stations of the cross ( german : kreuzweg ) is a 2014 german drama film directed by dietrich brüggemann .

the film had its premiere in the competition section of the 64th berlin international film festival , where it won the silver bear for best script .

stations of the cross ( film )

' stations of the cross ' press conference - 64th berlinale inte . . .
' stations of the cross ' premiere - audi at the 64th berlinale . . .
dietrich brueggemann attends the ' stations of the cross ' ( kreuzweg ) press . . .
and anna brueggemann attend the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival . . .
franziska weisz attends the ' stations of the cross ' ( kreuzweg ) press conference . . .
anna brueggemann attends the ' stations of the cross ' ( kreuzweg ) press conference . . .
franziska weisz attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th . . .
florian stetter and franziska weisz attend the ' stations of the cross ' ( kreuzweg ) . . .
lea van acken attends the ' stations of the cross ' ( kreuzweg ) press conference . . .
lea van acken and florian stetter in “stations of the cross , ” directed by dietrich brüggemann .
franziska weisz and florian stetter attend ' stations of the cross ' ( kreuzweg ) . . .
lea van acken attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th . . .
franziska weisz attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the . . .
monika gruetters attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the . . .
dieter kosslick attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the . . .
anna brueggemann attend ' stations of the cross ' ( kreuzweg ) premiere - audi at the . . .
moritz knapp attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th . . .
stations of the cross is a german drama about a fourteen year old girl from a strict catholic family .
moritz knapp , lucie aron and guest attends ' stations of the cross ' ( kreuzweg ) . . .
indoctrination lies at the heart of stations of the cross , the bold , new film from german filmmaker dietrich brüggemann . simplistic in form , the film utilises fourteen breathtaking , unbroken shots that unfold within the boundaries of the fourteen stations of the cross , traditionally a central , expressive narrative of catholicism in which christ is nailed to the cross which is here re - positioned into the slow unravelling of a young teenage mind caught at an involuntary crossroads .
dietrich brüggemann ' s disturbing drama premiered at the berlin international film festival and is divided into 14 parts , often pale , minimalist tableaux , for the 14 stations of the cross .
franziska weisz attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
stations of the cross is a quiet film , deep in content and profoundly critical of the catholic church ' s culture of repression that misguides young minds by limiting their senses and curtailing their experiences .
lea van acken attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
franziska weisz attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
monika gruetters attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
moritz knapp attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
dieter kosslick attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
anna brueggemann attend ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
franziska weisz attends the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
dietrich brueggemann attends the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
anna brueggemann attends the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
lea van acken attends the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
, anna brueggemann and birge schade attend the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , . . .
franziska weisz and florian stetter attend ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
florian stetter and franziska weisz attend the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
jochen laube , anna brueggemann and dietrich brueggemann attend ' stations of the . . .
jochen laube , lea van acken and dietrich brueggemann attend the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
moritz knapp , lucie aron and guest attends ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
‘utterly convincing’ : newcomer lea van acken as maria with florian stetter as father weber , a priest offering ‘opportunities for sacrifice’ in stations of the cross .
jochen laube , lea van acken and dietrich brueggemann attend the ' stations of the . . .
florian stetter , franziska weisz and lea van acken attend the ' stations of the . . .
, lucie aron , anna brueggemann and birge schade attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , . . .
jochen laube , anna brueggemann and dietrich brueggemann attend ' stations of the cross ' ( kreuzweg ) premiere - audi at the 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
in stations of the cross , dietrich bruggeman perfectly matches the austerity of the family at the center of the story with his filmmaking . there is one camera movement in the film’s entirety , coming at the very end . each scene is a single take , representing one of the fourteen titular stations that tell the story of jesus’ trial and crucifixion . importantly , none of those stations are jesus’ supposed resurrection , contrasting the joyful , rejuvenative aspects of christianity with the snuff film that is the passion . this suffering forms the backbone of the fundamentalist catholic family that the film revolves around . the brutal form of religious fervor on display makes for a difficult and painful film to watch , as the lead character moves closer and closer to a meaningless end . b +
florian stetter , franziska weisz and lea van acken attend the ' stations of the cross ' ( kreuzweg ) press conference during 64th berlinale international film festival at grand hyatt hotel on february 9 , 2014 in berlin , germany .
the film highlights catholic eucharistic sensibilities by presenting the last supper , not chronologically before the garden of gethsemane , but in flashback intercut with the crucifixion itself . this juxtaposition of the crucifixion and the last supper reflects the catholic dogma that the mass , along with the cross , is a true sacrifice , and the sacrifice of the altar and of the cross are one .
part of essential films to watch part of a film a day keeps the doctor away v . ii
lucie aron , lea van acken , franziska weisz , anna brueggemann and birge schade attend the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
franziska weisz , lea van acken , lucie aron , anna brueggemann and birge schade attends the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
as maria crumples before our eyes , many will find “stations of the cross” heartbreaking and infuriating . others may laugh out loud at her mother , a walking nightmare of pious , punishing rectitude .
all of these films challenge us to think more clearly and feel more deeply about life , death , fear , and faith . now stations of the cross joins this small circle of recent significant spiritual films .
fourteen stages of jesus carrying the cross to his crucifixion are depicted in christianity and fourteen perfectly paced long takes directed by dietrich bruggeman , tell the story of a young girl indoctrinated into a fundamentalist system . stations of the cross is a wonderful example of european cinema at its finest , articulate , restrained and quietly powerful .
but it doesn’t stop with backlash within the believing world . nor is gibson’s film the first work of christian art to be accused of excessive morbidity . similar charges could be found against such devotional exercises as the way of the cross ( or stations of the cross ) and the sorrowful mysteries of the rosary , which involve prolonged contemplation of the specifics of christ’s suffering and death . even the observance of good friday , or the display of a simple crucifix , has been viewed with suspicion and hostility by some both inside and outside the faith .
stations of the cross belongs among the decade ' s best films about the lengths one must go to in order to balance strong beliefs with a tolerance toward a secular world that fights against those beliefs .
there are three ways to look at the german director dietrich brüggemann ’s “ stations of the cross , ” an austere , beautifully filmed and powerfully acted portrait of extreme religious fervor that slyly flirts with comedy .
brüggemann achieved such suffocating , yet calm atmosphere through his episodic - like narrative . the film is cleverly inspired from the real stations of the cross , and with its 14 one - long take segments , the film expose the ills of how people clearly abuses religion and put such burden to these innocent , young individuals . and at the core is maria ( parallels jesus christ ) who is the clear victim of being…
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 .
it may seem strange to think of the traditionalist gibson alluding to scorsese’s notoriously controversial film , the last major jesus film before the passion of the christ . however , the passion does seem to be consciously aware of the earlier film . ( jeffrey overstreet of christianitytoday . com , among others , has noted that the soundtrack is overtly reminiscent of last temptation ’s peter gabriel score . )
these 14 one shot vignettes mirroring the 14 stations of the cross chronicle a young girl in the fundamentalist roman catholic society of st . pius x ( renamed society of st . paul for the film ) and her desire to sacrifice herself to god as a saint . the scenes are very talkative and their unblinking one shot methods are quite an endurance test , but i found the film to be powerful and captivating , reminiscent of von trier ' s breaking the waves .
the film’s structure , following the dolorous passion of our lord jesus christ by venerable sr . anne catherine emmerich , one of the screenplay’s sources , combines two popular traditional catholic devotions : the 14 stations of the cross and the five sorrowful mysteries of the rosary . every mystery and every station is there , in order — including one event drawn entirely from tradition , st . veronica wiping the lord’s face .
berlin - - a german teenage girl struggles with questions of life , death and faith in stations of the cross ( kreuzweg ) , director dietrich brueggemann ’s remarkable and formally rigorous arthouse item that’s closely modeled on the via crucis .
in the end , the formalism of
stations of the cross
wouldn ' t work at all without the work of van acken , a very talented young lady who ' s not only in every scene , she ' s often all there is to every scene .
a sense of humor is the last thing one expects in a dour german drama about the dangers of fanatical catholicism , but thankfully helmer dietrich brueggemann and his sister anna inject a touch of deliberate silliness into their script for “stations of the cross , ” somewhat lightening the heavy load . otherwise , this rigorously reproving pic is as preachy as the alarming tenets it rather too easily explodes . divided into the 14 stations of the cross , all but three consisting of a single fixed shot , the film plays into the expectations of religiophobes who will praise its stiffness while ignoring its obviousness . a sanctified fest life is assured , along with decent arthouse biz .
lucie aron , florian stetter , jochen laube , lea van acken , birge schade , dietrich brueggemann , franziska weisz and anna brueggemann attend the ' stations of the cross ' ( kreuzweg ) premiere during 64th berlinale international film festival at berlinale palast on february 9 , 2014 in berlin , germany .
the actress , who was awarded the silver bear for best actress for playing the role of anna in thomas vinterberg ' s kollektivet and the director of the winning film fuocoammare .
the members of the international jury 2012 and the host on the stage of the berlinale palast .
