money ratnam ( english translation : money diamond ) is a 2014 indian malayalam comedy thriller film , directed by debutant santosh nair starring fahadh faasil and niveda thomas .

touted to be a road movie , which is loosely adapted from hindi movie ek chalis ki last local , it narrates a story that happen in a 24-hour time frame during a journey from munnar to marayur .

scripted by anil narayanan and ajith c. lokesh , the music department was handled by prashanth pillai , while the camera was helmed by neel d. kunha .

money ratnam is the 100th film of the production house century films .

the film 's locations include udumalpet , pollachi , ernakulam , and sholayar .

it released on 26 september 2014 as an onam release .

money ratnam

money ratnam malayalam movie preview , synopsis - malayalam movie money ratnam preview , synopsis .
money ratnam is a malayalam movie directed by santhosh nair and the movie produced by money ratnam . starring fahad fazil in lead role . money ratnam movie music done by prashanth pillai .
money ratnam is a comedy movie directed by debutante santhosh nair , movie features fahadh faasil and niveda thomas in the lead role . money ratnam is the . . .
‘money ratnam’ has its moments , offers a few laughs , does not give you one of those splitting headaches and is your money’s worth .
looking for movie tickets ? enter your location to see which movie theaters are playing money ratnam near you .
money ratnam is a clean entertainer from santhosh nair . the movies hangs around the life of man who unexpectedly gets a bag full of money and the events that happens when people are after him for the money .
money ratnam is produced by raju mathew under the banner of century films . music is composed by prashant pillai for the lines of rafeeq ahammed . release date : money ratnam set to release on 26 september 2014 as an onam release
what would happen if you get a bagful of money and do not see the real owner around ? go watch fahadh faasil ' s money ratnam to find out the answer .
debutant director santosh nair’s money ratnam , starring fahadh faasil , is about a youngster who gets trapped in a shady deal .
money ratnam is a comedy movie directed by debutante santhosh nair , movie features fahadh faasil and niveda thomas in the lead role . money ratnam is the first movie of fahadh faasil releasing after his marriage and also the 100th film of production company century films .
money ratnam is the hundredth movie from the century films banner . neil d’ cunha is the cinematographer and prashanth pillai is the music director .
the old adage ‘money makes the world go round’ is stood on its head .
events that occur over the course of a single day seem to be the rage among new directors and ‘money ratnam’ too jumps onto the 24 - hour - plot bandwagon .
the plot is compressed into 24 hours and revolves around a bag full of money .
five minutes into debutant santosh nair’s ‘money ratnam’ and you go ‘wham ! not one of those new - director - old - story movies again ! ’ and steel yourself for two or more hours of stiff boredom .
money ratnam narrates a story that happen in a 24 - hour time frame during a journey from munnar to marayur . neil john samuel ( fahadh faasil ) is a showroom executive in a kochi based automobile showroom . once neil is returing back to home after the new year party , fortunately neel gets a bag of money , with this bag neil elope to a village in tamilnadu . soon , neil realises that a group of four members with an intention to buy diamonds also arrive at the same spot . the resulting events are plotted in santhosh nair ' s money ratnam .
but thankfully , this tale of a bag of currency notes and a precious jewel ( ‘money’ and ‘ratnam’ of the title ) gets its act together quickly and manages to be an average fare that keeps you in your seat and yawns at bay .
there is also neil’s fiancé pia ( niveda thomas ) who is striving to raise a huge sum of money for charity .
“as the title reveals the story has something to do with money and diamonds ( ratnam ) . it’s a road movie , the thrilling events of which happen on the night of a december 30 and goes on for the next 24 hours , ” says santhosh .
‘money ratnam’ is a road movie which casts fahad fazil in the lead role as neil john samuel . neil is a sales executive in a car showroom . niveda thomas plays neil’s fiancée , pia mammen . neil comes across an unexpected incident , while returning after the new year party . he is sure that he will be in trouble and be tortured in connection with this event . he tries to escape from the scene by getting into a bus where he gets a bag containing money left by someone else . soon neil realizes that he is followed by notorious goon makudi das and his gang . he escapes in a truck and reaches a village in tamilnadu . meanwhile , another group tries to sell a precious stone ( ratnam ) . the money that neil gets from the bag belongs to isaac aanakkadan , who comes to buy that precious stone . the resulting events are plotted in ‘money ratnam’ . ‘money rathnam’ is the debut directorial venture of santhosh nair . the movie is produced by raju mathew under century films . the movie also stars renji panicker , rajendran , mamukkoya , noby , chembil asokan , and sunil sugatha .
money rathnam is a malayalam comedy thriller film , directed by debutant santosh nair and starring fahadh faasil . this film is loosely adapted from the hindi movie , ek chaalis ki last local . neil john samuel is a showroom executive in ernakulam . after a new year party , he ends up with a bag of money . taking the money , neil reaches a village in tamil nadu . four people who want to buy diamonds also arrive there , and they want the money that he has . watch this full movie , streaming online on hotstar .
kannathil muthamittal met with acclaim upon release , with ratnam and p . s . keerthana ' s performance as the young amudha particularly gaining praise . channel 4 films described the film as
stunning . . . thought provoking ,
and time out chicago declared ,
ratnam has a ravishing eye .
the chicago reader observed
ratnam ' s passionate conviction fortifies the tragic and inspirational aspects of the story
and the chicago tribune wrote
realistic , intelligently written and often quite moving .
it’s 11 p . m . and there’s a heavy downpour . ideally , the hullaballoo inside the ksrtc bus stand at aluva should have died down by now . however , tonight , the entire place is abuzz as debutant director santosh nair and his crew finish shooting a crucial scene of money ratnam , which has fahadh faasil in the lead .
' money rathnam ' , the debut directorial venture of santhosh nair , will go on floors from this month . fahad fazil and niveda thomas do the lead roles in this movie . fahad fazil plays neil john samuel , an executive at a car showroom in kochi and niveda as his fiance . she plays pia , a bold social worker . ' money rathnam ' is a comedy thriller in which money and diamonds play a significant part and the film is presented in the form of a road movie . ' money rathnam ' is scripted by ajith c lokesh and anil narayanan . prasanth pillai scores the music and the frames are captured by neil d ' cunha . ' money rathnam ' is the 100th movie of the production house century films . munnar , marayur , ernakulam , and valpara are also the film ' s locations .
. mani ratnam presents a glimpse of the island of sri lanka at civil war , through the eyes of a child of sri lankan tamil parentage , who desires to meet her biological mother .
neil john samuel is a showroom executive in ernakulam . after the new year party , fortunately neel gets a bag of money . with the money , neil reaches a village in tamil nadu . four people with an intention to buy diamonds also arrive at the same spot . all are connected with the cash which is in the hands of neil .
money ratnam is malayalam comedy thriller film directed by debutant santhosh nair starring fahadh faasil and niveda thomas . touted to be a road movie , it narrates a story that happen in a 24 - hour time frame during a journey from munnar to marayur . scripted by anil narayanan and ajith c . lokesh , the music department is handled by prashanth pillai , while the camera is helmed by neel d . kunha .
art has changed . and so have the people running it . a sharp - minded breed of iconoclastic curators is revolutionising both the gallery scene and the way that we experience art . niru ratnam meets five of the new tastemakers
neil comes across an unexpected incident , while returning after the new year party . he tries to escape from the scene by getting into a bus where he gets a bag containing money left by someone else .
looked at from every angle , apart from craft , kaatru veliyidai is a massive misfire , a colossal failure in filmmaking and the further you isolate the film from mani ratnam ' s legacy and oeuvre , the worse kaatru veliyidai will appear to be .
the hindu wrote ,
money ratnam has its moments , offers a few laughs , does not give you one of those splitting headaches and is your money’s worth
. the times of india gave 3 stars out of 5 and wrote ,
the film is not logically perfect , but it sure brings out the slapstick comedian in fahad , hitherto untapped . . . the director shows good promise and the film is worth a watch , solely for the humour
. rediff gave 2 . 5 stars out of 5 and called the film
an above - average , unpretentious entertainer
. the new indian express wrote ,
despite . . . minor hiccups , it is a comedy film , entertaining and engaging throughout
.
