Film makers who did not shoot the breeze

How often do you end up searching for a good movie to watch and feel disappointed in not finding one.  Each movie-goer has their own taste when it comes to spending time on a good flick - classified based on the different types or genres.

These days, when a good watch (commercial with artistic value) is a hard find, a movie enthusiast might choose to watch a movie just to shoot the breeze (unimportant stuff for timepass).  

A reason for this could be the film maker who does not identify a good script to execute and ends up just shooting the breeze (metaphorical intent).

Let me start running the reel on a bioscope, and set the stage for us take a good look at the moving picture;   familiarize with the backstory of Malayalam (Kerala - SouthIndian) cinema and identify film makers who did more than just shoot the breeze.

The origin of cinema in Kerala started with silent cinema, made by businessman turned film maker JC Daniel in late 1920s. Then came the first sound film (talkie),  Balan, released in 1938.

Commercial movies in Malayalam started to find audience during 1950s, which had themes from relevant social issues interwoven with material from literature, drama and politics. This period also boasts of elements of Italian neorealism finding its way. The 50s and 60s saw some interesting work by film makers Ramu Kariat, A Vincent, P Bhaskaran, K S Sethmadhavan. Notable ones were 'Neelakuyil', 'Chemeen', 'Newspaper Boy', 'Odayil Ninnu', 'Bhargavi Nilayam'.

The 70s saw the emergence of new wave in Malayalam cinema with directors finding inspiration from the French and Italian new wave directors. Some of the directors who were recognized in this period were Adoor Gopalakrishnan, M T Vasudevan Nair, G Aravindan, John Abraham, K G George, K R Mohanan. Some of their work which received critical acclaim are 'Swayamvaram', 'Nirmalyam', 'Thampu', 'Agraharathil Kazhuthai' (shot in Tamil).

The golden age of Malayalam cinema, that most critics and the audience considered, was the period from the late 80s to early 90s. It was the screenplays that dealt with everyday life, finely blended by a lucid narration of the plot, intermingling with humor and melancholy that stole the hearts of the movie-goer and critics alike. The film makers who were idolized during that era were Padmarajan, Hariharan, Bharathan, Sathyan Anthikad, Priyadarshan, Sidiqque-Lal, Kamal, Fazil, Shaji N Karun. Films such as 'Thoovanthumbikal', 'Oru Vadakan Veeragatha', 'Piravi', 'Rajavinthe Makan', 'In Hariharnagar', 'Manichithrathazhu' had gained cult status.

Among the listed film makers, the ones I find really special and their work having such an influence are:

-  from  New wave / parallel cinema  (Known for serious content, realism and naturalism)

John Abraham: an avant garde film director who made only four films. His film, 'Amma Ariyan' is the first crowd-funded movie project that was made in India. Its considered to be a complex movie, with critics having read several layers of meaning in its story. 

G Aravindan: known for his unorthodox way of film making, experimenting on storytelling without regular narrative styles. His narratives included capturing current incidents, history, myths and traditional stories.

-  from  Entertaining parallel cinema / Middle of the road cinema  (Known to strike a balance between intellectual and commercial approach to film making)

Padmarajan: a genius storyteller like no other. Noted for his fine, detailed screenwriting and expressive direction style. The speciality with his narratives is how he explores male and female sexualities - though they are fatally attracted initially, they follow different trajectories, often to tragic effects.

Times today, seem to have triggered another new wave called 'New generation'  wave.   These movies have screenplays, wherein the lead characters (are non larger than life superstars) are closer-to-life ordinary men and women. However most of these brand of movies seem to be experimenting on visuals and form, rather than relying on content to carry the movie. Hence in no way can be compared to the legendary new wave. The popular ones from this lot of directors include Lal Jose, Aashiq Abu, Anwar Rasheed, Vineeth Sreenivasan.

All is not lost; there are still wonderful writers who are capable to helm the directors cap for their own script. Among those from yesteryears who have impressed the audience with wonderful movies, and are still going strong, are film makers Ranjith and Sreenivasan. Both of them are considered as master scenarists, who have delivered best by understanding the nuances of each of the characters they have created. Certainly in the company of the elite few in Indian cinema, whose art superbly highlights modern society and its inherent values.

Others film makers who have impressed with their intelligence and brilliant artistic techniques, while creating their masterpiece are Anjali Menon, Shyamaprasad, Ranjith Shankar and Lijo Jose Pellissery.

Quoting Woody Allen - 

"If my film makes one more person miserable, I have done my job" 

Urging film makers to feel the breeze that can refresh the audience's mind and stir their soul.