rarely do i see a film that i can genuinely list as an important film . i ' ve let this film sink in for over a day , and it still proves to be spellbinding experience . stations of the cross told in fourteen distinctly unique shots , analyzes the extents to which individuals practice religion , a topic which has dominated the current event news of recent years . in theory , religion provides a sense of unification and gathering amongst a group of people . but , in practice , due to absolutist and extremist interpretations of religion , there are…
, although enthusiastic commentators have suggested that the real brutality of jesus’ passion exceeded that of the film , that gibson actually toned down the violence in his depiction , realistically this is very likely an inversion of the truth . certainly jesus’ redemptive suffering exceeded what any film could depict , but in terms of actual physical violence the real scourging at the pillar could hardly have been as extreme as the film version .
during the last week of spring term , years 5 and 6 joined pupils from st joseph’s , highfield for a joint celebration of the traditional catholic lenten liturgy , the stations of the cross , in st agnes’ church . as ever , it was a very moving and thoughtful service of readings , drama and music .
the director had fun at the press conference of his film . as jury president he does not want to criticize but to cherish the films of his colleagues .
silver bear for best actress : nina hoss for her yella in christian petzold ' s film of the same title .
to understand the brutality of gibson’s passion within the film’s own redemptive context , one must begin a full hour before the first blow at the pillar falls , in the opening scene in the garden of gethsemane .
a sense of humor is the last thing one expects in a dour german drama about the dangers of fanatical catholicism , but thankfully helmer dietrich brueggemann and his sister anna inject a touch of deliberate silliness into their script for “stations of the cross , ” somewhat lightening the heavy load . otherwise , this rigorously reproving pic is [ … ]
the third way to view “stations of the cross” is as a provocative straight - faced comedy in the mode of “ paradise : faith , ” the satire by the austrian director ulrich seidl . ms . weisz’s genuinely scary portrayal of wrathful , unhinged puritanism bordering on madness may make some cynics howl with laughter at its campy excess .
the significance of genesis 3 : 15 for the passion of the christ doesn’t end with the opening scene . it can also be seen , less strikingly but more pervasively , in the film’s approach to mary the mother of jesus .
in its most extreme form , the charge of morbidity has been laid at the feet of the christian faith itself . christianity’s harshest critics denounce it as
a religion of death .
clearly , at some point objections of this sort must be regarded as a case in point of what the scriptures call the
scandal
of the cross . it is the cross itself , the very suffering and dying of god made man , and the way christians respond to this event in their faith and devotion , that is behind much ( though again not all ) of the religious and anti - religious controversy over the brutality of this particular film .
it is also possible , although extremely far - fetched , to see “stations of the cross” as a genuinely religious work exalting self - deprivation in pursuit of eternal life . each of the film’s 14 scenes was filmed in a single take and illustrates a different station in a traditional roman catholic sequence of images depicting jesus on the day of his crucifixion . the movie throws a crumb to true believers in what appears to be a miracle wrought by maria near the end of the movie . or is it just a sarcastic tease ?
crucially , although the film invites us to view the wasting torments of its heroine as a form of institutionalised child abuse , german co - writer anna brüggemann and her director brother , dietrich , are careful not to be doctrinal . those wishing to find perverse evidence of transcendence will not be thwarted – like lars von trier’s breaking the waves ( a movie i detest ) , stations of the cross appears to acknowledge the miraculous , even as it descends into hell on earth .
the most important awards at the berlinale are the golden bear and the silver bears . they are presented by the international jury to films in the competition and belong to the most renowned awards in the international film industry .
divided into 14 chapters that carry the names of the stations ( jesus is condemned to death , jesus carries his cross… ) , the film chronicles the tough spot that 14 - year - old protagonist maria - - what’s in a name ? - - finds herself in as she prepares for her confirmation and tries to follow the rules and live up to the impossible expectations set by her priest and her family , who belong to the extremely strict ( fictitious ) society of st . paul congregation .
but clearly some of the accusations thrown at the film might as well be directed against christian belief and practice as well .
watching it is an act of self - flagellation ,
fumes one film critic . well , what if it is ? mortification of the flesh has a long and venerable history in christian spirituality .
however , critics who condemn the film without recognizing its basis in western sacred art and spiritual tradition are condemning what they don’t understand . criticisms about the film’s general lack of well - developed characterizations and exaggerated stereotypes , for example , miss the point as much as those that object to the violence .
the original dvd edition of the passion of the christ was a “bare bones” edition featuring only the film itself . this week’s two - disc “definitive edition” is packed with extras , from the passion recut ( which trims about six minutes of some of the most intense violence ) to four separate commentaries .
but the catholic significance of the passion of the christ for the evangelical community goes beyond mere identification of the gospel with the catholic tradition . as non - catholics watch the film , they will begin to sense , permeating the gospel of grace they know and love , a sensibility at work that may at first seem strange to them .
for starters , stations is just an astonishingly well made film . the central conceit is that maria’s week is depicted in 14 scenes – one for each of the stations – and each scene is just one shot . to contextualise that , if you think about any conversation you see in a film , there are at the very least three angles , one for each face and one showing both of them , and the scene will continually cut between them . any scene in a film is made up of several shots edited together to give an impression of a coherent progression , and allows the director to choose exactly which part of the action you see . in recent years , big budget cinema has often taken this to extremes by cutting every two seconds during action sequences so you can’t tell what’s happening . the opposite is something like hitchcock’s rope , which looks like it is all just one shot , or russian ark , which actually is all one shot . stations , then , is unusual in its pacing and form , and while it may tax those whose minds wander during a 30 minute sermon , the formal , measured approach of the 14 shots lends the film real power .
these marian themes , along with the divine mercy allusion in the piercing of christ’s side , are just two aspects of a strongly catholic spirituality that pervades the film . in this connection , one of the most interesting aspects of the film’s reception is how eagerly it has been embraced by non - catholic christians who in many cases might otherwise be disposed to respond to such catholic ideas and sensibilities with suspicion or hostility .
special features on the dvd include a director ' s commentary , why we selected , and short film ,
one shot .
not that the passion of the christ is an anti - protestant tract . far from it . the film focuses to a great extent on what unites christians , not what divides us . its central theme — the belief that the son of god for our salvation suffered and was crucified , died and was buried , and rose from the dead — is shared by catholic and non - catholic christians . protestant believers witnessing the film will in large measure see their own faith reflected in it , and will rightly regard the film as an affirmation of their own beliefs .
this detached quality is further reinforced by filming each chapter in a single take , something brueggemann already experimented with in his debut film , neun szenen , and by not moving the camera except at just a handful of key moments . this lends a stilted quality to alexander sass ’s photography that invites audiences to examine the images as if they were indeed stations of the cross on a church wall that could impart important ( if not entirely unambiguous ) moral lessons , which seems entirely appropriate .
as stations of the cross so vividly demonstrates , the theological understanding that separates humans from god is one that contends that the world itself is a dog - eat - dog place ruled by demonic powers ; it therefore can bring only suffering and pain . wendell berry reacted to this understanding in this way :
perhaps the greatest disaster of human history is one that happened to or within religion : that is the conceptual division between the holy and the world , the excerpting of the creator from creation .
the point here is not that one necessarily has to be familiar with catholic devotional art in order to grasp the heart of the meaning of the passion of the christ . viewers who have appreciated the film include non - catholics , non - christians , non - religious viewers , even agnostics and atheists .
while the film ' s craftsmanship and experimental form go some way toward mitigating the convenient plotting and confused point of view , wrapping the whole in craw - sticking sanctimony is a sin too far for forgiveness .
the two rays denote blood and water . the pale ray stands for the water which makes souls righteous . the red ray stands for the blood which is the life of souls . these two rays issued forth from the depths of my tender mercy when my agonized heart was opened by a lance on the cross… happy is the one who will dwell in their shelter , for the just hand of god shall not lay hold of him .
his chillingly austere tale of a young woman driven toward self - destruction by an oppressively stringent religious upbringing offers a piercing examination of the interplay between fundamental dogma and family dysfunction , spiritual sacrifice and societal self - harm . presented with ritual formality as a series of static camera tableaux chaptered according to the stations of the cross , this boasts a defining aesthetic as rigidly constrained as the orthodoxies it portrays . yet within the theatrical space of its extended takes , the cast find space to live and breathe with a naturalism that packs a hefty emotional punch .
it doesn’t take a religious scholar to recognize that the first shot of stations of the cross has been framed to vaguely resemble leonardo da vinci’s the last supper . vaguely , because there are seven figures instead of a baker’s dozen , and some of them are facing inward instead of outward . but the familiar arrangement and nature of the imagery—disciplines gathered around a holy man at a table—is unmistakable . the holy man , in this case , is a catholic priest delivering his final lesson to a group of young students on the brink of confirmation . as it will quickly become clear , however , he is not the christ figure in the room , despite his prominent placement at the center of the table and frame . that role belongs instead to the pale , quiet girl sitting to his right , intently absorbing his stern parting lecture on her responsibility to the church and the slippery slope to damnation . over the hundred or so minutes that follow , she’ll have her own cross to bear , the heavy sense of spiritual duty she shoulders on the road to martyrdom .