. the mumbai distributor will recover the cost of the film , but his sub - territory distributors in places like surat and gujarat lost money . in places like delhi , uttar pradesh , punjab , even the south india , distributors lostaround
“do you think i would bet $ 1 million on my analysis ? ” she said , with a look of mock disdain . “but if someone told me caterpillar is going to miss its quarter , i would bet $ 1 million . insider trading introduces certainty . ” that certainty felt like magic : a little money , with the press of a button , could become a heap of money . it’s a temptation that has taken khan much of her life to learn to resist .
yuva ( english : youth ) , originally titled howrah bridge , is a 2004 indian political drama film directed by mani ratnam and released in 2004 . the film was simultaneously shot in tamil as aaytha ezhuthu and in hindi , and is based on the storyline of students entering politics . [ 4 ]
kaatru veliyidai is not at all a complicated film unlike what mani ratnam fanboys , no offense , would like to believe . looking from the lens of craft , kaatru veliyidai is a gorgeous , stylish film , well , of course , mani has assembled one of the best filmmaking teams currently working in india - dop ravi varman ( barfi ! ) , editor a sreekar prasad who needs no introduction , production designer sharmishta roy and the maestro himself , ar rahman . mani ratnam is still india ' s finest director of song sequences only challenged by sanjay leela bhansali for the top spot . kaatru veliyidai is a technical marvel , without a doubt .
kaatru veliyidai is the rare love story where at the end of its two - hour - plus running time , you are most likely to feel no empathy or sympathy for its hero and heroine , unless , of course , you are a mani ratnam character yourself . because , only characters inside mani ratnam ' s head can make a stab at understanding why a ( supposedly ) sane woman would want to stay in an abusive relationship with a first - rate jerk for years . wait . actually they cannot . because in the film when a character wonders this question out loud , he gets the answer ,
it ' s love . it ' s like that
.
“i am not kidding when i say i had money , ” roomy told me when i met her recently . “i had a lot of money . ” in the late 1990s , the khans moved out of their house in sunnyvale , calif . , — roomy called it a “ khudd , ” a punjabi word for “hole” — and bought a 9 , 000 - square - foot mansion in atherton , the wealthiest town in silicon valley . they paid $ 10 . 5 million , all cash . the house had a pool , a tennis court and more than half a dozen marble fireplaces . they gave lavish parties for their friends and once , on a whim , spent $ 50 , 000 on wine .
, கன்னத்தில் முத்தமிட்டால் ) 2002 is an award - winning tamil language feature film directed by mani ratnam . it stars p . s . keerthana , r . madhavan , simran bagga , nandita das and prakash raj . the film ' s score and soundtrack were composed by a . r . rahman . the film ' s title is a famous phrase from a poem written by subramanya bharathy , which literally means
at intel , she had broken the rules by supplying inside information to someone else ; now she was willing to use it to make money for herself . khan began tapping her vast network , leaning on friends , associates and even a cousin to find new avenues of information . she made inroads into silicon valley’s close - knit south asian community , mixing business and pleasure to her advantage . she invited sunil bhalla , an executive at polycom who was dating one of her close friends , to her home for a holiday dinner in december 2005 ; a few weeks later , she followed up to ask how his company’s quarter was looking . she played auntie to a young woman from bangladesh who worked for an investor - relations company . before long , the woman was feeding her information on google , one of the firm’s clients , and asking for money in exchange ( khan never paid her ) . because khan had been trading on her own , she often wasn’t invited to one - on - one meetings with company executives like other money managers . “that is how you garner all your nuggets in a legal way , ” she said . she would talk to a young investment analyst she knew in new york named tom hardin . “tom was my buddy , ” she told me . “we used to barter information all the time . ”
during a mission , vc ' s jet is shot down in pakistan and he is captured and jailed . while in captivity , he begins to feel remorseful about his attitude towards leela and then it is his love for leela - or so mani ratnam would like us to believe - that motivates him to break out of a pakistani jail not once , but twice in the most outlandish way possible . . . seriously , the final escape sequence feels like a 20 - minute - long ad for mountain dew but let us not digress .
in 1999 , after nearly a year of working for rajaratnam , khan quit galleon , wanting to start trading her own money in the internet - stock boom . a month into trading solo , she was visited by f . b . i . agents , who confronted her with the evidence from her indiscretions at intel . in 2001 , she pleaded guilty to wire fraud , and for the next four years , chastened by her crime , she says , she played by the rules and steered clear of rajaratnam .
here ' s the thing : love is the laziest excuse for a screenwriter when he or she has nothing to explain character motivation and this kind of shenanigans can only be pulled off in indian commercial cinema . a corollary to this : providing no internal logic for your characters ' actions does not make for an intelligent screenplay . withholding answers to unlock multiple levels of a narrative is one thing , which stanley kubrick was a master in , and simply writing a paper - thin character - sketch and passing it off as a screenplay is another which is what mani ratnam has done with kaatru veliyidai .
a narrative movie does not work , most of the time , if there is a problem on the screenplay - level . every character has a journey . at the start of the film , the character does not have something - it can be money , a prize , the key to the galaxy or love . the character has to now rise above himself or herself , defeat his / her baser tendencies , become a stronger , better person and finally get what he / she wanted and / or needed in the first place . this is how a character arc is completed .
khan insists that she was driven by a desire to shield people : “they were all young kids . some of them were my relatives . because of the kind of relationship i had with them and how young they were , i was aghast that i was going to destroy their lives . ” she continued : “i didn’t lie for myself . i really lied for other people , which is very stupid . everybody knew what they were doing . when someone working at an institution like moody’s comes and asks you for money , they know that is not what they should be doing . ”
i had seen so many unattractive photographs of khan that i was surprised when a spunky woman with large , lively eyes and carefully blow - dried hair bounded up to me in my hotel lobby . khan , who is about 5 - foot - 2 and svelte , was dressed in a loosefitting cotton blouse and skinny jeans and carried a horseshoe - shaped , fuchsia louis vuitton bag and an ipad on which she tracks a handful of stocks — apple , caterpillar and cummins . she said she has no money to invest . “i do it for the intellectual curiosity . otherwise my mind would be mush . ”
vc feels that men and women are made differently , a man ' s job is to hunt and a woman has to appear beautiful , first and foremost , before she sets out to do anything else . vc gives leela a time and date to come to the marriage registrar ' s office and then stands her up . when leela confronts him , it turns out that vc had totally forgotten about the appointment . okay , a sexist and an inconsiderate man does not make the film so . also , women can fall for such men and even continue to stay with them for years before they come to their senses or not . the problem is that mani ratnam could not make an engaging movie out of this .
when i visited , khan was a week away from celebrating her 56th birthday . she seemed addled , struggling to fashion a new identity for herself . khan has worked since she was 27 . when she was trading stocks on her own , she started her days at 6 in the morning and worked till 8 at night . “even when we had the big money , i worked , ” she told me . what bothered her the most , she said , is that “the thing that has made me has been taken away from me . ” her probation officer suggested she find work as a cashier , but khan believes she is capable of more .
but after regulation f . d . came into effect , companies became more guarded about divulging information . some hedge funds , which make money from specific events , like a takeover or an earnings report , had relied on their relationships with companies for insights . the change in regulation f . d . hurt them , and it came at a moment when the number of hedge funds was growing and competition was becoming fiercer . according to hedge fund research , a group that follows the industry , at the end of 1990 , there were 610 hedge funds globally ; at the end of 2001 , there were 4 , 454 . more regulation , heightened competition and tougher markets meant that hedge - fund managers were always seeking new advantages .
the gleeful bad - mouthing of khan went on for years : her flamboyance and her lying made for delectable reading , especially when it emerged that khan had not been entirely truthful with the f . b . i . even after she started cooperating , she manipulated them . suspecting that khan had been tipped off to the imminent takeover of hilton worldwide , investigators confronted her about shares she had purchased . khan said she bought them because she thought the jailing of paris hilton would be good publicity for the brand . she also took out a cellphone contract in her gardener’s name so she could continue speaking to some of her contacts . she claims she wanted to protect them from the government’s prying ; she also wanted to continue making legitimate money playing the markets .
in 1981 , when khan was 23 , she saw an advertisement in a journal about studying abroad at kent state . she applied to the university’s physics program , and when kent state offered her a partial scholarship , she leapt at the chance , telling her parents that if they didn’t give her the money for the ticket , she would borrow it . in america , her ambitions grew . bored with studying in a small , provincial town in ohio , she applied and was accepted to columbia university’s master’s program in engineering , where she met sakhawat , a muslim from bangladesh . in 1985 , she followed him to california , defying her parents , who are hindu and disapproved of her choice . “yes , we lived together in sin for a couple of years , ” khan said , laughing .
kaatru veliyidai ' s failure lies elsewhere . mani ratnam believed that a romantic relationship between a man so heinous as vc and a woman as regular and commonplace as leela would make for great cinema . it would have , had mani given a reason for the proceedings . perhaps , it ' s the sex . maybe , there ' s something in leela ' s childhood that makes her want men like vc . even vc doesn ' t seem sincere about his love except for the time he screams
i love you , i love you , i love you
to make leela believe that he is truly apologetic about his thuggish behaviour and what happens right after this scene ? vc brings leela along to his army friends and he declares ,
see ? didn ' t i tell you she will come back ? that ' s my girl . will you ever find a girl like this ? you guys owe me a single malt .
