Showing posts with label Visaranai. Show all posts
Showing posts with label Visaranai. Show all posts
Why recognition at the Oscars eludes Indian cinema
8:01 AM
After Visaranai failed to make it to the Top Nine in the Best Foreign Language Film category at the upcoming Academy Awards, BT speaks to Indian film industry experts and analyses what we lack
Rachana Dubey (BOMBAY TIMES; December 21, 2016)
On December 15, India's
dream to bring home an Oscar in the Best Foreign Language Film Category
was shattered when Visaranai, the official entry, failed to earn a spot
in the Top Nine. The last time India was shining at the Academy Awards
was in 2001 when Aamir Khan's Lagaan made it to the Top Five, losing out
to Bosnia's No Man's Land. The quest for the elusive Oscar continues
even 15 years later. Vetrimaaran's Tamil drama battled 84 foreign
language entries from around the world. And like it has happened so far,
the film travelled a few miles before making an exit from the
competition.
WHERE ARE WE GOING WRONG?
Every year, the Film Federation Of India (FFI) appoints a jury to select an entry. From the movies sent in the last decade alone, only Harishchandrachi Factory and Rang De Basanti stood a realistic chance to make it to the Top Five.
Oscars are clearly not won by mere stories and performances. After getting the official nod from FFI, a movie goes through several stages of self-promotion to draw eyeballs and votes from the 6000 members of the AMPAS (Academy of Motion Picture Arts and Sciences). This requires a budget, which this year, was sanctioned by the Information and Broadcasting Ministry.
For executive producers of Visaranai, Aalif Surti and Guneet Monga, the experience of campaigning for the film was an eyeopener. Surti says, “Many Indian films could not run a campaign correctly for the lack of money and guidance. Government funding is a big help because we have to battle deep-pocketed studios. We have to place ads in influential publications in America and pick the best agents to promote the film, which is an expensive deal. In the case of our film, Dhanush, our producer, also pooled more than the film's budget to get us this far. We also need to select our entries in India a little earlier than we usually do because we lose out on getting a headstart in the Oscar race - be it in procuring the services of the top publicists or getting slots for screenings. By the time we reach their shores, the screens and agents are booked by other films. While India's reputation as a filmmaking nation has improved, it needs to now play its game correctly. Lobbying is an accepted practice there and we must play by their rules to make a mark. The atmosphere in the USA right now is like Chandni Chowk in the wedding season. They mean business and so should we.“
Amol Palekar, the actor-filmmaker who has been on both sides of the fence - as a selector as well as a filmmaker whose film Paheli was sent as an official entry, adds, “Oscars should be treated as one of the international platforms for our movies. Their game has to be played by their rules. I remember when Marathi film Shwaas was sent as an entry, the filmmaker's American expedition was funded by the aam junta. But the filmmaker ended up holding screenings for Marathi-speaking Americans who don't even have a vote to cast for the film to be selected in the next round. It was a loss of money and time, right? If you have to win a game, you have to adhere to the rules, be focused and unabashed about that. It's simple.“
Ketan Mehta, who headed the selectors' committee this year, believes that sending multiple entries could also be a way to cement India's position at the Oscars. “India is not a one-language nation. It's important that we try and send at least two entries across our 21 languages to represent our cinema,“ he says.
DIVIDED CHOICES
Each year, the selection process for the official entry is marred by controversies and blame games, which hasn't thankfully happened this year. Visaranai beat strong contenders like Neerja, Nil Battey Sannata, Udta Punjab and Sairat to become India's official entry. Point this out to Mehta, and he says, “Yes, we were amazed with the entries this year. Visaranai was a good choice. But every year, a set of jury members will not come up with an entry that will be accepted with similar ease.“ Last year, Marathi film Court's selection came under a cloud. Filmmaker Rahul Rawail reportedly walked out of the committee as he didn't like the way Palekar, the chief, functioned.
WHY AN OSCAR MATTERS TO INDIAN FILMMAKERS?
