laila majnu is a 1976 hindi movie based on the legendary story of layla and majnun .

this film version is directed by harnam singh rawail and stars rishi kapoor , ranjeeta , danny denzongpa , aruna irani , asrani , iftekhar , tom alter and ranjeet .

the film 's music is by madan mohan and jaidev .

layla and majnun , and layla and majnun also known as the madman and layla - ( persian : لیلی و مجنون ) in arabic مجنون و ليلى ( majnun and layla ) or قيس وليلى ( qays and layla ) , in persian : لیلی و مجنون ( leyli and madjnun ) , ( leyli və məcnun ) in azeri - is a classical arabic story of star-crossed lovers .

it is based on the real story of a young man called qays ibn al-mulawwah ( arabic : قيس بن الملوح ) from the northern arabian peninsula .

in one version , he spent his youth together with layla , tending their flocks .

in the other version , upon seeing layla he fell passionately in love with her .

in both versions , however , he went mad when her father prevented him from marrying her ; for that reason he came to be called majnun layla , which means " layla 's lunatic . "

it is a love story that originated as poem in 11th century arabia , later was adopted by the persian poet nizami ganjavi who also wrote " khosrow and shirin " .

it is the third of his five long narrative poems , khamsa ( the quintet ) .

laila majnu ( 1976 film )