there’s also the way the film presents jesus’ last words to his mother and the beloved disciple from the cross —
woman , behold your son… son , behold… your mother
— with that meaningful pause before the last two words . add to this the way peter early on refers to mary as
mother ,
and it’s clear that the passion holds up mary as a mother figure to all jesus’ disciples .
told in fourteen fixed - angle , single shot , individual tableaus that parallel christ ' s journey to his own crucifixion , stations of the cross is both an indictment of fundamentalist faith and the articulation of an impressionable teen ' s struggle to find her own path in life . though from the outside maria lives in the modern world , her family and her heart are faithful to a catholic radicalism that requires sacrifice and devotion at every turn . as she struggles to balance her own desires with the dictates of her family ' s faith , she makes ever more perilous sacrifices , attempting to please a god she worships unquestioningly in the pious hopes of curing the autistic younger brother she adores . ( c ) film movement
well , let’s rewind a bit , and start with both the plot and an egregious name drop . stations of the cross – an award winning german drama that is unlikely to hit your multiplex any time soon – tells the story of a girl , maria , who develops unhealthy ideas about god after buying into the dogmatic teachings of her sect of catholicism , the society of st pius xii . it follows her in the week leading up to her confirmation as she deals with guilt , ostracism and ill health because of these ideas . it’s a display of legalism so destructive the pharisees would blush , embodied in particular by maria’s mother and priest . yet the director , dietrich brüggemann , assured me that it wasn’t an anti religious film , saying that religion is only destructive “if you take it too seriously . ” yet the chances are that if you read thinktheology , you take your faith pretty seriously . so what do we make of a film where the church is clearly villainous ? and why do i consider this apparent attack on christianity to be one of the best films of the year ?
reviewed at berlin film festival ( competing ) , feb . 9 , 2014 . running time : 110 min . original title : “kreuzweg”
this complete opposition of mary and satan is evoked in an imaginative and poetic way in the passion of the christ in a number of scenes . one such moment occurs as jesus carries his cross through the midst of the crowd , with mary anxiously following him on one side and the tempter on the other side , mirroring and thus opposing her . another takes place during the scourging at the pillar , as satan manifests himself in a vision that amounts to a hideous parody of images of the madonna and child .
the passion of the christ has been widely hailed by non - catholic christians as an evangelistic tool . in light of the film’s catholic themes , there might be said to be a sense in which evangelicals and fundamentalists themselves are also among those being evangelized .
while the story is more extreme than most of us are likely to experience , stations perfectly portrays the way false teaching can have destructive influences . maria – played with astonishing nuance by lea van acken – does not start out with the anxieties and beliefs that she ends the films with . it is over the course of the 14 stations that a spirit of legalism enters her thinking like the grain of yeast that jesus warned about in matthew 16 . a graceless scolding by her irate mother here , and a guilt - laden confession there , all leavening her thinking until the meaning of the cross is lost behind the idea that she can save herself – and others . it’s also a warning against those of us who are more prone to think like her mother or priest . it’s not pointing the camera at a christian and saying ‘aren’t they silly ? ’ instead , it follows the journey of a girl who is tragically misguided , and asks the question of how she got to that place . ultimately , the film is as compassionate as it is critical , balancing the anger with a humanity that , while never really warm , makes the audience care about the characters and leaves them with a mustard seed’s amount of hope .
the main action in the passion of the christ consists of a man being horrifically beaten , mutilated , tortured , impaled , and finally executed . the film is grueling to watch — so much so that some critics have called it offensive , even sadistic , claiming that it fetishizes violence . pointing to similar cruelties in gibson’s earlier films , such as the brutal execution of william wallace in braveheart , critics allege that the film reflects an unhealthy fascination with gore and brutality on gibson’s part .
the form of the film is inextricably tied to the questions it is asking , and stations is immensely important because of it . brüggemann was right when he said it is not an attack on religion ; it’s far more complex than that . the film makes it clear that maria’s experience is not representative of christianity as a whole , setting her apart even from the other catholics in her town . yet her questions are similar to those asked by anyone of faith : how to respond to sin and guilt ; the relationship between sickness and god’s healing ; what it means to “take up your cross . ” at the very least it is simply refreshing to see cinema that tackles complex questions in mature ways , and treats faith as something worthy of exploring beyond a comedy sidekick or a bigoted villain . beyond that , however , the frank discussions of deep theological issues should cause us to confront our own ideas , particularly the way legalism can creep into our lives .
gibson’s point in depicting the roman soldier ( who is identified with the chastened centurion traditionally called longinus who declared jesus to be son of god and whose subsequent conversion is the subject of the film the robe ) showered in the blood and water from christ’s side is the same as st . faustina’s in saying
happy is the one who will dwell in the shelter
of the red and white rays that represent that same blood and water .
this opening image of satan there in the garden , tempting jesus , the second adam , recalls another scene from the opening chapters of the scriptures , the temptation of the first adam in another garden , eden . gibson even uses a literal serpent , strengthening the genesis 3 resonance — and also , perhaps , alluding to what is probably the only other film to use a literal serpent in depicting christ being tempted , namely , the last temptation of christ .
like the angels ( and demons ) which legendarily attend the sick and the dying , a number of movies float like spectral apparitions around stations of the cross . although comparisons with carl dreyer seem apposite ( and bruno dumont’s 2009 hadewijch makes an intriguing companion piece ) , i was more acutely reminded of the heart - breaking horrors of hans - christian schmid’s 2006 requiem , which presented a bleak portrait of a young woman whose conflicted faith leads her to believe that she is possessed by demons . as with its gaudy hollywood counterpart the exorcism of emily rose , schmid’s movie was inspired by the real - life case of the “possessed” anneliese michel , a tragic figure whose long shadow stretches ( via the remote romanian wilds of cristian mungiu’s comparable beyond the hills ) across this similarly unsettling yet deeply compassionate piece .
the only solace this sensitive teenager has is taking care of johannes and being comforted by bernadette ( lucie aron ) , the french au pair . dealing with her mother ' s harsh attacks on her is a modern - day example of the troubling ways in which someone can carry a cross .
directed by dietrich brüggemann ; written by anna brüggemann and mr . brüggemann ; director of photography , alexander sass ; edited by vincent assmann ; costumes by bettina marx ; produced by jochen laube ; released by film movement . in german , with english subtitles . running time : 1 hour 47 minutes . this film is not rated .
as imagined here , jesus’ agony in the garden harkens back to two earlier events in salvation history : the temptation in the wilderness , and the garden of eden . the agony in the garden and the temptation in the wilderness are the two ordeals at either end of christ’s public ministry in which he was ministered to by angels , but gibson’s film , like other recent dramatizations ( e . g . , the miracle maker ) , omits the angels , instead depicting satan returning to tempt jesus , testing him on the eve of his passion just as he did at the outset of his public ministry .
a thought - provoking and profoundly disturbing film that exposes the harmful side of religion and faith , directed with a noteworthy formal rigor in mostly static long takes and with a skillful mise - en - scène that underlines the overwhelming pressure that the protagonist is living under .
in recent years , festival director dieter kosslick has invited internationally recognised personalities from the world of film such as james schamus , wong kar wai , mike leigh , isabella rossellini , werner herzog , tilda swinton , darren aronofsky , meryl streep and paul verhoeven to head the seven - member jury . jury members include directors , actresses and actors as well as producers , but also writers and artists . one of the festive highpoints of every berlinale is the presentation of the bears on the penultimate day of the festival .
as i contemplate mel gibson’s the passion of the christ , the sequence i keep coming back to , again and again , is the scourging at the pillar .
maria is 14 years old . her family is part of a fundamentalist catholic community . maria lives her everyday life in the modern world , yet her heart belongs to jesus . she wants to follow him , to become a saint and go to heaven - just like all those holy children she ' s always been told about . so maria goes through 14 stations , just like jesus did on his path to golgatha , and reaches her goal in the end . not even christian , a boy she meets at school , can stop her , even if in another world , they might have become friends , or even more . left behind is a broken family that finds comfort in faith , and the question if all these events were really so inevitable . stations of the cross is an indictment and , at the same time , the legend of a saint . it ' s a story of religion , devotion and radical faith , and the film itself comes along just as radical as the subject matter , telling the story in only 14 fixed - angle long shots , allowing the viewer to contemplate the interactions on screen in an . . .
the iconoclastic danish filmmaker lars von trier has stated that
all good cinema should be
like a stone in your shoe .
certainly breaking the waves is an example of his practicing what he preaches . john michael mcdonagh ' s calvary is another film that raises more questions than it answers as it circles around a priest whose life and ministry are in jeopardy . of gods and men is a deeply human french film about the mission and sacrifice of seven catholic monks in algeria whose lives are threatened by fundamentalists .