Filmmaker Shyam Benegal was the torchbearer of parallel films in India and made the kind of cinema that could have easily appealed to the western selectors. He says, “An Oscar is an asset only if you are seeking an international reach. Otherwise, an average Indian doesn't care about a film winning an Oscar. The foreign language category is helpful to films from Europe and South America because it widens and deepens their market.“
Anupam Kher, a veteran who has been to the foreign shores several times with his films being sent as official entries, differs. The actor insists that the reason the Oscar awards are so sought-after is that there is a system of selection, which doesn't happen here. “I'm not one of those who will say that the Oscars are not important. Yes, we shouldn't be obsessed with the Academy Awards and must not lose heart if we don't make the cut. I haven't seen the film that has been sent from India this year, but let's face it, we have also sent a lot of mediocre films in the past which affected our reputation in the West,“ he says.
Filmmaker Mahesh Bhatt believes that no filmmaker became great because he won an Oscar. Satyajit Ray, he says, never made films to appeal to an international audience but the Oscar committee was forced to recognise his work. “We have to decide who we are making our films for, a foreign jury or a nation of 2.1 billion people with myriad tastes. It is the consumer who decides how good your product is, and not an award from a foreign country. But if you want to rub shoulders with the foreign film market, it has to be on their terms without becoming them. Mother India qualified for the Oscars because it had a deep-rooted Indian story. It's an example to learn from. Years later, Danny Boyle used India as his canvas to fly at the Oscars. The writing is on the wall my friend. Read it!“ he sums up.
WHERE ARE WE GOING WRONG?
Every year, the Film Federation Of India (FFI) appoints a jury to select an entry. From the movies sent in the last decade alone, only Harishchandrachi Factory and Rang De Basanti stood a realistic chance to make it to the Top Five.
Oscars are clearly not won by mere stories and performances. After getting the official nod from FFI, a movie goes through several stages of self-promotion to draw eyeballs and votes from the 6000 members of the AMPAS (Academy of Motion Picture Arts and Sciences). This requires a budget, which this year, was sanctioned by the Information and Broadcasting Ministry.
For executive producers of Visaranai, Aalif Surti and Guneet Monga, the experience of campaigning for the film was an eyeopener. Surti says, “Many Indian films could not run a campaign correctly for the lack of money and guidance. Government funding is a big help because we have to battle deep-pocketed studios. We have to place ads in influential publications in America and pick the best agents to promote the film, which is an expensive deal. In the case of our film, Dhanush, our producer, also pooled more than the film's budget to get us this far. We also need to select our entries in India a little earlier than we usually do because we lose out on getting a headstart in the Oscar race - be it in procuring the services of the top publicists or getting slots for screenings. By the time we reach their shores, the screens and agents are booked by other films. While India's reputation as a filmmaking nation has improved, it needs to now play its game correctly. Lobbying is an accepted practice there and we must play by their rules to make a mark. The atmosphere in the USA right now is like Chandni Chowk in the wedding season. They mean business and so should we.“
Amol Palekar, the actor-filmmaker who has been on both sides of the fence - as a selector as well as a filmmaker whose film Paheli was sent as an official entry, adds, “Oscars should be treated as one of the international platforms for our movies. Their game has to be played by their rules. I remember when Marathi film Shwaas was sent as an entry, the filmmaker's American expedition was funded by the aam junta. But the filmmaker ended up holding screenings for Marathi-speaking Americans who don't even have a vote to cast for the film to be selected in the next round. It was a loss of money and time, right? If you have to win a game, you have to adhere to the rules, be focused and unabashed about that. It's simple.“
Ketan Mehta, who headed the selectors' committee this year, believes that sending multiple entries could also be a way to cement India's position at the Oscars. “India is not a one-language nation. It's important that we try and send at least two entries across our 21 languages to represent our cinema,“ he says.
DIVIDED CHOICES
Each year, the selection process for the official entry is marred by controversies and blame games, which hasn't thankfully happened this year. Visaranai beat strong contenders like Neerja, Nil Battey Sannata, Udta Punjab and Sairat to become India's official entry. Point this out to Mehta, and he says, “Yes, we were amazed with the entries this year. Visaranai was a good choice. But every year, a set of jury members will not come up with an entry that will be accepted with similar ease.“ Last year, Marathi film Court's selection came under a cloud. Filmmaker Rahul Rawail reportedly walked out of the committee as he didn't like the way Palekar, the chief, functioned.