film name : laila majnu ( 1976 ) singer ( s ) : lata mangeshkar & mohd . rafi lyrics : sahir ludhiyanvi
film name : laila majnu ( 1976 ) singer ( s ) : mohd . rafi , aziz nazan , shankar - shambhu , ambar kumar & chorus lyrics : sahir ludhiyanvi
govinda has two famous laila songs under his belt : main tera majnu , tu meri laila from his 1994 film aag and the superhit main laila laila chilaunga kurta phaad ke from the 1999 comedy anari no . 1 .
the film was a box office hit and is considered one of the best film adaptations of the classic sufi legend of laila and majnu .
laila is prominently featured , for obvious reasons , in harnam singh rawail’s 1976 adaptation of the laila - majnu legend , starring rishi kapoor and ranjeeta kaur . the film opens with the title track , laila majnu do badan ek jaan the , which lays down the premise of laila and qais as star - crossed lovers . later , a heartbroken qais ( kapoor ) wanders in the desert after being exiled , and pines for laila with the song likh kar tera naam zameen par ( “saayon ko liptaata hain aur laila laila karta hain” ) .
after the success of laila majnu , filmaker h . s . rawail started deedar e yaar .
that very year , kishore kumar once again made himself the woman’s majnu in hum to mohabbat karega ( “laila laila karega , thandi aahen bharega” ) in the film dilli ka thug .
thereafter , laila became a regular fixture in hindi film songs as either a part of the hookline or embedded somewhere in the lyrics : laila o meri laila ( mujhe insaaf chahiye , 1983 ) , laila mar gayi ( uttar dakshin , 1987 ) , laila ne kaha jo majnu se ( jungle love , 1990 ) , and jumma chumma ( hum , 1991 ) .
one of the earliest uses of laila in a hindi film song is in ss vasan’s satirical film mr sampat ( 1952 ) . the song , laila laila pukaroon , is staged as part of a theatre company’s show where the dancers enact the tale of laila - majnu . the next year saw the release of the third talkie adaptation of the laila - majnu legend in hindi , starring shammi kapoor and nutan in the titular roles . it was a box - office hit .
laila - majnu make a comeback not just in a song but as a part of the story in anil mehta’s aaja nachle ( 2007 ) . choreographer dia ( madhuri dixit ) returns to her hometown and stages a performance of the laila - majnu folk tale along with locals in order to prevent the destruction of her mentor’s dilapidated dance theatre . the song koi paththar se na maare mere diwaane ko from the rishi kapoor starrer laila majnu ( 1976 ) is recreated for the play in aaja nachle .
like all these pairs , laila and majnu too have had an indelible influence on hindi cinema and its music . their most recent appearance is in the song bandook meri laila from the sidharth malhotra - jacqueline fernandez starrer a gentleman . lyricist vayu compares laila to a gun ( “bandook meri laila” , “beretta ki beti” ) .
laila became a nationwide phenomenon in 1980 thanks to the hit number laila o laila from feroz khan’s crime thriller qurbani . this song , along with the biddu - produced aap jaisa koi from the same film , heralded the disco era of hindi film music . laila o laila is situated in a club where the singer sheela ( zeenat aman ) and her drummer ( amjad khan , actually an inspector in disguise ) lip - sync to the song sung by amit kumar and kanchan and composed by kalyanji - anandji . the lyrics ( “laila main laila , aisi hoon laila , har koi chahe mujhse milna akela . ” ) are by indeevar .
we don ' t have enough data to suggest any movies based on laila - majnu . you can help by rating movies you ' ve seen .
two years later , kapoor and neetu singh became majnu and laila to each other in a slapstick song sequence , o meri jaan thik se dekho in the film anjane mein . raja dons majnu’s garb and serves food at rani’s table ( “laila , o laila , kaha ho meri rani , arre main le ke aaya hoon tere liye mohabbat ki biryani . ” ) . rani , not amused , puts a bunch of bananas on raja’s head and goes , “arey majnu ke chele , kahi ja kar bech kele . ”
a month after josh ’s release , alisha chinai sang the forgettable laila in her non - film album om ( 2000 ) . the most definitive laila song of the 2000s is , however , the item number laila laila from the 2003 serial killer mystery samay : when time strikes , a rip - off of david fincher’s se7en ( 1995 ) .
laila majnu is a 1949 telugu historical film , based on the sufi legend of laila - majnu , produced and directed by p . s . ramakrishna rao on bharani pictures banner . starring akkineni nageswara rao , bhanumathi ramakrishna in the lead roles and music composed by c . r . subburaman . the film was simultaneously released in tamil with same title . [ 1 ] the film recorded as super hit at the box office . [ 1 ] s . d . sundharam wrote the dialogues and lyrics for the tamil version .
f . nagoor also made the adaptation of laila majnu for balaji pictures , with t . r . mahalingam and m . v . rajamma playing the lead roles in 1949 .
in 1957 , laila reappeared in main pyar ki laila hoon , a duet sung by sudha malhotra and manna dey , from the science - fiction film mr x , starring ashok kumar , inspired by hg wells’ novel the invisible man . the next year , in satyen bose’s hit comedy chalti ka naam gaadi , kishore kumar’s character manmohan serenades renu ( madhubala ) in the song paanch rupaiya baara aana with the lines “tere liye majnu ban sakta hoon , laila laila kar sakta hoon . ”
the next decade saw a serious hike in the number of laila songs . then a rising star in 2011 , yo yo honey singh , famously rapped , “main tera majnu , bann meri laila” in the hit track angreji beat from his breakthrough album international villager .
this edition made by bhanumathi was dubbed into tamil and released simultaneously with the telugu version . f . nagoor made another laila majnu in 1950 under the banner balaji pictures and shot at newtone studios with t . r . mahalingam and m . v . rajamma in the lead roles . the story was again made in 1953 , 1976 ( in hindi and bengali ) , and later in 1982 . [ 2 ]
taking the leap out of the classic folklore , the story is set in today ' s time in kashmir where laila majnu have problems relevant to the youth of today . while dealing with their feuding families a passionate love story unravels .
ranjeeta makes a convincing laila , despite being a bit heavy with her dialogue and she manages aided by effective makeup to provide a measure of pathos in her later scenes . rishi kapoor as majnu - kais is effective in serious moments but looks awkward during the song sequences . as the prince who marries laila , danny turns in a sympathetic performance .
( film : haqeeqat ; music : madan mohan ; lyric : kaifi azmi ) .
harnam singh rawail brings to us the story of the legendary lovers laila and majnu on celluloid . being born in rival clans ( amaris and sharwaris ) , their love wa forbidden by their families . the childhood lovers were seperated as their families feared having to unite . putting their love to the severemost tests , laila and majnu are never able to unite . so , they decide to free themselves of the bond of life , and die , for that is the only way their love can truimph .
in between came rajesh khanna’s hit thriller chhailla babu ( 1978 ) . in the opening track main babu chhailla , khanna goes , “aaj se ban gaya re main majnu , dekh ke tujhko laila” in a carriage with a coy zeenat aman by his side .
c . r . subburaman’s soul stirring music with ‘preme neramouna…’ ( rendered by bhanumathi ) the evergreen hit , ‘o priyathama… payanamaye priyathama nanu marachipokuma…’ ( rendered by ghantasala ) and the dance sequence featuring lalitha and padmini , contributed to the runaway success of laila majnu .
“laila majnu” scored with all those who believed in love , all those who were in love , all those who wanted to be in love . that was in the 70s . today , it will score with… . well , wasn’t love supposed to eternal , undying , unflagging ?
laila majnu song yeh deewana ke zid hd 720p singer : mohammad rafi movie : laila majnu ( 1976 ) lyrics : sahir ludhianvi music director : madan mohan actors : rishi kapoor , ranjeeta , danny , aruna irani and more . . . directedby : h . s . rawail genre : love story , musical bollywood top 10 music videos new indian movie 2011 new indian songs 2011 march new bollywood movie 2011 new indian movie promos new hindi singers 2011 indian love songs indian romantic songs hindi songs 1280x720 hindi high definition songs hindi songs 2010 hindi star 2011 hindi songs 2011 new hindi movie 2011 new hindi songs 2011 new hindi song 2011 new hindi video clip 2011 new hindi songs 2011 march old hindi songs old indian songs indian old songs mukesh songs mohammad rafi songs kishor kumar songs kumar sanu songs udit naryan songs sonu nigam songs lata mangeshkar songs anuradha paudwal songs alka yagnik songs sadhana sargam kavita karishnamurthi songs
film name : sheroo ( 1957 ) singer ( s ) : mohd . rafi lyrics : kaif irfani
film name : parwana ( 1971 ) singer ( s ) : mohd . rafi lyrics : kaifi azmi
shah rukh khan got his laila moment with apun bola tu meri laila in josh ( 2000 ) . max ( khan ) , a local rowdy , tries to capture the attention of rosanne ( priya gill ) . his attempts mostly lead to failure , which forms the crux of the song which he sings to his friends in despair : “apun bola tu meri laila , woh boli fekta hai saala . ”
“laila majnu” offers within its 19 reel , lavish sets , glittering desert exteriors , an elaborate fantasy sequence , and gorgeous costumes . it all makes for an eye - catching pageant , except that the pageant often looks closer to being a comedy than a tragic tale of star - crossed lovers . for a tale of intense love and hate , director h . s . rawail’s film generally strikes incongruous notes .
note : 1 . all songs recorded in madan mohan ' s lifetime though the film was released later .
while laila has been a part of many songs in the past few years , two particularly successful ones have been laila teri le legi from the gangster film shootout at wadala ( 2013 ) and the recreated version of qurbani ’s hit number in the shah rukh khan starrer raees ( 2017 ) . both are item numbers , filmed in a dance bar - like setting where gangsters drop in to be entertained . both feature sunny leone as the eponymous laila dancing purposefully to make the name her own in the annals of hindi cinema .
film name : nirmohi ( 1952 ) singer ( s ) : lata mangeshkar lyrics : p . n . rangeen
film name : nirmohi ( 1952 ) singer ( s ) : lalit mohan lyrics : p . n . rangeen
film name : bhai - bhai ( 1956 ) singer ( s ) : mohd . rafi lyrics : rajinder krishan
film name : ek kali muskayee ( 1968 ) singer ( s ) : mohd . rafi lyrics : rajinder krishan
