the film was released 2008 and younger director murad parvez first time directed the film .

the film features riaz , shohana saba , and champa in lead roles along with shahiduzzaman selim , ks firoz , dilara jaman , kohinur , gazi rakayet , and azom faruk supporting role .

in 2008 , the film won three national film awards and including other four awards .

chandragrohon

download bangla movie chandragrohon videos . watch bangla movie chandragrohon videos . free download & watch bangla movie chandragrohon videos online .
the film chandragrohon won national film award and also other four awards totally seven sections .
how can i put and write and define chandragrohon in a sentence and how is the word chandragrohon used in a sentence and examples ? 用chandragrohon造句 , 用chandragrohon造句 , 用chandragrohon造句 , chandragrohon meaning , definition , pronunciation , synonyms and example sentences are provided by ichacha . net .
album name : chandragrohon , artist : imon shaha & habib , . you can get full audio album here . urltoken
murad parvez is a bangladeshi film and television director . he was director of chandragrohon and brihonnola and directed many tv serials in bangladesh .
in a film
chandragrohon
, she sang
tomare dekhilo porano bhoriya
with habib wahid , and she sang
sparsh
in a film
projapoti
.
amar bondhu rashed ( film ) , bombaiyer bombete ( film ) and chandragrohon are some of the examples . - talk ) 08 : 12 , 18 october 2016 ( utc )
emon saha is a bangladeshi composer , musician and singer . he earned four bangladesh national film awards for his music composition and direction in the films chandragrohon , kusum kusum prem , ghetuputra komola , pita and meyeti ekhon kothay jabe .
in the big canvas of the screenplay of chandragrohon , parvez has depicted diversified characters who belong to the downtrodden people . through these characters he takes the viewers to a crisis that challanges our rational thinking . the story is neither unrealistic nor supranatural , but very practical : will anybody allow his or her son to marry an illegitimate girl ? may be in the conventional dhaliwood movies , the son , ignoring his parents makes it happen , but in chandragrohon it does not happen and the incident drives the protagonist to insanity .
in the big canvas of the screenplay of chandragrohon , parvez has depicted diversified characters of downtrodden people . through these characters he takes the viewers to a crisis that strikes our rationality . and the story is not absurd nor supra natural , but very practical : will anybody allow his or her son to marry an illegitimate girl ? may be in the conventional dhaliwood movies the son ignoring his parents makes it happen , but in chandragrohon kashu ( riaz ) cannot do that which drives the lovely phalani ( sohana saba ) to insanity .
chandragrohon film songs were composed by habib wahid and imon saha . the film song written by kabir bakul , jewel mahmud , mohammad rafiquzzaman , and arko mostofa . total 8 songs . singers are habib wahid , samina chowdhury , nancy , dinat jahan munni and subir nandi .
again almost same pattern of editing on cinema of bangladesh , shakib khan , shikari ( 2016 film ) , niyoti , list of bangladeshi films of 2016 , list of highest grossing bangladeshi films , chandragrohon etc . - talk ) 19 : 35 , 1 january 2017 ( utc )
she started out with television and made a mark in films soon after . sohana saba has acted in several bangladeshi ventures like khelaghar - doll house , chandragrohon , priyotomeshu - love and repulsion and brihonnola - the poisoning sap . the actress is now a part of ayan chakraborti’s debut film shororipu .
chandragrohon film songs were composed by habib wahid and imon saha . [ 1 ] the film song written by kabir bakul , jewel mahmud , mohammad rafiquzzaman , and arko mostofa . total 8 songs . [ 5 ] singers are habib wahid , samina chowdhury , nancy , dinat jahan munni and subir nandi .
chandragrohon fiwm songs were composed by habib wahid and imon saha . [ 1 ] the fiwm song written by kabir bakuw , jewew mahmud , mohammad rafiqwzzaman , and arko mostofa . totaw 8 songs . [ 5 ] singers are habib wahid , samina chowdhury , nancy , dinat jahan munni and subir nandi .
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chandragrohon : the lunar eclipse ( bengali : চন্দ্রগ্রহণ ) , is a bangladeshi film based on a short story written by indian bengali author syed mustafa siraj . the film was released 2008 and younger director murad parvez first time . . . jump up ^
chandragrahan receives top award at rainbow film festival
. the daily star . urltoken
he also has composed songs for different film soundtracks such as hridoyer kotha , akash chowa bhalobasha , chandragrohon , i love you , eito prem , third person singular number , amar ache jol , and many others . wahid makes songs that
has the essence from the roots of bangla music
, says kumar bishwajit while recording a song under the direction of wahid in a movie called projapoti .
he also has composed songs for movies such as hridoyer kotha , akash chowa bhalobasha , chandragrohon ,
i love you
,
eito prem
,
third person singular number
, amar ache jol , etc . habib makes songs that
has the essence from the roots of bangla music
, says kumar bishwajit while recording a song under direction of habib wahid in a movie called projapoti .
ershad kamol it is a common allegation against bangladeshi filmdom that these days not many aesthetically rich movies are released targetting the masses . only a very few filmmakers are coming up with new ideas and rich presentations as well . young filmmaker murad parvez ' s debut feature film chandragrohon is one such production worth watching . after two weeks of remarkable success at star cineplex , the movie is now being screened at the theatres outside dhaka city .
he had the desire to grab the national award for his debut film . however , winning eight national awards in seven categories for a film is definitely more than any debutant filmmaker could dream about . but this is exactly what happened to young filmmaker murad parvez , whose debut feature film chandragrohon grabbed eight national awards . the delighted director , however , claimed that although he had the thirst to win the award , the results were more than his expectation .
chandragrohon , adapted from the narratives titled ranighater brittanto by syed mustafa siraj , is different from the stereotypical storyline of bangladeshi commercial cinemas . it deals with the people living at the kheyaghat ( the bank of a river where people go for boats to cross the river ) . for business purposes , people from different corners of the country live in such areas , the ghats are also infamous for criminal activities . however , murad parvez ' s intention is not to feature this sordid side as is the tradition in dhaliwood based movies .
chandragrohon , adapted from narratives titled ranighater brittanto by syed mustafa siraj , is different from the stereotypical storyline of bangladeshi commercial movies . it deals with the people living at the kheyaghat ( a common place beside a river where people go for boats to cross the river ) . for business purposes , people from different corners of the country live in such areas , even the ghats are infamous places for criminal activities . however , murad parvez ' s intention is not to feature extra - judicial activities following the traditional dhaliwood based movies .
i read the story ranighater brittanto in 2004 to make a tv drama ,
says the award winning film director , screen playwright and dialogue writer murad parvez , who is basically a tv drama maker ,
but , actor saba , who performed the protagonist in chandragrohon , suggested that i make this a film . surprisingly the chance came when azam faruk , a uk based businessman , approached me showing desire to produce a aesthetically rich movie in bangladesh . i gave him the storyline and he was so impressed that he decided to make a big budget movie taking risk of making the film an inexperienced director like me .
sohana saba is a one of the popular bangladeshi tv actress , model , director , and producer . she is very cute , hot , beautiful and talented actress . she acted many tv dramas and movies . and her popular tv dramas were nupur , alokon , wow , khoyeri dana shalikher , mon , ekti diary , serious ekta kotha ache , odrissho manob , pabon mazhi , shei rateu bristi chilo , valobashi tai emoni etc . sohana saba also acted many movies aaina , khelaghor , chandragrohon , priyotomeshu , brihonnola , shororipu etc . sohana saba received meril prothom alo awards for her outstanding performance . sohana saba director - playwright murad parvez ( 2007 - 2015 ) . now the couple separated .
shahiduzzaman selim : shahiduzzaman selim is one of the most famous and successful television actor and director in bangladesh . his debut tv drama was jonaki jwoley ( 1989 ) . he acted several tv dramas and some movies . his most successful tv dramas were mamuli bepar , bhalobashi koto – bhalobashi na to , rong mohol , juarir bou , ononto prodip , lilaboti , jhamela nonstop , chorer bou , dokshinayoner din , sab badha periye , aji bijon ghore , pattayar pathe neyamat , mongol chhaya , jiboner oli goli etc . his acted some movie mad _ e in bangladesh , chandragrohon , chorabali , devdas , podmo patar jol , oggatonama . shahiduzzaman selim won meril prothom alo awards for kanta and bangladesh national film awards for chorabali . mahfuz ahmed was born january 5 in tangail , bangladesh . shahiduzzaman selim was married another actress rosey siddique and the couples have two daughters , toma and sreema .
