chaudhvin ka chand is a 1960 urdu/hindi feature film directed by mohammed sadiq .

a production of guru dutt , the film centers on a love triangle between guru dutt , rehman and waheeda rehman , and features music by ravi .

farida jalal makes a guest appearance in the film , her debut .

after the disastrous box-office performance of kaagaz ke phool , this was a highly commercially successful comeback film for guru dutt which saved guru dutt 's production studio from ruins .

chaudhvin ka chand

when it comes to epic romances , chaudhvin ka chand has to feature on the list .
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this cast list of who was in chaudhvin ka chand includes both lead and minor roles . ( 19 items )
mili khaak mein mohabbat - guru dutt , mohd . rafi , chaudhavin ka chand song
what sets ‘chaudhvin ka chand’ apart ? the classical romanticism that the song demanded found expression in the ‘period’ scene - setting and cast .
chaudhvin ka chand cast list , listed alphabetically with photos when available . this list of chaudhvin ka chand actors includes any chaudhvin ka chand actresses and all other actors from the film . you can view additional information about each chaudhvin ka chand actor on this list , such as when and where they were born . to find out more about a particular actor or actress , click on their name and you ' ll be taken to page with even more details about their acting career . the cast members of chaudhvin ka chand have been in many other movies , so use this list as a starting point to find actors or actresses that you may not be familiar with .
this intensity of dutt’s is evident in chaudhvin ka chand – and not just because of the internal conversations he has with himself towards the end .
chaudhvin ka chand - chaudh . . .
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chaudvin ka chand ho , ya aaftaab ho jo bhi ho tum khuda ki kasam , lajawab ho zulfein hain jaise kaandhe pe baadal jhuke hue aankhen hain jaise maey ke pyaale bhare hue masti hai jisme pyaar ki tum , woh sharaab ho chaudvin ka chand ho . . . chehra hai jaise jheel mein khilta hua kanwal ya zindagi ke saaz pe chhedi hui ghazal jaane bahaar tum kisi shaayar ka khwaab ho chaudvin ka chand ho . . . hothon pe khelti hain tabassum ki bijliyaan sajde tumhari raah mein karti hain kaikashaan duniya - e - husno - ishq ka tum hi shabaab ho chaudvin ka chand ho . . .
from the original soundtrack guru dutt films private ltd . on label :
hindustani film : chaudhvin - ka - chand
℗ 1978 the gramophone co . of india ltd . eclp 5432 regular
the book , chaudhvin ka chand : the original screenplay , archives the screenplay of this classic movie . it also offers interviews with the cast and crew , including its beautiful heroine , wadeeda rehman .
chaudhvin ka chand ’s success also gave an enormous fillip to the hindi film genre known as the ' muslim social ' . this nomenclature simply specifies that the lead characters in the film are muslim .
from the film chaudhvin ka chand . breathtakingly beautiful melody and imagery - as popular now as 48 years ago when the film was made . sung by mohammed rafi , written by shakeel badayuni and music by ravi
“chaudhvin ka chand” is a potpourri of beautiful music , festive episodes , and a whole lot of heartache and poetry . it is the representative guru dutt feature of the bollywood golden age not to be missed .
the song chaudavin ka chand was sampled in the international song
my g
by ali the son of abdul from the album raja .
well said about the title song ! it can ' t get more romantic than chaudhvin ka chand : ) i haven ' t seen the film . not too sure if i can get its dvd in the uk ( maybe lovefilm ? ) .
but this isn’t about chaudhvin ka chand the film – no better than your average romance - drama flick . this isn’t about the song per se either . it’s about the song - sequence on screen and the beauty who made it so irrevocably magical .
compilation , translation , essays and interviews : dinesh raheja and jitendra kothari . excerpted from chaudhvin ka chand : the original screenplay , rs 595 , p ublished by om books international , with the publishers ' permission . an initiative of vinod chopra films pvt ltd .
in chaudhvin ka chand , director m sadiq presented the film ' s milieu by lavishing detail of cultural traits in dress and language and endorsing the employment of ghazals ( the title song ) , qawwalis ( sharma ke na yunhi pardanasheen ) and high - flown urdu in the dialogue .
with color films starting to become popular in mainstream indian cinema during the late 1950s , dutt had the title song and one of the nautch girl dance songs reshot in color . the version of chaudhvin ka chand that i saw , however , was entirely in black - and - white .
in the early 1960s some eccentric genius put everything together : song , cast , photography , scene - setting . and the song - sequence ‘chaudhvin ka chand’ from the hindi film of that name became – and stayed – one of the most haunting romantic song - sequences in hindi cinema history .
the film was hugely successful at the box office . the inordinate success of this guru dutt production helped set into motion several staples of hindi films . though ostensibly a romance , chaudhvin ka chand ’s thematic nucleus explored the deep emotional connection between the two friends - – aslam and pyaare miyan .
but putting that aside , chaudhvin ka chand is an engaging , enjoyable film , so little wonder perhaps that it won three filmfare awards on its release in 1960 ( best art director – black and white , best lyricist and best playback singer , the latter for mohammad rafi for the title song ) .
not related to chaudhvin ka chand , but it was a sad , sad , day for every true cricket fan today . gaddafi stadium is beautiful , and so is lahore . a salute to the cops who lost their lives while ensuring the safety of the sri lankan cricketers . long live cricket . peace .
he took to making commercial films like chaudvin ka chand ( 1960 ) and sahib bibi aur ghulam ( 1962 ) . the films were a success at the box office but his heart wasn’t in cinema any more .
the film was made in a time when technicolor was just introduced in indian film making . a trend was popular those days in which some important or dramatic scenes would be shot in colour and the rest in black and white . in this film , the title track chaudhvin ka chand sequence got this chance . see more »
there’s something soulful about guru dutt . chaudhvin ka chand , or full moon as it appears on urltoken , is the third of his films i’ve seen and in each one the actor brings an intensity , but also a sense of sadness , to his characters – even in a fun and frothy film like mr & mrs ’55 .
but , finally , the story concentrated on the characters ' emotional lives , and the film ' s huge success testifies to the commonality of emotional impulses among all human beings everywhere . chaudhvin ka chand and mughal - e - azam were both released in 1960 and they certainly brought the appeal of the muslim social back into audience consciousness .
the true efflorescence of this genre began after chaudhvin ka chand was released in june 1960 - – mughal - e - azam thronged theatres just two months later in august , 1960 , and barsaat ki raat ( with madhubala playing shabnam and bharat bhushan playing aman hyderabadi ) completed the hat - trick when it was released after another two months , in october 1960 .
bhargav : amazon in the uk has it . so does lovefilm . of course , you could add it to your list for the next trip to southall ! ; ) i think you ' ll like chaudhvin ka chand . have you seen any other films by guru dutt ? pyaasa ( 1957 ) is one i ' d definitely recommend , very very highly .
mohd rafi awaz ka frishta tha jo asman say zameen per aya hazaroun khubsoorat gaany lakhooun lougon kay liea ga ker wapas chala gia , per apni awaz ka aisa jadu jaga gia , kon my ka lal dunya main asa hay jo assay ganay gaye rafi sahib , tu bay misal hay teri tareef kia karoun , rafi sahib aap per tu rag aur raagnian bhi fakhar kertian hain , music , poetry , acting , in sub per aap ki awaz galib aa jati hay , aap amer hain , app ka her gaana amer hay , jab tak suraj chand rahay ga rafi tera nam . . .
‘chaudhvin ka chand’ as a song - sequence went further . it matched the classical romance setting with the actors ( the ever - romantic - ever - longing dutt and the incurably gorgeous waheeda ) . here , several other ‘hits’ fall short . the voices of the actors , their persona , demeanour and the scene - setting do not match the otherwise glorious music , lyrics and singers .
i stu , bled across your blog through twitter . i like this review a lot . chaudhvin ka chand is not a filmi masterpiece like pyaasa or kaagaz ke phool but it is a wondrous feast for waheeda - worshippers and also one of johnny walker ' s most meaningful roles . i was delighted to read your assessment of his merits - any johnny walker fan is ok with me .
there are some who leave behind an indelible mark despite their short lives . guru dutt was one such man who strode on earth but for a while but left behind giant footprints . time and sight and sound both named him as amongst the best directors of all times . films like pyaasa and chaudhvin ka chand are taught in cinema schools worldwide and are counted as among the 100 best films of all time . . .
hitherto , there had been the occasional film that explored the nature of male friendship , including the successful barsaat ( 1949 ) and naya daur ( 1957 ) , but chaudhvin ka chand ratcheted up the degree of the story’s commitment to the bonds of friendship . aslam places their friendship even higher than his wife , and pyaare is so shamed by his inadvertent wooing of his friend’s spouse that he prefers to embrace death than face him .
hi hashmat , and thank * you * so much for your visit and comment ! it ' s such an honor . saghir sir ' s work was brilliant , and you ' re absolutely right about his work living on too . the dialogue in chaudhvin ka chaand was sheer genius !
chaudhvin ka chand is a treat all around . four stars and then some for a beautifully executed film . it has its issues , but it is thoroughly enjoyable and nothing short of quality entertainment once the viewer appreciates and accepts the melodrama for what it is . if you have seen other works by guru dutt and waheeda rehman , you know how good they can be . if you have yet to see them , what are you waiting for ?
