#A. Shaji George

[rubyliquor]

[mofartumb]

Sinopsis Lengkap Film The Great Father (2017)

Seorang pengusaha yang berusaha keras menjadi ayah yang baik bagi putrinya bertemu dengan polisi jahat. Detail Info Judul Film : The Great Father (2017) Rilis : 30 Maret 2017 Negara : India Bahasa : Hindi Sutradara : Haneef Adeni Produser : Santosh Sivan, Arya, Prithviraj Sukumaran Pemeran : Mammootty, Sneha, Arya, Shaam, Anikha, Malavika Mohanan, Kalabhavan Shajon, Miya George, Santosh…

[prwizard]

India Social Impact Awards 2022 : Meet the Winners of 2022

Hypedge Media again came up with INDIA SOCIAL IMPACT AWARDS for their 2022 edition. Hypedge Media took the opportunity to take the initiative to acknowledge the work of leading social workers and changemakers from across the nation working selflessly to serve and support the people who are socially excluded and have crisis of life resources. The disparity is as prominent that it is hard to push benefits up to the common man's level but despite all challenges, these people have done a commendable job and for that, today hypedge media has taken this initiative to recognize social workers, social activists, humanitarians, philanthropists, human rights activists, and others amongst the masses and honor them for their contributions to society.

 Here is the List of the Winner of the 2022 edition of the India Social Impact Awards by Hypedge Media :

 Ajay Sahay

Anant Vijay Dhole

Gajendra Reddy A

Dr. Krishna Singh Arya

Dr Prashant Sopanrao Telgad

Shiv Arora

Yogesh Ramchandra Pathare

Giftson Jose

Dr Sayantani Bhattacharjee

BILAL AHMAD BHAT

Vivek Nathwani

Tanuj Agarwal

Elvis Lalthangzuala

Divesh Naresh Pashte

Dr Mohammad Rafiuddin Nayyar

Dr. Shivappa D

Dr RANJAN YADAV

Prof. (Dr) Rakesh Kumar Verma

Robert Yesudeep Sandhu

NAUPADA SATYANARAYANA

Sharique Raza Shaikh

Prerrit Mansingh

Abhay Pratap Singh

MANOJA KUMAR LENKA

Debi Das

RABINDRA KUMAR SAHOO

Aeloori Abhilash

B. K. Mallik

Elangbam Ratankumar Singh

Mohammad Sohaib

Dr. Susanta Kumar Nayak

Jagneshwar Panda

Mahesh Sitaram Dhannawat

Anthonimuthu Jayaprakash

Ramesh Kulandaivel

Dr. Jayanta Das

Syed Abbas Razvi

Manoj Dnyaneshwar Dhumal

Mohammed Naved Shaikh

Dr. Uday Kiran Barthy

Dr Trinanjan Basu

Er Avadhuth M

Dr. George Panicker

Dr Kelli Chinnababu

Vinod Divakaran

Dr. Anushka Pillai

B. Kokila

Umakanta Patro

SUNIL SAMBATH KUMAR

R. SANTHOSH KUMAR

Saurabh Kumar Agarwal

Dr Pradeep G Jyrwa

Tashi Norbu Lachungpa

Vipul Joshi

Dr Dhruv Raj Godara

Dr Mustafa Murtuza

Zobia Khan

Nagaraju M tagaduru

Anup Kumar Gupta

Wilson Louis

Dr. Smit Ramesh Lende

K. U. SHAJI SHARMA

Pravin B. Gathe

Dr. Manmohan Bagh

Rakhi Kapoor

Shyam Sekar S

PANDIT ACHARYA MITHUN SHASTRI

Dr. Thejo Kumari Amudala

Prof. Saraswati Raju Iyer

Tejaswini Hiremath

Juthada Venkata Siva Bhaskar

Dr G. Anilkumar

Prashant Dhore Patil

Dr Atul Mathur

Subhash Rani

Mihir Bhatt

Vinodh Kumar A M

Vicky Nutanprakash Gupta

Dr. Moon Rudrapal

[discover-kerala]

Rorschach Official Trailer | Mammootty | Nisam Basheer 

Rorschach Official Trailer | Mammootty | Nisam Basheer #Rorschach #Mammootty #MammoottyKampany

Rorschach is an upcoming new movie directed by Nisam Basheer and Written by Sameer Abdul, Starring Mammootty in the lead role Rorschach Movie Team Direction : Nisam BasheerProduction :MammoottyKampanyScript : Sameer AbdulDOP : Nimish RaviProject Designer : Badusha N.MEditing : Kiran DasMusic : Midhun MukundanArt Director :- Shajie NaduvilMakeup : Ronex Xavier ,S. George (Mammootty)Costumes :…

[net4news]

50 years of Mammootty: Why the superstar shows no signs of slowing down

The popular Malayalam actor’s career reflects the importance of being earnest, as he continues to work hard and evolve, even after 50 years in the industry