film name : ankhen ( 1950 ) singer ( s ) : mohd . rafi lyrics : raja mehdi ali khan
film name : khota - paisa ( 1958 ) singer ( s ) : mohd . rafi lyrics : rajinder krishan
laila majnu , an ancient epic of love , is an integral part of classic sufi literature . hashmet shah has told it , so has amir khusro . nizami ganjavi’s 12th century version in scintillating verse filled with allegorical flourishes has been translated into numerous languages . mian mohammad bakhsh’s interpretation of the epic is held as an acclaimed treatise in pakistan till this day . the tragic tale of majnoon and laila is said to have its foundations in true events that occurred in the 7th century .
thanks for sharing such a valuable information gathered at one place . do you have film
baadil starring habib and deeba
note : 1 . all songs recorded in madan mohan ' s lifetime . the film was delayed and released later .
note : 1 . the film was delayed , though the music was recorded by madan mohan in 1974 / 1975 .
film name : minister ( 1959 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
film name : mohar ( 1959 ) singer ( s ) : lata mangeshkar & mohd . rafi lyrics : rajinder krishan
film name : neela aakash ( 1965 ) singer ( s ) : mohd . rafi lyrics : raja mehdi ali khan
film name : mera saaya ( 1966 ) singer ( s ) : mohd . rafi lyrics : raja mehdi ali khan
film name : baap bete ( 1959 ) singer ( s ) : mohd . rafi & chorus lyrics : rajinder krishan
laila majnu story was first made as a silent film in 1922 by j . j . madan and again in 1927 by manilal joshi . noted filmmaker kanjibhai rathod made it in hindi in 1931 after the films became talkies . j . j . madan remade it in hindi in 1931 . in 1936 , it was produced by east india pictures in persian . in 1940 , dharmaveer singh made the same story in punjabi , and in 1941 , sarnad pictures made a version in pushtu language . in 1945 it was made in hindi featuring swaran lata as leila and nazir ahmed as majnu . it was a box - office hit .
film name : ghar ka chirag ( 1967 ) singer ( s ) : mohd . rafi & chorus lyrics : kaifi azmi
film name : chacha chowdhary ( 1953 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
film name : gateway of india ( 1957 ) singer ( s ) : mohd . rafi & chorus lyrics : rajinder krishan
film name : sultana daku ( 1972 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : kaifi azmi
kaish amari comes from a wealthy arab family . at the tender age of six he is sent to school and gets friendly with a young girl named laila .
tales of undying love travel , and how . what was once a local legend in persia in the ninth century spread far and wide , thanks to numerous poets , translations and folk art , until it became one of the most oft - used elements in the lyrics of hindi film songs . the lovers laila and qais ( who got the nickname “majnu” , meaning “mad” , for his antics after getting separated from laila ) , who could never live together or consummate their passion , became a symbol for tragic romance in the vein of romeo and juliet , khosrow and shirin , sassi and punnu , sohni and mahiwal , and mirza and sahiban .
laila kept making appearances throughout the decade in a number of hit songs such as gandi baat ( r . . . rajkumar , 2013 ) and matargashti ( tamasha , 2015 ) . the tamil hit mental manadhil from mani ratnam’s romantic drama o kadhal kanmani ( 2015 ) opens with the lines “like - a like my laila . ”
film name : fifty - fifty ( 1956 ) singer ( s ) : mohd . rafi & kishore kumar lyrics : rajinder krishan
film name : khota - paisa ( 1958 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
film name : pooja ke phool ( 1964 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
film name : dekh kabira roya ( 1957 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
kaish amari comes from a wealthy islamic family . at the tender age of six he is sent to school and gets friendly with a young girl named laila . both of them become close friends , so much so that kaish gets himself punished and beaten for her . they mature in age so does their love much to the chagrin of laila ' s dad , who wants her to marry a wealthy arabian , bahksh , a noble prince . now the region is aflame with their love story , kaish , who is now known as majnu , cannot get laila out of his mind and roams around the desert semi - senile , without food or drink , while laila is getting wed to the man of her father ' s choice . the question remains will love triumph in the end or is this young couple fated to be separated for the rest of their lives .
film name : neela aakash ( 1965 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : raja mehdi ali khan
film name : aakhri dao ( 1958 ) singer ( s ) : asha bhosle , mohd . rafi & chorus lyrics : majrooh sultanpuri
film name : ek shola ( 1958 ) singer ( s ) : geeta dutt , mohd . rafi & chorus lyrics : majrooh sultanpuri
film name : neend hamari khwab tumhare ( 1966 ) singer ( s ) : asha bhosle & mohd . rafi lyrics : rajinder krishan
film name : pooja ke phool ( 1964 ) singer ( s ) : asha bhosle , mohd . rafi & chorus lyrics : rajinder krishan
film name : hindustan ki kasam ( 1973 ) singer ( s ) : manna dey , mohd . rafi & chorus lyrics : kaifi azmi
in 2012 , another hit song pyar ki pungi , from sriram raghavan’s spy thriller agent vinod , had the lines “khidki pe koi khada hain , laila ka taaka bhida hain . ”
film name : haqeeqat ( 1964 ) singer ( s ) : mohd . rafi , talat mehmood , manna dey & bhupendra lyrics : kaifi azmi
the lead pair had plenty of takers ; ranjeeta was not your typical hindi film beauty , curls , curves and fair skin . with her unconventional looks , she presented an indefinable extra . laila’s beauty , they say , lay in the eyes of the beholder . same was the case with director h . s . rawail’s heroine here . rishi had won over plenty of teeny - boppers with “bobby” . in the intervening period they had grown up a little and could appreciate the travails of majnu better . with long locks , fierce eyes and bruised body , rishi was aeons removed from the sugar - as - sweet debut performance . he was loved all the same . never mind he was not gaunt like majnu , he conveyed the spirit even if the flesh was not always there .
laila ( bhanumathi ramakrishna ) is the daughter of ameer sarvaar ( mukkamala ) , and khais ( akkineni nageswara rao ) , the son of ameer umri ( arani satyanarayana ) . love blossoms between laila and khais as they grow up . ameer sarvaar , unable to dissuade his daughter from seeing khais , shifts to mecca . khais follows her to mecca and roams in the streets uttering her name . people take him to be a mad person ( majnu ) and throw stones at him . the story takes a lot of twists and turns from here on . the king of iraq ( c . s . r ) , who comes on a visit to mecca , sees laila and decides to marry her . meanwhile , ameer umri pleads with his erstwhile friend sarvaar to save his son . sarvaar agrees to get his daughter married to khais if it is proved that he is not mad . a test is conducted and khais emerges successful . just when the marriage is to be performed , sarvaar receives a proposal from the king of iraq that he wishes to marry laila . sarvaar changes his mind , and performs his daughter’s marriage with the king . laila leaves for iraq and khais wanders aimlessly in the desert . the king already has a mistress zareena ( sriranjani jr ) . on coming to know of laila’s story , she tries to help her . soon thereafter , the prince to repents , calls laila his sister and sends her back to khais . the lovers are about to meet in the desert , but fate wills it otherwise and a heavy sandstorm takes its toll .
laila is the daughter of ameer sarvaar ( played by mukkamala krishnamurthy ) , and khais , the son of ameer umri ( arani satyanarayana ) . love blossoms between laila and khais as they grow up . ameer sarvaar , unable to dissuade his daughter from seeing khais , shifts to mecca . khais follows her to mecca and roams in the streets uttering her name . people take him to be a mad person ( majnu ) and throw stones at him . the story takes a lot of twists and turns from here on . the king of iraq ( played by c . s . r . anjaneyulu ) , who comes on a visit to mecca , sees laila and decides to marry her . meanwhile , ameer umri pleads with his erstwhile friend sarvaar to save his son . sarvaar agrees to get his daughter married to khais if it is proved that he is not mad . a test is conducted and khais emerges successful . just when the marriage is to be performed , sarvaar receives a proposal from the king of iraq that he wishes to marry laila . sarvaar changes his mind , and performs his daughter’s marriage with the king . laila leaves for iraq and khais wanders aimlessly in the desert . the king already has a mistress zareena ( played by jr . sriranjani ) . on coming to know of laila’s story , she tries to help her . soon thereafter , the prince too repents , calls laila his sister and sends her back to khais . the lovers are about to meet in the desert , but fate wills it otherwise and a heavy sandstorm takes its toll .
film name : railway platform ( 1955 ) singer ( s ) : asha bhosle , mohd . rafi , batish , manmohan & chorus lyrics : sahir ludhiyanvi
with his first film , rathnamala , turning a box - office hit , studio owner and director ramakrishna was on the look out for a suitable subject for bharani’s next venture . fascinated by the first hindi talkie version of laila majnu ( 1945 ) , which he had seen in bombay , he made the choice . his production chief d . l . narayana agreed with him . a projection of the hindi version was arranged for his actress - wife bhanumathi and akkineni nageswara rao , whom he had thought of for the protagonist’s role . samudrala raghavacharya was assigned the job of writing the script and the dialogue .
laila reappears in the arabic - flavoured aap se miliye from nasir hussain’s 1969 lost - and - found saga pyar ka mausam . seema ( asha parekh ) performs to the lata mangeshkar song ( “arre pyar ke sehraon mein firte hain ye bhage , oonth hai inke peeche laila koi aage . ” ) on stage along with her troupe members , as a besotted sunil ( shashi kapoor ) gazes at her with awe .
film name : veer - zaara ( 2004 ) singer ( s ) : ahmed hussain , mohd . hussain , mohd . vakil , javed hussain & chorus lyrics : javed akhtar
lovers , laila and majnu , face implacable opposition to their marriage . he ends up in exile , derided as a madman and living the life of a pauper in the desert whilst she finds herself unhappily married and living in a palace . not even evidence that their union has been divinely ordained can bring about a happy ending . but as
the love story ends . . . . . . . . . . . the love legend begins . . . . . . . . . .