‘ chaudhvin ka chand’ as a song is one of the most lilting romantic ballads in the history of romantic ballads . music , lyrics and singer come together so much like a trinity . it’s impossible to tell father , from son , from spirit . it’s impossible to tell which came first , which second and which third . they’re fused , as if inseparably . of course ‘kabhi kabhi mere dil mein’ and several songs from indian ( not just hindi ) cinema , also boast of this mystical fusion .
the composer of tunes like chaudhvin ka chaand , neele gagan ke tale and aye meri zohra jabin dies at 86renowned music director of yesteryears , ravi shankar sharma , popular called as ‘ravi’ passed away in mumbai late wednesday night , according to family sources . he was 86 and had been ailing since some time when he breathed his [ … ]
dozens of pretty to good - looking actresses have ‘sung’ in memorable classical romance song - sequences in hindi cinema over the last 60 to 70 years . not one comes close to the immaculate waheeda . if anything she’s the one challenging her own rank with appearances in pyaasa , kaagaz ke phool , sahib bibi aur ghulam . but in no other song - sequence is she as radiant as she is in ckc . . but in no other song - sequence is she as radiant as she is in ‘chaudhvin ka chand’ .
when a man looks upon his new bride under the moonlight , he is tempted to admit that her beautiful face is “like the lotus that is blooming in the lake” or “like an ode that has been plucked on the instrument of life . ” guru dutt and mohammed sadiq’s classic hindi film about the then - muslim city of lucknow , “chaudhvin ka chand , ” is full of poetic depictions of that ultimate love in a man’s life , but more poignantly , it teaches us how to give up that great love when following one’s own convictions .
before aishwarya rai enchanted us in “devdas” , there was that starlet waheeda rehman , who was “the dream of a poet” , playing the beautiful wife , the woman at the center of the love triangle . before the shahrukh khan of today showcased his talents in “kal ho naa ho” and “my name is khan” , there was the original star of the golden age of bollywood cinema , guru dutt , whose films such as “pyaasa” and “kaagaz ke phool” prepared him to delve into the theme of friendship vs . love in this film translated as “full moon” . before “slumdog millionaire” , there was a 1960 gem called “chaudhvin ka chand” , and after it , indian movie history changed forever .
yeh lucknow ki sarzameen , yeh rang - roop ka chaman , yeh husn - o - ishq ka chaman ( this city of lucknow . this garden of colour and beauty , this land of grace and gallantry ) sadiq also adeptly showcased the characters ' religio - cultural identity in the tehzeeb ( etiquette ) and customs of pyaare miyan ' s palatial house as well as the middle - class households of his friends aslam and shaida ( johnny walker ) .
much of what makes today’s bollywoo films so enjoyable was pioneered or given widespread acclaim by “chaudhvin ka chand” . among those elements is the comic stock - character of the third of the best friends , mirza shaiza , played by johnny walker , who bumbles his way into every brothel and bar he could find . in one scene , he tries to get up at home , but can’t , and we soon find out about how he’s living at home with mother . in another scene , he dresses up as a pauper to secretly take pictures for his friend the nawab . in the process , he hilariously catches a corrupt policeman ! johnny walker would go on to bring his squeaky voice and pointed moustache to other dutt films like “baazi” and “pyaasa” .
director : mohammed sadiq cast : guru dutt and waheeda rehman lyrics : shakeel badayuni music : ravi voice : mohammed rafi song awards : filmfare best male playback award for mohammed rafi singing the title track filmfare best lyricist award for shakeel badayuni writing of the title track chaudhvin ka chand ( 1960 ) was directed by mohammed sadiq . a production of guru dutt , the film centers on a love triangle between guru dutt , rehman and waheeda rehman . the setting is the city of lucknow in northern india , where islamic culture flourished . two of the three best friends who live in this city have fallen in love with the same woman named jameela unknowingly . aslam ( guru dutt ) and nawab ( rehman ) are the two friends caught in this love triangle with jameela ( waheeda rehman ) . an integral part of any guru dutt film , comic relief was provided by johnny walker who plays mirza masaraddik shaiza .
i looooooove the songs from this movie especially chaudhvin ka chaand - rafi is divine and the picturisation is perfect . for some reason , every time this played on tv i only managed to catch the ending and a few parts here and there . so , i know the story and most of the problems with the script that you mentioned ! i do intend to watch the whole movie sometime soon , and hopefully watching it in its entirety , the plot - holes wont bother me so much . or maybe just watching waheeda + guru dutt + rehman + johnny walker will distract me from them ! ; - )
other than the ending , the climax of the film occurs when aslam finds out that the woman his best friend has been obsessing over is his wife jameela . he runs down a flight of steps at the port to enter a surreal desolated landscape where he sings another mohammad rafi song , “mili khak main mohabbat” . this is where indian dramatic cinema is at its best . dutt , who had just looked longingly at his friend , now realizes he must choose one of two loves . he looks back at the bridge where he came from as well as to the barren landscape . the camera zooms slowly to dutt as he sings of his disappointment , and as the scene progresses , the camera roams around the symbolic landscape , sometimes watching the singer behind bushes , sometimes behind the ruins of buildings . the freshly created chaos is magnified by dutt’s lyrics and expression—a mix of contemplation and sadness at the inevitability of life . here , we feel that he must give up that great love of “chaudhvin ka chand ho” by following his convictions and give it up to his best friend .
dutt’s masterful understanding of the cinema as a mode of expression is captured in the song he sings to rehman in the moon song “chaudhvin ka chand ho” . in it , the camera follows aslam as he slowly approaches his subject , his new bride . just as he sings of her hair being like clouds “bent over your shoulders” , the screen captures the skies and the heroine’s shoulders as she cowers over the balcony . just as dutt sings of her eyes like “the containers of liquor are full” , we get the first close up of rehman and sense her dashing beauty . like many sections of the film , especially during the singing , the audience looks at the protagonist through camouflage like shadows , bamboos , or opened tiles , as if we are merely glimpsing into the form of beauty without actually experiencing it . we are reminded of the ever - present moon as dutt skillfully pans towards rehman , and again when the camera sinks below the building to show just how her face is like the lotus in the lake . dutt’s skillful manipulation of this scene is pure poetry , just like the poetry that he is singing .
bollyviewer : i ' d love to know what you think of it after you watch it in its entirety . i ' m quite confident the four outstanding acting talents will distract you from the plot holes ! i really enjoyed the screen time johnny walker got . of the movies i ' ve seen him in , it ' s probably the most i ' ve seen him get . and he truly makes it tick . and the songs , oh , yes , they ' re brilliant ! anonymous [ 1 ] : i ' ll take that as a compliment ! i do have this tendency to try to appreciate music for what it ' s aimed at ( time and place ) . that baba seghal song is effective where it ' s supposed to be . and so is each and every song in chaudhvin ka chand , except that these songs are way , way , waaaay more special , of course ! it is my belief that a good dance track is much more of a commodity than a well written track . but , of course , i am not free of bias . anonymous [ 2 ] : i have yet to see delhi - 6 . had it planned for this past weekend , but life got in the way . this coming weekend has to be it ! have you seen it ? did you like / dislike it ?
no lyrics are available right now . the lyrics will be added in due course .
on all movie pages , a list of all the songs from that particular movie are there with basic information about the movie .
further , you can click on any name or category in the above list to see list of songs of that particular person or category .
oh duniya ke rakhwaale | mohammad rafi | k . j . yesudas | hindi song
rang aur noor ki baraat . . mohammed rafi _ sahir ludhianvi _ gazal with a tribute to madan mohan by lata .
पंख होते तो उड़ आती , तुझे दिल का दाग़ दिखलाती रे . . lata _ hasrat jaipuri _ ramlal . . a tribute
o door ke musafir . . udan khatola 1955 _ rafi _ shakeel b _ naushad . . a tribute
hum dono ( 1961 ) - abhi na jaao chhodkar ke dil abhi bhara nahin . avi . flv
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the setting is the city of lucknow in northern india , where islamic culture flourished . two of the three best friends who live in this city have fallen in love with the same woman named . . . see full summary »
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the setting is the city of lucknow in northern india , where islamic culture flourished . two of the three best friends who live in this city have fallen in love with the same woman named jameela unknowingly . aslam and nawab are the two friends caught in this love triangle .
