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2008-07-23 02:47:33Corporates endanger Cinema
K. Hariharan The nomenclature "corporate" seems opposed to the concept of ‘independent’ cinema. Strangely, some of the better examples of independent cinema like Mithya or Taare Zameen Par seem to have come out of corporate-based productions and distribution outlets. This March saw one of the biggest gatherings of corporate media CEOs, VPs, and executives at the FICCI Frames 2008 discussing the future of Indian cinema and media. Corporate Indian cinema has finally arrived with big names like UTV, Saimira Pyramid, Percept, Sony Pictures, Adlabs and the unstoppable Anil Ambani.However, when I look deeper into the dealings and transactions made in the name of corporate filmmaking, I find it seriously disturbing. Multi-picture contracts smelling like junk bonds are signed with actors and directors for crores and then labelled as films like Tashan and Love Story 2050. Looking at the incredible list of executive producers and consultants on a film called Aamir makes me wonder where they were when the film was being made or released.And there is the absurd hype about our corporate bosses signing up Steven Spielberg and acquiring 500 cinema screens in the US, hoping that such news will boost a sagging share market. Can’t we more realistic Many well-minded producers in the corporate fray explain it off by saying that these are pangs of labour pain being experienced by a new system taking birth. But will this new baby look and feel normalLast week I was at the IIM-Bangalore, addressing students on the values of independent filmmaking and the prospects for change, which is actually possible if the right kind of people come to the fore in the emerging world of corporate cinema. Looking at the kind of money and returns being projected today, somebody like me seems like a dinosaur working with a maximum budget for a feature film in 2000 at Rs 40 lakh.At the cost of sounding like a blistering oracle I would like to reassert that the greatest talent of the Indian film fraternity was to prove to Hollywood that we could keep them at bay not only because of our unusual forms of melodrama but also because of our amazing ingenuity in using top-of-the-line capital intensive equipment to produce films at amazingly below-the-line budgets.For this to happen independent filmmaking requires to prioritise the film first and the deal later. We seem to be aping the business angle of Hollywood by concentrating on the deal-making logistics more than on the film. We have to remember that cinema is unlike other industrial products where consumption is based on a blend of need-based survival and want-based aspiration. Cinema as a cultural product is totally dependent on the audience’s requirement for media as a negotiating instrument to seek upward social mobility. And this requirement is completely unpredictable, however much the filmmaker could claim that he or she knows the pulse of the audience.My appeal to all MBAs who head corporate film houses is to keep an ear to the ground and trust the native intelligence of the independent-minded filmmaker to come up with the right approach to reach the audience. While instilling production discipline is important to induce a modicum of professionalism, it should not be at the cost of that crucial element called risk-taking-talent.This is something which only creative artistes can master. Cinema is not about deal-making. It is about telling stories. If we don’t care, we will drive ourselves to cinematic bankruptcy like our Hollywood corporate honchos who continue to bankroll more of Die Hard, Superman, Shrek and Narnia. Are we getting ready for more remakes of Sarkar Raj, Don and KarzLet’s ask ourselves one simple question. Do we truly believe that the best days of Indian cinema were those which produced 40 films starring Rajesh Khanna between 1966 and 1974; and that between the years 1960 and 1970 we saw 100 films starring Sivaji Ganesan, 128 starring N.T. Rama Rao and 145 films starring Prem NazirFor a population so large, I think the primary responsibility of cinema’s cultural artisans is to keep up the sheer production of their art works for public display. It should be left to the rasika to choose freely from among such a huge number. These are simple kitchen truths which our grandmothers will vouch for.Today, as a true rasika, even after discounting the presence of so many TV channels, I get to see a Aamir Khan film every three years; a Rajini or Kamalhasan film every two years; a Hrithik Roshan film every two years. By the time I get to see our up-and-coming Arya in Bala’s Naan Kadavul, I will be close to God myself to see if it is true or not. My father and my guru once told me, "When we make more movies, money will follow. But when we want to make more money, movies do not follow."The writer is a film and documentary maker and director of L.V. Prasad Academy. He has made seven features including award winners like Ghashi-ram Kotwal in Marathi and Current starring Om Puri and Deepti Naval.Â