“i’m telling you that thing upstairs is not my daughter , ” says chris macneil in the exorcist , a film that offered a reassuringly archaic portrait of good and evil during a time of secular uncertainty and strife . here , that template is turned upon its head , the holy ghost ( rather than the demon pazuzu ) wafting its unhealing wings over the body of a child , leaving adults to squabble about the definition of deity and audiences to decide whether or not they hear the voice of god .
take a scene that is one of the film’s most inspired yet least observed moments , the centurion piercing the dead christ’s side with a lance , releasing a flow of blood and water . in other depictions , the blood and water are often shown trickling or oozing down his side . gibson , though , depicts a spray of blood and water gushing from christ’s side and showering down on the startled centurion .
as the film moves from station to station , it becomes increasingly clear that the strict rules and expectations are a heavy burden for maria , who wants to do the right thing and longs to be close to god but who cannot deny she has desires of her own . brueggemann , who wrote the screenplay with his sister , anna , beautifully suggests how religion can offer a crutch or comfort in hard times but at the same time can be suffocating any kind of personal growth , which is especially problematic for a teenager . the siblings’ own religious upbringing no - doubt influenced the careful and very realistic way in which the material is treated , with the film never outright condemning religion but instead coolly observing the devastating results of simply following the rules imposed by religion to the letter .
keen eyed observers of cinema will have noticed that films this year have been especially critical of religion . john michael mcdonagh’s calvary showed a priest unable to answer the soul - searching questions that his community asked of faith , with an undercurrent of anger against the paedophilia scandal that has rocked the catholic church . andrei zvyagintsev’s leviathan was both an exposé of the corrupt links between the russian orthodox church and putin’s politics , and a meditation on suffering for which the church seemingly has no answers . like stations of the cross , they are upsetting , sometimes difficult films to watch , and yet all three will inevitably feature in my top 10 of 2014 . films that view faith as legalistic , corrupt and helpless in the face of suffering can be difficult for christians to watch , and these films certainly won’t be to everyone’s taste . yet this is important cinema , not only because it reveals the anger and urgency of questions that people are asking , but because it is some of europe’s most inventive and creative minds asking them .
gibson’s archetypal characterizations , from the senselessly brutal laughter of the almost orc - like centurions to the implacable hostility of the jewish elders , are in the same tradition as the archetypal and grotesque figures in the sometimes graphically violent sacred art of , for example , matthias grünewald , hieronymus bosch , and pieter bruegel the elder . ( the pbs documentary the face [ jesus in art ] , partly narrated by gibson , includes a segment on the historic portrayal of christ’s sufferings that may prove enlightening to critics who missed the intervening 2000 years between the gospel accounts and the passion of the christ . )
for gibson , mary and satan are antithetical , opposed images , reflecting the total opposition of wills , the
enmity
that exists between the immaculate conception and the enemy of mankind .
to the extent that the film is a call to conversion , though , it is a call to everyone , catholic and non - catholic , believer and nonbeliever . to those who believe , catholic or otherwise , the passion of the christ invites us to a deeper commitment to our lord jesus christ , and a deeper participation in the paschal mystery of his passion , death , and resurrection .
i read a review you wrote in the national catholic register about mel gibson’s film apocalypto . i thoroughly enjoy reading the register and from time to time i will brouse through your movie reviews to see what you have to say about the content of recent films , opinions i usually not only agree with but trust .
many will avoid this film for religious reasons , which would be a shame , because in the end it is not so much about religion ( in this case , conservative catholics in germany ) as childhood , innocence and idealism , and the psychopathology of mental cruelty . maria is a devout catholic awaiting confirmation and like many young adolescents , deeply idealistic and principled . this would be fine but she has a cruel , controlling mother ( whose motivation is shockingly revealed at the end ) , and the combination is deadly . it is engrossing and heartbreaking and not completely implausible . one wonders whether the director is being autobiographical but it will be a revelation to many that catholic orthodoxy of this kind still prevails in parts of rural germany . the film ' s other triumph is that it never judges , only observes , so there is nothing to offend a conservative catholic here . that won ' t stop anti - christian elements seeing the film as a denunication of religion , of course .
to some viewers , this shot may have looked like no more than a burst of gratuitous gore , just another moment of maximized violence drama from a violence - obsessed director . that the image was not gibson’s invention — it comes from one of his inspirational sources , the visionary writings of venerable anne catherine emmerich — may not much mend matters , since many critics of gibson’s film are as suspicious of traditional catholic piety and of anne catherine emmerich in particular as of gibson , and in any case may still be unable to see spiritual meaning in what seems a gratuitously gory image .
these establishing lines , delivered in the opening scene , provide key context for the rest of the film . first , jesus means to take upon himself the weight or burden of our sins . second , this will prove to be a hideous ordeal . third , he accepts this ordeal out of love for us — that is , he rejects the tempter’s suggestion that mankind is
not worth this
; to him , manifestly , we are . this is the context in which every subsequent blow , every laceration , every fall of the hammer must be seen .
other critics , including some christians , have gone still further , charging not only gibson but certain forms of christian piety with a morbid obsession with blood and death . for example , writing before the film’s release in 2003 , then - evangelical writer michael coren commented :
the temptation scene also serves to establish the meaning , the purpose and goal , of everything that follows . ironically , just as the temptations in the wilderness implicitly bear witness to christ’s divinity (
if you are the son of god…
) , so here it’s the tempter’s insinuations that indicate the nature of jesus’ mission :
do you think you can bear the weight of the world’s sins ? they aren’t worth this . the burden is too great . no man can bear it .
however , your recent review of apocalypto was way off the mark . first of all the gore of mel gibson’s films are only to make them more realistic , and if you think that is too much , then you don’t belong watching a movie that can actually acurately show the suffering that people go through . the violence of the ancient mayans can make your stomach turn just reading about it , and all gibson wanted to do was accurately portray it . it would do you good to read up more about the ancient mayans and you would discover that his film may not have even done justice itself to the kind of suffering ancient tribes went through at the hands of their hostile enemies .
to understand the real meaning of the image , it is useful to compare it with a well - known image in catholic devotional iconography , the well - known divine mercy image , based on the visions of st . faustina helena kowalska , which depicts christ with rays of red and white light emanating from his side . here is the explanation of the red and white rays from faustina’s own account of christ’s words in the vision :


mr. lucky is a 1943 romance film directed by h.c. potter , starring cary grant and laraine day .

it tells the story of the attraction between a shady gambler and a wealthy socialite in the days prior to the united states entering world war ii .

mr . lucky ( film )

mr . lucky ( 1943 ) directed by h . c . potter • reviews , film + cast • letterboxd
cary grant and laraine day are bewildering yet fun in rko film ' mr . lucky ' presented at the radio city music hall
cary grant and laraine day are bewildering yet fun in rko film ' mr . lucky ' presented at the radio city music hall - the new york times
with the headline : cary grant and laraine day are bewildering yet fun in rko film ' mr . lucky ' presented at the radio city music hall .
under - rated movies # 12 : mr . lucky ( 1943 ) ; dir . h . c . potter
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lucky lucky , played by the film’s writer and director , bari king , is an undocumented immigrant who gets enmeshed in a crime web and has to fight his way out .
there are no featured audience reviews yet . click the link below to see what others say about mr . lucky !
the
lucky chomps
cereal clawhauser is seen eating during his introduction is a play on the
lucky charms
cereal brand name .
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17 responses to under - rated movies # 12 : mr . lucky ( 1943 ) ; dir . h . c . potter
under - rated movies # 12 : mr . lucky ( 1943 ) ; dir . h . c . potter | the sheila variations
madison mega - mara . . . : # 33 lucky jim by kingsly amis
“logan lucky” is steven soderbergh’s first feature film in over four years — but before that , he was one of cinema’s most versatile filmmakers .
mr . soderbergh ultimately connected with hollywood’s leading authority on distribution : dan fellman , a former warner bros . executive who now runs a consulting business . mr . fellman , who became an executive producer on “logan lucky , ” devised a plan that mr . soderbergh liked .
the light touch prevails pretty much , so
mr . lucky
should keep you in a more or less chucklesome mood most of the time .
so far , mr . soderbergh has spent only about 15 percent of his “logan lucky” advertising budget . with only three weeks until release , studios would have typically spent 40 percent . but mr . soderbergh believes that the vast majority of marketing should come immediately before a film’s release .
mr . lucky is an entertaining cary grant movie from early part of his career . however , the film itself isn ' t strong enough to leave much of a lasting impression beyond just being an enjoyable viewing experience .
we’d love your help . let us know what’s wrong with this preview of lucky jim by kingsley amis .
parental guidance : divergent and muppets most wanted , plus frozen and saving mr . banks
emmys 2018 exclusive : audience network categories for ‘mr . mercedes , ’ ‘loudermilk’ and more
jamie dornan and dakota johnson in the highly anticipated film , fifty shades of grey .
nov 25 , 2015 and the week after accommodate the film ' s international release .
daniel craig , left , and dwight yoakam star in “logan lucky , ” which is scheduled to open aug . 18 .
how many golden tickets has mr . wonka hidden beneath the wrappers of his chocolate bars ?
mr . lucky was an honest professional gambler who had won a plush floating casino , the ship fortuna , and used it as his base of operations . staying beyond the three - mile limit , where he could operate a gambling ship legally , mr . lucky played host to a wide variety of people , all of whom came to make use of his luxurious facility . helping him run the casino , is his good friend andamo .
character actors are a whole different category – because they don’t have to carry a film .
but first he needed a plan that satisfied his creative and economic demands . it was relatively easy to raise the $ 29 million or so needed to make “logan lucky , ” which stars channing tatum , daniel craig and riley keough . once his cast was in place — all agreeing to work for scale , with profit participation if the film succeeds — mr . soderbergh sold off overseas distribution rights , a standard practice in the independent film business . voilà : creative control over the actual film .
a crooked businessman has convicts paroled to him and then threatens to have them sent back unless they do exactly as he says - including strong - arming and murder . mr . lucky and andamo help one of the . . .
logan lucky rated pg - 13 . misty taste of moonshine , teardrops in my eye . running time : 1 hour 59 minutes .