note : 1 . this film was dedicated to the loving memory of madan mohan . 2 . three additional songs were recorded by music director jaidev after the sudden demise of madan mohan . 3 . * madanji sings as he composes the mukhda of this song . laila majnu was the first golden jubilee hit of madanji ' s career and the music was a rousing success , but madanji did not live to see this . 4 . * * madanji sings as he composes the various antras of this hit song , which went on to be the no 1 song of the year including on binaca geetmala . for many weeks , audiences showered the screen with coins during the screening of this song in theatres .
if the film fails to capture the intensity of love , it fails equally in projecting the hostility between the respective families of the lovers — the main cause behind the tragedy . the violent confrontations which should have been telling omens of the impending doom , are reduced to clowning by kais’s friends ( asrani , paintal , etc . ) . the last duel between kais and tabrez ( ranjeet ) , laila’s brother , borders on a caricature .
the year also saw the rage of laila majnu ( in which he sang all the songs of rising star rishi kapoor , too ) under the baton of madan mohan and jaidev ; and the third and second ranking in binacas finals that year were : meri mehbooba ( dharamveer ; laxmikant - pyarelal ) and pardah hai pardah ( amar akbar anthony ; laxmikant - pyarelal . ) in 1978 , lps apnapan got rafi a filmfare nomination though eventually the song landed up with a lyric award ( anand bakshi ) instead & apos ; aadmi musaafir hai .
kaish amari comes from a wealthy islamic family . at the tender age of six he is sent to school and gets friendly with a young girl named laila . both of them become close friends , so much so . . . see full summary »
the film’s arrival at the box office was preceded by a mad interest in its audio cassettes ; set - ups at the cinema halls usually just had a cut - out of majnu covered in sweat and blood . next to his bruised frame were written sahir’s lyrics and abrar alvi’s heart - piercing dialogues which drew heavily from persian - arab myths and traditions . at most places , the film had a long and remarkable run , necessitating a new round of hoardings to mark the silver jubilee . at others , where it had a limited engagement , it came back for a second round , then the third , each time cinegoers turned up in hundreds to soak in the travails of the love - birds .
trivia : madan mohan had recorded six songs for the movie and passed away during the making of the film . three songs were composed by jaidev . however , both were credited for all the songs .
laila’s recall value was further enhanced with sonu nigam using the name in the lyrics of his superhit song tu from his 1998 album kismat . the video featured nigam , one of the hottest indipop stars of the time , and bipasha basu , who was yet to make her bollywood debut .
undoubtedly , the most versatile male voice in hindi film music , rafi was first heard behind the screen in 1941 when he was hardly 15 , in the punjabi film , gul buloch , and in the same year he sang for his first hindi film , gaon ki gori , in bombay . his first break had been given by the late shyam sunder , but the song that made him famous was the jugnu duet ( 1947 ) , yahaan badla wafa ka , which he sang with noorjehan . soon , he drew notice to himself with ek dil ke tukde hazaar hue ( pyar ki jeet ) and main zindagi mein hardum rota hi raha hoon ( barsaat ) .
ah ! to be young and in love in the 70s ! the decade had many attractions for love - birds , each more intoxicating than the other . it opened with the epochal love story “heer - raanjha” where young men could not have enough of the ample charms of priya rajvansh or the peerless voice of mohammed rafi in “yeh duniya yeh mehfil mere kaam ki nahin” . then came raj kapoor’s “bobby” that introduced the fresh - as - dew dimple kapadia with rishi kapoor ; the boy teeming with baby fat . laxmikant - pyarelal’s a music score touched the pulse of the youth in a way that was yards ahead of madan mohan’s score in “heer - raanjha” . three years after “bobby” came the greatest love story of them all , “laila majnu” that once again presented rishi kapoor ; this time with ranjeeta , the girl who could have retired post this film yet be known to posterity .
the lovers’ first meeting in the market place promises a forceful depiction of the first stirring of love , but , the sequence peters out when you see kais ( rishi kapoor ) appearing and disappearing as if by magic . later , during his nocturnal visits into laila’s ( ranjeeta ) bedroom , he recites verses like one who was doing it without knowing the meaning of the lines .
so far so good , but “laila majnu” worked primarily for its songs and music . madan mohan gave music to most of the songs before the hand of fate snatched him away , leaving jaidev to take care of the unfinished task . sahir ludhianvi , then probably at the peak of his popularity – “kabhi kabhie” which propelled him to another level came around the same time – dished out lyrics that conveyed the angst of denial , the joy of the one madly in love , and the final inescapable surrender to the almighty . with songs like “tere dar pe aaya hun” , “hoke mayoos tere dar se” , “ab agar hum se” and “likh kar tera naam zameen par” sahir covered the spectrum from belief and faith to open defiance and blasphemy . the youngsters , not far from either of the two experiences , nodded in their approval .
since 1966 , the world of indian film music has been losing its stalwarts one by one though music has its own way of evading the sound of silence . with the death of the gentleman giant , mohammed rafi ( 55 ) , the field of playback singing has lost another voice . a series of shock deaths have dominated in 1980 and rafis departure came close on the heels of uttam kumars , a week earlier .
then of course was the small matter of mohammed rafi scaling newer heights ; the film helped him recover much of the ground he had lost to kishore kumar over the past few years . he was particularly memorably in the higher scales of songs “likh kar tera naam” and “ab agar humse” . lata mangeshkar gave him able support , but hers was essentially a supporting role in a music score that was clearly designed to present the best of rafi .
this was also the year which saw the advent of the prestigious filmfare awards and binaca geet mala , both being the most representative studies of trends ( the latter in music only ) . naushad bagged the very first filmfare award for best music ( baiju bawra ) and rafi was firmly established as no . 1 with his unforgettable man tarpat hari darshan ko aaj , tu ganga ki mauj and duniya ke rakhwaale , and the film headed the first binaca geet mala , too .
relating the ageless love story of layla and qais , the mad man – majnun in arabic translates to a mad man – the film’s message of love , eternal , undying , unflagging , struck a cord at the box office . the theme won over those who had read a bit of literature and knew a thing or two about the warring tribes of the arab world – apparently , the tribes would rather perish than give away their girl in marriage to a guy from the rival clan .
yet , bairaag ( 1974 ) reminded people that rafi was alive and with a lot of fight still left in him . after all , peetey peetey kabhi kabhi , / yoon jaam badal jaate hain ! and with lata again , rafi made sure there would be no close encounters of the 1963 - kind : vaada kar le saajna , ( haath ki safai ; 1975 ) . and finally , in 1977 , rafi proved once again that hum kissi se kum nahin . in the film , all four songs sung by rafi became superhits : the title qawaali , kya hua tera vaada ( which fetched him the filmfare award after a break of nine long years ) , chaand mera dil and yeh ladka haaye allah .
note : 1 . * madanji sings as he composes the third antra of this emotional song , the tune of which was different from the first two antras , and has some high portions , which he is creating in this rehearsal . madanji recorded this song in his lifetime , though the film released 2 years later . 2 . * * madanji sings as he composes the mukhda of this song . he had also rehearsed the song with all musicians and kishoreda , but died a few days before scheduled recording . the song was finally recorded a month later by his assistants . 3 . all other songs except song yeh pyar ka nasha were recorded by madanji in his lifetime . this song , like song 5 , was recorded by his assistants later .
over a career span of 25 years ( 1950 - 1975 ) , madan mohan composed music for 95 released hindi films and 12 shelved films . these 100 plus films featured almost 700 songs , many of which are remembered to this day while some have been lost over the years . he was extremely versatile , but he is best remembered for his ghazals , pathos - laden songs and classical based songs due to their immense popularity . his songs with lata mangeshkar in particular have become a part of indian film music history . note : for copyright reasons , we are unable to feature the entire songs . however , for a reference and reminder purpose a very short excerpt of each available song can be heard . some sources of the missing songs have been located and will be made available in due course .
over a career span of 25 years ( 1950 - 1975 ) , madan mohan composed music for 95 released hindi films and 12 shelved films . these 100 plus films featured almost 700 songs , many of which are remembered to this day while some have been lost over the years . he was extremely versatile , but he is best remembered for his ghazals , pathos - laden songs and classical based songs due to their immense popularity . his songs with lata mangeshkar in particular have become a part of indian film music history . note : for copyright reasons , we are unable to feature the entire songs . however , for a reference and reminder purpose a very short excerpt of each available song can be heard . some sources of the missing songs have been located and will be made available in due course . ( select from the 2 categories listed below )
over a career span of 25 years ( 1950 - 1975 ) , madan mohan composed music for 95 released hindi films and 12 shelved films . these 100 plus films featured almost 700 songs , many of which are remembered to this day while some have been lost over the years . he was extremely versatile , but he is best remembered for his ghazals , pathos - laden songs and classical based songs due to their immense popularity . his songs with lata mangeshkar in particular have become a part of indian film music history . note : for copyright reasons , we are unable to feature the entire songs . however , for a reference and reminder purpose a very short excerpt of each available song can be heard . some sources of the missing songs have been located and will be made available ( through the