it’s hard to know what khan’s real motives were , but i tended to believe her expressions of sympathy for her young , ambitious colleagues , her guilt at exposing their wrongdoing in a climate of widespread rule - breaking . she spoke about the extreme temptations of making sure bets on stock trades . when we met , she’d been closely watching caterpillar and cummins stocks . if she were still in the business of playing the markets , she said , she would have tried to short caterpillar and go long , or take a bullish bet , on cummins . if she’d put in the trade a few days earlier , she would have made $ 4 or $ 5 a share on the caterpillar short position , “which is not bad , ” she said . so why , i asked her , had she resorted to insider trading when there was ample money to be made through good old - fashioned stock analysis ?
basquiat’s biggest collector , jose mugrabi , strolled out of february’s auctions with the simple statement : ‘basquiat is the best artist in the world . ’ his son alberto has a basquiat - style crown motif tattooed on his wrist . the mugrabis , like those who collect bacon , seem to value nothing more than a highly individualistic , expressive view of the world . and auction houses seem ready to make the break from those fusty old marxist art historians and instead follow the lead of the prescient remark , made by sotheby’s tobias meyer in 2006 , ‘the best art is the most expensive because the market is so smart . ’ the market , fuelled by the money of ‘sportsmen , actors , musicians and entrepreneurs’ ( as well as that of oligarchs , sheikhs and hedge - funders ) , might not be as smart as meyer suggests , but it is certainly determinedly revalidating the value of highly individual visions , whether fuelled by hallucinogens or not .
rajaratnam’s call came at a time when khan needed money ; within a few years of the internet bust in 2001 , she had lost $ 49 . 6 million , according to her lawyer . the khans paid cash for the atherton house , but after the meltdown , they took out a $ 5 million mortgage on it . to pay it , khan needed to generate $ 42 , 000 a month . but it wasn’t only a sense of financial need that led her back to rajaratnam ; khan’s thinking about her earlier run - in with the law was starting to change . “it’s almost like you are a drug addict , and you go through rehab , and you are clean , ” she says . “and then you are constantly at a party every day where people are doing cocaine . how long can you stay clean ? ” she was struck by the pervasiveness of insider trading on wall street and the extent to which skilled traders bent the rules and took calculated risks by defying the law .
leela , throughout the film , is treated like a doormat not only by vc but also by the screenplay . good for her she gets a great wardrobe though . vc , then , is the hero , the protagonist of kaatru veliyidai . this is established further when mani makes a feeble attempt at tying up the loose ends in the film . vc , having escaped the clutches of pakistan years ago , has since become a war - hero and has been roaming about , searching for leela , and he thinks to himself ,
after being captive , i have realised how to live with others , how to share a life , leela .
so , this is the character arc then : vc is a < insert crass synonym for the male member > , he falls in love with girl , continues to make her life hell , gets captured , is treated badly , comes back to his senses , escapes and becomes a changed man . if this is the crux of kaatru veliyidai ( because it for sure ain ' t a love story ' cause there is no love to look at ) , even then mani ratnam has failed to do justice to his characters .
the story begins with an ambitious young sales executive neil john samuel ( fahadh faasil ) waiting at a bus station late at night to catch a bus home .
he gets involved in a brawl with a few gangsters and has to flee the city .
meanwhile , a superstitious businessman , isaac anakkadan ( renji panicker ) , his astrologer ( sunil sughada ) and forgetful secretary ( kochu preman ) are out to buy a precious jewel from a group of men . the bag with the currency notes changes hands , upsets plans and sets the various characters out in pursuit of their respective goals .
despite a wafer - thin plot and ordinary direction , the film manages to stay a notch above the scores of malayalam movies hitting screens every week , thanks to fahadh’s performance . had the protagonist been played by a lesser actor incapable of handling comedy with élan , this film would have fallen flat .
performances by renji panicker , who seems at home in his new role of actor , and joju george as the gang leader makudi das also hold the film from falling apart .
your first instinct would be to hide it from others , then you splurge a little and then give away some of it to the needy , before walking away into the sunset ( here it is the glittering night of the new year ) .
neil john samuel ( fahadh faasil ) is the sales manager at a car showroom . he is successful at his job according to his friends who enviously recall his achievements over a few drinks a day before new year’s eve . the next day , neil is to be engaged to his sweetheart , piya ( niveda thomas ) , a social worker who helps children with congenital heart disease to get expensive surgery .
shortly after the friends’ get together , neil gets into a scuffle with some rowdies , and has to run for his life . somewhere along the way , he lands up with a bag containing rs 1 crore in cash .
there are a couple of parallel narratives . one is about an invaluable gem in the possession of a group from fortkochi who are to sell it to a wealthy businessman , isaac anakkadan ( renji panicker ) .
then there is the tale of a tamilian couple who have eloped and are helped by neil who is himself on the run .
the humour is provided by joju george who plays the partially deaf gunda makudi das , and the group in possession of the precious gem , which has chebil ashokan , sasi kalinga and some others .
fahadh faasil , who has made his mark in the industry as an experimental leading man , has to do a couple of conventional action sequences where he overpowers more than half - a - dozen bad guys , something he seems to relish doing .
what is a r rahman doing at a dubai mall ? reader talib sends us a picture .
neil john samuel ( fahadh ) , a sales executive at a car dealership in kochi , is waiting for a bus at vyttila mobility hub . he is on his way home after a launch party and has to wait at the hub for some time . certain unprecedented incidents happen in that time , which sets him off on the ride of his life .
the stories of isaac anakkadan ( renji panicker ) , a businessman , makudi das ( joju george ) , a gang leader , another set of goondas from tamil nadu , and some brokers involved in illegal deals , also unravel as the journey progresses . all these stories intertwine at certain points .
“when neil starts his journey from vyttila , he has only one rupee left in his pocket , after paying for the bus ticket . but when he gets down at aluva , he has a bag loaded with cash , which is worth a crore , ” adds santosh .
as the camera rolls , a ksrtc bus enters the stand , followed by an suv .
the moment the bus comes to a halt , a shady group of men led by makudi jump out of the suv and rush towards the bus . neil too jumps out of the bus and runs into the darkness , the bag of cash clutched close to his chest . “we always get plenty of opportunities ; it’s up to us to seize the day , ” says fahadh , after completing the shot . “there are two ways to proceed in life . it’s easy to hit the path of vice and a lot tougher to stick to the righteous road . this story is about a youth who is faced with this dilemma . whatever path he chooses , though , his life changes forever , ” adds the actor .
niveda thomas plays pia mammen , neil’s intended . she is organising a charity programme the next day and is in need of funds .
joju george , who has made a name for himself in films such as neram and trivandrum lodge , sounds thrilled to be playing makudi . “he is the ringleader of the gang based in kochi . he gets involved in the story at a particular juncture , that too in an interesting way . but i can’t reveal more about the role , ” says joju .
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himadri speciality chemical ltd . is an established brand with a strong proven track record in the speciality chemicals business . himadri is more than just the largest coal tar pitch manufacturing company in india . it is a carbon specialist , developing coal tar by - products and derivatives ( advanced carbon material , carbon black , corrosion protection and naphthalene ) . t . . .
over the past few days , i have received many requests to post my technical view on nifty 50 . post the massive bjp win in up , nifty created a new life high of 9218 . 40 on 17th march 2017 . but many are anxious to know whether nifty will sustain this recent up move . this post is to convey my technical view on nifty .
greaves cotton limited , established in 1859 , is one of india ' s leading and well - diversified engineering companies . it manufactures a wide range of industrial products to meet the requirement of core sectors in india and abroad . the company ' s core competencies are in manufacturing of diesel / petrol engines , gensets and pumpsets . the business operations of the company are divide . . .
gravita india ltd . is one of the largest lead producer in india established in the year 1992 at jaipur . the company is anchored by more than 500 forward looking professionals . the company is dedicated to lead & lead products with environment friendly process .
gravita is leading indian multinational company having state - of - the - art nonferrous metals ( lead and aluminium ) processing unit at jaipur ( rajasthan ) , india . we carry out smelting of lead ore / lead concentrate / lead battery scrap and aluminium scrap to produce secondary lead metal and aluminium
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a little plot - synopsis before we go further . varun chakrapani aka vc ( karthi ) is an army pilot . leela ( aditi rao hydari ) is a doctor who meets vc in srinagar at the time of the kargil war . vc is a complete ' dark triad ' : he is severely narcissistic , exhibits a cavalier disregard for other people ' s , including his partner ' s , feelings and well - being . he will say whatever he has to to get his way . after vc and leela begin dating , vc , time and again , humiliates , belittles and physically pushes around leela but leela tolerates everything and continues to stay with vc .
an abusive brute of a hero ( or let ' s use the buzzword you were looking for - ' misogynist ' ) does not necessarily make a bad , misogynistic film . that happens when the filmmaker tries to justify and make a hero out of an indecent man which is what aanand l rai did with raanjhanaa ; he made kundan a martyr for love .