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@ qilinmelb : not sure if wrote correctly . you are absolutely right . in those
over usa . mohd rafi forecast something after the demise of s . d . b . so songs
i am this generation & i miss him . all the munnis & sheila cannot move me
to the level 1 note of rafi saab voice does . the light left this world the
quality , range , control , emotion & effortlessness . like all great people he
a very good song . waheeda looks so fairy like . the lyrics . . the lyrics to
capable i will leave it alone . no words . the same goes for the voice that
sings these words . that is rafi . what diction what clarity . guru dutt
as the encyclopedia of indian cinema notes , the film “pivots around the islamic practice of purdah , which forbids women to show their face to men outside their immediate family . ” in fact , the film richly expands and complicates this basis in a cultural practice by constructing an extended study in vision and veiling , treated in both comic and tragic variations that structure the film’s plot of misidentifications and misunderstandings as well as its rich stylistic pattern of blocked and obscured views . recent film critics invested in the power and erotics of the gaze would do well to discover this veritable treatise on the subject of focused looks and momentary glimpses , which intersects the essential looking of cinema itself with the specific visual conventions of muslim india .
the unfolding of the plot moves from the misidentifications of shakesperian comedy to the misunderstandings of well - intentioned people that result in tragedy . the nawab’s ailing mother is anxious to see her son married , and has arranged his marriage ; still seeking his briefly glimpsed beatrice , he asks his poor friend aslam ( guru dutt ) to marry the girl his mother has secured – who is of course jamila . the film will then trace the series of errors and obligations that complicate this situation and results in the three friends understanding the prices they have paid attempting to insure one another’s happiness . the film’s long - delayed revelation , when the nawab finally realizes that the woman he desires is his best friend’s wife , is a brilliant sequence that shifts our attention between visual perspectives ( as well as external and internal voices ) that are intricately composed through reflections in mirrors . the scene summarizes the film’s catalog of visual structures as well as the moral consequences that they generate .
if the extended misunderstandings seem implausible ( despite their grounding in a social system that isolates men and women from casual contact ) , the emotions that link the characters to one another and motivate their attempts to perform extreme sacrifices feel plausible and real . although jamila is central to the plot , the film concentrates on the obligations of male friendship (
this film’s ostensible “happy ending” for a couple is outweighed by the painful cost of such joy . ( one continually senses that the three friends at the center of the film are playing out their off - screen , longtime affection as well : johnny walker’s comic role is especially tempered by moments of convincing affection for his suffering friends . ) friendship forces these fellows to take action by acting : attempting to play the part of the wayward husband that will allow the wife he adores to divorce him and marry his best friend , aslam’s joyless visits to a brothel make him resemble
, a story of self - destruction that guru dutt’s own life seemed to sadly replay . ) shaida , on the other hand , approaches his roles – and costume changes – with great relish , disguising himself as a elderly holy man to photograph women in the bazaar , and finally donning the uniform and self - important mannerisms of a police inspector .
as in all guru dutt films , the song sequences are notable highlights , featuring the voices of perhaps hindi cinema’s three greatest playback singers , lata mangeshkar , asha bhosle , and mohammad rafi , the latter shifting effortlessly between guru dutt’s heartfelt and johnny walker’s comic songs . two numbers are given special treatment by being filmed in color ( see note below ) , and guru dutt’s tendency to advance his story through songs , with the rhythm of music and editing in collaboration , is as strong as ever . for example , the first major number ,
… ( “why do these women adjust their veils ? ” ) cuts between the nawab and women peering at one another while the lyrics comment upon this action ( and the tradition of purdah ) , all within a tightly organized interchange of sound and image . if this film doesn’t finally achieve the overall impact of an earlier masterpiece like
, the technical skills that made guru dutt one of the masters of hindi cinema’s golden age , and unsurpassed in the art of song picturization , are still on display in this penultimate work .
the sequence is simple enough : the film’s producer , guru dutt , plays aslam , alone with his new bride jameela , played by waheeda rehman .
it doesn’t matter if you don’t know urdu or hindi ( although it won’t hurt to understand the lyrics ) . it doesn’t matter if you’ve never heard of the great rafi or the others . if you watch and listen to the song - sequence , with the silent reverence it deserves , it will charm .
‘kabhi kabhi mere dil mein’ , for instance , sounds heavenly through speakers . the trinitarian theory works splendidly . on screen ? it’s less than perfect . it demanded a classical romance ‘period’ scene - setting and didn’t get one . it demanded classical - romantic actors and didn’t get any .
but most importantly , the central character of the sequence is waheeda . this is where it leaves other ‘very good’ or ‘great’ classical romance song - sequences behind .
dutt knew . all he had to do was point the camera – waheeda shone regardless . she shone in spite of anything or anyone in the frame . especially with little or no make - up or ornaments on .
there would be no full moon , no dazzling sun , no jameela , without waheeda .
opening shot : a full - screen glimpse of a sleeping waheeda . moonlight and shadow tease each other – and us .
next , we see guru dutt . he’s speechless at first . no music , no words , nothing to aid him . helpless , he sighs . then aid comes as a wave – in music and words . and he pays tribute in the purest tareef tradition .
the camera creeps like a moonbeam toward waheeda , stealthily , anxious that any sound beyond the song itself , might rudely wake her .
at first her face is turned ever so slightly upward , away . then , still asleep she turns gently , slowly toward us .
that’s when dutt musters enough strength to sing as the camera alternates between worshipper and worshipped .
then : jo bhi ho tum khuda ki kasam , la - jawaab ho [ whatever you are… . ]
in the classical tradition khuda ki kasam ( ‘by god’ or ‘i swear by god’ ) is used exceptionally . among conservative communities , almost never , because whatever follows isn’t just accurate or fact but the highest truth . anyone using such a prefix in vain invites the highest punishment . so , it’s no small thing when dutt uses it with the utter confidence that he’s right , indisputably right . as it happens , those are the moments in the sequence when he shuts his eyes , almost as if closing them to anything but the truth , almost as if the angelic perfection he sees is beyond bearing .
dutt’s closed eyes in the song - sequence ask conflicting questions that the film doesn’t . he asks : isn’t it madness to leave such blinding grace unveiled , unprotected ? aren’t even the most precious flowers guarded by branch or thorn ? but then again , he asks : isn’t it madness for such beauty to be hidden at all ?
the word la - jawaab doesn’t have a precise translation . not one that does justice anyway . but roughly it means : that which doesn’t have a suitable reply or that which is matchless , incomparable .
rightly , waheeda offers no comfort , no reassurance , no answer . unlike some other song - sequences , where the object of worship starts questioning or answering the worshipper , in word or song or both , she remains wordless throughout .
if you’ve only ‘listened’ to the song before , i don’t blame you . but you wouldn’t just ‘listen’ to the full moon , would you ?
one video - link of the song - sequence on youtube offers a modest english translation . purists will naturally shrink in horror ; they’re right . no translation , no matter how scholarly , comes close to the original lyrics . still , it’s manna to the uninitiated who don’t understand hindi or urdu .
to dutt , we can only offer humble gratitude : ‘madman’ all right , but somehow genius as well . he , more than anyone else , seemed to have grasped and captured so intuitively on camera , the magnificent waheeda – repeatedly and forever .
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( 1959 ) , which at the time was such a commercial and critical disaster that it ended dutt’s career as a film director . with
, however , dutt , still in the roles of producer and lead actor , came back with a big hit that reestablished his reputation . from today’s perspective , i would say that this film does not contain the searing expressionism characteristic of dutt’s greatest films , like
– it is much lighter in weight , which perhaps accounts for why it went down better with the public at the time . nevertheless , there are some virtues and interesting characteristics of
one of the interesting aspects of the film is its socially contextual subject matter . set in lucknow , in the midst of its substantial and cultured muslim sector of society , the film can be considered what in indian genre parlance is termed a “muslim social” . in this case it rather deftly takes on some social matters with generally light - hearted brush strokes .