hariye fela bhalobasha - habib habib ft nancy hawai hawai dolna doleh chondrogrohon akash chowa bhalobasha হাবিব movies such as hridoyer kotha , akash chowa bhalobasha , chandragrohon , hariye fela valobasha ( 2015 ) ; mon ghumayre ( 2015 ) ; nishi furaye na ( 2010 ) jun 20 , stream akash choa bhalobasha habib nancy bengali song and watch movie online free in good quality . full movie akash choa bhalobasha habib nancy bengali song youtube download : akash chowa bhalobasha [ ost ] various singer : movie song : download : aha [ ost ] various singer : movie song : download : first previous 1 2 3 4 5 6 7 8 9 10 11 12 prithibir joto shukh | akash chowa bhalobasha | best of nancy 1 . title : prithibir joto shukh | artist : habib wahid ft . nancy | movie : akash chowa bhalobasha . watch hawai hawai dolna dole singer : habib and nancy album : akash chowa bhalobasha banglish : akfara . hawai hawai dolna dole shurer dana mele tomar moner uthan lepe debo
postscript : given the very nature of the archives of the hungryalist movement , it is almost impossible to write this essay in english . poetry as a form demands close reading , an attention to language and details , in a way it’s almost impossible to accomplish in translation . consequently , i have chosen to write in more details only about poems that are available online – in english translations . at the same time , i have tried to bear in mind poems that exist solely in bengali . thanks to goirick brahmachari for directing me towards the translated archives at the sunflower collective . readers who read bengali might also benefit from trying to get hold of a copy of one of recent issues of the bengali little magazine chandragrohon , devoted to phalguni roy . for readers interested in probing further into the gender politics of the poem ‘stark electric jesus’ , please read debaprasad bandopadhyay’s essay in the first book - fair issue of the little magazine , aainanagar . i am profoundly grateful to debaprasad - da for articulating in writing what i and some of my friends have discussed in private for ages . and , in doing so , debaprasad - da’s essay has contributed immensely to the developments of my own arguments on the gender politics of the hungryalists .
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the national film award for the year 2008 was announced on february 11 . murad parvez individually got three awards : best director award , best screenplay award and best dialogue writer award . azam faruk got the best producer award for producing the movie . imon saha got the best music director award for the picture . and three actors also got national awards in two catagories performing in chndragrahan : zahiruddin piar as the best anti - hero character and dilara zaman and champa for the best female supporting actors .
till then i was just a director and screen playwright of tv plays , who made only a few tv drama serials and single episode plays . so , i was lucky in this sense that even many eminent directors in the country don ' t get a producer willing to make a big budget movie . but in my case good luck knocked on my door and i did not have to look for my producer .
that incident stimulated parvez ' s long cherished desire to make a film . leaving all his activities he totally concentrated on this project .
my only intention was to make an aesthetically rich movie not only to win a few awards but also to entertain the people . often the award winning films don ' t necessarily entertain people ; on the other hand , the mainstream entertaining films in most cases are not asthetically rich , rather contain cheap entertainment .
murad parvez says that the film was made during a month - long residential camp in the remote areas to portray the outdoor scenes authentically .
the key challenge of the movie was to portray a realistic presentation of a ghat scene of the 1960s . in this connection , i chose a location beside the river atrai in a remote village called chandrapur in narail district . throughout the day we used to shoot and in the night we slept in a ship . and i must admit that i got enormous support from all the actors and crew . even the actors have already got their feedback by grabbing three national awards for this movie ,
says murad parvez .
but , it was not the only location that made it such a success . in fact , the film was made in 32 locations to develop the storyline authentically , since in the film the protagonist ' s character and the ghat develop along parallel lines : in advancement of time a bridge is built on the river , which changes the socio - economic structure of the ghat . many locals become jobless and subsequently decide to migrate .
but was the film commercially successful ?
no ,
replies murad ,
due to three major causes we could not make money . first of all the film was released just a few days before the national elections and people were very tense due to the political movements prior to the elections . secondly , due the inexperience , the producer faced problem with the distributors . and , of course the target audience , the middle class , do not go to movie theatres considering the insecurity and dirty atmosphere of the existing movie theatres in the country . as a result the film ran only in nine theatres in major cities .
the success in his debut movie has boosted young filmmaker murad parvez to go onto his next project . he is now preparing for his next film titled daur .
it is completely a commercial thriller for the entertainment of the masses ,
informs parvez .
at the same time murad also wants to make tv plays to continue his practice . murad says ,
in bangladeshi perspective there is no option except making tv plays for a maker to practice and experiment on his technical aspects of filmmaking , since we don ' t have any film institute .
cultural personality mostafa zaman abbasi gives away the lifetime achievement award to renowned cameraman and film - maker baby islam at the meril - prothom alo award giving ceremony at bangladesh - china friendship conference centre yesterday . photo : star
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phalani ' s mother shokhina pagli , a mentally disordered woman , became pregnant . but , who could be the father ? everybody suspects each other . subsequently a girl was born and named as phalani which means ' discarded ' . everybody at the locality collectively takes responsibility of the newborn baby , but when the girl was only three years old her mother died and the locals handed over the responsibility of the girl to an elderly woman named moyra mashi ( dilara zaman ) .
phalani ' s character and the ghat develop parallelly in the movie . in advancement of time a bridge is built on the river , which changes the socio - economic structure of the ghat . many locals become jobless and subsequently decide to migrate .
meanwhile phalani becomes a nice looking teenager having a romantic relationship with kashu , a driver by profession of the same locality . when their romance becomes known , the elders of the locality who treat orphan phalani as their child , decide to arrange their marriage before migration .
this parallel development of the plot has been handled quite efficiently by murad parvez . from the very first scene , in a rainy dark night a few people are wandering around , has aptly created the suspense . and the director has maintained the tempo through his remarkable directorial compositions , handling of montage and shot distribution . his use of symbols using natural elements to portray human psyche deserves plaudits . in fact , it would not be exaggeration saying a real rustic life has portrayed in the movie . doing that he has used all the leading technical hands and actors of the country .
but , the movie loses the tempo when the love affair develops between phalani and kashu . the director could have avoided many scenes such as kashu ' s imagination of phalani dancing like a ' princess ' at the jatra scene . more than that many scenes have abruptly appeared . and the weakest part of the movie is that the climax ( when kashu ' s father abul with his ill motive for stopping the marriage of his son with claims of himself being the father of phalani ) has not been presented effectively .
however , the most powerful feature of the movie is bold acting by the cast members . dilara zaman as moyra mashi , azam faruk as a marwari ghat owner chowbeji , ks feroz as abul , shahiduzzaman selim as ismail driver , kohinur as madan and gazi rakayat as shambhu presented their respective characters efficiently . as the protagonist ' s character sohana saba - - who has already performed the central character in many feature films made by independent filmmakers - - is impressive in the sequences that feature happiness . but there are signs of struggle in her portrayal of pathos and crisis . popular film actor riaz ' s performance , at best , can be described as average . similarly , popular film actor champa has not managed well her challenging character of a mentally disordered beggar . her gestures appear exaggerated .
mahfuzur rahman ' s cinematography taufiq hossain chowdhury ' editing deserve plaudits . eminent art dirctor uttam guho has successfully created a ghat area of 1960s . music composers imon shaha and habib also deserve kudos for their melodious scores .
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a small market named ranighat is situated at river bank . a madwoman sokhina lives under a tree in the market . everyday many people visits the market and some of them had physical relation . . . see full summary »
lakeith stanfield and his sorry to bother you crew reveal their most soul - crushing jobs in our freewheeling interview .