2008-07-23 01:33:25Exodus of Aussies, Kiwis to affect IPL
Cricket | R. MohanIn May, IPL teams may hardly resemble those that played in the last two weeks of April. The exodus of the Australians, West Indians and New Zealanders, to do national duty in the Cari-bbean and in England, would mean that the team composition would change dramatically. Considering the impact the Australians have made in the opening phase with three of four centuries coming from them, the very nature of a team's cricket could change too.The latecomers and the reinforcements have arrived, some may even have sneaked in much to the consternation of franchises, which are questioning the norms for foreign player signings outside the auction. Frankly speaking, the flavour of the first IPL has been mostly of the imported variety despite so many success stories of local players who on occasion have outperformed themselves.Chennai Super Kings who have established themselves at the top of the table with four wins in as many outings may have to change their whole batting order as well as their approach because they are losing three key men to the exodus - Matthew Hayden, Mike Hussey and Jaocb Oram. Other teams are also similarly affected with Kolkata Knight Riders certain to feel the pinch as McCullum was providing them with so much thrust.The question is bound to come up about how open should the competition be. Should the IPL throw open its doors and raise the cap on foreign players from the existing four It can be argued that if the English Premier League format is to be followed, it should then be an open house with teams free to choose how much of their playing XI they would wish to be filled by imported stars.If market forces are allowed their freedom, which will probably happen after the first season when transfers become possible, it is on the cards that some IPL teams will aspire to be the Arsenal FC of the IPL. The London club that boasts of 13 League titles and 10 FA Cups now has far more French-speaking players than English footballers. If the existing cap of four players is raised because of pressure from teams, the composition of IPL teams could change drastically once again.It would be nice if the IPL teams were to follow the examples of the other giants of EPL, like Manchester United and Chelsea who believe in keeping their backbone English. There is a certain pride in them when an English footballer like Paul Scholes scores the goal as he did to take ManU to the final of the Champions League.When it comes to a one-club star like Scholes, who having been with United for 14 years has risen through the Old Trafford ranks, the English tend to go gaga.There is, however, no denying the pride in seeing home grown talent reach the pinnacle even in a club with an international outlook like ManU, one of the leading brands in pro sport franchises.The Delhi Daredevils, with a batting star cast that is virtually all Indian will probably argue that national is the way to go. That might, however, be a minority view. IPL cricket is bound to face the dilemma over the cap on foreign players soon as franchises try to go for the best combinations possible.The effect of having the big hitters who belt the new ball from the top order is already evident, with openers McCullum, Hayden and Gilchrist making three spectacular centuries. The other century came from the uberbat Symonds.It must have been galling for youth like Abhishek Nayar and Palani Amarnath to have to go out and play in front of huge crowds, with millions more watching on television. Many young Indians have begun to shed their stage fright and are standing up to be counted.Still, when it comes to providing momentum at the top of the innings, only the world's best, which of course includes Dhoni and Sehwag, have done it so far. The clamour will be for more ammunition from abroad. One of the founding principles of the IPL was to promote Indian talent.This is where the issue will get ticklish because franchises that have put up considerable sums will demand greater flexibility. They do pay huge amounts for foreign players to sit on the benches because only four are allowed.Curiously, Chennai dropped Muralitaharan to play Morkel against Bangalore, which was a poor tactical decision considering how Murali is a spinner for all conditions and pitches.In any case, the cap of four will certainly prove irksome and the arguments will break out. It would be interesting to see what shape the administrators give the league in the future when the debate over foreigners opens up.Â
2008-07-22 21:33:34A novel plot