Fifty years of shining bright on the silver screen has not dimmed the lustre of Mammootty, aka Muhammad Kutty Panaparambil Ismail. On August 6, 1971, Mammootty, then a lanky student of Maharaja’s College in Kochi, made his debut as an actor in a blink-and-miss appearance in film director KG Sethumadhavan’s Anubhavangal Paalichakal. Mammootty reappeared on the screen in 1980 in a small role in Vilkkanundu Swapnangal (Dreams for Sale), written by MT Vasudevan Nair and directed by Azad. Also Read | Get ‘First Day First Show’, our weekly newsletter from the world of cinema, in your inbox. You can subscribe for free here It was the late IV Sasi’s movies, many written by T Damodaran and MT Vasudevan Nair, that catapulted Mammootty into a superstar. Seema, Sasi’s wife, who acted with Mammootty in several blockbusters, recalls meeting him on the set of Sphodanam in 1981. “I liked his confidence and wondered who he was. I was told he was a newcomer called Mammootty. I went across and met him and told him that I liked the way he carried himself,” she says.

MT Vasudevan Nair and Mammootty   | Photo Credit: Ragesh K She recalls complimenting her husband for casting him in Trishna (1981). Seema and Mammootty worked in classics such as Anubandham, Aaalkoottathil Thaniye, Adiyozhukkukal, Aksharangal etc. all scripted by Jnanapith winner MT Vasudevan Nair. “Recently, I saw One, his latest release. I called up Sulu, Mammootty’s wife, and told her how much I enjoyed the film. Sulu continues to be a good friend and we keep in touch,” says Seema. One of Mammotty’s early characters to get noticed was that of police officer named Jacob Eraly in KG George’s masterpiece Yavanika. Jalaja, who played the lead in the film, talks about a serious actor who used to drive down from Kochi every day to the sets of Yavanika in Thiruvananthapuram as he was shooting simultaneously for two films. “Most of Mammootty’s scenes were in the night where he was shown questioning the suspects. His dedication towards his work was evident. Even then he was getting a number of roles.” In the meantime, Mammootty and director Joshiy struck a golden partnership that produced many of his mega hits, beginning with Aarathri (1983) and films that covered different genres such as New Delhi, Nirakootu, Shyama, Nair Saab, No.20 Madras Mail and Kuttettan.

When the actor was at his busiest, he got a call from auteur Adoor Gopalakrishnan for Anantharam (1987). “It was not the lead and I told him that. But it hardly mattered to him. He came up with a superb act. Then he played the lead in Mathilukal (written by Vaikom Mohammed Basher), for which he won his first National award for Best Actor (along with Hariharan’s Oru Vadakkan Veeragatha). He told me that he considered himself fortunate to play the role of Basheer while the writer was still there,” says Adoor. Vidheyan, the third film that Adoor and Mammootty teamed up, bagged the actor his second National award for Best Actor. “It was an anti-hero role. As soon as I called Mammootty, he said ‘yes’. He asked if he could read the screenplay. Mammootty is the only actor in my films who has read a screenplay of mine before the film began. The film required him to cut his hair short. I was right there to ensure that his hair was cropped almost to his scalp,” says Adoor. Praising his discipline, Adoor says the halo of a ‘star’ was nowhere visible when Mammootty faced the camera. “Even at his peak as a superstar, here was an actor who was keen on doing offbeat films and enjoyed pushing himself to breathe life into his role,” adds the auteur.

Like nobody

During the Eighties and Nineties, Mammootty worked in several back-to-back films under the helmsmanship of PG Viswambharan, J Sasikumar, Padmarajan, Lohitadas and so on. Mammootty has also worked with Bharathan, KG George, Sibi Malayil, Shaji N Karun, Lohitadas and Shyamaprasad with equal felicity. He also went on to act in Tamil, Telugu, Kannada, Hindi and an English film on Dr Ambedkar. Mammootty’s family dramas, a favourite of his fans, saw him personify patriarchal family values that came to be identified with several of his characters in films such as Vatsalyam, Arayannegalude Veedu, Valyettan, Chronic Bachelor and scores of similar films. Film director Ranjith, another filmmaker who gave Mammootty some of his memorable roles in the recent past, says the veteran is someone who never lets seniority stand in the way of making a good film. Pranchiyettan & The Saint, Paleri Manikyam: Oru Pathirakolapathakathinte Katha, Puthen Panam and more were some of the duo’s films that worked at the box office. “Mammootty has this talent to speak different dialects in Malayalam and I doubt if there is anyone in the industry who has done so many with such perfection,” says Ranjith. He recounts fondly how the actor worked without any remuneration in Kaiyoppu because he liked the character and how Mammootty told him he would co-produce Pranchiyettan... when Ranjith told him he was producing the film under his banner.