, the south asian muslim practice of restricting women from interacting with any men apart from their own close family members . in this tradition , when women go out of their homes , they must wear burqas and face veils that keep them completely covered from view . of course in such circumstances , young men are often interested in getting glimpses of women’s faces behind those veils , but they often wind up with very limited information . this problem lies as the heart of
, dutt had much of his production partners again . this included cinematographer v . k . murthy and screenwriter abrar alvi . partly in consideration of the “muslim social” subject matter , dutt recruited veteran mohammed sadiq to direct the film , although dutt presumably had a strong influence in the film’s direction , as well .
and , again , dutt’s cast included two of his favorites , waheeda rehman and johnny walker ( badruddin jamaluddin kazi ) . whether just from built - up experience or for some other reasons , i think their performances in this film were more natural and narratively engaged than in dutt’s earlier films .
of particular note is the film’s music . although dutt ' s usual musical composer s . d . burman had disconnected from dutt after
, dutt hooked up with another outstanding composer in ravi ( ravi shankar sharma , not the famous sitar player ravi shankar ) . to convey the sufi - oriented
music associated with lucknow , dutt used urdu poet and lyricist shakeel badayuni . together with the playback singers ( mohammad rafi , lata mangeshkar , geeta dutt , and asha bhosle ) , they produced music that greatly enhanced the story and fit perfectly with it . in particular , i found the lyp - syncing to be outstanding – the best i have seen ( and heard ) in connection with indian playback songs .
obscures and entangles two men friends who fall in love with the same woman . these things happen all the time in many contexts , and i find them invariably excruciatingly painful , because there is no possibility of a mutually satisfying resolution . such anguish was only intensified in the honor - bound circumstances of upper - level lucknow society .
male ( or manly ) bonding ( mb ) and loyalty among close male friends . this is regarded in some quarters as a special virtue that defines a man’s character and sense of self . in this context women are viewed not as soul mates but as possessions that can even by traded in order to cement male bonding .
selfless love ( sl ) . this is the dissolution of self and the immersion in the beloved .
at various points in the film , mb and sl are shown in high relief . with these elements in the background , the story progresses through six phases .
pyare mohan ( played by rehman ) is a wealthy young aristocrat and generally referred to with the honorific “nawab” ( i will use that reference in the following ) .
shaida ( johnny walker ) is the wayward son of a prominent police inspector . as usual with johnny walker roles , this outrageously effeminate character’s presence is primarily for comic relief .
aslam ( guru dutt ) is a young businessman whose parents have passed away . he was financially rescued by the nawab and almost adopted into his privileged family .
they are so closely tied by male bonding ( mb ) that shaida at one point in the story refers to the three of them as one life in three bodies .
early on , shaida and the nawab are at a bazaar / fair , where women in attendance are completely covered in their burqas . by chance , however , the nawab catches a brief glimpse of a momentarily uncovered young woman , jamila ( waheeda rehman ) and becomes instantly infatuated . later at an all - woman birthday party at the nawab’s house for his sister , he spies on the young ladies from an adjacent room and notices with delight that his new beloved is in attendance .
at the party the girls sing an engaging and meaningful song about how hejab - clad women are perpetually readjusting their veils , while interested men stealthily look on and yearn for more .
“tell those in love not to provoke moon - faced beauties . . . . tell them to keep away from beautiful women . should they be pleased , they will give you love . . . should they be cross , there could be carnage . “
an underlying theme to the song is that were it not for those onlookers , beauty itself would have no meaning .
the nawab’s friends ( under mb pressure to help ) , as well as one of his maids , seek to find the identity of the girl he loves , but the first of a series of misidentifications in the film takes place . since noone but the nawab has caught a glimpse of her , the only evidence they have is a torn piece from the girl’s veil that the nawab had picked up . the wrong girl is identified , and because of purdah , the nawab’s only option is to send his emissaries ( aslam and shaida ) to the family to issue a marriage proposal .
up to this point the film has basically been a light - hearted farce . but now things get complicated . the nawab’s mother has arranged for him to get married to a young woman that neither she nor the nawab has seen . but , of course , the nawab wants to marry the woman he saw in the bazaar , so he wants to get out of this arrangement . so he exerts his male - bonding ( mb ) pressure on aslam to marry this yet - unseen girl that his mother has arranged for him . the viewer is probably not surprised that this woman turn out to be jamila , the very girl that the nawab pines for .
at the wedding of aslam and jamila , the bride is completely covered , so one , including the nawab , can identify as the girl the nawab wants . aslam is delighted with his bride , whom he only sees face - to - face after the ceremony . there is a memorable performance of the title song when the newly married couple are finnaly alone in the bedroom , and this is the highlight of the film . meanwhile the nawab learns that the girl aslam and shaida had earlier identified for him is the wrong one .
now there are more shenanigans in attempts to locate the right girl for the nawab ( even though we know that the one he wants is at home with aslam ) . shaida dresses up as a bearded beggar and goes to the bazaar to find the woman , but again a mistake is made . this time they wind up thinking that aslam’s sister is the girl the nawab wants .
meanwhile we see that the naughty shaida is in love with a nautch girl , tameezan ( minoo mumtaz ) who sings , dances , and gives favors for a price .
the nawab is now convinced that aslam’s sister is the one he is after . he goes to their house to deliver some ceremonial gifts , and by chance , sees jamila . there is a shock of recognition on the nawab’s part and further confusing events , but eventually it dawns on aslam that his new wife , whom he now loves passionately , is the girl that the nawab has been seeking . he confirms this by showing a picture of his wife ( and not telling who it is ) to the nawab , who immediately grabs it and , to aslam’s horror , kisses it passionately . aslam rushes out of the house and sings a song of despair , moaning
aslam is now faced with a horrible ( and for me , incredible ) dilemma . he loves and is devoted to his wife , but he feels his loyalties to the nawab require that he give his wife to the nawab . this is mb at its extreme .
the only solution aslam can come up with is to feign being an unfaithful and derelict husband by going to brothels . this will force his wife to divorce him , and make her available to the nawab . naturally , when aslam goes to a brothel , it turns out , by chance , to be tameezan’s quarters . although aslam is only faking it and is not actually doing anything with tameezan , everyone else is fooled . when shaida learns of aslam’s activities , he is disturbed , but then his mb instincts take hold , and he says ,
if he likes tameezan , she ' s his . i think if a friend can ' t make this little sacrifice , he ' s no good .
among these men , women are little more than prized possessions . meanwhile jamila’s brothers , having heard of aslam’s supposedly dissolute ways , threaten to kill him in order to uphold family “honor” . when jamila learns of their plans , she confronts them with almost an ode to selfless love ( sl ) :
“if he comes home late at night , i’ll wait all night for him . . . . then i’ll feed him like a slave . . . . press his legs till he sleeps . that’s how i’ll attain heaven . . . . “
“i’m his servant , not his wife . . . i can lay down my life for one smile from him . “
the film’s final section is highly melodramatic . aslam feels that if all else fails , his mb duty requires him to commit suicide . and eventually the nawab learns , just before his wedding is to take place ( to aslam’s sister ) , that aslam’s wife is the woman he wants . to heighten the dramatic tension , the presentation moves into parallel action , with scene switches back and forth between the preparations for the wedding ceremony and anguished activities elsewhere .
i’ll leave it to you to watch the film and see how it all ends up .
’s plot , there are a number of things i like about the film . in particular , i liked how the film took on the problematic nature of the purdah practice and demonstrated how keeping the visibility of women hidden from their potential fiances is a fully dysfunctional practice , even when everyone is trying to play the game according to its crazy rules .
another appealing aspect was the music , which complemented the story . there were several songs – all sung with playback singers , but realistically presented – that i particularly liked :
the party song ( mentioned above ) about why and how women wear veils .
the song at aslam’s wedding featuring johnny walker’s ( shaida’s ) extravagant dancing and horn - tooting .
two songs at separate points in the film by the nautch girl , tameezan .
jamila’s sad song when aslam starts coming home late – “my master seems to have changed” .
the titular “full moon” song , which was the best of all of them [ 1 ] .
in addition some of the performances were memorable . guru dutt and johnny walker present engaging characters who are good - hearted and well - intentioned , despite being hamstrung by social conventions of male - bonding .


what 's in a name ? ( original title : le prénom , literally " the given name " ) is a french-belgian comedy film , written and directed by alexandre de la patellière and matthieu delaporte and released in 2012 .

it is adapted from the play le prénom by the same authors .

the film was a box office success in france , selling 3,340,231 tickets .