WHY AN OSCAR MATTERS TO INDIAN FILMMAKERS?
Filmmaker Shyam Benegal was the torchbearer of parallel films in India and made the kind of cinema that could have easily appealed to the western selectors. He says, “An Oscar is an asset only if you are seeking an international reach. Otherwise, an average Indian doesn't care about a film winning an Oscar. The foreign language category is helpful to films from Europe and South America because it widens and deepens their market.“
Anupam Kher, a veteran who has been to the foreign shores several times with his films being sent as official entries, differs. The actor insists that the reason the Oscar awards are so sought-after is that there is a system of selection, which doesn't happen here. “I'm not one of those who will say that the Oscars are not important. Yes, we shouldn't be obsessed with the Academy Awards and must not lose heart if we don't make the cut. I haven't seen the film that has been sent from India this year, but let's face it, we have also sent a lot of mediocre films in the past which affected our reputation in the West,“ he says.
Filmmaker Mahesh Bhatt believes that no filmmaker became great because he won an Oscar. Satyajit Ray, he says, never made films to appeal to an international audience but the Oscar committee was forced to recognise his work. “We have to decide who we are making our films for, a foreign jury or a nation of 2.1 billion people with myriad tastes. It is the consumer who decides how good your product is, and not an award from a foreign country. But if you want to rub shoulders with the foreign film market, it has to be on their terms without becoming them. Mother India qualified for the Oscars because it had a deep-rooted Indian story. It's an example to learn from. Years later, Danny Boyle used India as his canvas to fly at the Oscars. The writing is on the wall my friend. Read it!“ he sums up.
We are all proud and excited-Kunal Kapoor on 'Veeram' song being listed for Oscars
2:00 PM
Kunal Kapoor talks about the song from his trilingual film 'Veeram' being long-listed for the Oscars
Sonil Dedhia (MID-DAY; December 17, 2016)
India's official entry to the Oscars, Tamil film Visaranai, may be out of the Best Foreign Language Film race, but the country can take heart from the fact that upcoming tri-lingual film Veeram starring Kunal Kapoor is still part of the Academy Awards contest. We Will Rise, an English song from the film, is among 91 songs competing in the Original Song category.
Sung by American singer-songwriter Kari Kimmel, the track has been composed by Jeff Rona, who has earlier scored the music for several American TV series and films including Phantom, Traffic and Brotherhood. Elated by the news, Kunal told hitlist, “It’s a beautiful composition. We are all proud and excited that it has been long-listed for the Oscars.”
Director Jayaraj tweeted, “Humbled by the happy news. Dedicating the same to all who are with Veeram.”
An adaptation of Shakespeare’s Macbeth, Veeram also draws inspiration from the Vadakkan Pattukal (Northern Ballads) of North Malabarregion in Kerala and is based on Chandu Chekavar, an infamous warrior in the 13th century. The film is scheduled to release in mid-2017.
Visaranai out
On Thursday night, the Academy announced a list of nine films in the advanced category, which did not include Visaranai. Directed by Vetrimaran and produced by south star Dhanush, it has bagged three National Awards — Best Tamil Film, Best Supporting Actor (Samuthirakani), and Best Editing (TE Kishore).
Alif Surti, the film’s executive producer, said, “We did our best to ensure the film was viewed widely, and the fact that we made it to the top contenders’ list in both Hollywood Reporter and Variety shows the film did make an impact. But, we have to accept that the voting members preferred nine other films in a year which had an all-time record of 85 competing films. I personally feel it will get better for India now with the government supporting our films.”