Mammootty's click of Adoor Gopalakrishnan with his favourite cinematographer Mankada Ravi Varma on the sets of ‘Mathilukal’   | Photo Credit: Special arrangement Ranjith believes Mammootty is that rare actor who is willing to work with people who think out of the box. He has no qualms in reaching out to anyone, who he hears, is doing an interesting film. “In fact, he notices the crew on the set and the minute he sees someone with promise, he asks them when they plan to write or direct and to keep in touch with him,” says Ranjith. Lal Jose (Oru Maravathoor Kanavu), Lohitadas (Bhoothakkannadi), Anwar Rashid (Rajamanikyam), Aashiq Abu (Daddy Cool), Blessy (Kazhcha), Amal Neerad (Big B) and Martin Prakkat (Best Actor) are among those who turned directors with a Mammootty film. “It was Mammookka who made me a director. I was the cinematographer of Ranjith’s Mammootty-starrer Black and was set to return to Mumbai where I was working. Once the film was over, out of the blue, Mammookka told me to call him when I have a project to direct,” says Amal, whose first film with him was Big B.

The way forward

Bheeshmaparvam, Mammootty’s new film for release, is also directed by Amal and Big B is scheduled to have a sequel. Amal says although Big B was panned initially, it became a cult classic among a new generation of film-goers. “Unlike previous films of the actor, there was almost no melodramatic speeches. His role was that of a cold man who spoke few words and he did it so well,” adds Amal.

Showing no signs of slowing down, Mammootty is busy listening to scripts and working. A strict diet and a fitness regimen have ensured that the 69-year-old actor looks younger than many of his juniors in the industry. The tech-crazy actor has always kept himself abreast of technology in cinema. A keen photographer, Adoor has talked about his excellent photographic skills. Also well known is his craze for automobiles of which he has a huge collection. As 2021 confines cinema largely to OTT platforms, Mammootty has been waiting in the wings for reopening of theatres to enliven the big screen again with his characters. Source link Read the full article

[dailykhaleej]

Brash police, slippage in flood relief dent Kerala COVID-19 efforts

Individuals stand in a queue as they wait for his or her flip to get the meals packet which is being distributed by volunteers in the course of the lockdown in Kochi on Tuesday. Picture Credit score: ANI

Thiruvananthapuram: Kerala’s competent dealing with of the coronavirus outbreak has caught the eye of India’s federal authorities and received reward from as distant because the Washington Submit, however slippages on a number of fronts at residence are denting the state’s good governance picture.

Police high-handedness in opposition to the frequent man on a number of events has caught the federal government in a bind, and questions are being raised in regards to the inordinate delay in utilising funds garnered for the 2018 and 2019 floods in the state.

Moreover, the Congress-led opposition is questioning the rationale behind allowing US-based firm, Sprinklr to gather information from folks susceptible to coronavirus and retailer it in the agency’s servers in the US.

Brash police

Final month, when an Indian Police Service officer Yatish Chandra made just a few individuals who violated the lockdown to do sit-ups in public, chief minister Pinarayi Vijayan himself had condemned the incident, saying it “went against the image of the state”.

However comparable incidents have cropped as much as the consternation of the chief minister who handles the house portfolio.

A person carried his ailing father in Punalur on Thursday and walked near one-kilometre after the autorickshaw he dropped at take his father again from the hospital was allegedly stopped by police, attributable to coronavirus lockdown tips. Picture Credit score: ANI

On Wednesday, police in Punalur in the south of the state had been accused of stopping an autorickshaw driver Roymon George to drive as much as the native hospital to take residence his 88-year-old father P.G. George who was discharged from the hospital. Within the scorching summer season solar, Roymon then carried his father almost half a kilometre to the automobile, accompanied by his mom Leelamma.

In one other incident in Punalur, a younger couple, Punnala Biju and Viji who had been taking their four-month-old little one with respiratory problem to hospital, had their automobile diverted to the police station. The couple alleged they had been made to attend for six hours earlier than the automobile was launched.

The high-handedness of the police comes at a time when the state police pressure is endeavor numerous good initiatives to implement the lockdown in the state.

Questions on flood relief

Indian Union Muslim League MLA Okay.M. Shaji accused the state authorities of delay in utilising funds obtained for flood relief, and in addition diversion of the quantity.

Shaji stated the Chief Minister’s Catastrophe Relief Fund (CMDRF) had obtained Rs 80 billion (Dh3.eight billion) for rapid relief and that a lot of the fund had but to be utilised whereas individuals who had been patiently awaiting succour had been committing suicide.

“The public contributed to the CMDRF not to reimburse the fees of advocates appearing for the chief minister’s partymen facing trial in murder cases”, Shaji stated.

IUML parliamentarian P.Okay. Kunhalikutty stated “just because the government is presently handling a pandemic, it should not think that no criticism should be directed at it”.