what ' s in a name ? ( film )

following a complaint by the karnataka film chamber of commerce , the registrar of societies on friday asked the new chamber to go back to its original name , the karnataka dubbing film chamber of commerce , saying the name kannada film chamber of commerce , was deceptively similar to the older one’s name .
an unborn ' s unlikely moniker is the simple but effective motor of
what ' s in a name ?
a french comedy adapted from a play by matthieu delaporte and alexandre de la patelliere .
oscar night may come down to not only what name is read from the night ' s final envelope , but also how the winning film is said . should either name be called , writer - director alejandro gonzalez inarritu isn ' t quibbling .
we’re interested in your feedback on this page . tell us what you think .
attend the movie premiere of the sag aftra , feature length film by elva nelsonhayes . following the
what ' s in a name ?
premiere , meet and greet the cast and crew at the v . i . p . after party at liege downtown oakland .
vincent is about to become a father . at a meeting with childhood friends he announces the name for his future son . the scandalous name ignites a discussion which surfaces unpleasant matters from the past of the group .
the scrutiny of baby names eventually leads to guests’ mocking deconstructions of one another’s facial expressions and vocal inflections . in their intensity , the actors’ incisive , impeccably coordinated performances are pitched slightly above normal conversation but not so much that “what’s in a name ? ” shatters credibility .
about the older one objecting to his organisation’s name , “we wanted to use the word ‘kannada’ in our name . but the so - called pro - kannada fighter sa ra govindu , president of of the older chamber , is opposed to it . should we have named our organisation tamil film chamber or urdu film chamber ? ” gowda questioned .
a brand is not what it says . it is what it conveys . communication is a pretty complex in reality . as one of the best advertising agencies , it ' s imperative for us to understand the personality , positioning & tone of a brand . . .
even before the national film award winners could get their share of the limelight , a cat fight between two film chambers came to the forefront on friday .
an unborn’s unlikely moniker is the simple but effective motor of “what’s in a name ? ” a french comedy adapted from a play by matthieu delaporte and alexandre de la patelliere . starring most of the original cast and directed by its playwrights , pic is the latest in a long line of gallic stage - to - screen successes that essentially [ … ]
“what’s in a name ? ” was directed by matthieu delaporte and alexandre de la patellière , who adapted the screenplay from their original hit play . except for mr . berling , the same actors play the roles they originated on the stage .
however , their delight was shortlived , as the older of the two chambers , karnataka film chamber of commerce , managed to get its name change cancelled .
we ' re about to launch our brand new film production company . we ' ve made a short film , ' the birthday gift ' - which has won awards at international film festivals , and can be viewed here - and are about to start pre - production on our debut feature film .
the registration of a film title costs rs 2 , 000 in the older one , but in the new chamber it is rs 500 .
we ' d like the name to have ' films ' at the end , rather than ' productions ' or ' pictures ' etc . it would obviously have to not clash with an existing name , which is easily googleable , and can be company name - checked here
the well - lubricated dinner party that goes haywire has been a standard platform for nasty domestic comedy ever since the days of georges feydeau . in “what’s in a name ? , ” an uproarious french farce , the catalyst for the flinging of mud isn’t booze but a practical joke that is carried so far it rattles skeletons .
we are what’s in a name ( win ) - south india ' s leading advertising & digital marketing company . we’re a team that’s been working hard on creating internationally acclaimed award - winning communication , since 2010 . our objective is to bring about a positive change in the way brands communicate with their audiences ; thereby helping businesses win customers . and that’s precisely why we make sure we adapt to every channel of communication - online & offline ; without diluting the core positioning of the brand . that ' s what makes us the preferred brand partner of many .
ideally , the name should reflect one , or both of these themes . or , failing that , just be a really snappy , imaginative , witty , catchy name that might not mean much but feels right !
namesake is a video production house owned by what’s in a name creatives . we , at namesake , began our journey in 2011 . our purpose is to bring to life a vision that revolves around the art of storytelling . our repertoire of work includes corporate films , brand videos , animation , tv ads , social films , video logs , and more .
( originally called the karnataka dubbed film chamber of commerce ) a breakaway body of the karnataka film chamber of commerce , claimed that two films that won the awards had registered through them .
simply called “le prenom , ” or “the given name , ” in french , the film starts with a credits sequence that identifies crew members by their first names only ( it’s produced by “dimitri and jerome” ) , followed by a quick montage sequence that introduces the protags by listing their respective idiosyncrasies .
the karnataka film chamber of commerce was fined by the competition commission of india for preventing dubbed films in kannada a few years ago .
here ' s everything you need to know about the thunder god ' s newest adventures in midgard and beyond in thor : ragnarok .
waititi shot a facebook live at the end of shooting , which revealed that miek – an ally of hulk ' s from that same storyline – will appear in the film .
bafta’s destination for youngsters to come and discover the magical worlds of film , television and games . enter challenges , watch videos , and take part in our annual vote to decide the best film , tv show and game of the year .
a glimpse thor holding a card on set that bears the address of doctor strange ' s greenwich village base – the sanctum santorum – led to speculation that after thor ' s cameo in his debut marvel film , benedict cumberbatch ' s sorcerer supreme would return the favour . strange ' s appearance in thor : ragnarok has been very much confirmed . he ' s there to help find the missing odin ( more on him in a bit ) .
whether you ' re a classic movie buff or a blockbuster film fanatic , the yearly academy awards is likely to be a big deal for you and your friends .
cinematographer david ungaro ( coco chanel & igor stravinsky ) does his best with such a limited setting , while the theatrical staging makes one long for a live performance instead of what’s essentially a slickly crafted piece of filmed theatre .
only thing is - we can ' t seem to come up with a name for the company ! this is hopefully where one of you comes in . we ' re offering £100 to someone if they can come up with a name that we like - and the kudos of naming a future oscar - winning company , obviously ; )
the academy of motion pictures arts and sciences recognizes the film ' s full title in all its colorful plumage , even if most multiplex marquees don ' t . the film ' s distributor , fox searchlight , has regularly fostered the natural shorthand while still honoring the artistic intentions of its filmmaker .
things tip over into craziness when vincent reveals the first name he and anna have chosen for their firstborn . the revelation sets in motion a cascade of rapid - fire reactions and counterarguments that are not only hilarious and snappily delivered , but also constitute a remarkably intelligent exploration of the value and importance ( or lack thereof ) of a particular name .
in 1960s paris , a conservative couple ' s lives are turned upside down by two spanish maids .
in the film , slick real estate agent vincent ( french cinema superstar patrick bruel ) is about to become a father . at a meeting with family and childhood friends he announces the name of his future son , but the scandalous moniker ignites a discussion that brings the group ' s past bubbling to the surface - with hilarious , dramatic , and altogether unbelievable results .
a box - office sensation in france , this laugh - out - loud comedy focuses on a small family dinner that goes horribly wrong . when the soon - to - be father vincent announces to his siblings the name of his future son , a passionate argument erupts and snowballs out of control . can deep - seated sibling rivalries , social anxieties and prejudices be triggered just by a name ? if it’s adolph , yes .
although the gang seems to hang out often , this particular soiree is the occasion for vincent to announce the name of his upcoming baby to his sister and friends . without giving it away – let’s just say that it wouldn’t make elisabeth’s jewish mother , francoise ( francois fabian ) , very proud – the name provokes an uproar among the group , and by the time vincent’s pregnant gal , anna ( judith el zein ) shows up , everyone’s panties are in a bundle .
waititi has said his film will be a mere 90 minutes long , making it the shortest mcu instalment yet by far .
an unborn’s unlikely moniker is the simple but effective motor of “what’s in a name ? ” a french comedy adapted from a play by matthieu delaporte and alexandre de la patelliere . starring most of the original cast and directed by its playwrights , pic is the latest in a long line of gallic stage - to - screen successes that essentially provide wider access to the material while never quite adding a cinematic edge . despite a less potent second half , whammo local b . o . ( it’s sold more tix at home than “the avengers” ) should spike offshore interest for theatrical and possibly remake rights .
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 .
after a gap of 50 years , films from other languages were dubbed into kannada , which is a red herring for the karnataka film chamber of commerce .
in 2003 , stephen fry released bright young things , [ 1 ] a film adaptation of evelyn waugh’s vile bodies . [ 2 ] despite changing the title and moving the action from the 1920s to the ’30s , fry’s film is generally faithful to the tone and plot of waugh’s 1930 novel . the bright young things race between parties in a haze of champagne , desperate to outpace the boredom that always seems just about to overtake them . as war approaches and minor characters mysteriously fall away , the hero and heroine’s protracted romance ends in disappointment . throughout , the tone is almost perversely flippant ; the novel’s arch narrator and the film’s glittering , fast - paced camera - work prevent the melancholy undertones from ever entirely taking over .
but by any name ,
birdman
has resounded with critics and moviegoers . after taking the top honors from the acting and producing guilds , the film is seen as the most likely best - picture winner , just ahead of richard linklater ' s
boyhood .
new zealand ' s eagle vs shark and what we do in the shadows director taika waititi has taken over instead . he claims not to have had a plan to start with ( which we don ' t entirely believe ) .
the oscar statuette ' s official name is the
academy award of merit .
the name
oscar
is actually a nickname that has been around for decades with unclear beginnings . though there are several different stories that claim to tell the origin of the nickname
oscar ,
the most common attributes the nickname to a comment made by margaret herrick .
comic - con also screened a mockumentary showing what thor was up to during civil war , taking full advantage of waititi ' s skills , although it ' s not online yet . we did however get a look at the amazing new , ' 80s - tastic logo .
the film is set around the time of captain america : civil war and spider - man homecoming .
see what thor was up to during # captainamericacivilwar . get this and more on digital hd 9 / 2 . urltoken urltoken
while it takes nearly rs 1 . 3 lakh for a new producer to become a member and register himself in the karnataka film chamber of commerce , the breakaway one claimed that the old body is fleecing film makers and the same process can be done through it for less than rs 10 , 000 .
