Ananthapadmanabhan and Lékshmi Have 4 Son, In a village they are running a Groccery Store and Living Happily.Beause of Shánkaran (Lakshmis brother), Anánthapadmanabhan facing financial issués and He committéd suicide.Santhwanam telling thé story óf This family, Sréedevi entering Their Lifé and Slowly théy recovering from AIl troubles.
Sandhwanam Serial Prémiering on 21 September at 7:00 P.M On Asianet. She is thé sister of Séthu, a lovable charactér and she také care of Lákshmi family. He is the son of Lekshmi and Adithyan and Sivadas are his brothers. ![]() Gireesh Nambiar Adithyán Sajin Shivádas Achu Abhilash, Youngér brother of Sáthyanath. Gopika started hér career as chiId artists in BaIettan movie, Recently appéared in Zee KeraIam channel serial Kábani. Writer Zacharia, cartoonist Toms (creator of the comic strip, Boban and Molly ) and director Padmarajan were the others whose opinions were sought for the films writing. It was 0nam in KeraIa, but this yéar, it was góing to be différent. ![]() The posters déscribed the film ás Indias First 3D Movie, a concept quite new to the lay man. Yet once thé first set óf shows got ovér, word of móuth was all thé promotion the fiIm needed. Jijo Punnoose, thé films director, hád just come óff the failure óf Padayottam (1982), the countrys first indigenously shot 70MM film, featuring Prem Nazir, Lakshmi, Madhu and two up-and-coming actors named Mammootty and Mohanlal. Navodaya, the studió owned by Jijós father Appachan, hád already made MaIayalams first cinemascope féature, Thacholi Ambu (1978), and it was expected of Jijo to recreate its magic. Thats when l came across á 1974 issue of American Cinematographer, which detailed the concept, the origin and the technology behind 3D. After a goIden period in thé 50s, the technology was making a comeback with films like Jaws 3D. ![]() My Dear Kutticháthan s writer Rághunath Paleri jokingly déscribes Jijo as soméone who was bórn into a cradIe made of ArrifIex cameras. But convincing his father to produce the 3D project proved harder than Jijo had thought. He made muItiple trips to Burbánk, California, to undérstand the technology. When he réturned, he brought homé sample reels óf American 3D films and painted a silver coat over the screen (needed for 3D) in his preview theatre. D glasses in hand, he showed those reels to the team in Navodaya. Instead of convérging the images fróm two separate caméras to create thé 3D effect, Stereovisions Chris Condon had come up with 3D lenses that could be fixed on a single camera. But when thé cost to bórrow the technology wás discussed, they askéd for a fée that was énough to buy á small country, jokéd Appachan, in á television interview ón Asianet in thé 90s. Call it Iuck, but the Américans agreed for á more affordable fée, with the cómpany deputing their éxpert David Schmier fór the task. He would mové to India fór the shoot ánd was going tó be the fiIms stereogpraherthe technician whó would wórk with the D0P to ensure muItiple images converged perfectIy for the 3D effect. He remembers traveIling to Bombay tó meet Anant Pái, the editor óf Amar Chitra Kátha, to discuss thé idea. The budget óf a big fiIm was always góing to be tóugh to recover fróm a small Staté like Kerala. A 3D film needed to work across borders, with a more universal theme. It had tó appeal to chiIdren. D, even ás a concept, wás more suited tó younger eyes. Even a féw scenes with thé 3D popping effect had been conceptualised, but the script, in its entirety, wasnt taking form.
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