Row over Sprinklr deal

Opposition chief Ramesh Chennithala accused the chief minister of facilitating US-based agency Sprinklr to take advantage of private well being info of 1000’s of Keralites for revenue.

The chief minister had stated that the agency had been employed on a no-cost-to-government foundation, however Chennithala stated the worth of the well being information of almost 175,000 Keralites was price Rs 2 billion and when the corporate’s task was accomplished, it will profit from information price Rs 7 billion.

The Opposition chief’s allegation is that Vijayan used his affect to allow the deal which supplies pecuniary benefit to Sprinklr, and that the deal lacked any clause to guard the well being information of residents.

The chief minister dismissed the allegation as “false”, and advised the media that the IT division would supply particulars on the settlement.

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[sidhikallanoor-blog]

മാറ്റി നിർത്താൻ നിങ്ങൾക്ക് കഴിഞ്ഞേക്കാം... ഹൃദയത്തിൽനിന്ന് പറിച്ചെടുക്കാൻ നിങ്ങൾക്ക് കഴിയുന്നില്ലല്ലോ... ആഴത്തിൽ ഉറച്ചുപോയി ഈ ഓർമ്മയുടെ വേരുകൾ..! @Jisha Shaji George #Hardworkers_of_KSU https://www.instagram.com/p/Bwuk_YFAPnN/?utm_source=ig_tumblr_share&igshid=13p94u1ii5lr9

[amongxylophonesandglockenspiels]

Bollywood Movies Part CXCVIII: The Mollywood Takeover Part XXXIV

When her cousin Julie (Poojitha Menon) is arranged to marry an older man, tom-boy Pooja (Nazriya Nazim) decides she will only marry for love. Not too long after, she meets farmer and Kung-fu teacher Giri (Nivin Pauly) and falls for him. After he initially rejects her, they part ways only to meet again when she is in medical school.

Ohm Shanthi Oshaana is a lovely coming of age story that is quite funny and features romance. It has very low stakes and was a great watch. I loved how it was from Pooja’s perspective and only went into Giri’s once to let us know the pining was mutual. I did like how Pooja changing herself (ostensibly to make herself more attractive to Giri) actually gave her useful skills and knowledge that helped her with other parts of her life. I also really liked Aju Varghese as Pooja’s cousin and Giri’s former friend. Favorite songs are Kattu Mooliyo, Mandaarame, and Sneham Cheram Neram. None of the songs have subtitles,

Mili (Amala Paul) loves her daycare job but lacks self confidence and communications skills. After a series of events leaves her without roommates and jobless, her family becomes worried for her. Nancy (Praveena) helps her get a job running a daycare for her apartment complex and enlists Naveen (Nivin Pauly) to provide Mili with potential friends.

TW for movie: self harm. Mili is a good movie that shows what people really need are support groups. I really liked how the film was all about Mili finding herself and had no romance. Favorite songs are Kanmaniye and Manpaatha. Neither song has subtitles.

After failing college, Umesh (Nivin Pauly) decides to become a film director. After trying to get a job in Chennai, he decides that film is not for him and returns home only to find that the whole town thinks he eloped with Daisy George (Manjima Mohan), who he has a crush on. He then returns to Chennai with his friend Shaji (Aju Varghese) to find Daisy so they can clear up the situation.

Oru Vadakkan Selfie is very silly and a fun watch, even when it turns more to a mystery. It also makes a compelling case for why not to automatically trust strangers you meet on the internet. Vineeth Sreenivasan is also good in his role as private detective Jack Tracker. Favorite songs are Kaikkottum Kandittilla, Chennai Pattanam, and Paarvanavidhuve. None of the songs have subtitles.

[bharatiyamedia-blog]

As Kabir Singh battles brickbats, a have a look at Malayalam cinema's latest subversion of poisonous alpha males- Leisure Information, Firstpost