Inputs by Bharati Dubey
Global acclaim, Bollywood praise helps regional films find larger audience
7:47 AM
With many regional movies creating a buzz even among audiences that don't speak those languages, filmmakers feel it is because of the content they show, not the money they make
Niharika Lal (BOMBAY TIMES; October 13, 2016)
The Tamil movie Visaranai
is the official entry for Oscars this year in the foreign language
category and just like last year's Marathi movie Court, this film not
only managed to avoid the annual fuss created over which film is 'worthy', but was also applauded by the filmmakers.
From the tweets about regional language movies which were not heard of, to the huge posters of regional movies, next to the most awaited Bollywood releases at the cinema halls, and winning awards for best film at film festivals, the regional language films were present everywhere this year. Thanks to the mainstream actors, they even managed to reach the average movie buff. Unless you have been living off the social network, it is very unlikely that you have not found yourself googling about a particular regional movie just because your favourite Bollywood celeb tweeted or praised the film in his/her interviews. If the exhibitors are to be believed, the word of mouth not only helped in getting more publicity but also audience. They say that this is the push that regional cinema needed.
REGIONAL MOVIES FLOORED BOLLYWOOD
When Thithi was screened at the BRICS festival in the capital recently, the hall was so packed that the late arrivals had to sit on the floor. How did a Kannada movie became so popular? Thithi director Raam Reddy told us, “I am overwhelmed with the response of the audience and I was expecting it because many people came and told me that they never got to know if the film was even released in Delhi or not. It was, but just for a week.“ He further added, “People got to know about the film after it got support from Bollywood. I went to Mumbai to show my film to as many people as possible but the support that I received from Anurag Kashyap, Kiran Rao and especially Aamir Khan was really instrumental in changing the image of my film. It was really wonderful to see that people are watching a film for the content and language barrier is not stopping them. Praise by Bollywood stars made a huge difference as our national advertising budget was zero and still Thithi was seen and discussed.“
Bollywood directors like Anurag Kashyap, Karan Johar, Sudhir Mishra and Imtiaz Ali came out in support of many regional films apart from Thithi. If Anurag Kashyap organised Thithi's special screening, then Irrfan Khan did the same for Sairat.
During an interview, Irrfan recently said, “Fortunately, now the audience is kind of exposed to the world cinema. They want a similar thing coming from India too. That's why Talvar, that's why Piku, that's why Sairat. All these films are being lapped up by the audience. Chaar crore ki film sattar crore ka business kar rahi hai.“
Last year films like Court, Killa and Kaaka Muttai also garnered good response in the mainstream space. The filmmakers (of regional movies) agree that Bollywood support helps them get publicity and more business. In an interview, Nagraj Manjule, director of Sairat said, “I never knew it would cross the language barrier so easily and in such overwhelming numbers. Today when Aamir Khan or Irrfan tweets about the film, it's a huge thing for me.“
WORD OF MOUTH PUBLICITY MEANS BETTER DISTRIBUTION
Talking about the impact of Bollywood push, Raam said, “Irrfan and Shekhar Kapur tweeted about the film. These actors have a huge fan following. Aamir has more than 17 million followers and if he tweets something, people will stop and see. Word of mouth helps because even the exhibitors get an idea on whether the film will attract audience or not. As the opinions of these actors are valued, so exhibitors know that if they allot more screens, people will come. Even in Karnataka, we had a really tough time explaining to the exhibitors what is this film about, without music and usual story. But Bollywood's reaction is valued.“
Agreeing to it, Vivek Krishnani, Managing Director of Sony Pictures India said, “Stars talking about a regional film definitely works in their favour and regional cinema is growing in mainstream space which is a good sign. The word of mouth publicity has its own importance.“ Yogesh Raizada, Corporate Head, Wave Cinemas, adds, “For a north Indian to know about a Marathi release or a Kannada release is rare, but when the information comes from a celeb route, it makes the film a must watch.“
AUDIENCE IS MATURE ENOUGH TO BE OPEN TO CONTENT, NOT LANGUAGE
The exhibitors told us that there are fantastic films that come from the regional cinema industry, and people who love cinema will appreciate the content, but the same content finding a place in the larger market is a different game altogether.