the film will see the return of hela ( we don ' t know where she ' s been yet ) , who promptly destroys thor ' s hammer . the thunder god is banished to the planet sakaar and forced to fight in the grandmaster ' s arena , while hela makes a bid to conquer asgard .
to become member of karnataka film chamber of commerce , it is not the case with the breakaway one .
a bunch of forty - something buddies find their dinner date transformed into a dinner disaster in what’s in a name ? ( le prenom ) , an amusing and well - acted french farce in the pure tradition of boulevard classics le diner de cons and le pere noel est une ordure . adapting their highly successful stage version to the screen with keen comic - timing but much less cinematic panache , mathieu delaporte and alexandre de la patelliere offer up a lively take on love , friendship and baby - naming that should titillate francophone audiences and upscale offshore distributors .
the film ' s title refers to the first main point of discussion . vincent is soon to be a father , and he tells his friends the name he and his partner have decided on for their son . his choice is so controversial it causes a heated and vitriolic argument . it is however , only one of a series of discussions , and with each one the stakes get higher .
john ashton agreed , lamenting that “none of this would matter if fry had stuck with waugh’s original story . ” he goes on to complain of the film’s use of “broad” caricature , a device which prevents us from “engaging emotionally” with the characters and which “jars somewhat with the rather more naturalistic style of the rest of the film . ” [ 5 ]
eight tourists who met in a holiday camp on the ivory coast are reunited for a skiing holiday .
perhaps more revealing , however , are the similarities between reviews of the film and critical responses to the novel . although widely praised for its fast - paced frivolity and witty dialogue , other aspects of the film received a lukewarm , somewhat confused reception . in expressing their reservations about fry’s film , reviewers frequently pointed to the very things which have bothered literary critics for decades . in particular , the apocalyptic ending and the improbability of much of the action prompted several critics to declare the film a failed romantic comedy . writing in the guardian , peter bradshaw found the war - torn ending lacking in “satire and darkness” and therefore unconvincing . “there is no real hangover here , ” he complained , “just a cocktail that is more virgin mary than bloody mary . ” [ 3 ] others attributed the ending to meddling on fry’s part : “ [ the film ] amounts to a succession of silly but enjoyable vignettes , ” neil young asserted ,
whatever happens in this film , hemsworth , thompson and ruffalo have been spotted on location for infinity war , so will probably be back together soon .
has been that rare foreign language film which has actually been a big success outside its native country . while the french have understandably lapped it up , it has also been a big money spinner in italy , germany and spain , to name a few euro countries . it ' s not hard to see why , its clever dialogue rips along , the characters are well etched and there are plenty of interesting dynamics between the five of them .
no one cares what prince or king thor may have been in another world . also , his strength is pretty easily matched with those he finds himself amongst .
yes , the temptation for the ego is great ,
he says , adding he ' s been happily removed from much of it , working on
the revenant .
' ' i haven ' t really been able to read those things , and that ' s mostly kept my ego very good . i ' m very happy what ' s happened with the film , but in a way , i haven ' t been looking at my own belly .
we ' re sure he ' ll join with us in trying to forget his acting role in 2011 ' s green lantern .
in a strange turn of events , charlie chaplin ' s movie limelight , which was produced in 1952 , won an academy award in 1972—20 years after its first release . according to the academy ' s rules at the time , a movie could not be considered for an academy award until it had played in los angeles . when limelight finally played at a theater in los angeles in 1972 , it became eligible for an award .
we get a delicious new look at tom hiddleston ' s loki as well as thor ' s
friend from work
, hulk .
anthony hopkins ' s odin – who had been replaced by loki in the dark world – is coming back . he ' s been spotted on set in full hobo mode – leading us to suspect that he might have been wandering amnesiac on earth since loki got to him . and idris elba ' s heimdall is also returning , with marvel apparently overlooking elba ' s comments about shooting the last film .
that 1991 film , you ' ll be shocked to learn , didn ' t make it to the academy awards .
a huge hit in france , the film ' s verbal thrust - and - parry is so fast you do spend too much time reading the flashing of subtitles than looking at the gesticulations and exaggerated expressions of the players . bring on the americanisation , please .
once you ' ve got your breath back you can also check out director taika waititi ' s san diego comic - con mockumentary revealing what thor has been up to while the civil war was going on .
such allusions to the 2001 favourite , however turn out to be deceiving . once this exhausting intro is over the movie settles down into what is essentially a filmed stage play . set entirely in one apartment , five friends argue , spill secrets and generally push each other ' s buttons .
log in or sign up for eventbrite to save events you ' re interested in .
uk jewish film is dedicated to developing an environment in which jewish film entertains , educates and enlightens diverse audiences in the uk and internationally . throughout the year we bring the best of world cinema , provide support and training to new and emerging filmmakers , and produce education events including exploring holocaust , genocide , racism and interfaith themes with a variety of audiences including students and young people .
it ' s not the first film title inarritu has played around with . his last movie , the much more somber drama ,
biutiful ,
was named from a scene in which javier bardem ' s uxbal instructs his daughter while she does her homework that
beautiful
is spelled
just the way it sounds .
what implications does this reading have for waugh’s work more generally ? although vile bodies has perhaps suffered the most from critical neglect , waugh’s other early novels also make more sense when read with the idea of parody in mind . several critics have described decline and fall as a parody of the bildungsroman ; curiously , however , few have looked in detail at how waugh reworks particular bildungsroman conventions , or at what such a parody might mean . the term bildungsroman is often left unexamined and undefined , while ‘parody’ is used interchangeably with ‘satire . ’ [ 93 ] like vile bodies , decline and fall would benefit from a closer study of its reworking of generic conventions . to do so would require a survey of bildungsroman conventions and a detailed analysis of their place in waugh’s novel ; unfortunately , space does not permit me to attempt such a study here .
two neurotics , working for a suicide hotline on the night of christmas eve , get caught up in a catastrophe when a pregnant woman , her abusive boyfriend , and a transvestite visit their office .
a comedy but only if you like blood sports . a screenplay that positively bristles with . . . well , bristles , it ' s as savage as who ' s afraid of virginia wolf or carnage
and the connection to infinity war could possibly mean that thanos – or at least some of the missing infinity stones – could have a part to play in the film . that link was heavily hinted at in thor ' s avengers : infinity war vision ( the one joss whedon clashed with marvel execs over ) and , incidentally , grandmaster has been in possession of one of the stones in the past . . .
and he ' s sporting a brand new look , including a shorter haircut which hemsworth says
was hugely liberating and freeing
. that sounds like quite a haircut . . .
we ' ve also heard that the cotati could show up in film . the plant - like alien race have a strong connection to pom klementieff ' s new guardians of the galaxy vol 2 character mantis , which could indicate a link between the two movies . no word on whether she might make an appearance herself yet .
though beset by all manner of fears — from a hotshot young actor ( edward norton ) to an embittered critic — riggan eventually finds peace with his raging ego , his
birdman .
the subtitle is uttered late in the film at a moment of serenity .
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adam , however , faces a far trickier opponent . instead of a conservative society governed by clear rules of courtship , he faces a timid and confused establishment unsure of its own standards . the usual foils to the hero’s marriage—the heroine’s father and the society around him—are absorbed in childish daydreams and trivial gossip . waugh frustrates his hero’s quest by filling london with inadequate father figures . men whose office might make them suitable mentors prove ineffectual and inept ; their ranks and appellations mean no more than they do at shepheard’s hotel , where honourary titles are part of the edwardian bric - a - brac , distributed at random by proprietress lottie trump . “‘you all know lord thingummy , don’t you ? ' ” she asks as she introduces adam ; “‘mr symes , ' ” he corrects her , but the point does not interest her . “‘yes , dear , that’s what i said , ' ” she continues , before introducing him to “‘your honour judge - what’s - his - name , ' ” “‘a major , ' ” “‘mr - what - do - you - call - him ' ” and “‘the king of ruritania . ' ” [ 38 ] old - fashioned formality adds a reassuring air of class to the hotel , whose guests , “arched with modernity , ” come to “draw up , cool and uncontaminated , great , healing draughts from the well of edwardian certainty . ” [ 39 ] this debasement of rank and title eventually foils adam’s pursuit of his fortune . having entrusted “the major” with his last thousand pounds , adam asks lottie where he can be found . “‘what major ? , ' ” she replies , “‘i never saw a major ' ” :
faced with this flimsy imitation of conventional comic society , adam embarks on a comic quest and fails . the final three chapters of vile bodies cleverly and pointedly reverse the conventions of this journey . in comedy , separated lovers are often reunited by a shift in one or both of their identities . the hero may discover that he is heir to a great fortune , or the son of a king , or , at the very least , not illegitimate after all . guy mannering , tom jones and the importance of being earnest all conclude with a hero rejoining society after discovering the truth about his parentage . other shifts in the hero or heroine’s identity include the removal of a disguise , as in twelfth night , or a simple stroke of good fortune . in each case , a sudden revelation ( what frye terms a “recognition scene” [ 58 ] ) removes an apparently insurmountable obstacle to the hero and heroine’s happiness .
sometimes even superheroes need makeovers ! 💇♂ # thorragnarok will see the norse god get his signature blond locks shorn . 😱 what do you think of # thor ' s new look ? 🤔 # chrishemsworth 📷 : @ jasinboland / marvel studios
the novel with which i am concerned here is not , it must be said , untitled . it has a perfectly serviceable title , one which ( as we shall see ) cleverly captures its somewhat elusive moral undertones . rather , this is a novel that has been re - titled , translated into film and given a new name . in the process , it has vexed film - reviewers as thoroughly as it once vexed literary critics ; there is something fundamentally confusing , it seems , about their common narrative . by revisiting the novel , i hope to show that much of the confusion evaporates if we read the book not as a straightforward comedy or satire , but as a parody of conventional romance . i am interested , that is , not in the process of re - titling itself , but in the critical problems and puzzles that can survive such a re - christening .