http://tinyurl.com/yxdlm6xr On this 12 months’s Kumbalangi Nights, one of many primary leads Saji (Soubin Shahir), believing himself chargeable for the surprising loss of life of his good friend, is nearly on the verge of a meltdown when he turns to his little brother—”I believe I’m shedding it. I need assistance. Can you’re taking me to a health care provider?” Within the second that he confides to the Physician and sobs throughout him, we’re witnessing the overhaul of the poisonous masculinity that has been celebrated in Malayalam cinema for ages. The scene concurrently subverts one among its oldest and most profitable tropes—the highly effective, protecting elder brother. In any case, Saji is the eldest in that dysfunctional household of 4 brothers. In the identical movie, his youthful brother (Shane Nigam) proves to be a by-product of poisonous masculinity and will get enraged when he realises that he isn’t entitled to take possession of his girlfriend but. The girlfriend, in the meantime, calls out her misogynist brother-in-law who considers himself the protector and the legislation of the household. “In our household we give ladies affordable freedom” being the fixed chorus. The brother-in-law, Shammi (Fahadh Faasil), the image of an “supreme household man” who can also be casteist, snobbish and misogynist, finally ends up being the psychopathic antagonist within the movie. Kumbalangi Nights, directed by Madhu C Narayanan and written by Syam Pushkaran, not solely succeeds in overthrowing the celebrated alpha male but additionally factors out that in idea he’s the villain of the story. “However I want they hadn’t made him right into a psychopath. He truly represents the typical chauvinistic Malayalee male,” says CS Venkiteswaran, movie academician. A nonetheless from Kumbalangi Nights. Having stated that, the movie nonetheless doesn’t drift away from the bigger narrative in Malayalam cinema — exhibiting ladies as nurturers, about ladies anchoring the boys and providing them objective in life. Agrees movie critic Sreehari Nair, who says Kumbalangi Nights was additionally about “what number of sturdy, gifted, impartial ladies willingly hand over their very own character to grow to be captives of bushy brutes.” “In Kumbalangi, the reactions of these ladies within the Shammi family, the best way they virtually tense up in his presence, how they, by conditioning, cower down earlier than his masculine grandeur, is a actuality in lots of Indian and Malayali households. These reactions, I believe, are as vital to review because the character of Shammi. The reality is that quite a lot of ladies, by placing love earlier than their very own honour, carry slavishness upon themselves. I personally don’t suppose this is a component that wants ‘correction’. It merely is one among our nation’s many poetic insanities,” Nair observes. Malayalam cinema, which has been on a studying curve publish WCC and New Wave, is consciously making an attempt to rephrase the century-old conditioning layered within the basically male-centric narrative. Although Malayalam cinema has not at all times glorified the poisonous male, it can’t be discounted that standard cinema at all times gave credence to him over the feminine voice. There have been the occasional KG George (thought of one of many most interesting filmmakers of all instances) movies (1980s) with advanced women and men who fell from the excessive pedestal of morality, obtained up and continued with their lives with out being judged. Whereas the 1980s had a mix of real looking portrayal and endorsement of the poisonous male hero, it was in the direction of the mid-1990s that it grew out of hand. A lot earlier than Ranji Panicker-Ranjith-Shaji Kailas trio scripted their alpha male icons, Director Balachandra Menon (between 1979-mid 1990s) had created and popularised a story the place the best girl was somebody who bowed to her man and was not able to making large selections in the home. He made positive that every time the standard position play obtained disrupted (or every time a girl spoke towards this male-order), he introduced them again within the patriarchal order, as he believed solely that stabilised the right household. A number of of his movies rallied across the “actual man” syndrome. Maniyan Pillai Athava Maniyan Pillai has a hero who rapes a girl to reveal his masculinity, whereas Prashnam Gurutharam’s protagonist opts for suicide over residing as an impotent man. “Within the 1980s there wasn’t a lot age parity between the hero and the heroine, which helped to carry an equality within the relationship, not like post-2000. Be it Jayabharathi-Soman, Venu Nagavalli-Jalaja or Shobha. However after superstardom, the age hole between the hero and heroine drastically widened, making the creation of alpha males simpler. Now after all, we see the age hole decreasing,” observes CS. Director Padmarajan has depicted poisonous masculinity in a number of of his movies. In Kariyila Kattu Pole, we see a hero (Mammootty) raping a girl to “educate her a lesson” and to point out her “what an actual man” can do. And worse, her trauma is hardly addressed within the movie which opts to digress into the bond between the daddy and youngster. In the meantime, his 1983 movie Koodevide has an entitled misogynistic hero who results in jail for murdering the scholar of his lover. In Thoovanathumpikal, his most celebrated work, the main man, Jayakrishnan is a product of poisonous masculinity, unable to take a woman’s rejection leading to a one-night stand with a name woman. However even there, his fragile male ego makes him responsible of coveting a woman’s virginity as he believes like each patriarchal male that it defines a girl’s existence, prompting him to supply her marriage. Within the late 1990s, when heroines have been being sidelined, alpha males rose in prominence. Director Rajasenan’s standard mainstream movies that includes Jayaram had appalling plotlines woven round middle-class households. In all his celebrated movies, be it Ayalathe Adheham, Meleparambil Aan Veedu or Njangal Santhushtaranu, males