Ajit Andhare, COO, Viacom18 Motion Pictures, said, “The regional cinema is at a different stage, so the studios have to be really alert on what content they are offering in which market. Only that can determine whether they will be successful or not. There is lot of new audience that is more concerned about the content, not whether the film is being made in language A, B or C.“
Kamal Gianchandani, CEO, PVR Pictures, said, “Punjabi films have done well at the Box Office, Tamil and Telugu continues to do excessively well. All language movies are co-existing, you can't say these films are competing with each other, but they co-exist. A good film always works, it will always discover its audience. Ultimately, its the power of content which works. When somebody of the stature of Aamir Khan, Irrfan Khan and even Anurag Kashyap speaks about the films, it definitely creates a buzz and attracts more audience, but let's be fair and not take the credit away from the film also.“
From the tweets about regional language movies which were not heard of, to the huge posters of regional movies, next to the most awaited Bollywood releases at the cinema halls, and winning awards for best film at film festivals, the regional language films were present everywhere this year. Thanks to the mainstream actors, they even managed to reach the average movie buff. Unless you have been living off the social network, it is very unlikely that you have not found yourself googling about a particular regional movie just because your favourite Bollywood celeb tweeted or praised the film in his/her interviews. If the exhibitors are to be believed, the word of mouth not only helped in getting more publicity but also audience. They say that this is the push that regional cinema needed.
REGIONAL MOVIES FLOORED BOLLYWOOD
When Thithi was screened at the BRICS festival in the capital recently, the hall was so packed that the late arrivals had to sit on the floor. How did a Kannada movie became so popular? Thithi director Raam Reddy told us, “I am overwhelmed with the response of the audience and I was expecting it because many people came and told me that they never got to know if the film was even released in Delhi or not. It was, but just for a week.“ He further added, “People got to know about the film after it got support from Bollywood. I went to Mumbai to show my film to as many people as possible but the support that I received from Anurag Kashyap, Kiran Rao and especially Aamir Khan was really instrumental in changing the image of my film. It was really wonderful to see that people are watching a film for the content and language barrier is not stopping them. Praise by Bollywood stars made a huge difference as our national advertising budget was zero and still Thithi was seen and discussed.“
Bollywood directors like Anurag Kashyap, Karan Johar, Sudhir Mishra and Imtiaz Ali came out in support of many regional films apart from Thithi. If Anurag Kashyap organised Thithi's special screening, then Irrfan Khan did the same for Sairat.
During an interview, Irrfan recently said, “Fortunately, now the audience is kind of exposed to the world cinema. They want a similar thing coming from India too. That's why Talvar, that's why Piku, that's why Sairat. All these films are being lapped up by the audience. Chaar crore ki film sattar crore ka business kar rahi hai.“
Last year films like Court, Killa and Kaaka Muttai also garnered good response in the mainstream space. The filmmakers (of regional movies) agree that Bollywood support helps them get publicity and more business. In an interview, Nagraj Manjule, director of Sairat said, “I never knew it would cross the language barrier so easily and in such overwhelming numbers. Today when Aamir Khan or Irrfan tweets about the film, it's a huge thing for me.“
WORD OF MOUTH PUBLICITY MEANS BETTER DISTRIBUTION
Talking about the impact of Bollywood push, Raam said, “Irrfan and Shekhar Kapur tweeted about the film. These actors have a huge fan following. Aamir has more than 17 million followers and if he tweets something, people will stop and see. Word of mouth helps because even the exhibitors get an idea on whether the film will attract audience or not. As the opinions of these actors are valued, so exhibitors know that if they allot more screens, people will come. Even in Karnataka, we had a really tough time explaining to the exhibitors what is this film about, without music and usual story. But Bollywood's reaction is valued.“
Agreeing to it, Vivek Krishnani, Managing Director of Sony Pictures India said, “Stars talking about a regional film definitely works in their favour and regional cinema is growing in mainstream space which is a good sign. The word of mouth publicity has its own importance.“ Yogesh Raizada, Corporate Head, Wave Cinemas, adds, “For a north Indian to know about a Marathi release or a Kannada release is rare, but when the information comes from a celeb route, it makes the film a must watch.“
AUDIENCE IS MATURE ENOUGH TO BE OPEN TO CONTENT, NOT LANGUAGE
The exhibitors told us that there are fantastic films that come from the regional cinema industry, and people who love cinema will appreciate the content, but the same content finding a place in the larger market is a different game altogether.