“all of our financial interests are aligned , ” said andrew karpen , bleecker street’s chief executive . “logan lucky” will easily become mr . karpen’s biggest release to date , surpassing the thriller “ eye in the sky , ” which collected about $ 18 . 7 million last year on about 1 , 000 screens . bleecker street also has dibs on a “logan lucky” sequel .
the financial story of “logan lucky , ” which arrives in theaters on aug . 18 , starts in the fall of 2014 . according to mr . soderbergh , a “friend” asked him to read the script , about a ragtag group that robs a nascar track , and suggest a director . mr . soderbergh said he loved the idea ( ocean’s 7 - eleven , if you will ) and wanted to direct the film himself .
knife nut : possibly . it is one of the ways mr . boddy could be killed off .
audience’s 2018 emmy fyc mailer spotlights 8 original shows including ‘mr . mercedes , ’ ‘kingdom , ’ ‘loudermilk’
tv bits : ‘the goldbergs’ , ‘lost in space’ , ‘mr . mercedes’ , ‘dear white people’ and more
mr . lucky can be seen , now , in light of what came afterwards – as a bridge . it is the connecting link – between the screwball cary of the 1930s and the serious romantic leading man of the 1940s and beyond .
mr . lucky was an honest professional gambler who had won a plush floating casino , the ship fortuna , and used it as his base of operations . staying beyond the three - mile limit , where he . . . see full summary »
mr . lucky narrowly escapes more than one murder attempt and suspects someone wants him dead . he finds out that he ' s part of a bet , the winner gets $ 1000 for each day he lives - until he ' s killed .
honest gamblers joe adams ( alias mr . lucky ) and andamo arrive in the port of los angeles on a freighter as crewmen - broke but cheerful . they meet up with a notorious conman , help save his life and end . . .
adam driver , left , and channing tatum play brothers who hatch a plan for an elaborate heist during a nascar race in “logan lucky . ”
a warm welcome to all year 5 / 6 children and parents . in our class we are also very lucky to work with mrs wilson .
saving mr banks is a merciless film . it hits you with every sentimental low blow it can think of . then it pounds you again . and when you ' re down , it jumps on you .
film studio lionsgate will want to see an upturn in box office returns after the franchise slump of part 1 ; a timely dvd and vod release of its predecessor could help boost audiences for the final film .
kind of a bummer , but i haven’t been psyched to see a ford film in quite a while .
brittany farrell ( with megaphone ) in “whose streets ? ” the film is due out aug . 11 .
max landis of chronicle fame provided the atypical screenplay for paul mcguigan ( lucky number slevin ) to direct . theatrical showings start the week of oct 2 .
cary grant had tried , with mr . lucky , to change his light , lady’s man persona . did he succeed ? not really , perhaps . the charm , the wit , the graceful movement—there’re all still here . but his next film , the only other one he made in 1943 , would be a world war ii submarine adventure , destination tokyo . no ladies aboard there !
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
a premiere at the sundance film festival late january is expected to precede more general availability later in the year .
outdoor “logan lucky” ads are concentrated in the midwest and south . bucking studio tradition , billboards are scarce to nonexistent in cities like los angeles and new york .
and they’re off ! audience network’s ‘mr . mercedes’ jump - starts 2018 emmys as first fyc mailer out of the gate
deep in the film’s screwball climax , mr fox , his son ash and sidekick kylie are careening down the road in a motorbike and sidecar , fleeing the psychopath bean . kylie glimpses something behind them and cries : “don’t turn around ! ” mr fox , a contrarian , turns around , and the bike comes to a screeching halt at the roadside .
ascent experience mount fuji — through a selection of 4 , 000 photographs snapped over 150 years . the dutch artist fiona tan has built this experimental film out of those stills . screenings at film forum in new york will be free .
lin - manuel miranda , center , and jonathan groff , right , in “hamilton , ” written by mr . miranda .
gru ( right , voiced by steve carell ) and dru ( also mr . carell ) in “despicable me 3 . ”
for mr . soderbergh , that route was a nonstarter . “you’re way too far away from your money , ” he said .
churchill brian cox may sound like a more natural fit for winston churchill than john lithgow did in “the crown , ” but can you picture john slattery ( roger sterling from “mad men” ) as dwight d . eisenhower ? both mr . cox and mr . slattery , plus miranda richardson as clementine churchill , play the famous figures in a film about the road to d - day .
in addition , mr . soderbergh , who won an academy award in 2000 for directing “traffic , ” wanted full creative control over “logan lucky” advertising . he said studios had never given him absolute say over a campaign . trailers , for instance , are tested with focus groups before they are released and often tweaked based on the responses . “it’s very difficult once you get into studio testing to push back , ” mr . soderbergh said .
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 .
neither mr . nor mrs . bucket can accompany charlie to the factory . mr . bucket must search for work to put food on the table and mrs . bucket must care for the invalided grandparents . magically , charlie’s oldest and most beloved grandparent , grandpa joe , springs out of bed for the first time in decades . charlie’s lucky find has transformed him into an energetic and almost childlike being . grandpa joe and charlie set out on their adventure .
winning a major film deal with his first published novel , the adaptation of stedman ' s story of post - war seclusion , adoption , and attempted reintegration is being guided by derek cianfrance , co - writer and director of literary film the place beyond the pines .
“after years of shooting my mouth off about absolute creative control , we’re going to attempt to do it , ” mr . soderbergh said .
corrupt corporate executive : the north american version made mr . green an oil tycoon , making his name into a subtle pun on his wealth .
my card : parodied in the vcr mystery game . mr . green hands professor plum a card that says
lyman green , business .
i love film . i’ve always been enchanted by doing film . it’s something i grew up watching — classics and directors i admire — so that’s something i’ve always been passionate about . but today’s tv offers a world where you can play characters that you’re not having the opportunity to on film . that’s something that’s been afforded to me by this show . i get to delve into some of the most creative experience i’ve had as an actor on mr . robot . i think there’s a wide opportunity for actors to do that now more so than ever on television .
dean demetri martin , a former fixture of “the daily show , ” directed , wrote and stars in this film , playing an illustrator who , after his mother’s death , works through a complicated relationship with his father ( kevin kline ) . from last year’s tribeca film festival , mike hale wrote in the new york times that mr . martin “delivers a winning combination of winsomeness and rue . ” gillian jacobs and mary steenburgen also star .
score : a film music documentary going behind the scenes of how film scores are composed , this portrait of the craft features some of the most familiar “music by” credits in the business , including hans zimmer , john williams , danny elfman , quincy jones , rachel portman and thomas newman .
“logan lucky , ” which has received very strong early reviews , has also generated headlines over its script . the screenplay is credited to rebecca blunt , who does not seem to exist . who wrote it ?
the woman who left ten years ago , the filipino director lav diaz was a forbidding figure , even among extreme cinephiles . at film festivals they would ask one another in hushed tones whether they really planned to see his nine - hour “death in the land of encantos . ” lately , mr . diaz seems to have widened his appeal , earning acclaim for his dostoyevsky - inspired “norte , the end of history” and for this new drama , which won the golden lion at the venice film festival in 2016 . at nearly four hours , it is also one of mr . diaz’s shortest films .
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…
judy hopps • nick wilde • finnick • chief bogo • mayor lionheart • clawhauser • bellwether • yax • flash • mr . big • koslov • fru fru • mr . otterton • mrs . otterton • duke weaselton • bonnie and stu hopps • mr . manchas • gazelle • peter moosebridge • jerry jumbeaux jr . • gideon grey • nangi • doug • dr . badger • priscilla • bucky and pronk oryx - antlerson • zootopia police officers • swinton • major friedkin • fabienne growley
in transit a founding figure of the direct - cinema movement , albert maysles died in 2015 , shortly before this film’s premiere . his last feature observes the passengers on amtrak’s empire builder route , which connects chicago and the pacific northwest . mr . maysles directed with lynn true , nelson walker , ben wu and david usui .
they would raise about $ 20 million in marketing money by selling off a portion of the film’s nontheatrical rights . amazon , for instance , bought streaming rights .
now he is back — and betting that an unorthodox distribution plan for his new heist comedy , “logan lucky , ” will serve as a model for auteur directors who are as fed up with the hollywood system as he has been .
camera obscura suffering from post - traumatic stress disorder , a war photographer begins to see real premonitions of deaths in his pictures . it’s a horror film , naturally .
in this edition of tv bits : abc orders the goldbergs spinoff netflix is already planning lost in space season 2 ian somerhalder will star in netflix’s vampire drama series mr . mercedes season 2 coming in august a little help with carol burnett has a premiere date hbo will make a documentary about john mccain showtime and bad [ … ] the post tv bits : ‘ the goldbergs ’ , ‘ lost in space ’ , ‘ mr . mercedes ’ , ‘ dear white people ’ and more appeared first on / film .
a lighter touch by the censors might produce films that were more authentically chinese and artistically interesting . it would also avoid embarrassing incidents . the chinese film that has garnered most attention in the west lately is “a touch of sin” by jia zhangke—a gloomy art - house portrayal of modern china that won the award for best screenplay at cannes this year . the government has banned it from cinemas and journalists from interviewing mr jia . more westerners have probably seen reports of this in recent months than have watched a chinese film .
