#Best Malayalam movies

[postoastmedia]

Best Malayalam Movies

[loveinthetimeofcoolers]

oh man premalu was soooo funny. and no wonder it's a hit, since malayalee people's all time favorite genre is goofy guy who says funny things

damn you really can't replace being charming can you. naslen gafooooorrrrr

[hitallmovies0]

Manjummel Boys (2024)

[cinearticles]

Chiththa and Kannur Squad: Disney+ Hotstar’s New Crime Thrillers in Tamil and Malayalam

Disney+ Hotstar, the leading streaming platform in India, has released two new movies this week, Chiththa and Kannur Squad, in Tamil and Malayalam languages respectively. Both the movies are crime thrillers that have received positive reviews from critics and audiences alike. Chiththa, directed by S. U. Arun Kumar and produced by Siddharth, who also stars in the lead role, is based on the…

[monicascot]

Nenjodu Cherthu | My First Song In Malayalam | Covered by Karthik Mohan

I'm a bit nervous about doing my first song in Malayalam! Here's my rendition of Nenjodu Cherthu from the movie Yuvvh. It's one of those songs that hits you the minute you listen to it. It's one of my favorite songs!! Hope you like this version. Watch Karthik Mohan's soulful cover of the beautiful Malayalam song "Nenjodu Cherthu." This rendition showcases his heartfelt emotions and musical talent as he brings his unique style to this beloved track. Relax, and let the soothing melodies transport you to a world of love and nostalgia.

[zevaliantconnoisseur]

Yes, hands down.

To the Bangaloreans of tumblr who are Keralites, do you think Bangalore days is the best Malayalam movie that is made about Bangalore?

[ririsasy]

As a rule, i generally separate the actors from the characters but your posts regarding the salaar interview with rajamouli had me so intrigued that i watched it!!!

I was dead when Prabhas was waxing poetic about how great a director Prithvi is to SS fucking Rajamouli and Prashanth i created KGF Neel. Like those 2 are THE most respected directors you could find in India rn and Prabhas is saying to THESE 2 LEGENDS that my buddy here, the director of Lucifer and Bro Daddy is awesome and he rocks 😂😂

Prabhas brought up the fact that Prithvi is a director like twice in this interview lol and yes I think Prabhas really was impressed with Prithvi work in Lucifer and I have watched the movie myself before even knowing who Prithviraj was and I was also amazed by the movie, (I personally watched it for Mohanlal lol) and the movie genuinely feel like it was made by a seasoned director instead of a directorial debut! and I didn’t even know that malayalam industry wasn’t really favored with action genre but Prithviraj made it seemed like they have been doing it like the rest of indian cinema. No wonder Prabhas didn’t want Prithviraj to discredit his achievement as a director because Lucifer really broke all the malayalam movie industry record when it came out, and it was his first time directing! So he deserved to be reminded and praised alongside the living legends like Rajamouli and Prashanth themselves.

It’s so funny because the entire interaction was just like “How dare prithviraj disrespect prithviraj in a presence of Prithviraj best defender, Prabhas himself😂 “

Prabhas is really the kind of dude who didn’t feel threatened by your success but he would be there alongside you to cheer you up on your achievements! He’s so goofy lol because these were like the small glimpse of what he actually keeps praising Prithvi about in this interview! And there were so many more! Prabhas is so generous with his praises! He will make sure you know your own value and will be there to remind you if you even slightly doubt yourself 😂 he is a good sport for sure.

(Do you know that Prithvi gave credit to Prabhas in his recent release movie “the goat life” just to thank him in the credit roll lol even though prabhas wasn’t really involved in the movie but he did help launch the first poster I think and perhaps gave all the support to prithvi behind the scene as a friend that we know nothing about because this movie really took so much toll on Prithvi for so many years that he almost decline the role as Varadha because of so many issues such as scheduling conflicts)

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(A little trivia how I come to watch Lucifer that no one asked for 😂 so I was obsessed with RRR like truly obsessed to the point of insanity so I start watching all other Tarak and Charan movies and one of Tarak movie is Janatha garage and Tarak was in that movie with mohanlal so this is how I got to know who mohanlal is! I was instantly falling in love with this man lol so I try to watch more of his recent works and one it is Lucifer! And I was also hooked by that movie! Prithviraj was there but I don’t even remember him that much 🤣 I was so busy just focusing my eyes on Mohanlal and fast forward 2024 now I finally know who Prithviraj is thanks to Salaar! I watched Salaar because of Prabhas of course I also know him because of RRR and I want to watch more of Rajamouli that’s how I end up with Baahubali 1&2 and Chatrapathi 🤣)

[ineffable-opinions]

Little Hearts - Coming Out, Coming Home

സമർപ്പണം - ക്വീർ മലയാളികൾക്ക്.