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twelve people are passengers on board . the boatmen are taking them to safety , far away from the fierce clutches of war . all the people on board are devastated by the horrors of war . as the story advances , different events unravel .
in this tragic - comic study of religious hypocrisy , a disreputable cleric convinces villagers that their community is home to a famous holyman ' s grave .
poor oil miller decides to use his daughter - in - law to spin the treadle due to lack of ox .
zaminder sarkar lives a lonely life in his grand house though his son , daughter - in - law and his granddaughter live in the same house . getting irritated by the crows , he shots crows everyday . . . see full summary »
story of a teenage boy who is hired by a colonial era landlord to entertain him until the annual flood is over .
the story is centered around a well stablished family and their daily life issues , with one exception of inclusion of a mysterious man ( raiz ) who does not know where he has come from or . . . see full summary »
it ' s a story of boat journey of bangladesh in 1971 of helpless people was going towards the safe border . pakistan military had unleashed genocide in the country . heroic sons of the soil started a war of liberation .
the story revolves around different comical events regarding telephonic conversation . athoi ( shrabanti ) , a young girl loves to dial wrong numbers and through such an incident , gets involved . . . see full summary »
raaj and reshmi fall in love , despite having a belligerent past between their families .
this film is a unconditional love story of 2 people . riaz played the character called benu and purnima played the character called renu .
a small market named ranighat is situated at river bank . a madwoman sokhina lives under a tree in the market . everyday many people visits the market and some of them had physical relation with her and she becomes pregnant . moira masi looks after her . sokhina gives birth a girl and died after few years . till then moira masi rears up the girl . the girl got no name and everyone calls her falani . falani grows up and gets closer to kashu . everyone in the market wants them get married . but kashu ' s father disagrees at this and confess his sin to falani that brings her same consequence like her mother .
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a mad woman ( champa ) lived near the marwari ghat . people from the market had physical relationship with her at nights . as a result , she became pregnant . moyra masi ( dilara zaman ) starts to look after her in this circumstances . one rainy night , she gives birth a little girl and dies on the birth bed . moyra masi looks after the little girl . the girl ( sohana saba ) does not get any name and so everyone calls her falani .
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, ks firoz , dilara jaman , kohinur , gazi rakayet , and azom faruk supporting role . in 2008 , the film won three
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the 33rd national film awards , presented by ministry of information , bangladesh to felicitate the best of bangladeshi cinema released in the year 2008 . the government announced the names of 24 artistes in 23 categories for the national film award in recognition of their outstanding contributions to the country’s film industry . [ 1 ] a eleven - member jury board prepared a list of 15 films that could be awarded out of 17 films in january 4 , 2010 . [ 2 ]
this page was last modified on 27 january 2016 , at 08 : 55 .
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september 24 , 2009 : nasa scientists have discovered water molecules in the polar regions of the moon . instruments aboard three separate spacecraft revealed water molecules in amounts that are greater than predicted , but still relatively small . hydroxyl , a molecule consisting of one oxygen atom and one hydrogen atom , also was found in the lunar soil . the findings were published in thursday ' s edition of the journal science .
the observations were made by nasa ' s moon mineralogy mapper , or m 3 (
m - cubed
) , aboard the indian space research organization ' s chandrayaan - 1 spacecraft . nasa ' s cassini spacecraft and nasa ' s epoxi spacecraft have confirmed the find .
above : a very young lunar crater as viewed by nasa ' s moon mineralogy mapper . on the right , the distribution of water - rich minerals is shown in false - color blue . [ more ]
water ice on the moon has been something of a holy grail for lunar scientists for a very long time ,
said jim green , director of the planetary science division at nasa headquarters in washington .
this surprising finding has come about through the ingenuity , perseverance and international cooperation between nasa and the india space research organization .
' s state - of - the - art spectrometer measured light reflecting off the moon ' s surface at infrared wavelengths , splitting the spectral colors of the lunar surface into small enough bits to reveal a new level of detail in surface composition . when the m
science team analyzed data from the instrument , they found the wavelengths of light being absorbed were consistent with the absorption patterns for water molecules and hydroxyl .
when we say ' water on the moon , ' we are not talking about lakes , oceans or even puddles ,
explained carle pieters , m 3 ' s principal investigator from brown university , providence , r . i .
water on the moon means molecules of water and hydroxyl that interact with molecules of rock and dust specifically in the top millimeters of the moon ' s surface .
the m 3 team found water molecules and hydroxyl at diverse areas of the sunlit region of the moon ' s surface , but the water signature appeared stronger at the moon ' s higher latitudes . water molecules and hydroxyl previously were suspected in data from a cassini flyby of the moon in 1999 , but the findings were not published until now .
above : data from nasa ' s moon mineralogy mapper . the image on the left shows albedo , or the sunlight reflected from the surface of the moon . the image on the right shows where infrared light is absorbed by water and hydroxyl molecules . the water signature is strongest at cool , high latitudes near the poles . the blue arrow indicates goldschmidt crater , a large feldspar - rich region with a higher water and hydroxyl signature . image credit : isro / nasa / jpl - caltech / brown univ . [ more ]
the data from cassini ' s vims instrument and m 3 closely agree ,
said roger clark , a u . s . geological survey scientist in denver and member of both the vims and m 3 teams .
we see both water and hydroxyl . while the abundances are not precisely known , as much as 1 , 000 water molecule parts - per - million could be in the lunar soil . to put that into perspective , if you harvested one ton of the top layer of the moon ' s surface , you could get as much as 32 ounces of water .
for additional confirmation , scientists turned to the epoxi mission while it was flying past the moon in june 2009 on its way to a november 2010 encounter with comet hartley 2 . the spacecraft not only confirmed the vims and m 3 findings , but also expanded on them .
with our extended spectral range and views over the north pole , we were able to explore the distribution of both water and hydroxyl as a function of temperature , latitude , composition , and time of day ,
said jessica sunshine of the university of maryland . sunshine is epoxi ' s deputy principal investigator and a scientist on the m 3 team .
our analysis unequivocally confirms the presence of these molecules on the moon ' s surface and reveals that the entire surface appears to be hydrated during at least some portion of the lunar day .
the discovery of water molecules and hydroxyl on the moon raises new questions about the origin of
moon water
and its effect on lunar mineralogy . answers to these questions will be studied and debated for years to come .
jaya ahsan , who started out as a model in the late ’90s , debuted in films with dubshatar .
though the film was a dud , her acting was widely appreciated . jaya won the first national award in bangladesh for the film guerrilla . her next national award came for the movie chorabali . the actress , who has been making waves in the neighbouring country , was noticed by directors in bengal too . after her first tolly film aborto , jaya has a couple of projects lined up . she has wrapped up rajkahini and is currently shooting for ekti bangali bhuter goppo . up next will be kantho .
one of the most sought after actresses in bangladesh , mahiya mahi debuted in 2012 with bhalobashar rong . though her first tollywood flick romeo vs juliet failed to impress the masses , the girl’s acting chops didn’t go unnoticed . now back in bangladesh , mahi is busy with a couple of ventures , agnee 2 being one of them .
a model - turned - actress , kusum sikder started out as a singer before winning a pageant that brought her overnight stardom . after acting in several tv dramas , kusum went on to debut in films . her launchpad , gohiner shabdo , brought her the national award in bangladesh . she is now part of goutam ghose’s shankhachil , opposite prosenjit chatterjee .
having started out as a model , dilruba yasmeen ruhee was quick to join tv . her debut drama was oporichita , based on tagore’s short story . her role as a hindu woman in her debut movie sangram was widely appreciated . ruhee played a model in glamour starring parambrata chatterjee .
habib wahid is is one of a popular bangladeshi singer & composer . people often called him a . r rahman of bd . he attended south breeze school in dhanmondi . later took audio engineering graduate from london’s school of audio engineering . ferdous wahid one of a most popular singer during the 1970s and 1980s , his father .
he says . “while in london , i worked with a dj and worked on a remix for virgin records with nitin soni under the name nasha experience . ”
“krishno” was his first album where he added a new dimension in the bengali song history with adding contemporary techno and urban beats . the album was released in 2003 .