steeped in patriarchy mocked, judged or introduced the “drifting ladies” again into the household. In Ayalathe Adheham, the hero is a grouchy sexist who believed that exhibiting affection or flaws earlier than his spouse would make him much less of a person. So, they find yourself demonising the one who overtly made a present about loving his spouse. Whereas Meleparambil Aan Veedu makes an announcement that society considers a girl virtuous as alongside as her unborn youngster is claimed by the daddy. The heroine in Njangal Santhushtaranu is the stereotypical trendy spouse who can’t prepare dinner or be motherly and wears trendy garments. She is named out for not being the standard obedient spouse. However the minute she “realises her errors” she wears a sari and turns into the motherly determine he needed her to be. Sathyan Anthikad made positive his heroines have been the catalyst for his heroes to know their objective in life. As soon as that’s completed, the women go into the standard gender roles. In Priyadarshan’s Mithunam, it’s once more a hero who doesn’t speak in confidence to his spouse concerning his financial points, as he both thinks she is simply too dim-witted to know him, or she would suppose much less of him as a person. Finally, she is pressured to apologise for not empathising along with his silent remedy of her. Lohithadas’s Kanmadam has a hero (Mohanlal) who thinks he can weaken a girl’s (Manju Warrier) defences with a kiss, as he feels that’s all she yearns for. However then she can also be proven as a daring, grumpy girl who’s being pressured to shoulder the accountability of her household within the absence of her brother. The overall thought being sketched is {that a} girl is happiest when a person takes care of the home and she or he performs the spouse and mom. A minimum of the hero’s motion and her response reinstate that idea. Although Malayalam cinema has had comparatively fewer romantic films, the notable ones had stalking (Vandanam, Chithram, Annayum Rasoolum) getting used as mandatory instrument for wooing. Whereas these are largely depictions, the narrative took a disturbing flip by the late 1990s and early-mid 2000 when superstars (Mammootty and Mohanlal) have been crafted as demi-god alpha males and their heroines the place diminished to arm sweet. They adhered extra to hegemonic and hyper masculinity. There was Renji Panicker, who created heroes who at all times judged the “trendy lipstick sporting girl with a thoughts of her personal,” gave them a category on self-discipline, traditions, and household. After which there was writer-director Ranjith who made positive he created ladies who prostrated earlier than their main males and eagerly jumped at their flippant, sexist marriage proposals. In all these narratives, a person’s value is at all times weighed on the paternity scale — “If you’re born of a single father, carry it on,” is the ISI mark of heroism in Malayalam cinema. Dileep movies endorsed misogyny and sexism within the guise of household entertainers, passing off crude humour concentrating on ladies in each movie. As soon as the development of alpha male superstars began to say no (although this 12 months, one of many greatest hits is a celebrity glorification car known as Lucifer), the New Wave set in. That and social media collectively prompted the emergence of girls writers in movie criticism and the formation of WCC. Conversations started on ladies’s illustration and misogyny in older Malayalam movies, leading to extra insightful discussions. Political correctness was thought of as essential to a movie’s acceptability because the story, medium and method. The change is clear in latest instances, when audiences are woke in the direction of misogyny, racism, and casteism being glorified on display screen. A nonetheless from Varathan. The result’s the likes of Varathan and Ishq. In final 12 months’s Amal Neerad directed Varathan, the hero is a metrosexual, the subversion of poisonous masculinity. He’s mild, type, giving, and doesn’t react to conditions like how society perceives a person ought to. He’s additionally susceptible, emotional, and compassionate, traits typically seen as weaknesses in a person. Of their marriage, he makes no fuss about being helpful within the kitchen or in not being the salaried associate. “It’s an fascinating depiction, however his climactic transformation is that of a celebrity’s, which I believe was deliberate,” says CS. Whereas director Anuraj Manohar’s Ishq has a extra advanced layering. It’s a few younger couple who tries to rescue themselves from the clutches of a creep who harasses them within the garb of ethical policing. However as soon as the issues tide over and the vengeance has been extracted, comes the reality concerning the hero. It’s solely when he’s reassured that the villain didn’t contact his girlfriend that he decides to stroll again into her life. He endorses machismo and has all of the particular traits of a poisonous male who thinks his manliness has been mocked and challenged when he couldn’t “shield and defend” his girlfriend. It’s that alone which makes him plot a revenge plan that goes utterly towards his character. However in the long run when that façade falls in entrance of her, it’s heartening to observe her take a stand. Between all that is the baffling indisputable fact that Arjun Reddy, the 2017 Telugu movie which has been remade in Hindi as Kabir Singh (and is at the moment operating in theatres) which in flip has been aggressively slammed by North Indian movie critics for its blunt glorification of poisonous masculinity was effectively acquired in Kerala. Shahid Kapoor in a nonetheless from Kabir Singh. YouTube Most likely we should always simply take coronary heart in the truth that Malayalam cinema and a piece of the discerning viewers has although belatedly acknowledged poisonous masculinity and the dangerous, abusive methods it’s reared its head, the conversations are in full swing. The change may even be effectively on its means. 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[csendespercek]