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asha black is a malayalam romantic thriller , which is set in the background of malaysia and coimbatore . this is a story of a
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ant - man and the wasp , starring paul rudd and evangeline lilly , took the top spot at . . .
hbo ' s new series sharp objects premieres july 8 and follows amy adams as camille . . .
allison kugel joins comedian / actor / author d . l . hughley for a frank discussion about . . .
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d2 d 4 dance i ep 102 - fahad faasil - vineeth kumar is back . yayyy ! i mazhavil manorama
celibrities talking about mohanlal ( mahesh babu / vijay sethupathi / prabhas / rana / kamal hassan . . . . . . . )
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it’s a well known fact that simbu and venkat prabhu are joining hands for the first time in an upcoming yet - untitled tamil film . on the contrary to earlier reports , simbu will not be playing a gangster in the film , which is expected to go on the floors later this year .
just like how several film industries find themselves looking west for some creative inspiration , the tollywood industry is also known to imitate hollywood with little creativity . the industry has often been criticised for ripping off the central theme or even the entire plot of some international films . while some like to call it an
inspiration ,
others call it blatant plagiarism . as there is no risk of plagiarism charges , tollywood filmmakers often rip off hollywood flicks and add a few necessary changes to make it their own .
singer shashaa tirupati is one of the national film award winners who will not be handed over the prestigious honour by president ram nath kovind in new delhi on thursday .
according to reports , vijay sethupathi has left for portugal to wrap up the remaining portions of his forthcoming film ‘junga’ .
while rajkummar rao starrer ‘newton’ bagged the best hindi film award , late actress sridevi was announced as the winner of the best actress award for her performance in ‘mom’ .
the 65th national film awards were announced on friday by shekhar kapur , the head of the jury for feature films .
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undisputedly , maniratnam is the highly talented & most admired director of this generation of directors in india . in a world of indian cinema ruled by meaningless stories with 6songs + 4fights , he created a genre for himself with a blend of art & commercial cinema , thus reaching a wider range of audience . not only the movie buffs but the common audience too can experience the magic of screenplay & rich technical values in his movies .
guru with highest paid cast & crew like abhishek bachchan , aishwarya rai , ar rahman , vidya balan , mallika sherawat with some periodical sets & foreign locales etc . maniratnam produced this trilingual film with a budget of rs . 12crores , less than the budget of any bollywood movie featuring the above stars & less than the publicity budget for any big bollywood production !
exhibition rights ( except andhra pradesh & tamil nadu ) rs . 17crores ( ad labs ) tv broadcasting rights rs . 5crores ( star tv ) audio rights rs . 3crores ( sony music ) telugu rights rs . 1 . 5crores ( includes hindi rights in ap ) tamil rights rs . 1 . 5crores ( includes hindi rights in tn ) ( approx numbers from ap & tn ) home video vcd dvd etc ( unknown )
madras talkies made a cool table profit of rs . 16crores + before release , a number no other south indian producer can imagine prior to release !
contrary to trade pundits predictions , this critically acclaimed film is doing rocking business all over india and even overseas . guru posts an extraordinary opening overseas in america , grossing $ 843 , 200 its opening weekend from jan 12 - 15 , ahead of the blockbusters krrish ( $ 643 , 000 ) , rang de basanti ( $ 701 , 666 ) & don ( $ 804 , 388 ) .
in india too the movie opened very strong in metros , like chennai , hyderabad , bangalore , gujarat , west bengal & to 40 - 50 % response in other circles . not only on the weekend , on monday too guru collections are strong in the above mentioned circles , declaring it as a decent hit or a super hit , exact range will be known by in few more days or by this weekend .
though the trade story is not that impressive in telugu & tamil . the buyers of telugu & tamil versions are quite happy as they bagged the rights at a reasonable price & the package also includes the hindi rights of their areas . a happy ending for every one involved with the film ! kudos to genius filmmaker !
it is noted that chennai’s biggest multiplex sathyam cinemas are the sole buyer of guru ( hindi , tamil & telugu ) in tamilnadu and andhra pradesh .
as trade pundits predicted earlier , the success is not entirely from overseas & multiplex audience alone . here is a new crowd called urban audience , the rapidly growing section of the most happening economy , are the key for guru’s stupendous success . right movie at right time by the master technician !
manorama music released the vcd , dvd and blu - ray of the movie on 5 december 2014 .
one day in the middle of 2008 , sakhawat khan , a silicon valley chip engineer , walked into a small house near the back of his two - acre property that his wife , roomy , a stock trader , used as a home office . roomy and sakhawat met when they were electrical - engineering students at columbia university . after graduating , sakhawat started inventing , eventually gathering some 30 semiconductor patents to his name . roomy , who was more outgoing in social situations and more restless in her appetite for risk , was drawn to wall street and joined galleon group , a new york hedge fund run by the charismatic , bullish trader raj rajaratnam . in 1999 , she struck out on her own to trade technology stocks . she thrived . riding the internet boom , she said , she had amassed a paper fortune of $ 50 million .


the cremaster cycle is a series of five feature-length films , together with related sculptures , photographs , drawings , and artist 's books , created by american visual artist and filmmaker matthew barney .

the cremaster cycle was made over a period of eight years ( 1994 – 2002 ) and culminated in a major museum exhibition organized by nancy spector of the solomon r. guggenheim museum in new york city , which traveled to the museum ludwig in cologne and the musée d'art moderne in paris from 2002-03 .

barney 's longtime collaborator jonathan bepler composed and arranged the soundtracks for the films .

the cremaster cycle

the cremaster cycle is a series of five filmsproduced by artist matthew barney between 1994 and 2002 . for those new to the cremaster cycle , i highly recommend the official web site :
this is the book for those people who have seen and like the cremaster cycle . a super companion that gives very interesting background , and criticism of the cycle .
barney : the cremaster cycle” . nancy spector , curator of contemporary art at the guggenheim museum , moderates .
practically an encyclopedia on barney ' s cremaster cycle . this is a huge book . fascinating .
matthew barney the cremaster cycle artbook | d . a . p . 2003 catalog guggenheim museum books exhibition catalogues 9780892072842
february 17 , 2003 - solomon r . guggenheim museum - guggenheim museum spring programs / matthew barney : the cremaster cycle
the following two program series are presented concurrently with the guggenheim exhibition “matthew barney : the cremaster cycle” ( february 21 – june 11 ) .
matthew barney’s the cremaster cycle will be shown in its entirety at the guggenheim on four select saturdays this summer . ( photo : the guggenheim via facebook )
the cremaster cycle will open on friday , sept 3 at the music box theatre , showing through thursday , sept 9 for an exclusive one - week engagement .
· the cremaster cycle and a sculpture , cremaster field , are at the ritzy , london sw2 , from october 25 , presented by artangel . details : 020 - 7713 1402 . the cremaster cycle , including a complete exhibition of related artworks by matthew barney , is at musée d ' art moderne de la ville de paris until january 5 . details : 00 33 1 53 67 40 00 .
cremaster 1 , with the emblem between the blonde goddess’s legs . photograph : no info
“matthew barney : the cremaster cycle” : at the guggenheim museum , new york , until june 11th . catalogue published by harry n . abrams ; 544 pages ; $ 65 and £45
this is actually a series of 5 films . cremaster 1 ( 40 mins ) released in 1995 cremaster 2 ( 79 mins ) released in 1999 cremaster 3 ( 182 mins ) released in 2002 cremaster 4 ( 42 mins ) released in 1994 cremaster 5 ( 55 mins ) released in 1995 ( those dates are not typos ) .
cremaster ( titre original : the cremaster cycle ) est un cycle de cinq films d ' art réalisés par matthew barney . leurs durées varient de 41 min pour le plus court ( cremaster 1 ) à plus de trois heures pour cremaster 3 . les films sont nommés d ' après le muscle crémaster . une grande richesse est apportée aux costumes , maquillages , décors , sculptures . la mise en scène énigmatique peut désarçonner le spectateur habitué à des formes plus conventionnelles d ' art .
