restoring a film, Jagan says, "It depends on the extent to which the reel has been damaged. On an average, it can cost anything between 30 lakhs to 1 crore. And if it's a colour film, then it costs even more for digital re-mastering because it has to be restored and then the colour grading has to be readjusted. That's why not many producers can afford it."


In the past couple of years, few producers in the Tamil film industry have taken up this cause quite seriously and the roaring success of remastered version of MGR's Karnan acted like a shot in the arm. Soon, few other films like Paasa Malar, Vasantha Maalighai, Ninaithaale Inikkum and 16 Vayathinile were converted to digital format. Such enthusiasm is hard to find in the Telugu film industry, but Jagan Mohan C is confident that the Telugu film industry too, especially TV channels which hold the rights of classic films, will jump on to the bandwagon of converting old tapes to HD format. "Currently, most TV channels screen very bad prints of old movies. As more people move to HD TV, these TV channels will be compelled to restore their content to suit the HD format," explains Jagan.


Far away from the hullaballoo of the cities, which are inundated with multiplexes, a few theatres in places like Vijayawada, Vizag, Guntur, Kurnool and Tirupati still screen old films on a regular basis. Several movies of NTR, ANR, Krishna, and Shoban Babu are screened at run-down theatres and they attract small crowds on a daily basis. Lakshmi Narayana, who owns one such theatre in Kurnool, reveals, "Cinema halls which don't have facilities like A/C, DTS are not allowed to release new films. Since renovating a theatre will cost anywhere between 50 lakhs to 1 crore, we have no choice but to screen old films." Nearly three old films are screened every week and Lakshmi Narayana reveals that it's only the older generation, especially those living in villages, which form a regular crowd. "We pay the distributor about 800-1000 to screen old films for two or three days and then the cycle repeats throughout the year. The price of the tickets is between 5 and 20. The money we earn through ticket sale is just about enough for the maintenance of theatres. Running a cinema hall these days is a losing proposition, especially when you can't afford the renovation costs," he admits.

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Kavya.... IF-Rockerz

Joined: 16 July 2009
Posts: 8179

Posted: 12 February 2014 at 4:26am | IP Logged

I guess Sekhar has added Hyderabadi feel to it and I'm so looking forward to it..

Not a big fan of old movies but definitely love a few of thm.. Mayabazar is my all time fav telugu classic.. Color version was even better..
Gundamma Kadha & Misamma are my two other favs...they're so pleasing to watch with everyone in the family..
Few old telugu movies are definitely better compared to the new lot... they had proper stories, values and execution... I wish they are preserved properly so that I can make my grand children watch them just like my granny forced me too LOL
munnihyderabad Cool Viewbie

Joined: 20 May 2005
Posts: 34395

Posted: 13 February 2014 at 12:15am | IP Logged
Looking forward to this movie of Shekar kammula. have watched pretty much all his movies..Anand and Godavari are fav works of his :D 

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