Azoknak pedig, akik e világban gazdagok, parancsold meg, hogy ne legyenek gőgösek, és ne a bizonytalan gazdagságban reménykedjenek, hanem Istenben, aki megélhetésünkre mindent bőségesen megad nekünk. A gazdagok tegyenek jót, legyenek gazdagok a jó cselekedetekben, adakozzanak szívesen, javaikat osszák meg másokkal, gyűjtsenek maguknak jó alapot a jövendőre, hogy elnyerjék az igazi életet.

1Tim 6,17-19.

GALAMBSZÁRNYAK

Miért is nincs szárnyam, mint a galambnak, hogy elrepülhetnék, és nyugton lehetnék? (Zsolt 55,7)

A főiskolán, ahol tanítok, adtam egy különleges feladatot az elsőéveseknek. Kértem, hogy írjanak egy prózaverset ezzel a témával: "Ha szárnyakat kapnék!" Néhányan azonnal nekiláttak, mások elgondolkodtak. Kis biztatásomra végül mindenki elkészült a kijelölt időre. Ezután büszkén előadták a verseket a többiek előtt. A sok jó alkotás között kiemelkedett Salmaan verse. Így hangzott: "Ó, bár meg lennék áldva két szárnnyal! Elrepülnék velük messzire, hogy szárnya legyek azoknak, akiknek nincs szárnyuk." Azok a sorok még mindig a fülembe csengenek. Ezzel a nemes vízióval Salmaan ma Kerala államban tanít egy általános iskolában. Isten minden nap lehetőségeket ad neki, hogy a szeretet és tudás szárnyait ajándékozza sok kisgyereknek. Isten arra hív minket, hogy teljesen bízzuk rá magunkat, hogy oda tudjunk fordulni mások felé, és a szeretet, ismeret és gyógyulás forrása lehessünk számukra. A zsoltáros kereste, hogyan emelkedhet az élet rémisztő helyzetei fölé, hogy enyhülést találjon Isten jelenlétében. Isten képessé tesz minket, hogy másokhoz oda tudjunk fordulni, és a szeretet, valamint az együttérzés forrásai legyünk számukra.

Imádság: Atyánk, tégy alkalmassá minket, hogy a szeretet szárnyaival el tudjuk érni a szükségben lévőket! Ámen.

Mennyei elhívásunk, hogy mások számára áldás legyünk. Shaji George (Kerala, India)

IMÁDKOZZUNK A TANÁROKÉRT!

[varunnoorolil]

'The Crown of the Church'. A brief history of Archbishop Mar Joseph Powathil, Direction: Raju Abraham | Script: John Paul | Cinematography: Sajan Kalathil | Editing: Deejo P Varghese, Arun Asok | Sound Design: Binil C Amakkadu | Art: Sunil George | Costume: Sunitha Prasanth | Production Controller: Abin Philip | Chief Associate Director: Jijo Joseph | Chief Associate & Second Unit Camera: Varun K Shaji | Associate Directors: Irish Isaac Mathew, Jelbin Sebastian, Abhilash Illikulam | Associate Camera: Jerrin Jeo, Gabriel Mathew Varghese | Assistant Directors: Geo P John, Arun | Colorist: Liju Prabhakar | DI: Rangrays Media Works | Publicity Designs & VFX: Christy Babu Lukose | Boom & Sound Recording: Austin Shaju, Ajay Scaria, Tony Joy | Spot Editing: Jithin Tharakan, Dawn B Johns | Unit: We One (at Changanacherry) https://www.instagram.com/p/Bobt-rnArXW/?utm_source=ig_tumblr_share&igshid=1go3dxh17kveb

[thouzeefm]

Thrissivaperoor Kliptham -Teaser Trailer Reaction / Review - Asif Ali_ Chemban Vinod Jose_ Aparna Balamurali Malayalam Movie Reaction & Review : Teaser Trailer of ' Thrissivaperoor Kliptham ', an upcoming Malayalam movie starring Asif Ali, Chemban Vinod Jose, Aparna Balamurali, Joju George, Baburaj, Tini Tom, Sreejith Ravi, Irshad, among others. Directed by Ratheish Kumar, Written by P.S. Rafeeque, Music by Bijibal, DOP by Swaroop Philip and Edited by Shameer Mohammed. Teaser Trailer edited by Adarsh Ranjith. Produced by Fareed Khan and Shaleel Azeez under the banner of Whitesands Media House Production in association with M Star Satellite Communications Pvt. Ltd. Muzik247 is the official music partner. Sound Design: Renganath Ravee Associate Director: Shynu Chandran Costumes: Sameera Saneesh Make Up: Ronnex Xavier Co-Producer: Ajith Thalappilly - Jayan Moorkanikkara Executive Producer: Sheik Afsal Art: Vinesh Banglan Stills: Anup Chacko Production Coordinator: Shaji Kozhikode Design: Old Monks Motion Poster: Adarsh Ranjith Colour Lab: Vista VFX VFX: Digital Carving Mob Reaction World ☑ ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Instagram : http://ift.tt/2rZIvFS SUBSCRIBE to the channel for new videos daily ✔↗ https://www.youtube.com/mobreactionworld Because It's All Day Every Day Brah... If you have any video suggestions for me to watch and react : - Send me personal messages through INSTAGRAM✔ Instagram : http://ift.tt/2rZIvFS ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Outro Song: Valence - Infinite [NCS Release] Music provided by NoCopyrightSounds. Video Link: https://youtu.be/QHoqD47gQG8 ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Hope you guys enjoyed.... See you soon ... Peace out.... 🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝 Malayalam Film songs | Malayalam Movie songs | Malayalam songs | Malayalam music | Malayalam Cinema | Malayalam Latest songs | Malayalam latest hits | Malayalam Latest songs | Malayalam latest music