finn mccool and fingal fight at the end of cremaster 3 . photograph : supplied
glorious union : barney and mullins at the end of cremaster 3 . photograph : supplied
i ' m so pleased with matthew barney ' s cremaster cycle book . i was lucky enough to see this show in new york , it was truly a life changing experience .
as a conceptual model for the entire cycle , barney has chosen the sexual development of the human embryo . the movies are named after the cremaster muscle , which raises and lowers the testicles in the scrotum , and this slow process towards sexual differentiation during the first trimester of pregnancy is the basic “problem” of the five films . while the abstract , formal model for the cremaster cycle is thus the biological production of human beings , the non - human plays a more prominent role on the level of imagery . particular to the cremaster universe are a multitude of hybrid beings such as satyrs and other mythical beings , and this very profusion of animal species emphasizes the non - human ambiance of the cycle . likewise , we may understand the more “abject” sections of the cycle — the myriad of spectacular scenes with curious bodily orifices , prosthetics , and fluids , which cannot be given any closer determination — as an invocation and modification of the limits of the human . due also to the works’ impenetrability , the cremaster cycle is , in every possible way , a very alien universe . the hybridity of beings is a hallmark of the entire cycle , but since i am focusing in particular on relations between questions of humanity and notions of confinement , i shall restrict my analysis to cremaster 2 , in which this problem is played out most prominently .
arguably some of the most elaborate and significant artworks of the 1990s , the cremaster cycle films employ a unique symbology and an indulgent , complicated approach to narrative that are each inherent to the barney’s practice . not to be missed !
spector , nancy . ”only the perverse fantasy can still save us . ” matthew barney : the cremaster cycle . nancy spector , ed . new york : guggenheim museum publications , 2002 . 2 - 90 .
an experimental short film from the cremaster series which alludes to the position of the reproductive organs during the embryonic development process .
this is quite the most voluptuous book i have in my collection , from the translucent plastic overlay to the cut - away pages , the whole thing just adds up to an art object , even more than the comprehensive catalogue of the cremaster cycle that it is .
i was very disappointed when i finally got to view one of the famous cremaster films .
palm pictures customer service is telling callers that the full cremaster cycle won ' t be released on dvd until 2004 ( probably in the spring ) . they obviously don ' t update their website very often . . .
barney’s celebrated cremaster cycle is not now , nor will it ever be , available to consumers on dvd . the only place it can be seen is on screen in theaters , making this re - release a welcome return to true theatrical repertory programming . the last time the cycle toured nationally was in 2003 following the completion of cremaster 3 . fans have now waited seven long years for another opportunity to see this extraordinary body of work .
4 . surely , this sense of hermeticism also stems from the fact that the films are only seldom shown to the public and are exceedingly expensive to acquire . my concern here is with the thematic issue of inhumanity examined by cremaster 2 and i am thus not focusing my attention on the cycle as a particular aesthetic universe or on the institutional and financial structures of its production and reception . see keller and ward for a critical examination of the paradoxical mix of avant - garde and blockbuster strategies of the cycle . see also the official homepage for an impression of the universe of the cycle : urltoken .
originally posted by filmfansea palm pictures customer service is telling callers that the full cremaster cycle won ' t be released on dvd until 2004 ( probably in the spring ) . they obviously don ' t update their website very often . . .
has anyone heard of when the release date will be for the cremaser cycle ? i was on the palm pictures web site , and there is no mention of it .
in conjunction with the current exhibition come as you are : art of the 1990s , the blanton is pleased to present a series of special screenings of matthew barney’s the cremaster cycle from march 15 - 19 , during the week of sxsw . filmed out of sequence from 1994 to 2002 , and produced in tandem with related sculptures , photographs , and drawings , cremaster takes its name from the male cremaster muscles , which regulate testicular contractions due to external stimuli such as temperature and arousal .
the cremaster is a muscle that raises and lowers the testicles . matthew barney uses the descension of the cremaser muscle as a metaphor for the appearance of male sexuality .
i think you are right . the order is an interesting release ( still haven ' t seen the multiangle ) probably testing the waters a bit to see how the cremaster cycle will sell . although i don ' t think money is at the heart of the matter for m . b . considering the way he gets money thrown at him by institutions like the guggenheim to make art . however palm pictures have a vested interest in these selling well . if they put the cycle out on dvd it will probably be an amazing set with lots of extras , as well as costly most likely . if you are really interested in his work the cremaster cycle is available as a hardcover book . it covers the entire cycle and is meant to be a companion piece to the films . as are the sculptures etc . . . i recommend picking this book up while it is still available , if you are really interested in the films .
i just rented the order from cremaster 3 from netflix - it ' s about a half hour section from the cremaster 3 film , with director commentary . the commentary explains the meaning behind some of his wild images but says little about the actual filming and participants .
i never thought i would be one of those people slating something on amazon , but here goes ! i have titled this review as a pointless release , pointless for me in that it is only a thirty minute extract from the end of the third part of the cremaster cycle .
alex : yes , that mantovani - style music … i feel as though it’s been tattooed on my brain after hearing it continuously for 40 minutes . like the music in the rest of the cycle it was composed by jonathan bepler , who pays homage to different styles from easy listening , like here , to grand opera in the next film , cremaster 5 . cremaster 1 was a much less gnarly proposition than cremaster 4 , which ended with some tumour - type thing being unpleasantly probed with needles .
cremaster 2 is a chapter in barney’s major work , the cremaster cycle ( 1994 - 2003 ) , which is made up of five films : cremaster 1 - 5 . in addition to the five feature length films , the cycle includes photographs , drawings , sculpture , and installations forming part of each of the five episodes . without attempting a proper synopsis of this complex film , it is nevertheless relevant to my discussion that barney takes up the myth in the gilmore family that harry houdini was in fact gary gilmore’s grandfather , with whom he identified a particular notion of freedom through self - transformation . in the film houdini is played by norman mailer , who in his the executioner’s song relates this family myth of kinship .
5 . art historian and curator nancy spector gives the most thorough exposition of the expressions , effects , and recurrent themes in barney’s work ; indeed , her analyses of the individual performances , installations , and films are indispensable for working with this strange universe . see spector for an interpretation of the overall issues in the cremaster cycle .
cremaster 2 . matthew barney ( dir . ) new york : barbara gladstone , 1999 . film .
filled with hundreds of matthew barney ' s fantastical images , this comprehensive volume , which accompanies a major exhibition at the solomon r . guggenheim museum , surveys the popular artist ' s cremaster cyclean epic five - part film project that uses the biological model of sexual difference as its conceptual departure point .
artist : matthew barney location : periodic screenings and dvds year created : 1994–2002 barney ' s the cremaster cycle is more of an experience than an art piece . consisting of five feature length films with related sculptures , photographs , drawings , and artist ' s books , it took mr . björk eight years to premier his project at the guggenheim . most people have a love / hate relationship with the piece because of its peculiar imagery . nonetheless , the cremaster cycle looks into the creation of form beyond biology with strange , yet stunning visuals . it ' s hard to look away .
althought this stunning record of matthew barney ' s astonishing cremaster cycle is probably best appreciated as a memento of the films themselves , it ' s also possible to appreciate his incredible verve and imagination just from looking through these pages . a great document of a fascinating work of art .
jordan : with that sense of exhaustion we entered the three - hour cremaster 3 , a movie which , under most circumstances , is its own endurance test . this was the film that put the whole cycle on the map for me , when it had something akin to a traditional run in 2003 . it played at film forum in new york and i remember seeing the name on the marquee and , not knowing what a cremaster was , wondering why they’d be showing the third part of a horror franchise .
my point here is not that barney with cremaster 2 necessarily shares this idea of the convict representing the bravest and invincible segment of a generation . but barney’s preoccupation with gary gilmore and his imagined indefiniteness is indicative of the forcefulness and creativity held by the alien , the shapeless , and the inhuman in cremaster 2 and in barney’s work in general .
the cremaster cycle should be seen not just as a major american work of art but as a real piece of american cinema . it is in another league from the video and film installations that have become so central to contemporary art , which function , and only aspire to function , in museums , protected from the dirty mayhem of mainstream cinema .
a dialogue with the team that made matthew barney’s cremaster cycle possible . panelists : gabe bartalos , prosthetic makeup and special effects specialist ; linda labelle , costume designer , weaver , and fiber - expert ; matt wallin , digital effects specialist ; matthew ryle , sculpture fabricator , and chelsea romersa , associate producer .