unreleased songs
sub - section below ) in due course .
since then , rafi has sung for nearly 30 years ; only once , for a brief period after 1969 ( aradhana ; rajesh khanna ; kishore kumar ) , being overshadowed by any other male singer though there were stiff competitors throughout . he is believed to have recorded a little less than 30 , 000 songs , his repertoire covering almost every musical range , every indian language , and every film actors lips . he won six filmfare awards , four of them being when there was no separate award for male and female playback singers ( which separation started in 1961 ) . he was awarded the padmashri in 1967 , and has been abroad for singing tours more than 25 times . he also had the singular honour of singing & apos ; and how ! & apos ; what is unanimously considered the finest lyric ever written in hindi films , neerajs caravaan guzar gaya , gubaar dekhte rahe ( nai umar ki nai fasal ; roshan ; 1964 ) .
this sunday will be 25 years since we lost the voice of mohd rafi . but lost , says who & apos ; by anil grover
but rafi took the music world by storm for the first time with naushads musical , baiju bawra ( 1953 ) , whose songs were picturised on the then favourite gayak - kavi - kalakar bharat bhooshan . naushad showed great confidence indeed in rafi to risk him for a classical - based big - budget musical although he was still cutting his musical teeth and talat mehmood was reigning supreme at that time .
if rafi believed that insaaf ka mandir hai yeh , / bhagwan ka ghar hai ( amar ; 1954 ) he still had to be a mite careful as he warned ai dil hai mushkil jeena yahaan , / zara hat ke zara bach ke , / yeh hai bambai meri jaan ( cid ; 1956 ) . but his laal laal gaal ( mr x ; 1957 ) and his champi , tel maalish ( pyasa ; 1957 ) made the growing legion of his fans tell him , yoon to humne laakh haseen dekhe hain , / tumsa nahin dekha ( tumsa nahin dekha ; 1958 ) and there was no possibility of this songbird fearing , chal ud ja re panchhi , / ab yeh desh hua begaana ( bhabhi ; 1958 ) . in fact , by now , his fans began muttering hum bekhudi mein tum ko pukaare chale gaye ( kala pani ; 1959 ) , and rafi entered the 60s yelling , ai mohabbat zindabad ( mughal - e - azam ; 1960 ) . the khoya khoya chaand ( kala bazar ; 1960 ) was overwhelmed by the chaudhvin ka chand ( title song ; 1960 ) .
till 1969 , it was rafi all the way in that decade , and in particular , 1962 saw the complete reign of rafi and / or lata in the binaca geet mala , except for a couple of songs by the perennial no . 2 , mukesh . sau saal pahele , / mujhe tum se pyaar tha , / aaj bhi hai aur kal bhi rahega ( jab pyar kisi se hota hai ) said his avid listeners , and even his critics were swept off their feet by the typhoon of yahoo ! ( junglee ) and they reluctantly admitted , ahsaan tera hoga mujh par ( junglee ) , for they , too , could now see that ab kya misaal doon ( aarti ) .
1963 saw a feud between lata mangeshkar and mohd rafi & apos ; but this was one time that lata could not obliterate a person once she boycotted him . dil todnewaale , / tujhe dil dhoondh raha hai ( son of india ; 1963 ) said rafi and although they both said , awaaz de ke , / humme tum bulaao ( professor ; 1963 ) , they stopped singing duets for about three years . it was suman kalyanpur who then rose to the top with rafis dil ek mandir hai ( title song ; 1963 ) despite the promise between the two , lata and rafi , jo vaada kiya woh nibhaana padega ( taj mahal ; 1963 ) .
maybe rafi felt inwardly depressed , kabhi na kabhi , / kahin na kahin , / koi na koi to aayega ( sharabi ; 1964 ) and might have secretly courted lata with tere husn ki kya taarif karoon ( leader ; 1964 ) and phir wohi dil laya hoon ( title song ; 1964 ) . he even revealed , yeh mera prem patra padh kar / ke tum naaraaz na ho na ( sangam ; 1964 ) but the two hit songs of that year remained separate solos by the two : mere mehboob tujhe , / meri mohabbat ki kasam ( title song ) and tum kamsin ho ( ayee milan ki bela ) .
nevertheless , rafi did not lose any hold on the mike and listeners continued telling him , taarif karoon kya uski , / jis ne tumhe banaya ( kashmir ki kali ) . but soon the patchup came . if rafi lamented , chaahunga main tujhe saanjh savere ( dosti ; 1965 ) it was now time to open up : dil jo na keh saka , / wohi raaz - e - dil , / kehne ki raat aayi ( bheegi raat ; 1966 ) . rafi had had enough ; kya se kya hogaya , / bewafa , tere pyar mein ( guide ; 1966 ) . and finally lata did return to him for those dulcet duets once again and rafi said : bahaaron phool barsaao , / mera mehboob aaya hai ( suraj ; 1966 ) !
meri awaaz suno , / pyaar ka raaz suno ( naunihal ; 1967 ) said rafi to his fans as if he was an aasmaan se aaya farishta ( an evening in paris ; 1968 ) and though he told them in return , tum bin jaoon kahaan ( pyar ka mausam ; 1969 ) little did he realise that for the first time he would lose ground to that very singer who sang that very number in a separate solo : kishore kumar . but then jab dil se dil takraata hai , / mat poochhiye kya ho jata hai ( sunghursh ; 1969 ) .
rafi desperately tried to convince people , main ek raaja hoon ( uphaar ; 1972 ) but except for a teri bindiya re ( abhimaan ; 1973 ) here , and a woh kya hai ( anuraag ; 1973 ) there , rafi was forced into the background . even his return with yaadon ki baraat ; 1974 ) was in the company of his self - avowed fan , kishore & apos ; yaadon ki baraat nikli hai aaj , / dil ke dwaare & apos ; the other being with asha bhosle , chura liya hai tumne jo dil ko .
and now look at 1979 - 80 ! just when rafi had made a complete comeback , hes gone ! laxmikant - pyarelal gave him all seven songs in sargam ( four solos , three duets with lata ) and walked away with the best music award , all seven being top of the pops . they gave him four out of six in suhaag ( the other two being ashas ) and they have been raging through the binaca geet mala . they gave him five out of six ( the other being lata ) in aasha and did well enough .
another indication of his sure return is the fact that dev anand who did not go in for rafi ever since gambler ( 1969 ) & apos ; in which , too , he had just one ghazal & apos ; returned to him after 10 years in the latest man pasand though in just one song , under the baton of rajesh roshan , with tina munim . the weekly binaca geet malas in 1980 have clearly shown so far that rafi is dominating , sometimes with as many as 10 songs as compared to kishores two ( on may 28 ) out of a total of 16 toppers !
as lata mangeshkar said after his death : the void that was created by saigals death had been filled by rafi saab . he sang with me for 33 years . he was an exceptional singer .
kar chale hum fida jaan - - tan saathiyon / ab tumhaare hawaale watan saathiyon . . .
in a blow to theresa may , u . k . ' s top brexit minister david davis quits government
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mr . nath lives a very wealthy lifestyle in india along with his wife , sushma , and a 6 year old son , raj . both he and sushma lead a very busy life , so much so that they have no quality time . . . see full summary »
naseeb , a story of destiny and fate , begins with a lottery ticket . a drunk who cannot pay his tab trades his ' winning ' ticket to the waiter , namdev ( pran ) , instead . namdev decides to share . . . see full summary »
three youngsters play a prank on a wealthy jeweller but later find themselves framed for murder by a mysterious criminal .
a businessman , an underachever , an heiress , her mobster father , his gang , his assistant and his father , and others hunt for a leather belt carrier containing a cache of diamonds which . . . see full summary »
when a businessman learns that his wife married him only for money , he hatches a plan with her ex - lover to kill her .
ravi is killed by his wife after his marriage . he is reborn as monty and is now a singer he goes to holiday in ooty where he recollects his memories from previous life and inquires about his family from first life and his evil wife kamini .
orphan chander prakash is employed as a menial laborer in a timber mart ; he meets with wealthy chandni only to fall in love with her and the marriage is arranged with the blessings of . . . see full summary »
follows the story of vicky , who gets entrapped in a criminal plot after he leaves his country for work .
raja babu ( govinda ) is a poor orphan adopted by a wealthy village couple ( kadar khan and aruna irani ) . he is a typical country bumpkin , good - hearted but lacking in urban manners . he falls . . . see full summary »
movie revolves around two brothers who are separated during birth but meet as adults and form a deep friendship . also about the challenges that test their friendship .
beta is the story of raju , the only child of a widowed multi millionaire . raju ' s father can provide him anything he wants but raju ' s only desire is to get mother ' s love , in order to please . . . see full summary »
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brand reality and brand values have never been more important for the bottom line .
on a typical saturday morning , roaming the isles of your regular grocery store , you pick up a bottle of , let’s say , fresh juice from the refrigerated section . without a second look , you place it in the shopping cart , like you do every week , making that particular cold - pressed juice an essential part of your diet . that confidence in a product comes from knowing exactly how it’s made and what it’s made up of . in other words , that confidence comes from a transparent brand .
several brands across industries have initiated transparency programs that give consumers depth of information , from brand communication and product description to production methods and company policies . for instance , maiyet , a new - york based luxury brand , weaves stories about its collaboration with artisans in varanasi , india and shares them with its loyal customers through its communication channels . waleda , a 93 - year old beauty firm , shares information on its commitment to fair trade , wages guidelines and a list of environmental standards on its website . these brands were featured as the top 10 brands in refinery29’s transparency awards that looked at various transparency criteria - like sharing information with employees and the public and consistently improving transparency practices .