“we know that a lot of big - time filmmakers are watching this , ” mr . fellman said . “we want this to be the beginning of a bunch of movies . ”
terrific film . entertaining in every way . wonderful script and acting . . . unpredictable storyline kept me guessing . just loved it ! what a stellar night of . . .
clawhauser is a supporting character in the 2016 disney animated feature film zootopia . he is a member of the zootopia police department , working as a receptionist and a radio dispatcher .
as he explored options , mr . soderbergh first considered forming an alliance with the national association of theater owners , a trade organization . why not cut out distributors completely by going straight to multiplex operators ? mr . soderbergh soon realized that was not an ideal solution , in part because the justice department keeps close tabs on the adherence of theater chains to federal antitrust laws .
while he is only seen wearing his police uniform in the film , clawhauser ' s casual wear in concept art often consisted of a green shirt and blue jeans . [ 11 ]
most marquee directors hold those twin desires , but none more than steven soderbergh , the iconoclast behind “erin brockovich , ” the “ocean’s eleven” series and “sex , lies and videotape . ” exasperated by the movie business , both financially and creatively , he announced his retirement from film directing in 2011 . he said “ side effects ” in 2013 would be his last film .
icarus bryan fogel decided to try a regimen of sports doping to learn about it and to see if he would get caught . he ended up in what are said to be explosive interactions with grigory rodchenkov , who helped facilitate one of sports’ most elaborate doping schemes . ( mr . fogel helped arrange interviews with mr . rodchenkov for the new york times’s prizewinning reports on doping . )
despite the title , you don’t start out thinking of jim dixon as particularly lucky . he was low man on the totem pole at a provincial english university where the one on top , professor welch , was a quirky twit of a man — - absent - minded and egocentric with an excess of class prerogative . jim was not so lucky in love either . the woman he was with , a fellow academic , plied whatever feminine wiles were available to one with a rather plain appearance . christine , the more striking young lady jim met an
this is a very well - made and enjoyable film . while not exactly a wonderful film , it is very worth watching and an excellent example of cary grant ' s acting and charm . it ' s a wartime propaganda film that takes a different slant - - instead of being heavy - handed and centering on war , it focuses on a con man who thinks he ' s slick for avoiding the draft - - fighting is only for
suckers
. as the film progresses , his unshakable bravado suddenly becomes shaken when he meets lovely loraine day . somehow , she gets through to this charming jerk and he knows he can ' t continue as he ' s been doing . it ' s an interesting character study and a welcome change from the usual .
h . c . potter’s mr . lucky is one of cary grant’s weaker romantic - comedies . suffering from a heavy handed script , misfiring jokes and an overly earnest second half it struggles to compare with his more famous sparkling screwball comedies . grant plays a con artist and draft dodger who , in need of money to get his gambling ship up and running , attempts to swindle a war relief charity out of their hard earned money until he falls for the kindly charms of dorothy bryant .
i tend to be very unfair to comic ( humorous ) novels , i have this unreasonable demand that every page makes me laugh . quite a tall order for the poor authors i think , but i can’t help it , so i generally avoid reading comic novels . i stumbled upon an audiobook of lucky jim on youtube and thought i’d give it a go as it is often listed as one of the all - time great novels ; my aversion to comic novels notwithstanding ( freebies conquer all ) . lucky jim is the story of james dixon a history lecturer at a
lucky jim reminds me of the beatles . i like the beatles . i enjoy the beatles . i can recite all the reasons why the beatles are supposed to be the greatest , most culturally relevant rock band in history . and yet . . . as a person who grew up post - beatles , and who has heard the beatles all the time her entire life , the difference between the impact that i am told the beatles should have on me , and the actual impact that the beatles have on me , is a huge , yawning chasm of incomprehensibility . lucky jim
now established as a major name in both fiction and film , flynn ' s second adaptation comes hot on the heels of gone girl , again a murder mystery concerned with the fallibility of human witness .
mr fox stares with a look of childlike bewilderment into the distance , as the film’s sounds die out . from his pov we see his familiar bucolic terrain fading into a horizon of icy mountains , miles and miles away . we hear the delicate sound of a mournful choir and we see what mr fox has spotted : a giant black wolf , unclothed but for shaggy pelt , staring back at him from the crest of a jagged rock . foxy bellows a few absurd pleasantries at the wolf ; no answer . “i have a phobia of wolves , ” he yells finally , desperately , at his distant relative . no answer .
corrupt church : reverend green ( the implications of this don ' t sit well for american audiences , supposedly , which is why he ' s turned into a corrupt corporate executive
mr . green
) .
in 2012 concept art for the film , clawhauser was a tabby cat named hugo , and wore the shirt that was eventually given to nick wilde . [ 3 ] he was eventually changed to a cheetah .
the standard option for a wide release , meaning at least 2 , 500 locations in north america on opening weekend , involves renting a major studio’s machinery . a studio like warner bros . foots the marketing bill ( about $ 40 million is standard for a production like “logan lucky” ) and handles all aspects of the release . for its services , the studio collects a fee ( roughly 15 percent of total ticket sales ) and deducts its expenses . any remaining profit goes to the owners of the film .
in response to questions about the screenplay’s author , mr . soderbergh said in an email , “clarify ? me ? why would i do that ? i can tell you that rebecca blunt is enjoying all this immensely . ”
9 . northanger abbey , 2007 ( itv movies ) a sliver of a film based on austen’s zippy send - up of the gothic novel . social intrigue and a visit to a spooky abbey are seen through the wide eyes of catherine morland who naively believes life is like her favorite books , with a mystery behind every curtain . it’s a perfect rainy day film — and , ahem , a commentary on overzealous fandom .
although the single - volume books mr . mercedes and the mist have provided enough material for full television series , the massive dark tower series—beginning in 1982 and spanning over 4 , 000 pages—notoriously eluded adaptation until this year , when a dark tower film is finally hitting theaters . with a budget of $ 66 million and two a - list actors headlining— idris elba and matthew mcconaughey —it’s perhaps the highest - profile king project this year .
ever hear of rhyming slang ? well , if you haven ' t , get set to have your ears assailed by a torrent of this colorful gibberish in
mr . lucky ,
which moved into the radio city music hall yesterday . it ' s bewildering , but it ' s fun . want to ponder a sample ? says cary grant to a wide - eyed , uncomprehending laraine day :
hand me the fiddle - and - flute ; get your titfor - tat .
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how this whole thing works out – how the plot untangles itself – is something you’ll just have to see for yourself . i thought i knew where the film was going – but the ending is actually quite a surprise , and i found myself suddenly quite moved by it . it has the feeling of inevitablity – like the film has been moving towards it all along – and yet somehow it still packed a huge punch .
jesús after committing an assault , a teenager ( nicolás durán ) in santiago is forced to confront his father ( alejandro goic ) in a film inspired by a real - life hate crime in chile in 2012 .
satanic rituals desk , the new york review of books , new york :
tremble , mortal ! thou has summoned belphegor , lord of the opening , prince of hell . what wouldst thou ask of the demon of discovery ?
oh mighty belphegor , the time has come to plan nyrb ' s fall 2012 lineup . what would you have us publish , lord ?
lucky jim .
beg pardon ?
lucky jim . kingsley amis . always wanted to read it .
but - - but , lord ! hasn ' t penguin classics already published it ?
i care not .
but . . . what i mean to say , master , is that lucky jim is hardly the most obscure book out there . amis wrote a lot more , too . wouldn ' t it be better to reprint his more forgotten stuff ?
good idea . publish them too .
what ?
ten books by kingsley amis . lucky jim plus nine more over the next few years . i ' m tellin ' ya , it ' ll be great .
i hear and obey , my lord .
makes sense to me .
mr . kail beautifully sustains this sense of collective lives in motion throughout . it feels right that while the numbers here have been scaled up and shined up for a big broadway house ( mr . odom’s jivey “the room where it happens , ” a wicked meditation on being a political outsider , is now a full - fledged showstopper ) , you never feel that any single performer is pushing for a breakout moment . well , with one exception .
then they would make an atypical distribution deal with bleecker street media , an upstart with a total staff of about 20 . bleecker street would execute the marketing campaign — with mr . soderbergh approving everything — and receive a token fee of less than $ 1 million . if the film hit certain box office thresholds , bleecker street would receive a slice of ticket sales . bleecker street would also participate in other revenue streams , including dvd sales .
production is underway on the audience network series “mr . mercedes , ” and people of all ages and types are needed and can submit by email to be considered for work as a paid extras . the show is based on the stephen king novel about a psychopathic killer who drives his mercedes into a crowd . he later [ . . . ] the post casting call for steven king series ‘ mr . mercedes ’ season 2 appeared first on acting auditions .