911 seattle media arts welcomes special effects artist and documentary filmmaker matthew wallin to its gallery with a presentation of material from the forthcoming film i die daily : the making of matthew barney ' s cremaster cycle . the presentation will run through august 30 and features never - before - seen footage of matthew barney at work on the piece that inspired the new york times to call him
the most important artist of his generation .
in 1996 , deeply intrigued by the work of barney , filmmaker matthew wallin abandoned a steady job to spend the next decade of his life documenting the making of barney ' s epic 5 - part film , the cremaster cycle . what followed became a passionate exploration into the symbolism , mystery , and intricate process behind the cycle . the result of his endeavor , i die daily , will become the definitive document on the cremaster cycle as well as the most comprehensive study on the rise of barney as a star in the contemporary art world . the press and public are invited to meet filmmaker matthew wallin in an opening reception for the artist on friday july 18th from 6 : 00pm - 10 : 00pm , followed by an event to raise finishing funds for the film on saturday july 19th at 5pm . at the fundraiser , matthew wallin will screen 30 minutes of footage from the film , and will discuss his experience making the film with a slideshow of images . both the opening reception and the fundraiser will take place in the 911 media arts gallery . the exhibit is curated by misha neininger , executive director at 911 seattle media arts center .
as an artist , he harnesses an impressive narrative talent to a private world—half medical - research laboratory , half training camp—which he creates with the help of prosthetics , wrestling mats and sternal retractors coated in wax , vaseline and tapioca pudding . the show ' s curator , nancy spector , describes mr barney ' s cycle of films as a self - enclosed aesthetic system , and the project is rife with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation . “cremaster 1” represents the most ascended , or undifferentiated , state ; “cremaster 5” quite the opposite . the cycle returns over and over to those moments during sexual development when the outcome of the process is still unknown , and which represent in mr barney ' s mind ' s eye a state of pure potentiality .
the marathon screenings are being done in conjunction with the museum’s exhibition “ storylines : contemporary art at the guggenheim , ” featuring work from the permanent collection that explore storytelling . of course , mr . barney’s unconventional narrative , which can be interpreted differently depending on the order in which it’s viewed , was a shoe - in . the show opens today and runs through september 9 . screenings for the cremaster cycle are free with museum admission .
the acclaimed five - part cremaster cycle is an evocation of the creative process by sculptor and performance artist matthew barney . although the five films were not created in chronological order , and each one comprises a completely realized work in itself , together and in numerical order they follow a geographical path from west to east and trace a metaphorical path toward fully developed form .
barney’s cremaster cycle sculptures share a common link in that they are derived from the multi - layered narratives of the project as a whole . panelists discuss how contemporary art incorporates narrative and fantasy . panelists : richard flood , chief curator , walker art center ; molly nesbit , professor , vassar college ; and louis neri , independent writer and curator .
alex : yes , i feel as though we’d had a pretty rare experience – especially as precious few of the people there with us at 10 . 30am seemed to be there as we emerged over nine hours later . i felt absolutely exhausted afterwards – while i’m fairly sure i just let a lot of it wash over me , the cremaster cycle is challenging .
barney had plenty of stories to tell , and they were all eccentric . people began referring to him as the wagner of contemporary art because , like wagner , barney operated in a mythological language that seemed willfully irrational , and he had a plan for a cycle of works ( the five ' ' cremaster ' ' films ) that would take years to complete . the hubris alone seemed wagnerian .
from this conceptual point of departure barney creates epic , dramatic scenes that build off historical and biological models : a chorus line of dancers forming the outlines of reproductive organs on a football field ( cremaster 1 ) ; a gothic western featuring line - dancing and a prison rodeo staged in a cast salt arena ( cremaster 2 ) ; elaborate scenes of destruction and creation from new york’s chrysler building and the guggenheim’s frank lloyd wright building to the shores of the scottish hebrides , starring richard serra and aimee mullins ( cremaster 3 ) ; musings on the notion of drive , featuring a motorbike race set on the isle of man ( cremaster 4 ) ; and a lyric opera starring ursula andress complete with a baroque budapest opera house and hermaphroditic water fairies in a pool of pearl bubbles ( cremaster 5 ) .
cinema and art have circled each other , squared up to each other , over the years , but only occasionally come together , as here , convincingly . at the heart of the cremaster cycle , halfway through cremaster 3 , is a homage to dali and bunuel . we see a horse - and - trap race , gorgeously filmed in the early morning mists of saratoga springs racecourse in new york state . only gradually , close up , do we realise that the horses are putrefying carcasses , zombie horses , like the rotting donkey on top of a piano dragged across the floor by two priests in un chien andalou .
there are rumors of a cremaster cycle boxed set being released by palm pictures ( and a
preview
of the box set , apparently a hoax , was posted on youtube ) but as far as we know there are no plans for a general release of any of the cremaster films . there is a dvd available of the “order” sequence from cremaster 3 , but this is not the entire film . you can find the order dvd at urltoken and other large retailers . from time to time , bootleg versions of barney ' s videos surface , although he and gallerist / producer barbara gladstone have been quick to stop these unauthorized versions ( see coments ) .
hoist
, a short film by barney related to de lama lamina , was released on the destricted dvd . i’ve heard matthew barney’s work described as “film” and as “video” - - which is correct ? the cremaster cycle was all shot on video , but the footage is transferred to 35mm film stock for projection . cremaster 4 was shot on beta sp , cremaster 1 and 5 were shot on digital betacam , cremaster 2 was shot on hdtv , and cremaster 3 was shot on 24p hdtv , a format that records video at 24 frames per second , the same speed that film is shot and projected . what is the “field emblem” ? the field emblem - - a capsule bisected by a horizontal line - - appears in many of matthew barney ' s films . because of its symmetry , it is used as a symbol for a state of equilibrium . at times , a “half field emblem” appears , representing a state where one option has gained dominance . the field emblem can also be read as a symbol of an orifice in both its open ( the capsule ) and closed ( the line ) states .
matthew barney’s epic film series the cremaster cycle pretty much made him a rock star in the art world . the five elaborate feature length films that comprise the work were made between 1994 and 2002 , and named for the muscle that controls the male reproductive system . ( the one that moves the gonads up and down in response to fear or fluctuating temperature . ) rarely are the films shown together , in entirety , but this summer the guggenheim will give cremaster fans a rare chance to test their enduring love for the divisive work with a series of marathon saturday screenings on july 6 , july 11 , august 8 , and september 5 , from 10 a . m . through 7 : 30 p . m .
as for the cremaster cycle itself , i’d never seen it other than in still images . my only engagement with barney’s work has been his great drawing restraint show at the serpentine gallery in london in 2007 ; i just missed his last film river of fundament in australia last year . so i was keen to get my hands dirty in the axle - grease and melted rubber of barney’s automobile obsession – which brings us to the first in the series .
cremaster 3 : the concluding installment of artist matthew barney’s five - part cremaster film cycle is an epic journey that infuses celtic mysticism with 20th century modernism , blockbuster bombast with hermetic aesthetics . shot at two architectural landmarks–new york’s chrysler building and the guggenheim museum–along with locales in ireland , scotland and upstate new york , cremaster 3 follows the entered apprentice ( barney ) as he endures torture and travails in order to ascend each building . peopled by ogres and gangsters , chorus girls and freemasons , barney’s bizarre universe is never less than stunning . features appearances by sculptor richard serra , hardcore bands agnostic front and murphy’s law , and athlete aimee mullins . the film’s running time is 181 minutes . ( usa , 2002 )
cremaster , as everyone remotely interested in barney quickly came to learn , is the name of the muscle that raises or lowers a man ' s testicles in response to temperature . ( the refrigerator in ' ' blind perineum ' ' - - the perineum is the tissue between the anus and the genitals - - was an early allusion to it . ) working out of sequence , barney completed the first ' ' cremaster ' ' film , ' ' cremaster 4 , ' ' in 1995 . next came ' ' cremaster 1 ' ' and ' ' cremaster 5 . ' ' they were wordless , except for increasingly lavish soundtracks by jonathan bepler , a serious young composer from brooklyn whom barney came to rely on . ' ' cremaster 1 ' ' was 40 minutes long ; the others , longer . they were shown on video monitors , along with his sculptures , as part of elaborate installations , or sometimes they were screened by themselves in theaters . barney also sold the films as limited - edition laserdisks , which he elaborately packaged so that they became sculptures .
i reserve my whole judgement until i see the order in its context . until the whole of cremaster is released , avoid this dvd ! i think barney is very cleverly getting people eager to see his cycle by refusing us the luxury of a complete dvd release . however , unless you are desperate to see some of it , don ' t buy this . matthew barney , stop messing around and let honest people see the lot ! !