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gulshan ara akter champa is a bangladeshi film and television actress . [ 2 ] [ 3 ]
champa was born in the 1950s in village : bijoy nagar jessore district , khulna division , bangladesh . her birth date is 5 january .
she is the younger sister of actresses bobita and shuchanda . [ 4 ] champa is fifth eldest in a family of three sisters and three brothers .
champa started her career in 1981 with the btv drama dub satar . [ 5 ] she soon received offers for other dramatic roles , and appeared in sahabjadir kalo nekab , akash bariye dao , khola daroja , ekti joddo anno ekti meye , apoya , ekhane nongor , and others . [ 6 ]
( 1986 ) , directed by shibli sadik . this film was produced by her sister shuchanda , and all three sisters ( shucanda , babita , and champa ) appear in the film . champa plays a police inspector . champa was the most popular actress in the period 1990 to 1996 . she is considered as the '
champa married businessman shahidul islam khan in 1982 . they have one daughter named esha [ 7 ] [ 8 ] champa ' s relatives include omar sunny ( nephew ) , moushumi ( niece in law ) , and riaz ( cousin ) .
winner : best co - actress national film award . directed by chashi nazrul islam
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the term ‘hungry generation’ came to me in the same way its other temporal counterpart – the naxalbari rebellion – made its way into my consciousness . as a legend , as lived memories , stories , broken promises , fragments . in other words , as indirect references . there is also the other , seemingly obvious connection . in everyday bengali middle - class intellectual consciousness , both naxalbari and hungryalist poetics have come to be associated with notions of unsullied rebellious spirits , youthful dissent , experimentation with forms , denial of received forms and rejection in general . to put it simply , radicalism . more specifically , myths of radicalism . this is what it means to come after . for those of us who came of age in the kolkata of late 1980s and early to mid - 1990s , life was a series of aftermaths . the aftermath of naxalbari , the aftermath of hungryalism , the aftermath of ipta , the aftermath of the betrayal of electoral left , the aftermath of the collapse of the soviet empire . aftermaths , by definition , are also the fertile grounds for the births of the myths . precisely because , the events themselves are gone , over .
and that kind of aftermathness , often lived through myths and the memories of others , brings with it its own challenges . removed from the headiness that inevitably accompanies events such as naxalbari or the state - sponsored censure of hungryalist poetics , these aftermaths demand new evaluations . the aftermath transforms yesterday’s rebel into today’s pitiable icon . the aftermath transforms yesterday’s icon into today’s tired office - goer . the aftermath tears off the mask , the veil , leaving most things naked and open , demanding new analyses and new interpretations .
it is , therefore , not surprising that what provided the hungryalist poets their critical edge – the unabashed and repetitive writing of middle - class male alienation and rage – becomes the most institutionalized voice of bengali poetry in the period following 1977 . by the time i came to any conscious reading of contemporary bengali poetry , as an overtly nerdy , overtly politicized , and unapologetically feminist teenager , growing up in a home where neither naxalbari nor hungryalism was out of bounds for adult discussion , the hungryalist alienated voice , often expressed through an unmediated , unreflexive ‘i’ , was the normative voice of bengali poetry . to be a bengali poet was to write about the inability to find oneself in one’s social environment . to be a bengali poet was to mourn about the inability to love and be loved , a feeling often expressed through the much fetishized bengali word ‘oprem . ’ to be a bengali poet was to be lost in a world of default middle - classness . to be a bengali poet was to reiterate again and again the inability to rebel against one’s middle - classness . a gendered script , expressed most often through a neatly distinguished binary between men and women , masculinity and femininity , would round up this dominant script of alienation through which most bengali poets have written themselves , and are still writing themselves . there is nothing ‘anti - establishment’ about this voice . in fact , it is so thoroughly entrenched in post - 1970s bengali poetry that it is difficult to find any other mode of expression . a mode of expression that would not make documentation of middle - class alienation its mainstay .
from the vantage point of hindsight , it is indeed interesting to witness the genesis of this alienation - poetics within hungryalism , and thus also to historicize it . here , in these hungryalist poems , most of them somewhat co - terminous with naxalbari , alienation is its own political category . alienation is not a beginning point , alienation is not a means to an end . rather , alienation is the ‘real’ thing in itself . consequently , the poems themselves are converted into textual and symbolic spaces wherein this political category is given concrete linguistic form , reiterated again and again . the obsessive repetition of the writing of this alienation becomes a celebration of alienation . and this celebration of alienation becomes a form of rebellion in itself . think of this poem by shubho acharya :
a close reading of the poem reveals a strange stasis , the kind of stasis which is constitutive of most alienationist poetics . there are images from the everyday social life we know – the dog , the lamppost on the street , the narrator on the beach , the empty pocket . these are signifiers of a lower middle - class existence , which bring memories of post - independence disillusionment and social crises into the body of the poem – memories that provided the materialist foundation for much of the radical social and cultural movements of the era , including naxalbari . but the poem is hardly a mere list of images . there is an attempt at an ideological reading of the time of its origin – “words like ‘love’ and ‘death’ are utilised for sport . ” this line almost crumbles under the pressure of its own moralism . because it is so invested in a kind of trite , commonsensical moralism , it also misses out on the chance to put any ideological , sociological or imaginative pressure on its language . although like most literary , cultural or political collectives , the hungryalists did not speak in a homogenous or monolithic voice , and deeper readings of the movement’s archives would reveal certain internal fractures , if one could make a quick generalization about the dominant tone of the hungryalist social critique , it is this : hungryalist poems often predicate themselves on easy moralisms , operating under the guise of ideological and political critique . because the default effect of the hungryalist poems is constituted by rage – and youthful rage at that – and poking fun at the more dominant bhadralok moralism , their own moralisms appear as cloaked terrain . in other words , what has often been described as a form of rebellious aesthetics in hungryalist poetics is based on an extremely weak sociological eye .
indeed , acharya’s poem provides its own understanding of rebellion – “a distinctive self - contradiction i advance it can also / be called retreating there is no fear of being ambushed . ” coupled with the two concluding lines – “with the other i chuck the fearless chin / of the world , saying , ‘dance little lady dance’– . ” the self - contradiction does not explode under its own pressure . it does not move forward , it does not create any desire for change . if there is any transformation that happens in this poem , it is one of retreat . almost in the same way , the ‘chucking’ hinted at in the closing lines of the poem , although an assault on existing reality , does not produce anything other than the narrator retreating into his own inwardness – the role of a privileged spectator . maybe it is even an irony - conscious spectator , one whose being is constituted by a social environment of both the failures of liberalisms and left philosophies . yet it is a retreat nonetheless , the consciousness of which the poem records in strange ways .
thus , there is the word ‘ambush’ , residing within the poem as a double - sequitur . on the one hand , it operates as a grave reminder of the time of the emergence of the hungryalist poetics , when incidences of ‘ambush’ – a term that brings into the poem’s body the realities of state violence – had reconstituted the lives of the bengali middle class to a certain extent . precisely because of that ambush - ridden everyday , the temporality which hungryalists share with naxalbari , the word ‘ambush’ exists in the poem as a reminder of its own fucked - up politics of retreating . a deeper examination of the archives of both movements would show the relationship between hungryalist poetics and naxalbari politics to be ambiguous . while this is an issue which demands more in - depth close readings , analyses and reinterpretations of the cultural productions that emerged from both movements , hungryalist poetics nonetheless brings up an unresolved issue : what are the limits of the category of alienation during times of social and political turbulence ? can alienation ever exist as an autonomous political entity , and what are the responsibilities – social , political and aesthetic – of the alienated ?
yes , i am that reader who is never satisfied by mere alienation . in a way , i take the idea of alienation seriously . too seriously , almost . consequently , i see alienation as the beginning point of something bigger , but never an end in itself . as a result , most of the hungryalist poems appear too status - quoist to me . too tame . yes , i repeat : tame and status - quoist . as an individual who has tried to stay involved with activisms of some kind for most of my life , i am politically and emotionally familiar with the terrain that the hungryalists are marking for themselves . a radical - left student organizer during the mid - 1990s – an inconvenient time globally to call oneself leftist – i understand the critique of both the electoral left and the radical left that the hungryalists are relaying . yet the critique they present remains the critique of those who have moved away from the messy terrain of everyday organizing of any kind . in other words , hungryalism remains the aesthetics of the shirkers .
no , i do not expect their poems to change the world . but i do expect their poems to provide me with new ways of seeing the world . this is precisely where the hungryalists have failed . hungryalists did not provide me with a language to understand the specter of the privatization of education that faced most of my generation . hungryalists did not provide me with a language to understand neoliberal economic violence or for that matter the violence of its liberal forebear . hungryalists did not provide me with a language to understand more deeply the complex histories of oppression and identities in this world . hungryalists did not provide me with a language to engage more deeply with the multi - faceted realities of human resistance to oppression . hungryalists did not provide me with a language to understand the global failures of the left .
at most , the hungryalists provided me with a language to complain . at most , the hungryalists provided me with a language to document symptoms . at most , the hungryalists provided me with a language to trivialize everything considered sacred by mainstream society . but that has never been enough for me . i didn’t need any hungryalist to teach me that poverty is dehumanizing , or that the state is capable of breaking and killing . i didn’t need hungryalists to figure out the loopholes and contradictions of bhadralok morality .
yes , i want poems to do more . i want art to do more . i want literature to do more than become a list of gripes and remonstrations . consequently , the hungryalists represent to me a profound failure of the bengali radical imagination , a profound failure of the bengali middle class to fashion a radical poetics . it is not difficult to understand why the linchpin of the movement , the alienated lyrical ‘i’ , alternately angry and sad , stands within the contemporary archives of bengali literature as a thoroughly appropriated category . after all , we middle class bongs love us some good alienation . it makes us feel edgy . it makes us feel sensitive , while leaving the central pillars of our structural existence untouched .