Nawaid AnjumDateline: August 17, 1988. A C-130 Hercules carrying Pakistan’s military dictator, General Zia-ul-Haq, crashes. Twenty years after that mysterious crash, Pakistan-born and London-based journalist and playwright Mohammed Hanif reimagines the "conspiracies and coincidences" that sprang up on Zia’s death in his brilliant debut, A Case of Exploding Mangoes, published by Random House.A powerful story of love, betrayal, tyranny and revenge, the novel spins a dark, humorous tale out of one of the subcontinent’s most enduring mysteries which has been critically acclaimed for having shades of Sara Suleri Meatless Days, Joseph Heller Catch 22 and Kurt Vonnegut Slaughterhouse Five. After Pakistan Air Force pilot Ali Shigri’s father, one of Zia’s colonels, commits suicide under suspicious circumstances, Shigri sets out to avenge his father’s death.While the novel is ostensibly bold in its narration ISI is referred to by a character as "Inter Bloody Services Bloody Intelligence", Hanif is far from agreeing that it will "unruffle feathers" in Pakistan. "It is a little love and adventure story with some jokes in it and I think it will be read in that spirit," says Hanif, who heads the BBC Urdu Service.As for the conspiracy theories shrouding General Zia’s death, the author says he "loves" all those theories. "I took some, added some of my own and wrote this book. And after I had finished, this 80-year-old American dude who was the US ambassador in India at the time, came up with a completely new theory. He says the Israelis did it and the state department declared him an almost-loony for bringing up the subject. I think it must be true. And I am hoping another one, an even better one will come along soon," says Hanif, who holds that while Pakistan may still be struggling with Zia’s ghost, August 17 is not a big day on anyone’s calendar.Hanif, who graduated from the Pakistan Air Force Academy, knew the setting of his novel only too well. "It’s personal in the sense that I came of age in that period. But I must say I probably learnt more about the Air Force watching Top Gun than I did being in the Air Force. So, I would say that fiction doesn’t always need to get fixated on personal. There is always other fiction to get inspiration from," he says.Having moved to London a decade back, Hanif last visited the country of his birth in April this year. "I was in Karachi when suddenly riots erupted in downtown Karachi. I felt immediately at home. The only new thing is that when robbers stop you at gunpoint in Karachi they ask for your cellphone. But then we didn’t have cellphones when I moved to London," says Hanif in a lighter vein.In the last few years, there have been some nice novels from Pakistani authors settled abroad Kamila Shamsie, Nadeem Aslam, Moni Mohsin et al. Have they helped in building Pakistan’s literary character as nations are defined by their narrations Hanif holds that Pakistanis like a good story, just like anyone else. "And probably more so because there are not enough good stories about them. There are one hundred and sixty million Pakistanis and very few writers. All the writers you mention come from very different backgrounds and write about diverse subjects. There are obviously many more who write in Urdu, Sindhi and Punjabi as well who have a wider readership. But I am not sure Pakistan has a literary character as such. TV character, may be, or pop music character, but sadly no literary character as such," he explains.As for Mohsin Hamid, whose The Reluctant Fundamentalist was shortlisted for the 2007 Booker Prize, Hanif says, "It’s a very striking book. And the only debate that I have heard about this book is that whether it’s better than Moth Smoke, which again was a very striking book. So, Mohsin is competing against himself. His books have always started conversations, debates. And there are not very many books anywhere which can accomplish that."What does Hanif think of the baggage of identities in a world that has shrunk to become a global village "I think of it as just that: baggage. Whenever my baggage is opened at customs, they usually find laundry, unread books and Indian DVDs," says Hanif, who has written plays for the stage and screen, including a critically acclaimed BBC drama and the feature film The Long Night, an urban "dystopia of drugs, sex and dislocation" produced and directed by Hasan Zaidi. Hanif holds that a bi-cultural experience is not of any great importance for a writer as people become bi-cultural for "mundane" reasons like jobs and children’s education."I have read very fine writers who died in the very house they were born in. I think Nayyar Masud, who is probably the finest post-Partition Urdu writer, was born in Lucknow and still lives there. And if you read his short stories, you’ll never mention the word bi-cultural. He can create these incredible worlds for you. And I think that’s what writers do, conjure up worlds," says Hanif.Â
2008-07-22 21:27:48Video: AP Top Stories
Here's the latest news for Tuesday July 22: Tropical Storm Dolly bearing down on Texas; Army soldier's husband due in court; 'Butcher of Bosnia' captured after a decade on the run; Sen. Barack Obama continues visit to Iraq.