yes , cremaster 3 had weirdness in spades . the lobby of the chrysler building becoming the site of a violent series of car crashes and then the tower itself turning into a giant maypole ; the woman cutting potatoes up with her shoes ( weird shoes being another strange piece of symbolism throughout the cycle ) ; the final sequence where the irish giant finn maccool chased the scottish giant fingal from ireland , throwing a rock at him which turns into the isle of man , taking us back to the first film , cremaster 4 ; it’s so dense in symbolism that it’s impossible to see whether this is a system in its own right , or just an accretion of myths that make sense to barney alone . or is he just yanking our chains ?
if you have never seen the cremaster films or any of barney ' s other works , this luxurious book may leave you a little bewildered . even if you have seen the films , you may still be a little bewildered , or , at least , dazzled . this is quite the most voluptuous book i have in my collection , from the translucent plastic overlay to the cut - away pages , the whole thing just adds up to an art object , even more than the comprehensive catalogue of the cremaster cycle that it is . the photography is perfect , the colours and reproductions superb and the layout invites you to spend hours looking . the texts at the back and front are very short but informative . i also have several of the individual books which went with the films and exhibitions , but none of them approach this book in oppulence .
very useful book for writing an academic paper on the cremaster cycle that includes a lot of attention to barney ' s autobiographical reasons for why the cycle was created where and how he intended , as well as some lovely full - colour posed photo stills that i have yet to find in online image databases . great supplement to viewing the entirety of the films , but no substitution to seeing the work itself ( as any good film - based work should be ) . i highly recommend this particular piece of documentation to anyone looking for further insight on barney ' s creative process ( or a
sparks notes
for the content of the individual films ) as well as anyone writing on this intense , expansive , and complex work .
i too am looking forward to seeing this get released but suspect it ' s still a way off especially as order : cremaster 3 has just been released on dvd recently so i suspect they will try to get ' mileage ' with this before they release the whole cycle . palm pictures have that that release date listed for months and certainly don ' t update their website that often .
this , the first in barney ' s five - part cremaster cycle of films ( but the second made ; the cycle is not numbered in chronological order ) , blends the choreography of a busby berkeley musical placed in an off - kilter context , and in so doing reminded me of the coen brothers ' movies , with the slow - paced weirdness of early david lynch . none of the cremaster films employ dialogue - - they are essentially visual / aural experiences . this one suffers badly from poor cinematography , on several occasions being just on the edge of going out of focus . of course , that might have been intentional . moreover , the print i viewed was in bad shape even though it was advertised as being
brand new .
if it was , then the master it was made from must be in a sorry state indeed . there is no plot to speak of ; after all , this is an
art
film , so one just has to sit back and enjoy the imagery . how one interprets it is purely subjective , of course , although the overriding emphasis on genitalia and reproduction is impossible to miss . i consider this the weakest film in the cycle , but fortunately it is relatively brief at forty minutes . rating : 5 / 10 .
set in new york city and narrating the construction of the chrysler building , which is itself a character : the host to inner , antagonistic forces at play for access to the process of ( spiritual ) transcendence . these forces take form in the struggle between hiram abiff or the architect ( played by richard serra ) , and the entered apprentice ( played by barney ) , who are both working on the building while reenacting scenes from masonic mythology . the film pauses midway for a choric interlude which rehearses the initiation rites of the masonic fraternity through allegorical representations of the five - part cremaster cycle , all staged in the guggenheim museum . features aimee mullins as the entered novitiate . ( 182 min . )
the troubling thing is that the cremaster cycle ' s layers of myth don ' t add up . they are mutually contradictory . you could ( if you were mad enough ) follow each line of thought and produce a single reading of the series of films and accompanying sculptures and photographs , but that is beside the point . barney ' s aesthetic is one of overload . there are simply too many images , too many ransackings of history and religion , to digest .
this is possibly the biggest book you ' ll ever own , i ' m talking bigger than yellow pages . for that reason it was delivered to my door in a bright green sack . i found this only added to the whole cremaster experience . if you ' ve seen the films this is a must ; but would probably be lost on anyone who hasn ' t . it is the largest art work i have ever seen and it ' s influence on me just goes on . barney is great ! the book is a work in it ' s self , printed so beautifully it takes you right back to the awe and wonder . buy it ! worship matthew barney and tremble before the glory of the cremaster cycle .
only the last section of cremaster 3 . . . from the busby berkeley dancing lambs of the first degree to the fifth degree and richard serra ' s re - enactment of his lead flinging work using warm vaseline you will not have seen anything quite like this . even as a part of the cremaster cycle it is a revelation - except that i may never understand what it reveals exactly . the image of the ' the order ' or entered apprentice ( somehow having been transformed from the first entered apprentice having his teeth smashed out with an ornamental horses bit at the race track / in the chrysler building and the teeth being transformed through his disemboweled rectum ) standing on the podium with an altered ' bear skin ' hat and a face stuffed full of linen towel ( or apron ? ) will haunt me forever . it is an image fest so saturated in barneys mythology that it should be nauseating - but it just isn ' t . maybe i ' m giving too much away ? a box set of the whole cycle ? god , lets hope not . their limited availability serves to keep them unique .
it’s fair to say that for two decades now the american performance artist , film maker and sculptor matthew barney has been one of the most influential artists in the world . his global reputation really started in 1994 with the first of five films in his cremaster cycle , an imaginative tour de force in which a cast of characters that included a tap dancing faun with floppy ears , more than one professional dominatrix , harry houdini and a notorious murderer , acted out the biological process by which sexual differentiation takes place in the human embryo .
the cremaster cycle is somewhere in between a traditional film and an art installation . it isn’t too easy divining a plot , but each entry offers a great deal of “business” to follow , usually oddly dressed characters trying to accomplish some sort of strange task . this can range from chopping up a room full of raw potatoes with bladed shoes to a kit of pigeons bringing a man’s penis to erection with ribbons .
i don ' t think they ' re testing the waters . i could be wrong but i believe the deal to release the order was in place with lion ' s gate before palm announced they were releasing the whole cycle . since palm is also the theatrical distributor , and the theatrical release was very successful and extended through the winter , they ' re probably holding off releasing the dvds until it ' s out of theaters .
alex : the cremaster cycle is named after the muscle that controls the height of the testicles ; i’m sure every man has noticed its operation when swimming in a cold sea ( or less pleasantly , getting socked in the balls ) . according to the sheet we got at the screening , the numbers of the films correspond to “the height of the gonads during the embryonic process of sexual differentiation” – one is the least descended , five the most . this was number four and it was a pretty male experience – all that racing around the isle of man ( the name probably significant too ) ; the closeups on leather - clad crotches and burly fairies . the film opened with barney , playing the satyr with prothetic ears and nose , carefully combing fire - engine red hair over some raised , rather anus - like protuberances , before crashing through a hole in the pier and into the sea – where he kept tapdancing on the sea bed .
ok , it ' s weird . but the cremaster cycle is much more than a pose or a series of eye - popping images . it is beautiful , disturbing , of our time , aspiring to be eternal , sensually in love with the textures of modernity - plastics , synthetics , nylon - yet longing for the ancient mythic resonance of honey , beeswax , salt and ice . it is cinema , sculpture and performance , and it is a significant work of art .
parts of ' ' cremaster 2 ' ' are laugh - out - loud silly , intentionally or not , but mostly the film is dark , the colors dense , the images kaleidoscopic and solemn - - beginning with an image of a saddle , which segues into a frozen landscape that mirrors the saddle ' s form , later becoming the film ' s best special effect : a recreation , with choir , of the mormon tabernacle . if you ' ve seen a few other barney films , you begin to spot familiar images - - the women on horseback at the salt arena echo the dancers in ' ' cremaster 1 ' ' ; the inside of gilmore ' s car is like the tunnel in ' ' cremaster 4 ' ' - - and these recurrent motifs create an incantatory effect .
he cremaster cycle by matthew barney is the first truly great piece of cinema to be made in a fine art context since dali and bunuel filmed un chien andalou in 1929 . it is one of the most imaginative and brilliant achievements in the history of avant - garde cinema . it really is avant - garde , with scarcely any dialogue and a tottering megastructure of myth and symbol , from mormonism to masonic ritual to celtic legend . but it ' s not like those artists ' films you sit through because you should , nor is it is only fun when projected as a zany installation . the five films - particularly the most recent , cremaster 2 and 3 - are in a class and a universe of their own . as norman mailer , who appears in cremaster 2 , said after seeing it :
i enjoyed it . how could you not enjoy it ?