Ajit Andhare, COO, Viacom18 Motion Pictures, said, “The regional cinema is at a different stage, so the studios have to be really alert on what content they are offering in which market. Only that can determine whether they will be successful or not. There is lot of new audience that is more concerned about the content, not whether the film is being made in language A, B or C.“
Kamal Gianchandani, CEO, PVR Pictures, said, “Punjabi films have done well at the Box Office, Tamil and Telugu continues to do excessively well. All language movies are co-existing, you can't say these films are competing with each other, but they co-exist. A good film always works, it will always discover its audience. Ultimately, its the power of content which works. When somebody of the stature of Aamir Khan, Irrfan Khan and even Anurag Kashyap speaks about the films, it definitely creates a buzz and attracts more audience, but let's be fair and not take the credit away from the film also.“
Visaranai has a universal resonance-Ketan Mehta
8:02 AM
Ketan Mehta on why Visaranai was chosen as India’s Oscar entry
Subhash K Jha (DNA; September 25, 2016)
It’s official. India’s entry to the 89th Academy
Awards to be held in February 2017 is the Tamil film Visaranai directed
by Vetrimaran. The hard-hitting film about police brutality shocked
audiences with its raw unvarnished portrayal of violence in police
lock-up.The selection of this true-life account as India’s official entry to the Oscars may confound those who believe ‘Bollywood’ is poorly represented in the Oscar race.
But eminent director Ketan Mehta who headed the jury to select the Oscar this year disagrees. “We are very happy that we chose Visaranai. It’s a raw and authentic depiction of the oppression and brutality that the poor are often subjected to in any unequal social structure. Though it is a story rooted in Tamil Nadu we believe it has a universal resonance. The theme of oppression is connectable with any culture in any part of the world.”
Ketan who is in the throes of preparing for his next feature film the historical Rani Laxmibai with Kangana Ranaut in the lead, says he has not seen such an excellent lineup of Oscar contenders in a very long time. “By the time we narrowed down the list to eight-nine films we were in a serious dilemma, as to which one to pick, because all of them were almost equally outstanding. We had a really tough time zeroing in on one film.Finally, though, there was unanimity over the selection of Visaranai.”
Last year, the Marathi film Court was nominated for the Oscars after being selected by a jury headed by Amol Palekar, but returned home empty handed. Explains Ketan, “We’ve to understand that selection of a film is only a part of the process towards winning the Oscar. Marketing the film in the US, pitching it to the Oscar jury in Los Angeles is very important.” Here is where Indian entries get thwarted and expelled from the Oscars race. “We are hopeful that the makers of Visaranai would be able to take the film to its logical conclusion,” says Ketan. Fingers crossed.
I am sure the entire cinema audience from India will root for Visaaranai-Dhanush
8:02 AM
The actor's Tamil production, Visaaranai, is India's official entry to the Oscars
Purba Dutt (BOMBAY TIMES; September 24, 2016)
He was heartbroken when his
earlier Tamil production, Kaaka Muttai did not make it as India's entry
to the Oscars last year. But that was then; with Visaaranai being chosen
for the Academy Awards this year, Dhanush is ecstatic. You must be feeling like a million bucks...
I got a call saying Viaaranai was being selected as India's official entry for the Oscars. All our patience has paid off.
Did you have a hunch when making this film that it would receive such widespread appreciation and acclaim?
To be very honest, not really. I just believed in Vetri, and I wanted to produce the film. It was a beautiful project. I knew the film would definitely work nationally, but Vetri Maaran (director) has crossed the borders! It's after 16 years that a Tamil film has been chosen for this honour. I am very happy for him and for my production house. It sure does feel nice.
With a couple of National Awards under its belt and recognition at the Venice International Film Festival, did you think that the Oscar selection would be a breeze?