This week saw a lot of very interesting discussion about Indian queer media (compilation by @starryalpacasstuff). It coinciding with 13th edition of Kerala Queer Pride 2024 is so serendipitous.

I had drafted this Little Hearts (2024) appreciation post with the aim to finalize it before Kollavarsham New Year but did not get around to doing so. I wanted to take part in the current conversation. So, I am posting it now. I intent to discuss Indian BL: Sting of Lavender and Arotpa Pirang (The Hidden Tears) as well as movies like Kaathal – The Core, Moothon and Ardhanaari (2012) in the future.

Little Hearts (2024) is a Malayalam-language comedy movie available for streaming on Amazon Prime. (CW: heterosexism; PSA: Hema Committee Report) It's not a surprisingly impressive movie by any measure but I had a very nice time watching it. It was one of the best comedies of this year for me. And it tackles coming out in an interesting manner.

contains spoilers

Plot

(names might be spelled differently in the subtitles.)

The movie is set in a village in a high-range region of Kerala. We follow the main character Sibi through his journey, navigating 3 different relationships and their implication on his beloved people. The movie is pretty straightforward in its approach. At the outset, we are introduced to the romantic relationship – the one between Sibi’s father, Baby, and Baby’s childhood sweetheart, Cecily who was deserted by her husband Joey. She has a teenage daughter who doesn't look at their romance favorably. That’s the first hurdle. The other hurdle to their relationship is Cecily’s brother Papan and his feud with Baby. The feud and Sibi’s involvement make for some really fun moments throughout the movie.

The next romantic relationship involves Sibi and his feudal landlord’s daughter. Sibi and his father work in the cardamom estate owned by Johnson. Sibi’s family and Johnson’s basically have a very good relationship. Sibi grew up with Johnson’s kids, calls Johnson "papa" and Anitha (Johnson’s wife) "mummy", and spends a considerable amount of time at their house. Their families are practically one as seen from them breaking bread together on Maundy Thursday – an intimate tradition for those Nasrani folk.

However, there is clear class disparity. Sibi lives in a much smaller house and when dismissed from work, the class difference only becomes clearer.

What gets things moving is Shosha rejecting a proposal for an arranged marriage by lying that she is in a relationship with Sibi.

Sibi, clearly demiromantic, is surprised initially when she starts wooing him but eventually he falls for her. This branded pair’s romance didn’t work as well as it did in RDX (2023) but at least this time around they got their happy ending (a rarity in Malayalam romances).

The queer sub-plot arrives when Johnson’s firstborn, Sharon, returns home after a long while. While his parents prepare to arrange his marriage, Sharon confides in Sibi that he's actually getting married next month to his foreigner partner. The only thing Sibi enquires about is if Sharon’s partner belongs to the same community as himself (Catholic). When he gives a positive reply, Sibi asks him to invite his partner over so that Sibi can present the news to Johnson and Anitha on Sharon’s behalf. At the airport, Sharon welcomes his boyfriend Nathan and Sibi is shocked.

Agitated, Sibi is rude towards Sharon initially. However, he agrees to take Nathan and Sharon to visit tourist spots in exchange for Sharon meeting the woman his parents are trying to arrange his wedding with. During their excursion, Sibi warms up to their relationship while watching them interact. He also puts in effort to learn about queer people.

As promised Sharon meets the girl and rejects her respectfully. Nathan grows uneasy as Sharon drags his feet. Their relationship strains. Sharon’s mom notices but isn’t sure about what’s going on. Sibi’s efforts to talk to Johnson are unsuccessful. Hopeless, Sharon asks Nathan to leave by himself as he needs more time. Nathan asks Sibi to take care of Sharon and returns.