gotti john gotti , the crime boss and “first media don , ” was already the focus of a 1996 tv movie , in which he was played by armand assante . in this theatrical film , which covers 30 years in his life , john travolta assumes impersonation duties , as he did for robert shapiro . mr . travolta’s wife , kelly preston , plays gotti’s . the screenwriters are lem dobbs ( “the limey” ) and the character actor leo rossi .
hearing is believing the star of this documentary is rachel flowers , who was born prematurely and went blind , but learned to play music and grew into a vibrant performer . the film follows two years in her family’s life .
after the harrowing industrial tale serena was turned into a film in 2014 ( early 2015 for us audiences ) , ron rash ' s earlier 2006 novel of american historical fiction is expanded from an o . henry prize story .
mr . soderbergh noted that the box office bar for success is lower under this setup . with nearly everything prepaid , and no hefty distributor fees coming off the top , even a modest $ 15 million opening would be a win .
all about the money a man who goads his friends into vacationing in colombia has an ulterior motive : he wants to claim the bounty on a drug dealer . this comedy stars eddie griffin and blake freeman ; mr . freeman directs .
in the latin american spanish version of the film , his last name is
garraza
, a play on the words
garra
( claw ) and
garza
, a spanish surname of galician and basque origin .
dawson city : frozen time in the silent era , the gold rush town of dawson city in the yukon was the last stop on the film - shipping circuit . the creative solutions used to dispose of flammable nitrate stock resulted in the inadvertent preservation of 500 films — forgotten reels were excavated in the 1970s . bill morrison ( the found - footage collage “decasia” ) uses those clips to tell a story that interweaves film history and a sociological history of dawson .
this month’s austenland stars keri russell as a drippy jane austen fanatic who shells out her savings for an immersive regency experience — complete with fake proposals and , at least for our heroine , real romance . it’s the latest entry in an austen film canon that includes period adaptations , modern updates , and meta - films about contemporary janeites , unhappy in love , who yearn for a simpler and more corseted time — or perhaps just for colin firth as mr . darcy .
18 . austenland , 2013 i’m loath to disparage a film that’s slapsticky and well - intentioned . unfortunately , this movie — which bears the producing imprint of vampire virtuoso stephenie meyer — has almost no direct jokes , references , or ideas about jane austen , beyond a love interest who , like mr . darcy , is rude . moreover , it seems to suggest that austen fans are all lovelorn spinster types with teacup collections and the hots for anything male in breeches .
mr fox sits down to breakfast . he’s turned his back on a life of crime and now works as a columnist on a local newspaper . he wears a tie to work , he drops french aphorisms into conversation ; he’s upwardly mobile .
“i understand why they resist new ideas , ” mr . soderbergh said . “with so much money at stake , it’s hard to sit in that room and say , sure , let’s jump off a cliff and try a whole new approach . ”
ghostly goals : the early 2000 ' s computer version ( distributed in boxes of cereal ) had the murderer , location , and weapon cards secreted away by mr . boddy ' s ghost ( a pair of hands glowing with blue fire ) .
of the three movies released this summer that self - consciously reactivate an old - school outlaw mythology — the others are edgar wright’s “baby driver” and josh and benny safdie’s “good time” — this one has the most to say and the least to prove . whereas the other directors aggressively promote their own coolness , flaunting borrowed attitudes and showy retrofitted styles , mr . soderbergh revels in squareness , and in a loose self - confidence that disguises its mastery . “logan lucky” is a terrific movie . that’s a matter of skill , and maybe also of luck . but mostly it’s a matter of generosity .
“i was also very adamant about the trailer , ” mr . soderbergh said . “i wanted it to feel like a throwback and not seem like it gave away all the jokes . ” he said the trailer was not tested with a focus group .
satanic rituals desk , the new york review of books , new york :
tremble , mortal ! thou has summoned belphegor , lord of the opening , prince of hell . what wouldst thou ask of the demon of discovery ?
oh mighty belphegor , the time has come to plan nyrb ' s fall 2012 lineup . what would you have us publish , lord ?
lucky jim .
beg pardon ?
lucky jim . kingsley amis . always wanted to read it .
but - - but , lord ! hasn ' t penguin classics already published it ?
i care not .
but . . . what i mean to say , master , is tha
14 . miss austen regrets , 2008 ( bbc film ) the creators of this sometimes dull , sometimes diverting biopic thankfully didn’t invent a great love for the never - married author . warning : contains scenes of austen’s final illness that will leave fans sobbing .
the film is a touching coming - of - age tale and an even more touching account of an unlikely friendship marked by love and respect . beresford , working with material that inevitably recalls his oscar - winning driving miss daisy , never lets the overt sentimentality become too schmaltzy , even if he ' s a bit hampered by the sometimes melodramatic plotting and schematic characterizations . the film is emotionally manipulative , to be sure , but it ' s ultimately hard to resist , especially given the quality of the lead performances .
“i have a phobia of wolves , ” is how mr fox pretentiously puts it ; he says it often . what he means is , as a civilised canine , he is afraid of the primal animal that lurks beneath his gorgeous corduroy suit : his ravenous appetites , his selfishness , the danger he poses to his loved ones . i cannot imagine a more ambitious nor a more valuable subject for an animated family film – the war we’re all quietly fighting , perhaps especially as children , with the fact that we are primates .
films often do seem cursed , not just by their own overconfidence or stupidity , but by coincidence , misunderstanding or fate . things go well enough early on in
logan lucky
that you start wondering about the movie ' s point of view on destiny , bad mojo , and the like . is the movie ' s title sincere , ironic , or neither ?
harmonium a prizewinner at cannes , koji fukada’s film captures the ripple effects on one family after the father ( kanji furutachi ) invites an acquaintance ( tadanobu asano ) , a recent ex - convict , to work with him in the garage next to his home .
stranger things and mr . mercedes actor peyton wich has been cast in sony ' s goosebumps 2 , joining wendi mclendon - covey , ken jeong , chris parnell , madison iseman , ben o ' brien , caleel harris , and jeremy ray taylor . ari sandel is developing this latest version based on the popular book series by r . l . stine . rob lieber penned the screenplay for the sequel , which will open in theaters october 12 . neal h . moritz is producing the pic under his original film shingle , along with…
regarded by many as the finest , and funniest , comic novel of the twentieth century , lucky jim remains as trenchant , withering , and eloquently misanthropic as when it first scandalized readers in 1954 . this is the story of jim dixon , a hapless lecturer in medieval history at a provincial university who knows better than most that “there was no end to the ways in which nice
mr . willy wonka , the eccentric owner of the greatest chocolate factory in the world , has decided to open the doors of his factory to five lucky children and their parents . in order to choose who will enter the factory , mr . wonka devises a plan to hide five golden tickets beneath the wrappers of his famous chocolate bars . the search for the five golden tickets is fast and furious . augustus gloop , a corpulent child whose only hobby is eating , unwraps the first ticket , for which his town throws him a parade . veruca salt , an insufferable brat , receives the next ticket from her father , who had employed his entire factory of peanut shellers to unwrap chocolate bars until they found a ticket . violet beauregarde discovers the third ticket while taking a break from setting a world record in gum chewing . the fourth ticket goes to mike teavee , who , as his name implies , cares only about television .
you may also wonder if this is the kind of film that believes in curses . some films do , some don ' t , and others leave you guessing . there are no curses in
the sting
or
ocean’s eleven ,
but characters in coen brothers
“the question is this , ” he said . “can you do what the studios normally do from a wide distribution standpoint , only with a lot fewer resources — spending on marketing — and with a much better economic structure for the people who actually made the film ? ”
“logan lucky , ” steven soderbergh’s gravity - defying , ridiculously entertaining new film — one that ends a blessedly brief retirement from big - screen directing — concerns itself with a desperate attempt to even the odds . it’s a caper movie , a modern - day robin hood tale organized around an elaborate , improbable but curiously plausible heist . a gang that includes a wounded veteran , an unemployed former coal miner , a hairdresser and other motley members of the noncoastal nonelite conspires to knock over a nascar race sponsored by coca - cola . the event sucks a lot of cash from people like them , and the thieves quite literally set out to suck it right back up .
novelization : there ' s a series of books based on the game . all of them give clues in the story and invite the reader to try to guess who did whatever crime occurred in the story . the crimes ranged from figuring out who stole something , to figuring out who ate a piece of pie , to ( at least once per book as the grand finale ) trying to find out who murdered mr . boddy . status quo is god in these stories , so mr . boddy would always somehow survive and the criminal would either be forgiven or undiscovered entirely .
david burris makes his debut as a feature film director with jeremy irvine of steven spielberg ' s war horse as high school drop - out travis and noah wyle ( spielberg tv project falling skies ) the ex - teacher with a sideline in drug dealing who takes him in .