as noted above , it is a common observation that the freedom of the human is what makes it human . in cremaster 2 , barney has , however , employed the figures of the convict , the escape artist , and some memorably ”non - animal” animals to complicate the ways in which we tend to employ captivity as framework when imagining the in - and non - human . if we were to understand , as i will suggest , houdini’s last words in cremaster 2 as a poetological mission statement for barney , we might say that cremaster 2 is an experiment in altering the common conceptions about the human’s humanity in much the same way as houdini treats his captivity . for barney , houdini and his escape artistry are then not merely a way of showing that human life always entails both limitations and attempts at escaping those limitations . houdini’s role in cremaster 2 is also to make visible how we continuously produce the human , the inhuman , and the animal , in an on - going negotiation of confinement and freedom .
alex : i thought the rubber thing emerging from barney’s backside was his prolapsed guts after the evil freemasons forced the compacted chrysler imperial ( which in turn carried the corpse of gary gilmore , now turned into a woman ) into his mouth as he sat half - naked in a dentist’s chair ? fortunately the goo from his intestines became a strange sausage - shaped life force which allowed him to get up and progress to the next stage of the cycle – the climb up the balconies of the guggenheim in his guise of the entered apprentice .
i have had a quick surf to find out barney ' s reasons for releasing this extract , but have not yet found the answer . i unfortunately missed screenings of the entire cycle ( twice ! ) and would still love to watch it in its entirety . all i have to say about the order is . . .
art is supposed to stick in your mind , and sometimes your craw . barney ' s films do both . in the end , the ' ' cremaster ' ' cycle can be seen as an allegory of the creative process itself , with sexual identity as a metaphor within it , but not the only metaphor . ' ' i ' ve begun to see the five parts differently , ' ' barney says at the end of our conversations , in his office at the studio , surrounded by plans for the next ' ' cremaster . ' ' ' ' i ' ve begun to see them in terms of having an idea in ' 1 , ' rejecting it in ' 2 , ' experiencing a kind of narcissistic interlude in ' 3 , ' panicking in ' 4 ' and resolving the idea in ' 5 , ' which ultimately kills the thing .
but i came to think that barney , the actor , is only what you see on screen ; he is not necessarily the subject of his work , a distinction worth making with someone for whom the body is a flexible metaphor . in fact , ' ' cremaster 2 ' ' doesn ' t really have much to do with gender or sexual identity in the end . if it is at all autobiographical , it is in a different sense . the west is represented by the isolation and insularity of the mormon hive . barney , the boy from boise , left the west for new york and a life as an artist . he once described boise to me as ' ' a valley full of pressure , the pressure of that wall of mountains combined with the great distances between places : it was something to overcome . ' ' ' ' cremaster 3 , ' ' the next and last film to be completed in the cycle , will take place in manhattan .
okay , i just got my hands on the order dvd and i have to say it ' s pretty neat . it ' s really modeled after the exhibit shown in the guggenheim . it has the option of viewing this section of the movie as it appears in cremaster 3 or viewing the individual degrees separately as displayed in the guggenheim installation . i have to say , it ' s really really cool , but now i want the cycle on dvd more than ever . i was this close to getting it on bootleg when i heard there would be a legit version coming out . please . . if anyone here knows anything about the release of this box set , share .
' ' cremaster 2 , ' ' his first feature on high - definition television , transferred to 35 - millimeter film , at 79 minutes , is by far his most extensive undertaking . peter strietmann , his cameraman , told me that he shot 17 minutes of tape for every minute used , a ratio far beyond barney ' s previous norm . ( the ratio for ' ' cremaster 4 ' ' was 1 to 1 ; for ' ' cremaster 5 , ' ' 7 to 1 . ) big - budget hollywood movies average 12 to 1 . barney can afford to be extravagant because his operation is otherwise extraordinarily lean . the total cost of ' ' cremaster 2 , ' ' a ravishing and extremely peculiar picture , was $ 1 . 7 million .
de lama lâmina premiere ! by invitation of the local afro - brazilian carnival club cortejo afro , artist matthew barney and musician arto lindsay paraded with their own trio - elétrico on the night of february 22 , 2004 as part of the carnaval de salvador da bahia , brazil . providing barney a self - described “detox” after the highly controlled world of the cremaster cycle , the musical trio , entitled de lama lâmina ( “of mud a blade” ) , integrated the cortejo afro percussion group with hundreds of dancers as well as guest percussionists and carnival singers and paraded along the beach circuit near the old center of town . the work was staged as a performance , but scripted and filmed for later exhibition . the film’s running time is 55 minutes .
click safari in the menu bar at the top of the screen , then preferences .
architectural metaphor is also an important element of “cremaster 3” , the last of the cycle to be shot . the longest—at nearly three hours—and most accomplished of the five films , it takes place mainly in new york ' s chrysler building and the guggenheim museum itself . at one point , five 1967 chrysler imperials encircle a 1930 model of the same car in the chrysler building ' s lobby , then drive into and smash the older model to pieces , the lobby filling with smoke from their squealing tyres . meanwhile , mr barney , as a character known as the entered apprentice , climbs into the building ' s lift shaft and fills one lift , bucket by bucket , with cement , creating an ashlar—a masonic symbol of perfection— that eventually causes the lift to plummet to the bottom of the shaft . for this betrayal of the masonic code , the entered apprentice is fitted with a set of metal dentures retrieved from the remains of the destroyed chrysler imperial .
i asked him one afternoon an obvious question , whether the ' ' cremaster ' ' series is on some level about his own sexuality . ' ' sure , it has to do with my own identity , ' ' he answered . he uses a particular medical analogy : in utero , there ' s a period when a person ' s sex is still indeterminate , the fetus seeming to have the potential to be either sex , before the testes have descended or the ovaries settled . plenty of images in his films and many of his sculptures imply body parts that relate to this theme - - the goal posts on the football field in ' ' cremaster 1 ' ' are schematic versions of the still - undifferentiated reproductive system ; motorcyclists on the isle of man in ' ' cremaster 4 ' ' trace ascending and descending paths . ' ' cremaster 5 ' ' ends with a scene in which barney ' s character ' s testicles descend into a pool of water .
the tableaux were created for “river of fundament , ” a movie almost six hours long that is the most ambitious undertaking by mr . barney since the “cremaster” cycle , the symbol - saturated films made beginning in the mid - 1990s that established him as one of the most important artists of his generation . as with those films and much of his work since the early days of his career , the new film functions on its own but also as a dynamo for spawning , shaping and superimposing meaning onto a body of sculpture . that body , about 85 works and more than seven years in the making , is on display for the first time in the united states , at the museum of contemporary art in los angeles . the exhibition opened sept . 13 and is to be the only american stop for the work , shown first in munich and hobart , tasmania .
first , this is fantastic news ! i will be counting down the days to see it on the big - screen . . second , i guess he would rather people enjoy the fuzzy , low - quality bootlegs of
the cremaster cycle
( which are now easily attainable ) , rather than release them in all their true glory , with great sound and visuals on dvd ? ugh . c ' mon , mr . barney ! hell , they ' re even up on youtube right now ! okay , i ' m done ranting . : )
the five “cremaster” films that form the core of the guggenheim exhibition take their name from the testicular muscle that responds to temperature , external stimuli or fear . the erotic and the athletic have always come together in mr barney ' s universe , though his explorations of it are now bigger , better financed and more elaborate than they were a decade ago .
matthew barney is perhaps the most brilliant artist of our time and yet also the most elusive . this comprehensive catalogue of the cremaster cycle , his stunningly ambitious and multi - faceted narrative based on the descent of the gonad cells , tries to explain clearly both the narrative itself ( nancy spector ) and provide a glossary ( nevill wakefield ) on the diverse symbolism in the works from tt bike racing and tap dancing to freemasonry and hard - edge punk rock . a treat is to see barney ' s working sketches , story cards and polaroids which belie the obscurism he is often accused of . this is a wonderful , rich and accessibile catalogue for admirers of barney and anyone interested in real contemporary art .
in 1995 , when the new york times first reviewed of one of artist matthew barney’s cremaster cycle films , his indulgent and elaborate five - part film epic , critic michael kimmelman asked , “what’s the idea ? who knows for certain , besides mr . barney ? maybe if you squint hard enough , you can read into the film some abstract fertility ritual… it’s frustrating and prolix , but also alarming and amusing . it has an elaborate and opaque symbolism , involving ancient myths… which mr . barney has adapted to his own mysterious purposes . ”
it’s a shame that there’s no easy way to see certain parts of the cycle again , as i’d definitely like to return to some of the films one day – particularly 3 , the centrepiece . i guess the fact that it’s a massive , slightly macho labour is part of the concept though – lots of the work it about the will to power and the clash between nature and society – or in our case , falling asleep or leaving to go out in the sunshine versus wrapping your head around a nine - hour art film .