Well, last year, I was very disappointed and heartbroken when Kaaka Muttai wasn't selected. We have a vision and we produce films based on that vision. I had this big, big feeling - or call it what you may - in my heart that Kaaka Muttai would not only be selected as India's official entry at the Oscars but that it would also win the Oscar.S o, this time I did not get my hopes too high. Everything happens when it has to, and everything falls in place at the right time. Visaaranai deserves to be there, and I am very happy it has happened.
What do you think are its chances at the Oscars?
I can't predict, but we are hoping and praying for the best. I am sure the entire cinema audience from India will root for Visaaranai.
What now?
I really don't know what it takes, and what to do. Vetri and I have met a few times and are discussing what is to be done next. We will need a lot of rescheduling our dates. I have no idea of the formalities; Vetri surely will know more about it. Very soon we will have a plan of action ready. We will do whatever it takes.
What do you think of the other films that were in contention?
I have watched Sairat, and Thithi. Both are great films, and many congratulations to the filmmakers for making these successful and critically acclaimed films. I am happy Visaaranai got chosen, but these two are beautiful films, too. And I am sure I'll see more such work coming from these filmmakers.
VETRI MAARAN (Director of Visaaranai)
“This was a very unexpected thing. And when I think this is the
beginning of a new journey, it's exciting, and spurs me on to get on
with the job at hand. Now, I am getting ready to
figure out what's the next step to take this film forward, and learning
the processes involved. We have to understand the voting system of the
Oscars, and how things work there. I have been told it is different from
our awards ceremonies. But we will research, understand and get on the
job immediately. I am thankful to everyone involved in this film, and
the audience for their appreciation. Visaaranai is a film that is very
relevant throughout the world. Wherever there is a polluted system, it's
definitely relevant, and that is what makes the film cutting edge. I
don't know what next or how or where my film journey is going to take me
from here. Right now, I've just got a load of responsibilities to live
up to. I am someone who does things for the moment, lives in the
present, without worrying about the future.“
Visaranai, the autorickshaw driver's story in Oscar race
8:11 AM
Sanyukta Iyer (MUMBAI MIRROR; September 23, 2016)
Sixteen years after the Tamil version of Kamal Haasan's critically acclaimed but controversial bi-lingual, Hey Ram, was selected as India's official entry to the Academy Awards in the Best Foreign Language film, another Tamil film is now LA-bound, hoping to bring home the coveted but elusive Oscar.
After bagging three National Awards for Best Feature Film in Tamil, Best Supporting Actor for Samuthirakani and Best Editing for Kishore Te, Vetrimaaran's thriller, Visaranai, is India's official entry to the 89th Academy Awards. The film premiered at the Venice International Film Festival and received a standing ovation.
"From the last two-three days speculations have been rife and my social media was crawling with memes. When I got the official confirmation and started informing family and friends no one was surprised," laughs four-time National Award-winning director Vetrimaaran, speaking to Mirror from Chennai.
Produced by Raanjhanaa and Shamitabh actor, Dhanush, the film is based on the novel, Lock Up, written by an autorickshaw driver M Chandrakumar aka Auto Chandra. It follows organised crime within the police force and throws light on brutality in the lock-up.
Dhanush took to social media to express his elation, stating that this is the ninth Tamil film chosen to bring the Oscar statuette to India.
Vetrimaaran admitted that both Dhanush and he were confident the film would make a whopping profit which it did. "We made the film on a budget of Rs 3-4 crore and all of Tamil Nadu watched the film. We released it with English and Hindi subtitles too and are now looking to re-release it, trying to work out a deal with our distributors," he informed.
In the past, Mehboob Khan's Mother India with Nargis in the title role in 1957 had lost the prized trophy to the Italian film, Nights of Cabaria, by a solitary vote in the third round. In 1988, Mira Nair's Salaam Bombay, was out-voted by the Danish film, Pelle the Conqueror, and in 2001, Aamir Khan's Lagaan was bowled out by the Bosnian tragic-comic war drama, No Man's Land. Last year, Chaitanya Tamhane's Marathi film, Court, failed to make it to the top five.