at the same time , there is something in these poems that would mark them as different from the lyricization of alienation in contemporary bengali . a certain sense of urgency , a certain breathlessness that is difficult to quantify . a certain sense that this world is a disaster , and nothing but disaster . a certain intuitive understanding that the bhadralok morality , which has dominated the social and creative life of post - independence bengal , needs to be torn apart . a form of raw rebellion against authoritarianism and social hypocrisy pervades these poems , in their formal experimentation with lines , white spaces , and punctuation . yes , there are moments when i am moved by them . yet this emotional appeal never lasts long . my relationship to hungryalist poetics is one of profound alienation . and that alienation stems from something profoundly simple : my own efforts to find myself within the poems of the hungry archives .
in other words , i am asking , what place has been accorded to women within the hungryalist texts . i will begin with a generalization . women appear in hungryalist poems as bodies – sexual bodies – and nothing but bodies on which desire is projected . in other words , if my alienation from the hungryalism was , to a certain extent , prompted by the fact that much of my political and aesthetic quests remained outside of the boundaries of a hungryalist aesthetics , it is also true that the hungryalist poets could not really imagine that someone like me might be their implied audience .
any sign of female sexual agency is vilified , mocked and ultimately turned into a site of male sexual violation . one can’t really say that the hungryalists write female sexual identity in terms of the virgin - whore dichotomy , because to be a woman with an independent sexual will is to be permanently reduced to the status of a whore within hungryalist poetics . like most of its social analysis , this particular way of reading women reeks of bhadralok moralism , cloaked in the language of male alienationist radicalism . what is absent is any political understanding of marriage as a social institution , of patriarchy as a socio - political category , and of sexuality as socio - cultural constructs of masculinity and femininity . any consciousness other than the sexual kind is automatically denied to women .


tengers is a 2007 south african animated film written , directed and produced by michael j. rix .

it is the first full-length animation produced in south africa and uses the claymation technique .

the film is a satirical black comedy about life in post-apartheid south africa .

rix has said his intention was to make a film that was : " entertaining but not frivolous . political but not preachy .

sophisticated but not alienating . "

tengers

tengers
and “mirror mountain pictures” are trademarks used by mirror mountain pictures .
there are no critic reviews yet for tengers . keep checking rotten tomatoes for updates !
tengers is south africa’s first animated feature film and is a dark social satire set in a contemporary south african context .
tengers by michael j . rix , jo day , phillip mathebula , anton schmidt | 684457884026 | dvd | barnes & noble®
the tengers were divided into white and black . white tengers came to be known as all - knowing , all - compassionate inhabitants of the western part of the upper world , akin to deities , while the fierce , ethnocentric black tengers , often invoked for power or vengeance , were seen as being from the eastern part of the upper world . thus came into being the pan - mongolian cosmology of the ninety - nine skies ( realms ) of the upper world , with fifty - five white tengers in the west and forty - four black tengers in the east . there is some talk in mongolia that so many new shamans are now being recruited by the spirits because of a war between these two spiritual regions ; but opinions differ widely , and conjecture over coffee and vodka can run wild .
billed as a small adult comedy with a big kid�s heart , tengers is the pet project of gauteng - based writer / director / animator and editor , michael j rix . michael wrote and storyboarded tengers in 1999 , and since then has put every spare moment into bringing the story to life through his own unique style of clay - mation .
andrew worsdale speaks to michael rix , the maker of tengers , south africa’s first feature length animated film , which takes a darkly humorous look at the realities of life in jozi .
tengers is a 2007 south african animated film written , directed and produced by michael j . rix . it is the first fulllength animation produced in south africa and uses the claymation technique .
your name your email recipient email enter a message i read this article and found it very interesting , thought it might be something for you . the article is called tengers and is located at urltoken
tengers is a 2007 south african animated film written , directed and produced by michael j . rix . it is the first full - length animation produced in south africa and uses the claymation technique .
south africa ' s first animated film ' tengers ' , that satirises life in contemporary johannebsurg , will have its local premiere as part of the africa on screen film festival at the end of may .
one of the best and most relevant south african movies in a very long time . . . tengers is a local movie that deserves our support because it is a pretty darned good one .
tengers is a movie starring adam callander , adran callander , and jo day . whilst working on
the great south african novel ,
an unemployed writer gets caught up in the harsh realities of life in the city of johannesburg .
in mongolian , one who travels the realms of the tengers is called a tengeri—“sky - dweller ; sky - walker . ” i like to think that luke skywalker , the young warrior - shaman jedi knight of the fictional star wars films , may have inherited his name from this tradition . interestingly , the bbc reports that in censuses taken in 2001 regarding spiritual beliefs , hundreds of thousands of people selected “jediism” as their faith of choice—such is the power of shamanism even in our modern myths and legends .
although his movie deals with serious issues , it’s very patriotic about those who live in gauteng with their resolute and sort of schizoid sense of humour about life in the sprawling city . “i think the underlying message of the film was always : we as tengers ( or south african even ) have become desensitised to the issues . but i also wanted the film to be hopeful , and reactive . if it stirs up feelings within one audience member who walks out thinking ‘i ' ve got to do my bit to help this situation’ , then i ' ve done my job . ”
the legend of the sky kingdom , despite laying almost certain claim to being africa ' s first stop - motion film , has never attracted much attention . at the time of this review it has only 25 votes on imdb . i had to order the dvd from the makers when i first watched it in 2009 , but nowadays you can stream it for $ 2 on amazon ( in the us ) , so if you ' re at all interested in the medium you should check it out . similarly south africa ' s little - seen claymation dramedy tengers , aimed at a considerably more adult audience , is currently also available .
he says he has many animation influences and is even a big fan of the old disney classics , “but unfortunately the success of these in the western world narrowed the scope of animation to be viewed as ‘kids entertainment’ . which in itself is ironic , because judging by disney ' s first feature snow white and the seven dwarfs , i don ' t think that was his intention . that movie has some seriously dark elements . sure , it was designed as pure entertainment , but i think it was originally intended for a more mature audience . the style of tengers was always supposed to be ‘a poor man ' s wallace and gromit ’ , very rough - around - the - edges , just like jo ' burg ! ”
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ashley ward is a comedian , actress and singer known for appearing in tv shows aqua teen hunger force and your pretty face is going to hell as well being a key part of critically - acclaimed musical comedy ensemble baby wants candy . originally from conyers in georgia , us , ashley is now set to take
darkly humorous and beautifully vulgar
show thrones ! the musical parody to the edinburgh fringe festival . here she tells mandy news how she started her career , what putting a show on at edinburgh is like and what actors can do to succeed . read more
alli mauzey is a broadway actress known for her theatre world award - winning performance as lenora in cry baby , brenda in hairspray as well as currently playing ernestina in the tony award - winning revival of musical hello , dolly ! here she tells mandy news how she got into theatre , what a typical day working on broadway is like and what actors can do to succeed . read more
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creating an astonishing film , theatre , music or dance production should always be the primary goal of any creative trying to succeed in the entertainment industry . but putting on an excellent show is just half the battle . the other half is getting your production as much attention as possible – and to do so you ' ll want a proper press release in place . read on to find out how to make a perfect press kit for your show . read more
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
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whilst working on
the great south african novel ,
an unemployed writer gets caught up in the harsh realities of life in the city of johannesburg .
2 of 2 people found this review helpful . was this review helpful to you ? yes no | report this
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
a jobless writer discovers that life in johannesburg can be brutally unforgiving as he struggles to finish
the great south african novel
in this claymation comedy .
© 2018 snagfilms inc . , 665 broadway , suite 700 , new york , ny 10012 made in nyc .
the film has already played on the international festival circuit to wide critical acclaim , and won the best animated feature award at the diy film festival in los angeles last year .
the inspiration for the production was mick jackson�s la story , written by steve martin . within the confines of a very funny comedy , martin is able to convey the day - to - day occurrences , rituals , hopes and fears associated with living in the sprawling metropolis of los angeles , california . commenting on his inspiration , rix says one specific scene leaps to mind when he remembers the film :
since leaving film school in 1996 , michael has been involved in numerous productions for south african television . insert writer , director , animator and editor on shows such as options , arts unlimited , rise up and read , red bull flugtag , sanlam money game , golf digest tv and ultra simple golf , as well as numerous music videos , commercials and corporate training films . michael also wrote , directed and edited man in the street , a feature film screened at the cannes film festival in 2003 .
is south africa’s first animated feature film and is a dark social satire set in a contemporary south african context .
whilst working on “the great south african novel , ” rob , an unemployed writer , gets caught up in the harsh realities of life in the city of johannesburg .
rob eventually falls into a bit of luck . soon after , however , it seems that someone is trying to make his life shorter ! the lottery service trying to save on their payouts , or someone he knows trying to get their hands on the winning ticket ?