the stranger is a 2014 horror-thriller film directed by guillermo amoedo .

the film stars cristobal tapia montt , ariel levy , lorenza izzo and nicolás durán .

it is the third film from sobras international pictures project chilewood .

montt plays a drifter who enters a small town , seeking information about his estranged wife .

the stranger ( 2014 film )

i don ' t have time to list my many personal regrets , but i do have one major societal regret for 2014 : that people still have to take to the streets to demand basic civil rights and survival wages . —bob nelson , screenwriter , 2014 academy award nominee ( best original screenplay , nebraska ) , 2014 stranger genius award nominee
stranger things star millie bobby brown has nabbed her first film role … and it’s monstrous .
' krampus ' director michael dougherty is directing the follow - up to gareth edwards ' 2014 creature feature .
reviewed at locarno film festival ( critics’ week ) , august 13 , 2014 . ( also in galway film fleadh — new irish cinema . ) running time : 88 min .
brown has signed on to star in godzilla : king of the monsters , legendary’s sequel to its 2014 creature feature .
stranger by the lake ( 2013 , france ) : consuming , intoxicating , and unapologetic portrayal of homosexual passion and crime . sexually graphic , stranger by the lake aptly identifies as a powerful vision rather a pornographic mission . stranger by the lake is truly a cannes film festival gold .
the dog , a documentary telling the true story behind dog day afternoon , was acquired by cinedigm and drafthouse films for theatrical release in 2014 .
i regret going to film school for two and a half months . —scott blake , director , 2013 stranger genius award nominee
the financial statements say that “the directors consider the company’s key non - financial performance indicator to be whether ‘pirates of the caribbean on stranger tides’ qualifies as a british film under uk film tax credit legislation . this is likely to be achieved as ‘pirates of the caribbean on stranger tides’ has been awarded a final british film certificate . ”
“stranger fruit , ” a documentary film that debuted last weekend at sxsw reveals previously unseen security footage of michael brown that the filmmaker claims casts doubt on the police narrative that the ferguson , mo . , teen robbed a convenience store minutes before he was fatally shot by a police officer in 2014 .
you know for a vampire , the stranger sure loses a lot of fights to random townspeople .
born and raised in mexico city , fernando frias currently attends columbia university graduate school of the arts as a fulbright scholar . his first feature , rezeta , won the jury award for best narrative feature at the 2014 slamdance film festival .
his new theory relies heavily on an interaction 11 hours before brown was killed , inside the same convenience store that he allegedly robbed on aug . 9 , 2014 .
a film maker has to raise a child by himself whilst looking for an inspiration for his new film .
the film version of “doctor stranger” will shorten the original drama into 120 minutes for the big screen . this will be accomplished by cutting out a lot of the background information on the main characters . instead the film will focus on the plot points that unfold during the drama .
hong khaou’s debut feature film lilting premiered in world cinema competition at the 2014 sundance film festival where it also won the cinematography award . he is also the director of three short films , including spring , which premiered at the 2011 sundance film festival , and summer , which premiered at the 2006 berlinale . this year , khaou was named one of the stars of tomorrow by screen international .
sbs ‘s hit drama “ doctor stranger ” will be re - edited as a film for the chinese audience , but with a different ending from the original source material .
according to the financial statements , disney didn’t overspend when making on stranger tides . they say that “the directors consider the company’s key financial performance indicator to be whether ‘pirates of the caribbean on stranger tides’ is produced in line with the agreed budget . at the period end , the estimated cost of the film was in line with its budgeted cost , and the film continued to be funded by the financiers . ”
the additional shooting for the chinese film wrapped up on july 14 . according to an insider , the film version will have a different ending from the drama .
ok , that was just me beind side tracked by my own thoughts . let me talk about the stranger !
jeremiah zagar is the co - founder of public record , a production company in brooklyn . his documentary , in a dream , screened theatrically across the us and was broadcast on hbo . his newest film captivated : the trials of pamela smart , premiered in competition at the 2014 sundance film festival and will air on hbo later this year .
though the full title of guillermo amoedo’s “ the stranger ” bears the name of one of the film’s producers , the horror specialist eli roth ( “hostel” ) , it has its own singular , and gruesome , distinctions .
ursula dabrowsky is a name to watch in horror . she’s also been a supporter of the stranger with my face horror film festival from the start , and we’re thrilled that she’ll be a guest of the festival in 2014 once again . ursula wrote her first psychological horror screenplay , family demons , and shot the film in early 2006 in two weeks with a production budget of $ 6 , 500 . three years and $ 35 , 000 later , the film went on to screen at numerous national and international film festivals and won best foreign film and best actress at the fright night international film festival in the united states . ursula dabrowsky has recently completed the second instalment of her demon trilogy inner demon , a supernatural revenge horror film that obtained financing through the safc’s filmlab . she’s writing the third one too , it’s called demonheart . here’s the facebook page for inner demon .
guillermo amoedo ' s the stranger is a bloody , brutal horror extravaganza ! one of my heroes , eli roth produced / presented the stranger , but after witnessing this film i have quickly come to realize filmmaker , guillermo amoedo isn ' t going to need much help getting films made by using another filmmaker ' s name , as mr . amoedo is insanely talented and after viewing the stranger . . . he ' s going to be a household name in a few years . the stranger is a horror / mystery / drama about an unknown stranger , who comes into a small town in hopes of finding his long lost love , he comes to find out she has died , as things then spiral out of control for the town , the stranger , and the people that come across him . why ? the…
stranger fruit is a play off the poem “strange fruit , ” about lynchings made famous by billie holiday’s song of the same name .
that doesn ' t make
the stranger
good , just well meaning , which in its own way is problematic .
because martin ' s problems are the main source of conflict in
the stranger ,
the film ' s pitilessly grim drama serves to confirm its main character ' s myopically cynical perspective . and then we get an unearned happy ending ! the disconnect between the ugly world that viewers inhabit for the majority of
the stranger
and the unconvincing glimmer of hope that the film concludes with is vast and contains a multitude of macho posturing . writer / director
see where you can watch
the stranger
now , or set an alert and be notified once it ' s available .
but “stranger fruit , ” created by documentarian and activist jason pollock , suggests an alternative narrative to the one police have put forward .
despite the profusion of gore , the film never achieves sufficient dramatic tension , and the performances , with the exception of duran as the teen whose beneficent impulses set the plot in motion , are mostly unconvincing . stronger on atmosphere than coherence , the stranger mainly just seems strange .
movie news , screening invitations and reviews from the world of independent film and beyond .
what sets the engrossing
stranger by the lake
apart is that its excesses seem to point to a moral purpose beyond shock or entertainment value .
sofia exarchou is the writer / director of the short films mesecina and distance . she pursued post - graduate studies in toulouse and at the stella adler studio in new york . exarchou is based in athens , greece , where she received degrees in electrical engineering and film studies . park , which has been developed with the support of the centre nationale de la cinematographie ( cnc , france ) and the eurimages council of europe , is her first feature film . the film is slated for production in late summer 2014 in athens .
it then ends with a touching message from simon who explains that a stranger saved his life by donating stem cells to him .
if you were to watch the stranger without knowing all that much about it , it would be easy to wonder why the film – a cheap slice of canadian horror tat made by a chilean – is even troubling these shores at all . however , under its full title eli roth presents the stranger , it becomes clear that the clout of its producer has given it a free travel pass . it’s certainly not a film that made it across the atlantic on the basis of quality .
dan kitrosser is an award - winning writer and storyteller living in manhattan . his plays include the mumblings ( published on indietheaternow . com ) , tar baby , which will go on a national tour in 2014 , and the upcoming dead special crabs .
on saturday , the day stranger fruit debuted at sxsw and the new york times published a clip of the film , pollock tweeted : “i’ve waited a long time to release this information to the world . today is a big day for the history of mike brown . ”
sundance film forward is a touring program which introduces a new generation of audiences to the power of story through the exhibition of film and conversations with filmmakers to create greater cultural awareness .
it’s clear that amoedo has filmmaking talent , but the stranger is not a strong showcase for his abilities . this is a horror film without anything in the way of scares and desperately in need of some sort of roth - esque levity .
the film takes place in a gay lakeside cruising spot during the summer in france . there , franck (
excellent direction by guiraudie outshines even the spot - on performances by padu and deladonchamps . an eerie masterpiece of isolation , loneliness and suspense . undoubtedly one of the best films of 2013 - 2014 . however , be forewarned that the film is extremely sexually graphic ( on the level of
shortbus
) , but not gratuitously so . this would be quite an awkward film to watch with children in the room . but for adults , it ' s exceptional .
ana lily amirpour has a varied background in the arts including painting and sculpting , and was the frontwoman of an art - rock band before she eventually moved to los angeles to make films . in 2014 , her debut feature film , a girl walks home alone at night , described as the world’s first iranian vampire western , premiered in the next section of the sundance film festival and opened the lincoln center ' s new directors / new films festival at moma in new york .
how to describe
the stranger
without giving its only novelty ? here ' s a film that struggles to impress viewers with its humanity by immediately impressing us with sadistic violence . an aura of un - pleasantness surrounds drifter martin (
i regret trying to drive an automobile on a day when both the sounders and the seahawks were playing . i regret shouting the very strange and incomprehensible curse words at the sports fans in various shades of green . i regret the bad thoughts i thought about people who enjoy watching men hit each other and run around for hours at a time in a sterile and commercially fetishized atmosphere . —drew christie , director ( the beast inside ) , animator , 2014 stranger genius award winner
after the film’s debut , local authorities told the times the unseen footage was not released because it was irrelevant to their investigation .
theatrical release and is worth seeking out ) . still ,
the stranger
is not really like roth ' s films since that implies it has a sense of humor , and is effectively unnerving . instead ,
the stranger
is a one - trick film with strained self - seriousness that rests squarely on the shoulders of a plot twist . it ' s a lousy little film that is so dark and joyless that it leaves you feeling like you wasted your time watching it . but while
the stranger
is bad , the fact that it makes you wait and wait for its excessively dismal perspective to be justified by a measly little twist is even worse .
john completes telling this story to the barkeep . however , the barkeep knows all of this . it is his own life’s story after all . he doesn’t reveal that yet . barkeep tells john that he knows the location of the “stranger” who ruined jane’s life . barkeep promises that he will give john the opportunity of revenge , of killing that stranger free of any consequences . john and barkeep use the violin box to travel back in time to the point where jane was attending night school . john equips himself with a gun and goes looking for the stranger . john bumps into jane . john soon realizes that he is that “stranger” . he falls in love with jane and has sex with her .
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our film studio was founded initially to support the a travel web series about beijing . our founder ,
the stranger is a murky drifter story with vampiric influences , but what starts as a mysterious quest soon turns into just another run - of - the - mill monster movie .
guiraudie fills the movie with remarkable point - of - view shots , which are both the visual and the psychological core of the film . ( i mentioned them here when the film was shown , last fall , at the new york film festival . ) they conjure the contrast between inwardness and privacy , between the unspoken and the unspeakable , and between the physical and the subjective aspects of sex—those that aren’t in the body but in the mind .
today we release our moving new film about the kindness of strangers , together with our # thankyoustranger campaign .
“doctor stranger” was a smashing hit in korea , coming first place in its time slot . its popularity has also led to the chinese version to be released later this year .
what value then does the major twist at the heart of
the stranger
have ? not much , unless you crave further validation of martin ' s nihilistic philosophy . there are moments throughout the film that suggest that martin is wrong , and that people are better than he gives them credit for . but many of these scenes feel tacked - on when they should be the entire point of