Vetrimaaran reasons that that Americans don't know much about Indian cinema and that is why our films are losing out.
"The reason our film got selected was because the jury understood and liked it despite it being in Tamil. I think we have a shot at making the grade. It's going to be a long learning process but we are going to promote the film aggressively over the next few months," he asserted.
--------------------------
Coimbatore rickshaw driver M Chandrakumar, whose book inspired Dhanush’s Visaranai, talks about India’s entry to the Academy Awards
Sonil Dedhia (MID-DAY; September 23, 2016)
"It's a proud moment. I am really overwhelmed,” gushes M Chandrakumar. The Coimbatore-based auto rickshaw driver, fondly known as Auto Chandran, is over the moon with Dhanush’s production venture, Visaranai, based on his life, edging past 28 films to be chosen as India’s official entry to the Oscars 2017. The film had earlier won three National Awards — Best Tamil Film, Best Supporting Actor (Samuthirakani), and Best Editing (T E Kishore), but Chandran hadn’t imagined that it could enter the Academy Awards race. “ I want to thank Dhanush and Vetrimaaran (director). Thanks to their efforts, my voice has been heard all over the globe,” he says.
The film’s subject was largely borrowed from the 53-year-old’s memoir of sorts, Lock Up (2006) — how he was arrested in 1983 and tortured by cops in Guntur district in Andhra Pradesh for a fortnight for a crime he hadn’t committed. “I was working as a waiter at a hotel in Andhra Pradesh, when two of my friends and I were arrested. For 13 days, our life was made hell. Cops would beat and starve us just because they wanted us to confess to an offence that we weren’t responsible for. Those bitter memories still haunt me,” he recounts.
The class X dropout had run away from home and after a brief stint in prison, started driving auto rickshaw for a living. He wrote books while waiting for passengers. “Not even in my wildest dreams, had I thought I would achieve so much after the film was made on my book,” he adds. Chandran travelled to the Venice film festival with the team of Visaranai last year. There, the film bagged the prestigious Cinema for Human Rights Award.
Does he wish to be part of the Oscar trip too? He says, “I don’t know if I am going, but I hope that I get a chance to travel to LA. It all depends on the team and how things work out.” When hitlist got in touch with director Vetrimaaran, he sounded ecstatic about the selection: “My phone hasn’t stopped ringing since the news broke. I am happy with all the international appreciation that the film has received. Even the audience loved the film.”
In a press statement, Dhanush thanked the cast and crew of the film. “It’s a joyous moment for all of us,” he said.
Priyadarshan to collaboate with Akshay Kumar on Visaranai remake?
11:45 AM
Director-actor may team up for a Hindi remake of National Award-winning director Vetrimaaran's film
Sanyukta Iyer (MUMBAI MIRROR; February 10, 2016)
Tamil filmmaker Vetrimaaran, whose second feature film, Aadukalam, bagged six National Film Awards in 2011, including the titles of best direction and best screenplay, is in Mumbai tomorrow for a screening of his latest thriller, Visaranai. The film premiered in the Orizzonti (Horizons) section of the 72nd Venice Film Festival and won the Amnesty International Italia Award.
Now, Mirror has learnt that a Hindi remake with Akshay Kumar is in the works.
Priyadarshan, who last teamed up with the Khiladi for the 2010-comic
caper, Khatta Meetha, will be re-uniting with the actor for the remake.
Their Bhool Bhulaiyaa was a remake of the Malayalam hit Manichitrathazhu
too. "Late last year, Priyadarshan saw Visaranai and was blown away. Two days later he called me to say it was the best film he'd seen in a decade and bought the rights. He will direct and produce the Hindi film himself," asserts Vetrimaaran.
The original was an adaptation of Lock up, a novel by M Chandrakumar, a rickshaw driver from Coimbatore. It's about police brutality, corruption and loss of innocence in the face of injustice. "It's not just a story, Chandrakumar is the face of lakhs of innocents who have faced atrocities in police lockups," Vetrimaaran signs off.
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