[anglican360]

AYF 2017 Central Committee: Director: Rev. Roy David President: Nishad Thomas (Central) Vice President: Josey Jose (Malankara) Gen. Secretary: Bibin G (High Range) Joint Secretary: Maris JC (South Kerala) Lady Secretary: Bijina Babu (Maramon) Treasurer: Johnsy John (Malankara) Director, Communications: Santhosh Perumal (High Range) Director, Central: Rev. Aby Soman Director, Malankara: Rev. Valsan Vattappara Director, Maramon: Rev. Joysy Thundukalam Director, High Range: Rev. George Jacob Director, South Kerala: Sunil Daniel Secretary, Political: Roji David (Malankara) Secretary, Arts Club: Sam Paulose (Maramon) Secretary, Digital Media: Joji Jose (Malankara) Secretary, Sports: Maris JC (South Kerala) Secretary, Education: Johnsy John (Malankara) Secretary, UAE Wing: Jibin P (Malankara) Rep., High Range: Godwin John Rep., Malankara: Rahul Babu Rep., Maramon: Sruthimol Regi Rep., South Kerala: Justin K Rep., Central: Navya Members, High Range: Lijin Salim, Ann Maria, Jijo Paulson, Benjo Baby Members, Malankara: Subin Thomas, Ancy Thomas Members, Maramon: Abhyamol Sabu, Nimisha V Sabu, Anuja Paulose, Elka Maria Elizabeth, Shanymol PC Members, South Kerala: Saju, Jobin J, Betsy Rajan, Daisy Biju Members, Central: Feba Sunil, Megha Varghese, Varsha Shaji, Aswathy Aneesh, Tessy Thomas In addition, all Bhadrasana AYF President, Vice President and General Secretaries will be ex-officio members of AYF CC. And High Range Internal Director Cor Episcopa Rev. John Kuriakose and Lucy Matha Center Director Rev. Benny Ulahannan will be permanent invitees in the AYF CC.

[thouzeefm]

Thrissivaperoor Kliptham -Teaser Trailer Reaction / Review - Asif Ali_ Chemban Vinod Jose_ Aparna Balamurali Malayalam Movie Reaction & Review : Teaser Trailer of ' Thrissivaperoor Kliptham ', an upcoming Malayalam movie starring Asif Ali, Chemban Vinod Jose, Aparna Balamurali, Joju George, Baburaj, Tini Tom, Sreejith Ravi, Irshad, among others. Directed by Ratheish Kumar, Written by P.S. Rafeeque, Music by Bijibal, DOP by Swaroop Philip and Edited by Shameer Mohammed. Teaser Trailer edited by Adarsh Ranjith. Produced by Fareed Khan and Shaleel Azeez under the banner of Whitesands Media House Production in association with M Star Satellite Communications Pvt. Ltd. Muzik247 is the official music partner. Sound Design: Renganath Ravee Associate Director: Shynu Chandran Costumes: Sameera Saneesh Make Up: Ronnex Xavier Co-Producer: Ajith Thalappilly - Jayan Moorkanikkara Executive Producer: Sheik Afsal Art: Vinesh Banglan Stills: Anup Chacko Production Coordinator: Shaji Kozhikode Design: Old Monks Motion Poster: Adarsh Ranjith Colour Lab: Vista VFX VFX: Digital Carving Mob Reaction World ☑ ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Instagram : http://ift.tt/2rZIvFS SUBSCRIBE to the channel for new videos daily ✔↗ https://www.youtube.com/mobreactionworld Because It's All Day Every Day Brah... If you have any video suggestions for me to watch and react : - Send me personal messages through INSTAGRAM✔ Instagram : http://ift.tt/2rZIvFS ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Outro Song: Valence - Infinite [NCS Release] Music provided by NoCopyrightSounds. Video Link: https://youtu.be/QHoqD47gQG8 ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪ Hope you guys enjoyed.... See you soon ... Peace out.... 🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝🔝 Malayalam Film songs | Malayalam Movie songs | Malayalam songs | Malayalam music | Malayalam Cinema | Malayalam Latest songs | Malayalam latest hits | Malayalam Latest songs | Malayalam latest music