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urltoken
entertaining but not frivolous . political but not preachy . sophisticated but not alienating .
the time has come for a satirical take on what it means to be south african , and what it ' s like to live in a society of constant flux , forever juggling the morals and ideals you were handed growing up , with the reality of day - to - day life as a ( gau ) tenger .
one of those local films you should see , but not out of some sense of patriotic duty but because you ' ll laugh out loud a lot .
darkly comic , then tragic and finally moving . . . a unique film .
if you find a character in the database that is not shown here , please edit that character ' s page adding
tenger
as their origin . see also : the tenger gallery
ulgen real name ulgen aliases ulgan relatives tengri ( father ) , gaea ( mother ) , erlik , kuara . . .
ay real name ay relatives tengri ( father ) ; gaea ( mother ) ; erlik , koyash , kuara , ulgen ( brothers . . .
kuara real name kuara relatives tengri ( father ) , gaea ( mother ) , erlik , koyash , ulgen ( brothers . . .
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the official behind - the - scenes on south africa ' s first ever animated feature film , including exclusive interviews with the animated cast and crew .
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this entry is trivia , which is cool and all , but not a trope . on a work , it goes on the trivia tab .
from left to right : nicholas brendon as xander , sarah michelle gellar as buffy , charisma carpenter as cordelia , and alyson hannigan as willow . not numbered , and playing his actual age : 42 - year - old anthony stewart head as giles , who is definitely not a teenager .
, except without 25 - year - old teenagers and 35 - year - old parents .
) , for one good reason : they ' re often played by actors who are at least a few years older . this dates back to the earliest days of hollywood , if not further , making it
this happens when dealing with teenage characters in the range of 14 - 18 years old , especially in dramatic shows . if younger , casting usually tries for children actors , and if older it is simply far less noticeable . if a show or movie carries a greater focus on the adults rather than the kids then they will usually avert this . this ought to be horribly distracting , but by and large , television audiences have learned to manage . it is so ingrained into our mindset that almost all aversions end up being notable .
it can sometimes result in a paradoxical effect : teens that look more like actual teens ( either with real teenage actors or in animation ) are described as looking
too young
( see reality is unrealistic ) . conversely , actors in their early - to - mid - twenties , especially those who make their name in these kinds of shows , often have difficulty being taken seriously playing characters their own age . very specific actors can pull it off , usually attributing it to the character being older than they look . in other cases , some stories work with this because a key plot point may be the character does not actually look their age and are trying to pass off as older than they really are . but with no such luck hollywood will get by with appropriate clothing , hairstyles , makeup and mannerisms .
named for dawson ' s creek , which was notorious for it — james van der beek ( 20 ) , katie holmes ( 18 ) , and joshua jackson ( 19 ) playing 15 - year - olds ( at the time of the pilot ' s filming ) . 17 - year - old michelle williams was the only one still high school aged . in season two , the new main character jack was 16 , and actor kerr smith was 26 . while maybe not the worst case example ( jack aside ) , it is a joke that has filtered into the cultural mindset regarding the show .
by and large this trope requires some research , you can ' t know for certain that an actor / actress is a certain age unless you scour around wikipedia or im db . also consider that production time may vary greatly from release of the movie or airing of the episode . the actors are of course younger during filming . timeline issues sometimes make this more apparent , as 5 seasons of a tv show may only cover one year within the context of the story , making an actor who was an aversion become a straight example over time . consider also that the exact age of the character may also be in question ( a generic
high schooler
can be anywhere from 14 to 19 ) . in the case of voice acting that field has nothing to do with appearance and everything to do with vocal performance , as such only notable aversions are mentioned ( consider what the point would be to list examples of race lift in voice acting ) . this is also part of why we have crossdressing voices .
ultimately realize that there is nothing fundamentally wrong with this trope ; all forms of entertainment are about the illusion . what matters is if you believe in the character . at the same time this is not about age discrepancies , just being three or four years older doesn ' t necessarily mean the production is
trying to pull a fast one
on the audience . if anything finding a 19 year old to play a 17 year old is well ahead of the curve .
compare age lift , age inappropriate dress , and three month old newborn . contrast hollywood old , playing gertrude , underage casting , and children voicing children . see also artistic age for an intentional drawn equivalent . cross - dressing voices is more - or - less the animated version of this trope , as partially explained above . also used to avert a stage mom situation .
while this is usually not an issue with animation , it becomes somewhat noticeable when idol series , like marginal number 4 and uta no princesama , have the voice actors perform concerts in - character . though , some of them definitely look the part , like unicorn jr . ' s shouta aoi and toshiyuki someya ( both 30 at the time of the franchise ' s first big concert ; their characters are 15 and 16 ) . somewhat subverted with the third member of the trio , alto , who ' s supposed to be 16 , but looks so much like his voice actor that he seems older , even in the animation .
the esper sisters tatsumaki and fubuki from one punch man are both 28 years old and 23 years old respectively , but their japanese voice actresses are not . aoi yuuki , tatsumaki ' s voice actress , is a year younger than saori hayami , fubuki ' s voice actress .
something similar happens in the spaniard dub with male actor ricardo escobar ( 15 - year - old edward ) and female actress blanca rada ( 10 - 12 year - old edward ) . rada voices ed in most flashbacks , but in some short ones ( two - three lines tops ) , escobar keeps voicing little ed . the results are kinda jarring , since even though escobar ' s voice is believable for a teenager ( although a kinda deep voiced one at that ) , it definitely isn ' t for a little boy .
the english dub actor chris patton has played the younger versions of two of his characters as well : joshua christopher in chrono crusade ( who was played by a woman in the japanese version ) , hajime aoyama in ghost stories ( who was also played by a woman in the japanese version ) and fakir in princess tutu . in the audio commentary for chrono crusade , it ' s revealed that they used a mixture of chris speaking higher and some editing to make it work .
similarly , in the dub of naruto , yuri lowenthal voices sasuke even when he was a kid and later he voiced simon of tengen toppa gurren lagann both before and after the time skip , though not in the distant finale ( which happen the same in the original language as well ) . the same goes for rossiu , though only in the dub ( while in the japanese version he retains a female voice actor even when we briefly see him in his fourties )
every single main male character over the age of 10 is voiced by a male actor , and most of them are believable . javier balas , naruto ' s voice actor , explained in an interview that it was done like that because when the series arrived to spain , in japan the manga had already reached the
. hence , they casted so every character could keep their voice actors after that point .
which happened for all characters . . . except sasuke . before the time skip he was voiced by adolfo moreno , a 30 - something voice actor famous for voicing ash ketchum from pokémon , sora from kingdom hearts ii and scott pilgrim , among many others . however , after the time skip he was replaced by eduardo bosch , whose voice sounds way more mature . . . so much that some people believe they overdid it .
it ' s probably worth noting that greg ayres ( the actor of negi from negima mentioned above ) has been cast three times in dubs for young characters voiced by akira ishida in the original : kaworu nagisa of neon genesis evangelion , chrono of chrono crusade and satoshi hiwatari of dn angel . in fact , greg himself tends to be a walking example—he was originally hired as a voice actor in the first place because his natural voice sounds so young
sixteen - year - old tsukiyono omi of weiss kreuz is played by yuuki hiro , actually the oldest of the four lead voice actors of the series ; his youthful voice means that he is often cast as cute , young boys .
was played by his male actor , ryo horikawa in his young appearances . most dubs use a female actor for this role , but the funimation english dub , like the japanese version , used his adult actor ,
christopher sabat also voiced the child form of piccolo in dragon ball , while in most other versions including the original japanese version cast a woman for this part .