2008-07-22 13:00:00No survivors so far found following B-52 crash - The Associated Press
HONOLULU AP - The Air Force continued to hold out hope of finding survivors Tuesday in the crash of a B-52 bomber off Guam, but a brigadier general said there was no evidence that any of the airmen were alive.Video: AP Top Stories AssociatedPressConfirmation three killed in military crash off Guam Radio AustraliaSofia News Agency - Reuters - Shreveport Times - BBC Newsall 1,478 news articles
2008-07-22 06:25:36Year In and Year Out...
For six years - even before broadband's surge - online viewing of FRONTLINE's "The Merchants of Cool," has ranked at the top for our online audience. Watch it here, explore its related stories.
2008-07-20 18:24:38Corporates endanger Cinema
K. Hariharan The nomenclature "corporate" seems opposed to the concept of ‘independent’ cinema. Strangely, some of the better examples of independent cinema like Mithya or Taare Zameen Par seem to have come out of corporate-based productions and distribution outlets. This March saw one of the biggest gatherings of corporate media CEOs, VPs, and executives at the FICCI Frames 2008 discussing the future of Indian cinema and media. Corporate Indian cinema has finally arrived with big names like UTV, Saimira Pyramid, Percept, Sony Pictures, Adlabs and the unstoppable Anil Ambani.However, when I look deeper into the dealings and transactions made in the name of corporate filmmaking, I find it seriously disturbing. Multi-picture contracts smelling like junk bonds are signed with actors and directors for crores and then labelled as films like Tashan and Love Story 2050. Looking at the incredible list of executive producers and consultants on a film called Aamir makes me wonder where they were when the film was being made or released.And there is the absurd hype about our corporate bosses signing up Steven Spielberg and acquiring 500 cinema screens in the US, hoping that such news will boost a sagging share market. Can’t we more realistic Many well-minded producers in the corporate fray explain it off by saying that these are pangs of labour pain being experienced by a new system taking birth. But will this new baby look and feel normalLast week I was at the IIM-Bangalore, addressing students on the values of independent filmmaking and the prospects for change, which is actually possible if the right kind of people come to the fore in the emerging world of corporate cinema. Looking at the kind of money and returns being projected today, somebody like me seems like a dinosaur working with a maximum budget for a feature film in 2000 at Rs 40 lakh.At the cost of sounding like a blistering oracle I would like to reassert that the greatest talent of the Indian film fraternity was to prove to Hollywood that we could keep them at bay not only because of our unusual forms of melodrama but also because of our amazing ingenuity in using top-of-the-line capital intensive equipment to produce films at amazingly below-the-line budgets.For this to happen independent filmmaking requires to prioritise the film first and the deal later. We seem to be aping the business angle of Hollywood by concentrating on the deal-making logistics more than on the film. We have to remember that cinema is unlike other industrial products where consumption is based on a blend of need-based survival and want-based aspiration. Cinema as a cultural product is totally dependent on the audience’s requirement for media as a negotiating instrument to seek upward social mobility. And this requirement is completely unpredictable, however much the filmmaker could claim that he or she knows the pulse of the audience.My appeal to all MBAs who head corporate film houses is to keep an ear to the ground and trust the native intelligence of the independent-minded filmmaker to come up with the right approach to reach the audience. While instilling production discipline is important to induce a modicum of professionalism, it should not be at the cost of that crucial element called risk-taking-talent.This is something which only creative artistes can master. Cinema is not about deal-making. It is about telling stories. If we don’t care, we will drive ourselves to cinematic bankruptcy like our Hollywood corporate honchos who continue to bankroll more of Die Hard, Superman, Shrek and Narnia. Are we getting ready for more remakes of Sarkar Raj, Don and KarzLet’s ask ourselves one simple question. Do we truly believe that the best days of Indian cinema were those which produced 40 films starring Rajesh Khanna between 1966 and 1974; and that between the years 1960 and 1970 we saw 100 films starring Sivaji Ganesan, 128 starring N.T. Rama Rao and 145 films starring Prem NazirFor a population so large, I think the primary responsibility of cinema’s cultural artisans is to keep up the sheer production of their art works for public display. It should be left to the rasika to choose freely from among such a huge number. These are simple kitchen truths which our grandmothers will vouch for.Today, as a true rasika, even after discounting the presence of so many TV channels, I get to see a Aamir Khan film every three years; a Rajini or Kamalhasan film every two years; a Hrithik Roshan film every two years. By the time I get to see our up-and-coming Arya in Bala’s Naan Kadavul, I will be close to God myself to see if it is true or not. My father and my guru once told me, "When we make more movies, money will follow. But when we want to make more money, movies do not follow."The writer is a film and documentary maker and director of L.V. Prasad Academy. He has made seven features including award winners like Ghashi-ram Kotwal in Marathi and Current starring Om Puri and Deepti Naval.Â