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since lengthy , oddly punctuated dual titles aren ' t exactly what marketers dream of ,
birdman
is how it ' s generally been promoted . but fox searchlight also presents the complete title on movie posters ( albeit with the second title in much smaller type ) and it urged critics reviewing the film to use the full title on first reference . ( inarritu acknowledges searchlight has been
very cool
about his unorthodox title . )
adam finds himself , moreover , in a typical comedic situation : he wants to marry nina , but must first secure his fortune and gain her father’s approval . although adam is a typical hero , and although he finds himself in a classic comic scenario , society thwarts his quest so effectively as to make a conventional comic ending impossible . frye’s outline of the comic plot emphasises the movement from estrangement to reconciliation :
even funnier than roman polanski ' s carnage , this smart french comedy ( also adapted from a play ) is lifted by a very sharp cast and has a dynamic direction that knows how to maintain a good pace , focusing mostly on a well - written dialogue that is so hilarious .
the only guest who seems insulated is claude ( guillaume de tonquédec ) , an unmarried trombonist and all - around nice guy who is élisabeth’s best friend . but when claude discovers that behind his back the others refer to him as “plum , ” as in “sugarplum fairy , ” he responds with a revelation that is not what you might expect .
jaimie alexander will also be returning as the warrior sif to give marvel a third chance to vaguely hint at a romance between her and hemsworth ' s odinson .
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a belge - francophobe customs officer is forced to team up with a frenchman during the elimination of the franco - belge borders in the 90s .
if i found any one of these five relatable , i wouldn ' t be wondering what to call my son , but rather inquiring into an operation that would make procreation an impossibility .
society at first opposes the hero’s marriage because its laws—as laid down by the heroine’s father—deem him an unsuitable husband . the hero triumphs when he proves them wrong by meeting traditional standards ; although an unreasonably strict father may relax somewhat by story’s end , the hero must still conform to society’s rules .
in the last ten minutes they were growing notably quieter . it was rather a nasty kind of hush…
better the full title , but honestly i understand we have to be practical ,
said inarritu of his preference in a recent interview .
it ' s more practical to say ' birdman . ' that ' s fine by me .
‘i say , nina’ , he shouted , ‘when you were young did you ever have to learn a thing out of a poetry book about “this sceptred isle , this earth of majesty , this something or other eden ? ” d’you know what i mean ? — “this happy breed of men , this little world , this precious stone set in the silver sea…this blessed plot , this earth , this real , this england…” . i forget how it goes on . something about a stubborn jew . but you know the thing i mean ? ’ ‘it comes in a play . ’ ‘no , a blue poetry book . ’ ‘i acted in it . ’ ‘well , they may have put it into a play since . it was in a blue poetry book when i learned it…well , i mean to say , don’t you feel somehow , up here in the air like this and looking down and seeing everything underneath . i mean don’t you have a sort of feeling rather like that , if you see what i mean ? ’ [ 91 ]
milind dharmasena , a new chamber member , said , “most of the new filmmakers are opting for the new chamber . we have a new generation of filmmakers . we mostly have independent film makers who are students or those who are in their 20s . with modern technology and proper planning , they can use rs 1 lakh to shoot for four days . but you are discouraging this new age film makers by asking them to pay rs 1 lakh to even start your project . ”
at your next oscars party , test everyone ' s knowledge with trivia questions on the award ceremony ' s history and fun , little - known facts .
idris elba has promised that
all the characters have a bit of a funny moment
in the movie – even his habitually po - faced heimdall .
three actors have won academy awards for playing characters that did not utter a single word throughout the entire film . jane wyman won the best actress award for her portrayal of belinda , a deaf mute , in johnny belinda ( 1948 ) . sir john mills played the mute village idiot in ryan ' s daughter ( 1970 ) , for which he won the best supporting actor award . most recently , holly hunter won the best actress award for her portrayal of the mute ada mcgrath in the piano ( 1993 ) .
waititi has hinted at the tone of the film , saying
the new logo suits the ' 70s / ' 80s sci - fi fantasy that this film is becoming
. anyone else thinking of the neverending story right now ? he has also said that he is basically ignoring the other two thor films and the rest of the mcu , which is a bold move and no mistake .
but marvel studios hasn ' t forgotten the odinson , and it ' s bringing us a third helping of hammer - twirling , asgardian - punching comic book action – this time in the form of a veritable twilight of the gods .
speaking by phone during a day off from shooting
the revenant ,
an early 1800s frontier thriller starring leonardo dicaprio , inarritu said he loved
dr . strangelove ,
but that the title of
birdman
isn ' t a direct ode to it . instead , he called the title
a wink to the audience
that suggests the playfulness of his film , a comedy about an actor in paranoid crisis .
together with the parody of romantic comedy , this undercurrent of unease prepares us for the novel’s ending . it suggests , as well , that the characters are conscious of having lost something important , although they do not know what it is . in scattered allusions to flight and transcendence , characters seem to realise that something vital is missing from their apparently comic universe . recovering from a hangover , adam contemplates his breakfast and puts it aside in disgust :
just as his protagonist is attempting a transition , inarritu was , too , in making his first comedy , one stitched together seamlessly by lengthy , flowing shots . it ' s another dimension of the movie ' s
meta - reality
to the 51 - year - old mexican director , who compares his own foolhardiness to riggan ' s .
the only academy award winner who won but was never officially nominated was hal mohr for best cinematography for a midsummer night ' s dream ( 1935 ) . mohr was the first and only person to win via a write - in vote .
the exuberance with which the film strips away its characters’ pretensions strongly resembles that of yasmina reza’s comedy “god of carnage , ” which became the much - more - inferior movie “carnage . ” the smug , preening male characters bear the brunt of the satire .
chris confirms that daryl will not appear in ragnarok . possibly in infinity war though . . . # chrishemsworth # supanova
michael keaton plays riggan thomson , a hollywood star famed for playing a feathered superhero trying to shed his public image by mounting a serious play on broadway .
in praising the surface brilliance of waugh’s comedy , these critics overlook the serious moral and aesthetic preoccupations which underpin the novel’s most playful moments . a more important flaw in robert garnet’s argument , however , concerns the relationship between fiction and reality . garnet admires waugh’s early novels for their uncensored depiction of the “energies” of life . the later novels , he complains , represent a “retreat” by waugh from “the rough data of human experience . ” [ 22 ] certainly , the early novels— vile bodies among them—describe a world of ‘variety and extremity’ in which certain characters’ ‘human vitality’ cannot be suppressed . to read them as descriptions of actual life , however , is to misread both their moral and aesthetic position . as we have seen , waugh’s own statements make clear that he doubted art’s ability to reproduce the energy and diversity of raw human experience .
and star trek ' s karl urban will be taking on the role of thor ' s long - time foe skurge , an asgardian also known as the executioner .
following marvel ' s trend for snagging some major a - listers , we ' re excited by the prospect of cate blanchett signing on for ragnarok as hela – marvel ' s equivalent of the norse death goddess hel .
four of the five characters are really unlikeable , and the effect is of being trapped in a small place with five hideous people yelling at you - it ' s crushing , oppressive and claustrophobic .
in foster / portman ' s place we will apparently have creed actress tessa thompson , who will play the asgradian warrior valkyrie – who will serve as both a foil and love interest for thor .
together , these various father figures form a debased imitation—a parody—of society in conventional comedy . the older generation , and in particular its patriarchs , are mad , childish , cuckolded or senile . they are not interested in taking part in adam’s quest , either as foils or as benefactors , and they have no clear sense of their own values . as a . b . kernan observes , “the empty , adulterous marriages of the older generation offer no moral support for adam and nina’s marriage . ” [ 54 ] as outlined above , conventional comedy ends with the hero welcomed back into society . he cannot achieve this reconciliation , however , unless society offers a clear set of standards to which he can aspire . in vile bodies , adam faces a distracted , timorous society and can find no way in .