the stranger .
the film ' s relentless drab - ness ( seriously , could they not afford better lighting rigs ? ) is suffocating , but what really rankles is amoedo ' s half - hearted attempt at waving away his film ' s abundant nastiness by half - heartedly suggesting that even long - suffering masochists can do good too . if the world outside your door ever looks as bleak as it does in
the stranger ,
don ' t find religion : seek out a good therapist .
director guillermo amoedo manages to conjure up some impressive visuals in the stranger , despite the evident budgetary constraints of the film . the lighting suffers and the post - synched dialogue is all over the place , but the gore is delightfully gruesome . the performers , though , are an issue . despite their solid performances , especially from youngster nicolás durán , it seems that some of the direction got lost in translation along with the dialogue . for reasons best known to amoedo , the film eschews the native spanish language of many of its actors and is instead made in english . there’s a definite second language feel to the film , which leaves it rather awkward .
here is a movie unlike predestination . a film based time travel , with massive plot holes .
a movie - industry struggle is part of the drama behind a new sci - fi film ( above ) .
a mysterious stranger is always intriguing , whether famous or not . in “the stranger , ” neasa ni chianain ( “fairytale of kathmandu” ) crafts an evocative portrait of neal macgregor , a jewelry designer who turned his back on the world and ended his days in a stone shack on an inaccessible irish island . curiosity is certainly piqued , yet apart [ … ]
the film is designed to build on the success of our kindness of strangers campaign which launched earlier this year to mark the charity’s 40th anniversary .
the spending brought a tremendous boost to the uk economy in addition to keeping british production staff in jobs . it explains why big ticket movies are eligible for the tax break and on stranger tides is no exception .
disney was handed a total of $ 32 . 1 million ( £18 . 8 million ) from the uk tax authorities to make on stranger tides and it was money well spent .
i regret my distinct lack of 2014 karaoke injuries . at press time , only one busted knee and three ripped crotches have been reported . i also regret leaking the sony e - mails and letting north korea take the heat . i regret not reading gone girl , the wolf of wall street , or the fault in our stars before seeing the films . but at least i started inherent vice . —mel eslyn , indie film producer ( the one i love , safety not guaranteed )
the stranger is ultimately about family , the legacy we pass on to our children and the lengths we go to protect and ensure their survival , no matter how dark and deadly they might become . ( james shapiro )
stranger by the lake is a grade a masterpiece . one of the most acclaimed films of this year . playing across the world to mesmerized audiences , the film has a 95 % score on rotten tomatoes and won the queer palm and un certain regard award for best directo r at cannes in 2013 . exquisitely crafted , perfectly written , and imbued with a dangerous eroticism unmatched by any other film in recent memory , this is a must - see .
it’s no surprise that the film made very little waves when it played last year’s fantastic fest . it’s utterly forgettable and really makes one wonder what they’re putting in the coffee over at ifc midnight , who will be releasing the film on june 12 .
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 .
jordana spiro is a writer , director , and actress currently finishing her mfa in film at columbia university . her short film skin won the women in film grant at the 2013 sundance film festival and screened at several other festivals including sxsw , telluride , palm springs , and afi . as an actress , she has starred in numerous films and television series , and studied drama at the circle in the square theatre school in new york and the royal academy of dramatic arts in london .
this is a tale of danger and desires and extremely gay sportswear : possibly the frenchest film i have ever seen .
another rising trend is filmmakers touring with their films . the most prominent example i know is gary hustwit as i wrote about in a case study of his film objectified . below andrew cohn describes his recent experience with the film medora .
it almost wasn’t . back in 2012 , harvey weinstein of the weinstein co . bought us rights to the film based on its script and a few sample scenes , but when bong turned in the finished film the distributor balked . the 126 - minute runtime wasn’t as much an issue as the film’s dark tone , often brutal violence , and general creative weirdness . the wide release weinstein envisioned now seemed risky ; secondhand reports had company executives claiming the film wouldn’t be understood by audiences in iowa and oklahoma . bong was told he had to cut 20 minutes or the film wouldn’t be released . in effect , he was being penalized for being too visionary .
programs for utah audiences to experience independent film , theatre , and music through free screenings and discussions .
try to manage expectations . if you do think your film is a good fit for theatrical , take a look at the box office numbers for other films similar to your own to try to gauge how theatrical distributors expect your film to do . offers are based on what they project the return to be–not how much they love your film .
i typically enjoy character - driven slow burns , but amoedo’s film doesn’t offer any compelling relationships or conflicts for the viewer to latch on to . the titular stranger is completely uninteresting throughout as he stiffly interacts with the other players in the rickety narrative . amoedo never builds up our identification with the characters – making all of their melodrama ineffective and unintentionally silly at times .
surveillance footage of that alleged robbery was released within days of the shooting on aug . 9 , 2014 . it showed brown , a recent high school graduate , entering the ferguson market & liquor , approaching the counter and then , after several moments , reaching for cigarillos . brown leaves the store with a handful of them , shoving a store clerk who tries to block him .
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charming stranger films has been producing and directing short films in san francisco since 2012 . our team is incredibly passionate about film - from the initial creative process to the nitty gritty details . we are a group of highly driven professionals that are ready to dedicate their time , speciality and expertise to create award - winning films .
one recurring theme in the advice is the need for advance preparation ( see ana vicente under the section international sales ; and the makers of indie game : the movie under hybrid distribution ) . as i compiled these comments , i was corresponding with several filmmakers headed to the 2014 sundance film festival and still completing their edits and sound mixes only two weeks before opening night . if filmmakers want to take full advantage of the strategies below , they need to build in more time to plan . once your festival premiere happens , the clock starts ticking on the marketplace asset of being new .
the companies tend to have code names and the one which produced on stranger tides is known as blackbeard productions in a nod to the infamous pirate who is played in the movie by british actor ian mcshane . it is ultimately owned by the walt disney company which produced and distributed the movie .
there is no music in the film , either nondiegetic ( a musical score ) or diegetic ( on - screen music ) .
a native north carolinian , karrie crouse is co - writer of the feature film pilgrim song ( sxsw narrative competition 2012 , oxford american best southern film award 2012 ) and the feature screenplay papaw easy ( sundance creative producing fellowship 2013 , winner of tribeca all access grant 2013 , ifp emerging narrative 2012 ) . she also writes and directs for the darkly comedic film collective sunset television .
peter ( nicolás durán ) is the pure soul here that seemingly wants to help , understand , and do the right thing . he begins to discover more about the stranger than he asked for bringing the realization of martin and anna full circle into his past .
the stranger can charitably be described as a rather muddled film . it’s one that seems unsure of its central ethos , only really expending effort on employing the dialogue gymnastics necessary to avoid the word “vampire” . one moment , it’s gory exploitation cinema in the mould of roth’s hostel movies and the next it’s reaching lifelessly for the kind of soulful musing of tomas alfredson’s let the right one in . it desperately wants to be a sophisticated film , but its exploitation blood runs far too strongly through its veins , leaving it caught between two stalls .
vasan bala was born and raised in mumbai . both his father and grandfather were film buffs whose love of film inspired his own . bala has collaborated in various capacities with filmmakers including anurag kashyap , michael winterbottom , and danis tanvoic . his debut feature as a writer / director , peddlers , screened in critics week at the 2012 cannes film festival .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
cristobal tapia montt stars as the titular stranger , martin , who shows up one day at the house of nurse monica ( alessandra guerzoni ) and her petulant graffiti artist son peter ( nicolas duran ) . the perpetually sullen martin is searching for his lost love who once resided at monica’s house . shortly after , martin is beaten and left for dead by the malicious son of a corrupt cop . peter saves martin from bleeding out in a ditch and from there the stranger unfurls in a loosely coiled horror drama that’s sort of like a vampire movie and a lot like a forgettable film .
pirates of the caribbean on stranger tides was released in may 2011 and stars a lister johnny depp as captain jack sparrow on a quest to find the fabled fountain of youth . the movie was filmed in england at the historic royal naval college in greenwich and pinewood studios where the production used the vast majority of the sound stages .
jane gives up and attends night school where she bumps into a stranger . she falls in love with him , but the stranger disappears on jane one day , leaving her waiting on a bench . we will get back to who this stranger is in a bit . jane realizes that she is pregnant . she delivers a baby successfully but the doctor tells her that jane has an “odd” physiology – she has fully formed male and female organs . complications in delivery result in the doctors only being able to save the male organs . jane will need to change to a man as a result . soon after this , her baby gets stolen . jane becomes john over time .
as we start off 2014 and head into sundance , i want to explore how filmmakers can make better deals for themselves in all distribution channels : theatrical , television , digital and international . most filmmakers go into distribution negotiations for the first time , or with a gap of several years since their previous film–which might as well be their first time in this changing landscape . that puts them at a disadvantage negotiating with distributors who are regularly making deals and confident about stipulating what’s “normal . ”
peter broderick ( distribution consultant ) : “ hybrid distribution” is the alternative to giving one company total distribution control of your film for many years . the hybrid approach enables you to retain overall distribution control of your film , choose great distribution partners , and retain the rights to sell directly to north america and the rest of the world .
set entirely at a lakeside hot spot for cruising gay men , the film starts off like an odd romance before turning into a mystery .
i probably shouldn ' t even tell you that stranger by the lake is a thriller , since so much of this beguiling film ' s beauty is in how it sneaks up on you , the way genre elements quietly insinuate their way into the story . set entirely at a lakeside hot spot for cruising gay men , alain guiraudie ' s film starts off like an odd romance , maybe even a mild comedy , before turning into a mystery and finally becoming … briefly , tantalizingly , something else .
his acting career was launched in the year of 2012 when short film noah dreams of origami fortunes was released , with him starring as the main character noah .
despite the huge production costs , disney’s haul from on stranger tides was impressive . the movie had a worldwide box office gross of $ 1 , 045 , 713 , 802 according to analysts box office mojo with theaters taking around half of that .
kush patel , right , carries out bags of merchandise while helping his uncle andy patel , rear , clean up the looting damage from riots at his store , ferguson market & liquor , in ferguson , mo . , in november 2014 . the store is disputing a new documentary’s claims that surveillance video suggests michael brown didn’t rob the store before he was fatally shot by police in ferguson . ( david goldman / ap )
own the long tail : it allows you to own the long tail of your film and capitalize off of organic search . your film will have a long life well beyond your initial marketing & promotional push . once the marketing spend is done & sales chart momentum begins to wane , the vast majority of people will discover your film in much more organic , word - of - mouth ways – many of which end up with a google search for your film . and , if you’ve done things right , you should be at the top of that results page . you want to be able to sell your film one click after that point . roughly a third of all digital sales for indie game : the movie happened on urltoken .
, then travelled to northern mongolia to shoot dukha in summer , and then to create her first narrative short , real artists , with charming stranger films . since then we ' ve moved to producing feature films .
she added : “what many people may not realise is that when it comes to saving a stranger with blood cancer , there is a very simple way to do something truly life - changing for another family . ”
originally from nigeria , angelica nwandu has travelled around the world as an advocate for foster youth after her own 12 years’ experience living in foster care . a recent graduate of loyola marymount university , she is a writer , a spoken word poet who has performed nationwide , the owner of her own fashion boutique , and serves on the board of the fostering change organization , which seeks to define the culture of foster youth . angelica is a 2014 sundance institute | time warner fellow .