it ' s been four years since eddie murphy ' s last movie ( the execrable a thousand words ) and a decade since his last worthwhile performance ( his oscar - nominated role in dreamgirls ) . but those who ' ve dismissed him for his slapdash paycheck comedies will be eating their words after seeing his sensitive dramatic work in bruce beresford ' s new indie drama receiving its world premiere at the tribeca film festival . playing the title role of mr . church , murphy delivers the sort of superb character turn that may well mark a sea change in his career .
it comes at night reviewing the domestic - discord drama “krisha , ” the debut feature of trey edward shults , last year , manohla dargis wrote that the film’s opening shot made it feel like a horror movie . mr . shults makes good on that promise with his second feature — an actual horror movie , in which a patriarch ( joel edgerton ) , determined to protect his wife and son from a threat outside , must decide what to do about another family that comes a - knockin’ . with riley keough , carmen ejogo and christopher abbott ( “james white” ) .
cast : cary grant ( joe ) , laraine day ( dorothy ) , charles bickford ( swede ) , gladys cooper ( capt . steadman ) , alan carney ( the crunk ) , hanry stephenson ( mr . bryant ) , paul stewart ( zepp ) , kay johnson ( mrs . ostrander )
lemon this year’s designated sundance squirm comedy stars brett gelman ( who wrote the script with his wife , the film’s director , janicza bravo ) as a 40 - year - old drama teacher who alienates everyone around him . judy greer , michael cera and gillian jacobs endure his disagreeable behavior .
wild ill at ease with civilized life , ania ( lilith stangenberg ) forges what becomes an increasingly close and physical bond with a wolf . if festival reviews are any indication , the film is poised somewhere between a tall tale and a provocative social commentary . nicolette krebitz wrote and directed .
american influence in china’s film business is nothing new . “everything we learned , we learned from hollywood , ” says yu dong , the boss of bona film group , one of china’s largest independent studios . in some ways china’s movie industry resembles 1930s hollywood , when studios controlled all business lines—from talent to production to theatres—before a 1948 supreme court ruling forced them to divest . in china , this is called “being a dragon from head to tail” . huayi brothers , one of china’s largest studios , whose name evokes the fraternal warners , oversees actors , production , distribution and cinemas .
but the big difference is in the location of power . in america power lies with the studios ; in china with the state . the government controls which films are made and has a hand in every aspect of the film business , from production to exhibition . china film group produces movies and distributes hollywood and chinese films . the government rewards independent producers for making films it approves of—desen international media , a production company , received a bonus of 3m yuan for “full circle” , which promoted filial piety , for instance—and blocks hollywood films during national holidays , to help chinese ones .
the cast features a number of familiar faces , including henry stephenson ( sir macefield in the charge of the light brigade ) as dorothy’s grandfather and gladys cooper ( bette davis’ mother in now , voyager ) and mary forbes ( lady agatha in the picture of dorian gray ) as war relief volunteers . walter kingsford ( dr . carew in the dr . kildare series ) is mr . hargraves and j . m . kerrigan ( the slave - seller gallegher in gone with the wind ) is mcdougal , one of the victims of joe’s coin trick , which will feature in the film’s final scene .
moscow never sleeps an irish filmmaker , johnny o’reilly , pays tribute to his adopted city of moscow with this ensemble film . the trailer at least paints a much sunnier view of the city than russian imports usually do . aleksey serebryakov ( the protagonist of “leviathan” ) is in the large cast .
like fellow young adult fiction film versions the hunger games , harry potter and twilight , the series ' third book will be split into two parts , arriving in march of 2016 and 2017 respectively . march 20 , 2015 , marks the week for divergent trilogy fans to stake out local multiplexes .
awakening the zodiac shane west and leslie bibb play a couple who find a 40 - year - old film reel that they believe was shot by the zodiac killer in california . they try to sleuth him out . this displeases the zodiac killer , who is probably a member of aarp by now .
in recent years the worlds of tv and books have merged more than ever before , with such viral television hits as “ game of thrones , ” “the handmaid’s tale” and “ big little lies ” all being based on novels . what does renowned author stephen king , who penned the crime novel that was adapted into audience network ’s “ mr . mercedes , ” think about the ever - expanding tv world ? “i’ve always been a fan of episodic television’s ability to tell a story with texture and depth — following a novelistic arc , ” king confesses in a secret letter that was delivered to the tv academy membership via the show’s emmy fyc mailer . see stephen king’s ‘mr . mercedes’ : return to emmys for david e . kelley ? “i think the two mediums are a natural and complementary fit , ” king continues . “so , i am especially pleased with this adaptation of ‘mr . mercedes’ — and i hope you enjoy it too .
robertson , so impressive in last year ' s disney misfire tomorrowland , delivers a beautifully modulated performance here : radiant as a lovestruck teen ; poignantly moving as a daughter helplessly watching her mother slip away ; and convincingly gritty as a struggling single mom , she sustains the film through its myriad emotional phases .
the survivalist a standout at the 2015 tribeca film festival , stephen fingleton’s debut feature is a terse portrait of life in a postapocalyptic wood . martin mccann is the title character , who lives alone and fends off all comers until two women ( mia goth and olwen fouéré ) turn up at his doorstep .
: well , more like
localization name change .
a few different characters and other elements had their names changed between different versions , particularly between the uk and us version ( s ) : murder victim dr . black became mr . boddy ; his home , tudor house , became boddy manor ; reverend green became
afterimage the polish director andrzej wajda , who died at 90 in october , grappled one last time with his country’s history in his final film , a portrait of the painter wladyslaw strzeminski ( boguslaw linda ) , who pushed back against the postwar communist regime’s mandates for art and sacrificed his career as a result .
director gurinder chadha married english lit with bollywood , focusing on a cross - cultural romance between arrogant american hotelier will darcy and feisty indian farmer’s daughter lalita bakshi ( aishwarya rai ) . appropriately over - the - top musical numbers can’t obscure chadha’s genuine homage to austen , and to the film traditions she loves .
having added theatrical performances and indie movie credentials to his resume since the harry potter days , daniel radcliffe appears a sound choice for a film whose main role is not that of the eponymous scientist nor his monstrous invention but the hunched assistant igor in this alternative retelling of mary shelley ' s classic horror novel .
most chinese movies lose money : only around a quarter make it into theatres , and piracy means there is no legitimate dvd market . but then many films in hollywood and elsewhere are unprofitable these days : according to a report by the british film institute earlier this month , only 7 % of british films turn a profit . chinese people like films and they like to gamble , so money is racing into the movie business . in september , for instance , wang jianlin , china’s richest man , announced he would build the world’s largest film - studio complex , for an estimated $ 8 . 2 billion , in qingdao .


padaharella ammayi ( english : sixteen years girl ) is a 1986 telugu , comedy film , produced by r. d. reddy on sri sailaja films banner and directed by p. s. krishna mohan reddy .

starring rajendra prasad , sudha in the lead roles and music composed by sivaji raja .

padaharella ammayi

padaharella ammayi is a film in telugu produced by sri sailaja films , madras . 24 . it is 3608 . 52 mts long and was certified with 0 cuts . it was given a u ( unrestricted public exhibition ) certificate in 1986 .
ammai rechipothe latest telugu short film 2015 . sravan and padma priya ' s ammayi rechipothe rom tic short film under deekshitha entertainments banner . banner : deekshitha entertainments cast : sravan , padma priya camera : manohar music : shashi makeup : ramana asst . director : shiva co - ordinator : vicky produced by : m . e . babu , d . suresh kumar directed by : sree ammailatho athanu : urltoken house wife : urltoken aame athanu anumanam : urltoken subscribe for updates - urltoken short films - urltoken full length movies - urltoken daily schedule - urltoken spoof videos - urltoken comedy videos - urltoken and urltoken video juke box - urltoken kids videos - urltoken radio - urltoken devotional - urltoken
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urltoken : : this information is about to telugu film actor rajendra prasad personal profile , rajendra prasad movie carrier , rajendra prasad movies list , rajendra prasad upcoming movies . - naren janyavula
having started his career in 1977 rajendra prasad acted as a sidekick in many movies till ladies tailor arrived . after its success he started acting as a comedy hero .
cast : murali mohan , saritha , allu ramalingaiah , nirmala , sri sailaja , jaya vijaya , chakravarthi dialogues and lyrics : athreya music : ms viswanathan cinematography : raghunatha reddy editing : nr kittu art : mohan presenter : murali mohan director : ns mani supervising director : k . balachander banner : kalakendra movies release date : 8 may
this data has been obtained from the central board of film certification . it is provided as is and no guarantees are made for its accuracy or reliability . please contact the censor board for the original certificate and list of cuts ( if any ) .
u : films certified u are deemed to be suitable for unrestricted public exhibition .
ua : films certified ua are deemed to be suitable for unrestricted public exhibition but with a word of caution that parental discretion is required for children below 12 years .
s : films certified s are restricted to a special class of persons ( such as doctors ) .
any film longer than 2000m ( in 35mm celluloid format ) is considered a long film . the equivalent for videos is 70 minutes in duration .
directed by ps krishna mohan reddy , starring gadde rajendra prasad and sudha in the lead roles .
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movie name : padhahaarella vayasu – ( 1978 ) cast & crew : chandra mohan , sridevi , mohan babu , nirmalamma music : k . chakravarthi category : telugu movies