PK is a film that, through an alien figure, throws up point-blank questions about religious beliefs, customs, rituals, temples of gods, priests, godmen and all that go along with it. By C.S. VENKITESWARAN
From roadside screenings of short silent films to producing big-budget films, Chennai has come a long way since 1897. By THEODORE BASKARAN
A new small-budget film on the underdog’s struggle for survival in Kolkata, employing a narrative technique borrowed from Thousand And One Arabian Nights and Brecht. By PARTHA CHATTERJEE
A video documentary pays tribute to the immense contribution of theTamil lyricist Pattukottai Kalyanasundaram, whose songs were rooted in the socialist ideology. By R. ILANGOVAN
The 1929 Soviet film “Man with the Movie Camera” by Dziga Vertov was recently adjudged the greatest documentary ever made; Vertov himself perhaps was not without a sense that the film was speaking more to posterity than to the present.
The culmination of a romance is a widely accepted concluding moment in stories because it signifies a transition from the unmarried or single state to a married state. But the reason why it is virtually indispensable in Indian popular cinema needs inquiring into. BY M.K. RAGHAVENDRA
When Indian art cinema, with encouragement from the state, began as a movement around 1970, it did not take its aesthetic from Pather Panchali but from Dharti Ke Lal. By M.K. RAGHAVENDRA