( with a few exceptions which were old enough to be played by a male in both versions ) .
this trend was followed by most of the other dubs worldwide ; in fact , the japanese version seems to be the only one in which shinji was voiced by a woman , which some fans perceive as lost in translation , as his effeminacy was a major point in his character development .
other male teen characters were also voiced by men in the original japanese : touji suzuhara , voiced by tomokazu seki ; kensuke aida , voiced by tetsuya iwanaga ; and , as mentioned above , kaworu nagisa , voiced by akira ishida .
the 2008 yatterman series marks the only time in the franchise ' s entire history ( the live - action movie aside , for obvious reasons ) that gan / yatterman - 1 had a male actor ( hiroyuki yoshino in this case ) ; otherwise , he had a female actress .
the adventure of sinbad ova has 14 - year - old sinbad and drakon being voiced by the same actors who play their 30 - year - old selves in magi , which just sounds unnatural combined with the more cartoonish art style .
nate , a fifth grader from yokai watch is voiced by 40 year old johnny yong bosch .
princess principal : in - universe - dorothy is 20 years old , and undercover as a high schooler . ange lampshades it by saying her class must be very kind .
flip flappers : toto in the original japanese version was played by a woman to give him the pre - adolecence voice while the dub gave him a matured male voice .
although there ' s generally no actual casting involved , many fanfics involve describing teenaged characters ( both existing and new ) in terms that don ' t fit with their ages . sometimes there actually is casting , when the author creates banners or pictures for the cast , and generally uses
teen
models or actresses in their early - mid 20s .
in the author ' s notes of my immortal , tara gilesbie suggested that gerard way ( ! ) should play draco in the next harry potter film . gerard was almost 30 at the time .
butter up of the actingverse in my little pony : friendship is magic fanfiction plays fluttershy , and is a full adult , unlike the child stars who play the other characters .
one that didn ' t happen : j . d . salinger once wrote that the only adaptation of the catcher in the rye he would permit would be with himself , then well into his 30s , playing the 16 - year - old lead .
john green , perhaps as a shout out to the above , tweeted that he would be playing augustus in the fault in our stars as an april fools prank .
alice cooper , born in 1948 , has been singing
i ' m eighteen
for over 30 years .
bryan adams had a hit with
18 till i die
in 1997 , at the age of 37 .
pat benatar , born in 1953 , built an entire discography around singing about how
we are young
back in the 1980s . the video for
love is a battlefield
( which has the
we are young
line in question ) , where she plays a teen runaway . she was 30 at the time she made the video .
marilyn manson , born in 1969 , has been singing , in a first person narrative , of being a disgruntled youth , since 1994 when he was 25 .
korn have made a career out of teenage angst and high school ostracizing ; so far they ' ve been at it since 1993 , being at the time 22 years old plus .
madonna ' s early musical career centered around insinuating that she ' s a troubled youth , being a material
girl
who was
like a virgin
and juggling youthful crushes and youthful rebellion and wants to know
where ' s the party
, contrasted with tougher issues such as whether or not her
daddy
would be angry that she ' s pregnant , and running away from home because
daddy
is abusive . she was 25 years old when she released her self - titled debut . 3 years after that , she still considered herself young enough to kiss a 13 - year - old in the music video for
open your heart
, but her critics disagreed .
belinda carlisle had a youthful - sounding voice and used it to make references about being a
kid
in
school
finding love for the first time with her band the go - gos . in the late 1980s , she became a solo artist at the ( relatively ) mature age of 29 , replete with air - brushed album covers to make her look like someone born after 1958 .
cyndi lauper , another 30 - something in the 1980s who got famous about singing about being a
girl
instead of a woman .
pete burns was 26 when he released his album
youthquake
and the other members of british new wave band called
dead or alive
were in their late 20s and early 30s .
the beach boys continued to sing love songs to teenage girls even after they became middle - aged , bearded , creepy men . not counting the unreleased track
lazy lizzy
, in which brian sings about stalking an underage girl , the most pedo - worthy track to appear on a beach boys disc was undoubtedly
hey little tomboy
— made even worse by a bootlegged outtake in which the boys seem bent on gang - raping the title character .
at the age of 26 , katy perry played a 13 - year - old high school student in the music video of her song
last friday night ( t . g . i . f . )
.
several of taylor swift ' s videos , such as
fifteen
,
you belong with me
, and
the story of us
, in which she plays high schoolers . minor examples earlier , as she wasn ' t that much older than her characters , but it ' s started getting played more and more straight as she gets older ( though to her credit , she doesn ' t look it ) .
van halen ' s members were in their late twenties when they came out with the song
hot for teacher
, where david lee roth describes himself not as a college student , not as a high school student , but what sounds like an elementary school ( an american school for pre - teens ) student , lusting after his teacher . the video averts this by having scenes depicting the band as actual children , as well as being blatantly comedic in the first place .
20 - something ke $ ha has made an entire discography over referring to herself as a young girl who believes herself to be a rebel who is living on the wild side despite her vanilla bubblegum antics , especially her song
die young
( which has endless references to her youth ) or the video for
tik tok
( which has her living with her parents and riding a bike because she ' s too young to drive ) . her debut album , animal , was released in 2010 when she was 23 .
in the music video for
stupid girls
by p ! nk , she rather convincingly portrays a 16 - year - old girl ( purging in the bathroom during a school dance ) , as well as other characters covering a wide age range . she herself was 27 .
in the music video for
sixteen military wives
by the decemberists , the band members portray a high school model un . they all look at least ten years too old for the role . however , most of the actors in the video who aren ' t band members look plausibly teenage , and one of them is clearly in fact too young .
the music video for fancy , featuring 24 - year - old iggy azalea , 22 - year - old charli xcx , and their equally adult friends portraying teen characters from the high school film clueless .
the song and video for gwen stefani ' s
hollaback girl
, which depicts gwen as a high - schooler . she was 36 .
in her video for
mickey
, toni basil portrays a high school cheerleader . she was 39 at the time .
rob halford of judas priest mixed this with boomerang bigot on the group ' s 1986 synth - metal album turbo , which included songs about how teenagers are
wild
,
hot
and crazy
and adults are uncool . most blatantly , there ' s the line
we don ' t need no , no , no , no parental guidance here !
halford was in his mid - thirties when he wrote and sang that line , making him more like a cool young uncle than a hip teen .
in the music video for
bad
, michael jackson , who was 29 at the time , plays a high school student .
hustle ' s monster bono was only six years younger than his
father
, the great muta , and was seven years older than his mother , yinling the erotic terrorist .
tna did a storyline where
father
james mitchell claimed to be the father of abyss . . . except taking into account their relative ages meant that mitchell was only 9 when abyss would have been born .
bull nakano produce empress featured a 50s & 40s & 30s & 20s & 10s five on five tag team match with a wrestler on each side for each age group , except for one of the 10s was dramatic dream team ' s cherry , who had claimed to be 18 eight years ago and would logically would be 26 .
kelly kelly evoked this , even though her character was intentionally written to subvert it . when hired to appear as an
exhibitionist
on ecw on scifi in the late spring of 2006 , barbara jean blank , born in 1986 , was not yet 20 ( her birthday is in december ) and looked even younger than that . the commentators and other performers frequently called attention to the fact that kelly was
underage
, even though 20 is comfortably over the age of consent in the united states and most european countries ; they were merely trying to emphasize that she was the youngest person on the entire roster . as if those innuendoes weren ' t enough , kelly was also paired romantically with mike knox , a man so gargantuan that he looked more like her father than her boyfriend - and who acted like her father , too .
quite common with shows involving puppetry that have characters who represent children . the most notable example is sesame street , which has several characters who are supposed to be children , but sound like adults .
in pokemon live , the characters are pre - teens . the actors . . . aren ' t . kind of inevitable , really .