the oscar statuette stands at 13 1 / 2 inches tall and weighs 8 1 / 2 pounds . it depicts a knight , holding a sword , standing on a reel of film which has five spokes , representing the 5 original branches of the academy - - actors , directors , producers , technicians , and writers . in 1949 , the academy started to number the statuettes , starting with number 501 .
in each case , the reviewer holds fry responsible for plot - twists and mood - swings originally employed by waugh . more significantly , each echoes earlier reviews of waugh’s novel , suggesting that vile bodies itself may continue to pose problems for literary criticism and popular consumption alike . by revisiting waugh’s novel , i hope to show that alleged inconsistencies in its tone and structure are in fact part of a coherent and largely successful aesthetic plan . the complaints levelled at both vile bodies and fry’s bright young things rest on inaccurate assumptions about what type of story waugh was writing . if we look to the novel for a simple romantic comedy or an acerbic social satire , we shall be disappointed . if we recognise it as a parody of conventional romance , however , the more puzzling elements of the book begin to make sense .
the ' planet hulk ' story is being incorporated into the film , with thor and hulk forced to fight for the entertainment of the masses on sakaar . although it looks like hulk might be happier in his role than his fellow avenger is .
it ' s still , however , a very long way off the film frequently cited for longest title :
night of the day of the dawn of the son of the bride of the return of the revenge of the terror of the attack of the evil , mutant , alien , flesh eating , hellbound , zombified living dead part 2 : in shocking 2 - d .
the movie has intellectual snob appeal , especially for the french . these days , to what extent will american audiences react to allusions to montaigne , kant , stendhal and benjamin constant , whose novel “adolphe” inspires the prank ?
um , it looks like mark ruffalo ' s big green character has different feelings .
nor does it sound like ragnarok spells an ending for the mcu or even hemsworth ' s thor , as he ' s already been confirmed for avengers : infinity war .
there are rumours of a guardians of the galaxy cameo ahead of their team - up with thor in infinity war .
in marvel ' s comics , thor has faced ragnarok several times ( go figure ) , although theoretically he finally managed to end the cycle forever .
: with machine gun delivery a voice - over gives us a run - down of the main characters , their likes , foibles , and a concise life history .
shooting began in australia in july , hot on the heels of spider - man : homecoming . chris hemsworth ' s reunion with his hammer and armour was originally scheduled for july 28 , 2017 , but later slipped to its current release date of october 24 , 2017 , in the uk and november 3 , 2017 , in the us .
contrary to the old adage ,
the show must go on ,
the academy awards ceremonies have been postponed 3 times . in 1938 , the ceremony was delayed a week because of flooding in los angeles . in 1968 , the academy awards ceremony was pushed back 2 days because of martin luther king jr . ' s funeral . the academy awards ceremony was pushed back a single day in 1981 because of the assassination attempt on president ronald reagan .
much criticism of waugh’s early novels has revolved around problems of classification and definition . some critics treat waugh as a bitter satirist and evaluate the novels accordingly , praising their sharp portraits of social decay but complaining about their inconsistent moral standards . others , admiring waugh’s fast - paced comedy and vivid caricatures , resist attempts to discern any moral message whatsoever . in arguing over the believability of waugh’s plots and characters , however , both readings overlook the parodic nature of the novels . they mistake waugh’s moral and artistic aims and so misunderstand both his comic and satiric technique . before undertaking a close analysis of parody in vile bodies , i shall outline two extreme and apparently contradictory readings of waugh’s early fiction .
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for an understanding of these rules , i have relied in particular on the work of northrop frye . although frye distinguishes between the “social” endings of new comedy and the “pastoral” endings of much romance , he generally treats the two as branches of the same tradition . [ 31 ] broadly , romantic comedy “is concerned with a love affair that involves a beautiful and idealised heroine… the course of this love does not run smooth , but overcomes all difficulties to end in a happy union . ” after a series of ordeals , “enemies [ are ] reconciled , and true lovers united” in a “festive conclusion , ” usually culminating in a “social ritual” such as a marriage , dance or feast . [ 32 ] the details of this convention will be discussed in a moment . for now , it is sufficient to note that the plot of vile bodies has much in common with this outline of romantic comedy . it tells the story of a young couple’s attempts to marry and of the various obstacles thrown in their way . they lack money and must appeal to the heroine’s father for aid . a rival appears , richer and more aristocratic than the hero . the tone throughout is superficially light , apparently meeting m . h . abrams’s demand that comedy “engage our delighted attention rather than our profound concern . ” [ 33 ] in fact , subtle deviations from convention warn us that this is parody and that adam and nina cannot expect a conventional festive ending .
file - this file photo released by twentieth century fox shows michael keaton , left , as riggan in a scene from the film ,
birdman , or ( the unexpected virtue of ignorance
directed by alejandro gonzalez inarritu . ( ap photo / copyright twentieth century fox , atsushi nishijima , file ) ( the associated press )
likewise , robert murray - davis offers a useful account of waugh’s place in modern fiction but overlooks his ironic use of literary conventions . in the 1920s , davis argues , many novelists “shifted their focus to society , using character in order to illustrate its effects . ” rather than describing the internal development of psychologically complex characters , they focused on how relatively simple characters functioned as parts of a larger social machine . [ 96 ] all this accords with waugh’s own statements about psychology and characterisation . in distinguishing the ‘externalist novel’ from the ‘novel of ideas , ’ however , davis overlooks the possible link between waugh’s ‘externalist’ technique and the much older conventions of romantic comedy .
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you laugh half as much as the packed cinema the night i saw it , you ' ll be in for a treat .
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thor ' s flatmate darryl ( daley pearson ) won ' t be back either . sorry .
to amuse themselves at a weekly dinner , a few well - heeled folk each bring a dimwit along who is to talk about his pastime . each member seeks to introduce a champion dumbbell . pierre , an . . . see full summary »
adam had a glass of champagne , hoping it would make him feel a little better . it made him feel much worse…
a half - built avengers quinjet has been spotted on the thor : ragnarok set , which indicates that one or more of thor and hulk ' s other teammates could put in an appearance , as the pair are probably the least likely to be found flying around in the jet on their own .
in identifying parody in vile bodies i have argued , firstly , that the novel is not as determinedly modern as some critics have assumed and , secondly , that the modern devices it employs are not as gratuitous as waugh’s own remarks suggest . although the influence of the cinema , firbank , t . s . eliot and others is discernable , the novel also reworks age - old narrative conventions to serious effect . conventional and experimental devices work together to create a parody of romantic comedy in which a conventional comic ending is impossible .
the narrator dismisses this lapse as a symptom of a hangover . “everyone , ” he explains , “is liable to this ninetyish feeling early in the morning after a party . ” [ 79 ] out of context , adam’s daydream does recall the fatigued sophistication of one of oscar wilde’s more ‘ninetyish’ characters . his horror of over - stimulation recalls vivian from “the decay of lying , ” whose club “the tired hedonists” excludes anyone “too fond of the simple pleasures” and demands that its members be “a good deal bored with each other . ” [ 80 ] the passage , however , is one of a series of references to flight and transcendence . mrs ape travels with a troupe of performing angels , named for a hodge - podge of virtues and costumed in gauze wings . [ 81 ] the bright young things describe anything pleasurable as “divine” : [ 82 ] nina in particular uses a vocabulary of flight and divinity , calling adam , ginger and her father her “angels . ” [ 83 ] strangest of all is mr outrage , who has a moment something like adam’s when he fails to seduce the wife of a japanese diplomat :
a father - to - be and his very pregnant wife are invited for dinner by his sister and his brother - in - law . the setting is an upper - middle - class apartment in paris . when the expecting parents reveal they intend to name their son
adolphe
, everyone else at the dinner is speechless . the situation eventually gets out of hand , when no one can come to an understanding , and everyone starts unearthing old rivalries and unspoken issues .
to some degree , this is because they are similar characters in different literary genres . decline and fall borrowed its structure and motifs from the bildungsroman . in this setting , the hero’s lack of depth or personality made him incapable of achieving the bildungsroman ideal . in vile bodies , adam’s ordinariness makes him particularly well - adapted to the comic hero’s task . the novel borrows its conventions not from the ‘novel of education’ but from comic romance , and it is therefore entirely proper that adam should learn little from his various setbacks . his aim is not spiritual maturity , but marriage to nina . in a genre whose subject is the relationship between characters rather than the internal development of a single expansive personality , the hero has no need for a complex inner life . to succeed as a comic hero , the protagonist need not be a particularly complicated person ; he need only be “ordinary in his virtues , ” frye observes , “but socially attractive . ” [ 36 ]