2008-07-20 14:40:39Exodus of Aussies, Kiwis to affect IPL
Cricket | R. MohanIn May, IPL teams may hardly resemble those that played in the last two weeks of April. The exodus of the Australians, West Indians and New Zealanders, to do national duty in the Cari-bbean and in England, would mean that the team composition would change dramatically. Considering the impact the Australians have made in the opening phase with three of four centuries coming from them, the very nature of a team's cricket could change too.The latecomers and the reinforcements have arrived, some may even have sneaked in much to the consternation of franchises, which are questioning the norms for foreign player signings outside the auction. Frankly speaking, the flavour of the first IPL has been mostly of the imported variety despite so many success stories of local players who on occasion have outperformed themselves.Chennai Super Kings who have established themselves at the top of the table with four wins in as many outings may have to change their whole batting order as well as their approach because they are losing three key men to the exodus - Matthew Hayden, Mike Hussey and Jaocb Oram. Other teams are also similarly affected with Kolkata Knight Riders certain to feel the pinch as McCullum was providing them with so much thrust.The question is bound to come up about how open should the competition be. Should the IPL throw open its doors and raise the cap on foreign players from the existing four It can be argued that if the English Premier League format is to be followed, it should then be an open house with teams free to choose how much of their playing XI they would wish to be filled by imported stars.If market forces are allowed their freedom, which will probably happen after the first season when transfers become possible, it is on the cards that some IPL teams will aspire to be the Arsenal FC of the IPL. The London club that boasts of 13 League titles and 10 FA Cups now has far more French-speaking players than English footballers. If the existing cap of four players is raised because of pressure from teams, the composition of IPL teams could change drastically once again.It would be nice if the IPL teams were to follow the examples of the other giants of EPL, like Manchester United and Chelsea who believe in keeping their backbone English. There is a certain pride in them when an English footballer like Paul Scholes scores the goal as he did to take ManU to the final of the Champions League.When it comes to a one-club star like Scholes, who having been with United for 14 years has risen through the Old Trafford ranks, the English tend to go gaga.There is, however, no denying the pride in seeing home grown talent reach the pinnacle even in a club with an international outlook like ManU, one of the leading brands in pro sport franchises.The Delhi Daredevils, with a batting star cast that is virtually all Indian will probably argue that national is the way to go. That might, however, be a minority view. IPL cricket is bound to face the dilemma over the cap on foreign players soon as franchises try to go for the best combinations possible.The effect of having the big hitters who belt the new ball from the top order is already evident, with openers McCullum, Hayden and Gilchrist making three spectacular centuries. The other century came from the uberbat Symonds.It must have been galling for youth like Abhishek Nayar and Palani Amarnath to have to go out and play in front of huge crowds, with millions more watching on television. Many young Indians have begun to shed their stage fright and are standing up to be counted.Still, when it comes to providing momentum at the top of the innings, only the world's best, which of course includes Dhoni and Sehwag, have done it so far. The clamour will be for more ammunition from abroad. One of the founding principles of the IPL was to promote Indian talent.This is where the issue will get ticklish because franchises that have put up considerable sums will demand greater flexibility. They do pay huge amounts for foreign players to sit on the benches because only four are allowed.Curiously, Chennai dropped Muralitaharan to play Morkel against Bangalore, which was a poor tactical decision considering how Murali is a spinner for all conditions and pitches.In any case, the cap of four will certainly prove irksome and the arguments will break out. It would be interesting to see what shape the administrators give the league in the future when the debate over foreigners opens up.Â