liked predestination ? have you watched triangle ? it is definitely another mind boggling film to catch . click below to read more :
one of the biggest costs of making on stranger tides was paying the production staff and actors with mr depp alone believed to have received $ 55 million for the movie . the production staff peaked at 895 and they were paid a total of $ 17 . 8 million ( £10 . 4 million ) .
a sunbathed murderous man who can ignite a morally corrosive desire in those around him , at a lakeside homosexual cruising spot , is at the center of alain guiraudie’s latest erotic mystery stranger by the lake . unafraid to present the promiscuous sexuality of its characters with unapologetically explicit imagery , the film is the perfect exposition of passion overruling rationality . this man , whose charm is inexplicably magnetic for a younger visitor to the clandestine meeting place , commits a murder of which his prospective lover is the only witness . guiraudie’s astonishing atmospheric delivery combined with the evocative and unsettling idea of being in love with a dangerous individual make for a truly suspenseful film . the fact that everything occurs under the bright sunlight of a beautiful french summer adds a layer of captivating duality that plays with the thin line between fear and infatuation , pain and pleasure , or seduction and manipulation . i talked to mr . guiraudie during his visit to this year’s sundance film festival where the film screen in the spotlight section as one of the most acclaimed works from last year’s festival circuit .
i regret that no one wants to rep me out of la . i regret that a year just passed without me noticing . i regret that rewrites for writer rider , which i will shoot next year , took so long . i regret that flagrant act of self - promotion . i regret that it took four months to recuperate from shoulder surgery . i regret that wes anderson , michael bay , tyler perry , and christopher nolan didn ' t call me . i don ' t regret land ho ! being nominated for the john cassavetes award at the independent spirit awards . —paul eenhoorn , actor ( land ho ! ) , 2014 stranger genius award nominee
anthony nolan released the results as it announced that , after 40 years of appealing for bone marrow donors , more than three people every day are given a second chance at life , thanks to a generous stranger – but it’s still not enough .
the stranger instantly succeeds where others have tried and failed . the film’s bleakness and cold foundation provides the perfect mood - base needed to pull viewers into the movie’s character base . the protagonist / antagonist relationship is established in the first 5 minutes creating a layer of assumed directions to play out . it is by using this slow - grind approach that we discover details to the story not yet disclosed . effectively this is done using both past and present always suggesting some sort of vampiric interplay without the obvious giveaways . martin does indeed provide the stranger aspect to his story who seemingly invades the town by pure interaction alone . while we get a certain amount of corruption in town handed to us , it really is not the foundation to the movie’s theme , rather we have a broken family that has had to endure some pretty harsh realities haunting them from the past .
the heart - warming short film , available to view on youtube , twitter and facebook , features members of the general public and a bone marrow transplant patient , simon perkin .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
heidi ewing ( director , detropia ) : when you get an offer , make sure you understand the details . in how many cities are they planning to release your film ? when do they think is the best time to release the film and why ? how much ( if any ) p & a will they put up for the release ? what other documentaries are they releasing along with your film ? will they pay for any type of oscar campaign if you are shortlisted ? it’s not enough to just have “a deal . ” know the business , ask questions directly and in person , advocate for yourself and your film . it’s your job .
) is caleb ' s dad . so nobody has a chance in this film because even the cops are crooked . peter ' s desperate single mom monica (
work with people who get your film . really listen to what they want to do with your film , who they think the audience is , what ideas they have for how they want to get it out into the world , how they like to work with their filmmakers , how many films do they take on .
do your homework about the distributor . my film racing dreams was sold to a company that was new to the scene , flashed money , and made big promises . but it turned out they were not particularly interested in film distribution and were primarily playing games with their stock price on the penny stock exchange where they traded . they didn’t advertise in most markets ; theater owners told me they didn’t even receive trailers or posters ; they never paid the mg ; and it took years of legal wrangling before we got the rights to the film back .
eli roth at the l . a . times photo & video studio at the sundance film festival , jan . 24 , 2015 . ( jay l . clendenin / los angeles times )
liz garbus ( director , love , marilyn ) : if you’re lucky , your career in the ( documentary ) film business will be a long one . so in some ways , the most important thing for you right now is to forge relationships and find partners who you may work with for years and years ahead . so , if you feel a real connection with a potential buyer / partner , they really love your film , your talents , and share your vision for what the film should do in the world–that may be the better partner than the one offering a bigger mg . likewise , if you dreamed of a theatrical release but the people who love your film the most , and strike you as the most faithful partners , are tv / cable / streaming buyers , consider them seriously . theatrical documentaries that work are far and few between and what you want is your film to be seen and promoted and loved by those releasing it . and guess what , you might go ahead and get started on your next film with them too .
with the talk in france of the president’s affair , and the question of whether his private life is fair game for the press , it’s worth considering what a new french film that opens here today—“stranger by the lake , ” directed by alain guiraudie—shows and suggests about the tacit boundaries that are built into french society . the story takes place in summertime , in rural france , at a lakeside beach that’s a pickup spot for gay men , and in the neighboring woods where they go to consummate their pickups and where other men , shy of the beach , go to cruise as well .
peter broderick ( distribution strategist ) : make sure that your publicity team focuses on social media as well as film critics and other entertainment press .
that said , as a thriller , stranger by the lake isn’t exactly pulse - pounding . you sense that there’s more going on here than just the basics of plot ; if the film had been made in the nineties , we’d all be saying it was an allegory for aids . in truth , guiraudie seems more interested in what lies on the other side of the mystery . can the anonymous idyll of this beach end in anything but emptiness and despair ? if these men don’t get too close for fear of getting hurt , the director suggests that there might be good reason for that — and the film gains both suspense and poignancy as it leaves its sun - dappled world behind and plunges us into night . the mystery may be resolved , but the suspense and uncertainty remain . and so , guiraudie ends his film on a cold , almost cruel note of existential solitude that just might , if you let it , break your heart .
amoedo shows a deft ability to turn a bloodthirsty monster movie on its head , into a slow - burn , character - driven film . the stranger takes its time , building the tension through occasional flashbacks and having the audience sympathize with peter , who grew up not knowing his father . peter , like the audience , is kept largely in the dark about his father’s motives or even what he is… because he’s certainly not human . what is apparent is the chaos his dad’s return has on the small town , especially a member of the police force and his violence - prone son .
here ' s a movie that was along the lines of the matrix , it even released in the same year as the matrix and got incapacitated by the matrix . not a bad film though , did you watch the thirteenth floor ? did you get it ? click below to read more :
dan cogan ( co - founder , impact partners ) : do business with the buyer that is most passionate about your film – the one that really gets it . with rare exceptions , there isn’t enough upside in the doc world for even the buyers to be motivated solely by $ . they have to love the film . if you sense they don’t get it , or don’t really love it , don’t sell it to them . not only will you will end up being miserable if you do , but if they don’t see the film the right way , they won’t be able to sell it well either .
director bong joon - ho refused to trim for studio boss harvey weinstein despite the threat that the film wouldn’t be released unless it were cut . weinstein relented , and the movie will open in the boston area — at two theaters — friday .
the words
eli roth presents
before a movie title aren ' t the most encouraging , and in the case of
eli roth presents the stranger
they are weirdly misleading . this brooding vampire flick from guillermo amoedo — who co - wrote roth ' s
the green inferno
— is actually sensitive , a texture that cynical schlock guru roth studiously avoids .
more of a problem , though , is the pace of the stranger . at just over 90 minutes , it isn’t a long film , but the story unfolds at a glacial pace and with little in the way of excitement . it’s not so much a slow burn narrative as a cooker without a supply of gas . even once the machinations of the plot kick in , there’s little increase in momentum and the usual limp trudge of storyline is resumed . there is a nominal twist to proceedings , but it’s telegraphed so early that it barely even registers as a reveal .
in the us , there’s a market around “educational rights” and this is a promising area–but only if it is right for your film . if you’ve done the research and believe there is a university or school market for your film , by all means go for it and retain those rights . it is just not a universal fit for all documentaries .
johnny ma was born in shanghai , china and immigrated to toronto at age 10 . he is a dga and national board of review student - award winning director and a graduate from the columbia university mfa program . his most recent short film a grand canal screened at the 2013 toronto international film festival and was nominated for a canadian screen academy award .
' stranger by the lake ' . might have enjoyed it if the ratio of suspense to male genitalia was reversed . i appreciated the stillness in the direction , the long takes , the cruising sub - culture , the action taking place in only one location , the repetition , the symbolism and juxtaposition of the detached , carnal acts with nature . was so much hardcore sex required to make a point ? the high - point is that long take of the drowning . everything before that piked curiosity . afterwards , it lost me until that tense final scene .
a mysterious stranger is always intriguing , whether famous or not . in “the stranger , ” neasa ni chianain ( “fairytale of kathmandu” ) crafts an evocative portrait of neal macgregor , a jewelry designer who turned his back on the world and ended his days in a stone shack on an inaccessible irish island . curiosity is certainly piqued , yet apart from macgregor’s definitive act of seclusion , ni chianain only intermittently conveys why this troubled man should hold audience attention for nearly 90 minutes . viewers will likely find the story sad and of passing interest ; docu fests , irish showcases and public tv are likely destinations .
amoedo shows a deft ability to turn a bloodthirsty monster movie on its head , into a slow - burn , character - driven film . the stranger takes its time , building the tension through occasional flashbacks and having the audience sympathize with peter , who grew up not knowing his father . peter , like the audience , is kept largely in the dark about his father ' s motives or even what he is . . . because he’s certainly not human . what is apparent is the chaos his dad ' s return has on the small town , especially a member of the police force and his violence - prone son .
it begins to slag even before it can begin to inject any kind of interesting supernatural aspects . it fails to grab us before it’s too late and the drab story is made even more weak by it’s loose pace , which rises and falls without managing to build up any suspense . there is some darkly rich cinematography from chechu graf and the film certainly is technically competent . nicolas duran delivers some decent acting that allows the stranger to keep its feet on the ground while the other players are busy delivering lines as if they don’t realize what point in the movie they’re at .
guiraudie , who first drew my attention in 2009 with the supreme
king of escape
( a comedy of a gay man discovering he ' s madly in love with a woman ) , is definitely flirting with hitchcock in
stranger of the lake
, and some of the cutting is instantly recognizable as an homage . however , the complete lack of musical score ( replaced by chirping birds , water lapping against the shore , and lovers panting in ecstasy ) , makes the film something more than a thriller—at its very best , it ' s a meditation on the nature od friendship and desire , as well as the maddening incongruity of the two .
one of the very best films of 2014 opens in the boston area friday , and you almost didn’t get a chance to see it in a movie theater . why that’s so is an absurdly complicated story — one that , on its surface , seems to be a struggle between a visionary director and a notoriously heavy - handed studio executive . dig a little deeper , though , and the whole mess may say more about an invisible struggle in the movie industry about which audiences get to see what films when . war of wills or battle for our eyeballs — either way , the drama surrounding “snowpiercer” is almost as gripping as the one on the screen .
announced last year , eli roth ( hostel , cabin fever , the green inferno ) and nicolás lópez ( aftershock ) produced a new indie horror that premiered at the fantastic fest film festival in austin , texas .