, 26 - year - old edward rutledge was played by then - forties john cullum . there ' s even a line in the play about how rutledge is the youngest man in congress . but who cares about that when you ' ve got cullum ' s beautiful soaring baritone ?
done for artistic reasons in the golden ticket , an opera based on charlie and the chocolate factory — to emphasize charlie ' s innocence and kindness compared to the other kids in the story , he ' s the only character played by a kid . the four brats and several jealous tots who are at hand for the factory opening are all played by adults .
in wicked the age range of the leads elphaba and glinda is about 18 - 23 years , and sometimes there are actresses those ages that play them ; but more often than not the roles are given to women in their late - 20 ' s to mid - 30 ' s , and sometimes even older .
the 2015 broadway production of gigi has 26 - year - old vanessa hudgens playing 18 - year - old gigi . coincidentally , leslie caron was the same age when the original film was made . on the other hand , the role of gaston , who was played by 36 - year - old actor in the film , is being performed on broadway by corey cott , who ' s only 24 !
in the novel of les misérables , fantine only reaches her mid 20s , while grown - up cosette and éponine are only about 16 or 17 . in the musical , cosette and éponine tend to be played by actresses in their 20s , while fantine ' s actresses tend to be in their 30s or older . this is even the case in the 2012 film version , with 30 - year - old anne hathaway as fantine , 27 - year - old amanda seyfried as cosette and 22 - year - old samantha barks as éponine .
due to the fact that hamilton covers such a long period of time—1776 to 1804 not including the prologue covering the first 19 years of alexander hamilton ' s life—this was pretty much a necessity . however , by far the most blatant example occurs with alexander ' s eldest son phillip . he ' s the only one of the hamiltons ' eight children with a role in the play ( the other kids are mentioned but he ' s the only one who appears ) , and the same adult actor plays him at both 9 years old and 19 . it helps that his original actor , anthony ramos , has a smaller frame , boyish face , and higher vocal range , making it much less distracting than , say , having the hulking baritone okieriete onaodowan ( hercules mulligan in the first act , james madison in the second ) in that role .
hamlet is a tough call . according to the play , he just interrupted his studies at wittenberg , so he ' s not even graduated college . but elsewhere , the play mentions him as being in his thirties . maybe shakespeare couldn ' t do maths very well . plus , the role of
hamlet
has acquired a reputation as being sort of the
crown jewel
of an actor ' s career , so you ' ll find men cast as hamlet when they ' re in their thirties or older , usually at the height of their fame . it may be an aversion , though , as plenty of older men went to study at university later in their lives and still do today .
it ' s very rare that you ' ll see a production of romeo and juliet where romeo is seventeen , much less one where juliet is barely fourteen . leaving aside the challenges of mastering shakespeare ' s language and characters , the subject matter ( including a rushed marriage , murder , and suicide ) is dark and bracing enough as it is . sometimes the production will just age lift juliet by a few years , even if the actors are still out of their teens .
likewise , cio - cio san in madame butterfly is supposed to be fifteen in act i and eighteen in the later acts . but considering the difficulty of her role , she requires a master performer with a fully developed voice , so she ( and many other opera ingenues ) are dawson casted .
puny humans has emma , a pre - teen , played by a mid - 20s actress , albeit a short one older than they look .
spring awakening is about early high - school - aged students ( fourteen or fifteen years old ) having sex . the script calls for simulated masturbation , a light bdsm scene , and a sex scene in which the original broadway choreography calls for the female and male lead to briefly appear topless and bare - butted , respectively . even if individual productions choose to omit the nudity ( as colleges often will if appearing in plays is a requirement to graduate from certain majors ) , the subject matter and language still make dawson casting a safe bet .
most productions of the king and i , including the film , apply this trope to anna leonowens and playing gertrude to the king , presumably to make their battle of wills feel more evenly matched and to enhance their unresolved sexual tension . the real anna was in her late 20s or early 30s ( though she most likely claimed to be younger than she was ) when she came to siam , while king mongkut was nearly 60 , but they ' re usually both played by performers in their mid to late 30s or 40s .
the teenagers in final fantasy viii look to be in their early to mid - 20s . since the game is supposed to be like an american - style high school drama and was made at the height of squaresoft ' s period of trying to be ' cinematic ' , it comes across as an intentional stab at creating the look of a dawson - cast movie . this is especially apparent with squall , who was modelled after a musician who had been in his 30s at the time of development .
angela from silent hill 2 is intended to be a teenager , but was played by an actress in her 40 ' s . this was done on purpose to emphasize how damaged she was after her dark and troubled past .
the last of us 14 - year old ellie is voiced by 30 - year old ashley johnson . additionally , 16 - year old riley is voiced by 32 - year old yaani king ( and they both sound it , especially the latter ) .
be up to a year , making tedd eighteen . she then goes on to say that it doesn ' t matter anyways since none of them are likely to look any different before they turn 30 .
though the revelation that he may be under the drinking age causes tedd to excuse himself so that he can dispose of a keg in the fridge before his dad finds it .
this was the initial reason that some viewers suspected lonelygirl15 to be a hoax . the real life implications of this are apparent in an episode of maxterbexter , in which former lonelygirl15 actors becki gregoski and maxwell glick complain about needing to show id before they would be served alcohol , even though maxwell glick was 29 at the time .
on the website hosting the whateley universe , the stories centering on chau lee ( bladedancer ) are often illustrated with pictures of zhang ziyi . the character is fifteen , the actress at least twelve years older . . .
mocked in a very potter musical with clearly college aged darren criss stating
i ' m just a 12 - year - old kid
.
lucas cruikshank was 14 when he started playing six - year - old fred figglehorn . justified in that he created the character to be performed by himself .
20 - something bhargav playing ma - ti , who is somewhere around 14 . he said he was fourteen when he woke up to see marz gurl and the nostalgia chick in bed with him .
lindsay and doug both play teenage versions of their characters in videos , respectively 27 and 30 as of writing .
because she ' s short and they have clothes that will hide her bust , tamara often plays kids in critic skits .
behind the veil is an interesting case of this , with the
actors
being limited to celebrity representations of what the character ' s appearance would be . however several characters ages are either older or younger than the celebrities portraying them , for example the 32 - year - old jack raven being represented by the 45 - year - old jeffrey dean morgan .
star wars uncut : in this fan film remake of star wars : a new hope during the scene on the death star bridge leia ( circa 20 years old ) is played by a woman who has got to be pushing 80 .
epic rap battles of history —
romeo & juliet vs . bonnie & clyde
: in the original play by shakespeare , juliet is only 13 years old , while romeo is probably not much older . this was lampshaded by their opponents , where bonnie called juliet a
prebuscent vixen
, and clyde referred to romeo as a
boy
. in real life , grace helbig ( juliet ' s actress ) is a year older than bonnie ' s actress , hannah heart ( they ' re 30 and 29 , respectively ) . while nicepeter , who portrayed romeo , is 36 .
south park couldn ' t help but use this trope when they did the live action reenactment in
i should have never gone ziplining
by casting guys in their mid 20s to play the ten year old boys . cue the narrator emphasizing
these four 4th graders
throughout .
parodied in an episode of family guy , in which the
older kid
on dawson ' s creek is an old lady who behaves in a stereotypically grandmotherly way ( fixing dylan ' s sock for him , and reminiscing about how things used to be ) .
the ember island players play it straight . all of the adolescent characters are played by very obviously adult actors .
lampshaded in - universe in a third season episode of kim possible called ,
and the mole rat will be cgi ,
where a famous action movie director about kim , ron and rufus , and the director decides to cast an actress named heather to play kim and an actor named quinn to play ron—ron points out that heather and quinn are in their late 20s , and are thus way too old to be playing high school - aged teenagers .
lampshaded in the tiny toon adventures episode
thirteensomething
, where babs disguises herself to get a role on the titular show ( which has a humans - only cast ) . her paper - thin disguise features a much curvier figure than you ' d expect for a human girl of babs ' approximate age .
the virgin mary is usually played by an actress over the age of 20 , but historians say she was about 14 when she became pregnant with jesus . ( obviously there ' s no evidence for mary ' s actual age , but she clearly has the status of a girl who will be married soon , but not yet , and the ancient jews had pretty strict cultural norms about at what age you went through important milestones in life . )
it ' s a common lesson , in art class , that the more lines you add while drawing a face , the more aged your subject will look . also , the more angular the subject in the picture is , the older they will look . therefore , most young characters should be drawn with no lines and a rounded face . some artists don ' t apply these rules .
in
how to draw comics the marvel way ,
drawing comics in the style of detective comics comics ,
aping shit the valiant way ,
and every other drawing tutorial i ' ve been a part of , it clearly says that every line you draw on a person ' s face adds to their age . when you ' re drawing children or sexy young women you give them clean surfaces to suggest youth and a tightness of veins , and when you draw clint eastwood in an eyepatch hanging out with gen 13 you draw all over his face to let people know he ' s old . depending on who you talk to , every line can equal a year added onto the life of your character . shaft , the young leader of rogue operative team
youngblood ,
is 900 years old .
in a rather squicky and creepy example , a 29 - year - old named neil rodreick iii was found posing as the 7th grader ( 12 years old ) casey price , fooling even the two people he was living with .
a woman from texas , treva throneberry ( mentioned in the live - action tv section ) , pretended to be a teenager throughout her 20s and early 30s and moved from foster home to foster home . she got a tuition to go to college and was finally arrested for fraud . interestingly , she didn ' t look especially youthful .
31 - year - old patricia dye posed as a teenage boy so that she could have sex with a teen girl .