2008-07-20 11:49:39A novel plot
Nawaid AnjumDateline: August 17, 1988. A C-130 Hercules carrying Pakistan’s military dictator, General Zia-ul-Haq, crashes. Twenty years after that mysterious crash, Pakistan-born and London-based journalist and playwright Mohammed Hanif reimagines the "conspiracies and coincidences" that sprang up on Zia’s death in his brilliant debut, A Case of Exploding Mangoes, published by Random House.A powerful story of love, betrayal, tyranny and revenge, the novel spins a dark, humorous tale out of one of the subcontinent’s most enduring mysteries which has been critically acclaimed for having shades of Sara Suleri Meatless Days, Joseph Heller Catch 22 and Kurt Vonnegut Slaughterhouse Five. After Pakistan Air Force pilot Ali Shigri’s father, one of Zia’s colonels, commits suicide under suspicious circumstances, Shigri sets out to avenge his father’s death.While the novel is ostensibly bold in its narration ISI is referred to by a character as "Inter Bloody Services Bloody Intelligence", Hanif is far from agreeing that it will "unruffle feathers" in Pakistan. "It is a little love and adventure story with some jokes in it and I think it will be read in that spirit," says Hanif, who heads the BBC Urdu Service.As for the conspiracy theories shrouding General Zia’s death, the author says he "loves" all those theories. "I took some, added some of my own and wrote this book. And after I had finished, this 80-year-old American dude who was the US ambassador in India at the time, came up with a completely new theory. He says the Israelis did it and the state department declared him an almost-loony for bringing up the subject. I think it must be true. And I am hoping another one, an even better one will come along soon," says Hanif, who holds that while Pakistan may still be struggling with Zia’s ghost, August 17 is not a big day on anyone’s calendar.Hanif, who graduated from the Pakistan Air Force Academy, knew the setting of his novel only too well. "It’s personal in the sense that I came of age in that period. But I must say I probably learnt more about the Air Force watching Top Gun than I did being in the Air Force. So, I would say that fiction doesn’t always need to get fixated on personal. There is always other fiction to get inspiration from," he says.Having moved to London a decade back, Hanif last visited the country of his birth in April this year. "I was in Karachi when suddenly riots erupted in downtown Karachi. I felt immediately at home. The only new thing is that when robbers stop you at gunpoint in Karachi they ask for your cellphone. But then we didn’t have cellphones when I moved to London," says Hanif in a lighter vein.In the last few years, there have been some nice novels from Pakistani authors settled abroad Kamila Shamsie, Nadeem Aslam, Moni Mohsin et al. Have they helped in building Pakistan’s literary character as nations are defined by their narrations Hanif holds that Pakistanis like a good story, just like anyone else. "And probably more so because there are not enough good stories about them. There are one hundred and sixty million Pakistanis and very few writers. All the writers you mention come from very different backgrounds and write about diverse subjects. There are obviously many more who write in Urdu, Sindhi and Punjabi as well who have a wider readership. But I am not sure Pakistan has a literary character as such. TV character, may be, or pop music character, but sadly no literary character as such," he explains.As for Mohsin Hamid, whose The Reluctant Fundamentalist was shortlisted for the 2007 Booker Prize, Hanif says, "It’s a very striking book. And the only debate that I have heard about this book is that whether it’s better than Moth Smoke, which again was a very striking book. So, Mohsin is competing against himself. His books have always started conversations, debates. And there are not very many books anywhere which can accomplish that."What does Hanif think of the baggage of identities in a world that has shrunk to become a global village "I think of it as just that: baggage. Whenever my baggage is opened at customs, they usually find laundry, unread books and Indian DVDs," says Hanif, who has written plays for the stage and screen, including a critically acclaimed BBC drama and the feature film The Long Night, an urban "dystopia of drugs, sex and dislocation" produced and directed by Hasan Zaidi. Hanif holds that a bi-cultural experience is not of any great importance for a writer as people become bi-cultural for "mundane" reasons like jobs and children’s education."I have read very fine writers who died in the very house they were born in. I think Nayyar Masud, who is probably the finest post-Partition Urdu writer, was born in Lucknow and still lives there. And if you read his short stories, you’ll never mention the word bi-cultural. He can create these incredible worlds for you. And I think that’s what writers do, conjure up worlds," says Hanif.Â
2008-07-20 11:48:54
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