Anitha learns from Sibi about Nathan’s relationship with Sharon and, from her Johnson. Unable to process this information, Johnson consults Baby. Drunk out of his wits, Baby not only scolds Johnson for not accepting Sharon but also reveals the love affair between Sibi and Shosha. They fight and Johnson hits Sibi and forbids both son and dad from entering either his house or his land. Moreover, Sibi and Shosha’s relationship takes a turn for the worse as their stubborn attitudes worsen minor conflicts between them. 

Right when Sibi with the vicar’s intervention gets Cecily’s daughter's approval for their parent’s relationship, Joey appears. Turns out Joey held a grudge against his brother-in-law, Papan, who had hurt and humiliated him. Joey exacts revenge by whipping and stabbing Papan during the Way of Cross performance on Good Friday. Finally divorced, Cecily can finally move on and marry Baby.

While Shosha tries to be the bridge between her father and her brother, she fails to do so for her relationship with Sibi. Sharon calls her out. The movie ends with Baby and Sibi getting married and Sharon and Nathan joining them on a video call after the ceremony.

Analysis

The predominant narrative of “coming out” is built on a particular kind of queer experience and geography, which is usually from the standpoint of white, middle-class, urban U.S. citizenship.

Shuzhen Huang & Daniel C. Brouwer (2018) Coming out, coming home, coming with: Models of queer sexuality in contemporary China

Nathan is an upper-class, white, Christian man with an accepting family emblematic of the Western take on queerness we all are familiar with. Sharon, on the other hand, is from this little agricultural village in Kerala where everyone knows everyone else and queerness does not get accepted and protected the way it does in the West. That’s why he had migrated. That’s why he did not visit more often. His desires are mediated by his circumstances. Leaving home is a decision that a lot of queer people living in villages like his adopt, whether it is to urban regions within the nation or abroad. Queer migration is a very common phenomenon in India and I hope to discuss it further in relation to other movies such as Moothon and Sancharam.

Migration is expected to offer queer individuals distance from the daily pressures of heteronormativity and cis-heteropatriarchy. It can secure them better employment opportunities, higher incomes, and improved standard of living and savings that would help them support themselves (and their parents) in their old age in the absence of offspring and substantial social security benefits. It can also provide them with relative anonymity to explore their sexuality, improved chances of finding partners, friends, and other queer folk in general whom they can support and be supported by.

Sharon choosing to introduce Nathan to his family through Sibi might come off as strange, but that’s very much not the case. Arranged marriages are the norm in Kerala. Even if your marriage is not arranged via match-makers (and increasingly via dedicated websites), it is not unusual for the couple to get their parents to ‘arrange’ their love marriage on their behalf. Marriages are grand affairs, with creation and merging of families, transfer of different sorts of wealth and capital, a well-mediated social project where familism rather than individualism dominates, with relatives and neighbors having a say in everything.  

Shane Nigam, the actor who played Sibi, has other movies in which he does the exact same role for heterosexual couples. In RDX, he is tasked with presenting his brother���s relationship with his future sister-in-law to his father and getting his father’s approval.

In Kumbalangi Nights, Shane's character has to convince his brother to bring up the matter of his marriage with his girlfriend’s brother-in-law in the absence of their parents.

While cis-heterosexual pairings enjoy better acceptance at some level compared to others, that acceptance is conditional. India more broadly and Kerala specifically has a fairly long-standing tradition of “marrying” within one’s caste and creed. (There were other not-exactly conjugal ties in Kerala like sambandam that were inter-caste.) Exogamy is strongly discouraged and punished through deprivation of essential social capital and in extreme cases through honor killings. It is in this context that Sibi asks Sharon if the one Sharon is going to marry belongs to their community – they are Nasrani Catholics. When Sharon affirms that although his partner is a foreigner but catholic, Sibi is relieved (in a very comphet way which he regrets soon enough).

Sibi, in a heterosexist outburst, uses “kundan” intending to hurt Sharon. Sibi is a stand-in for most Malayali folk whose understanding of queerness, is rooted in local forms of expression of sexuality. While married folk are expected to fall in love and stay faithful and carry on the bloodline, that is only the intention for and not the basis of marriages. Sexuality, especially non-heterosexuality, leading to marriages and households is a fairly unusual concept. Please keep in mind that even the idea of a household being one that had its basis in marriage is fairly new. Till the 20th century, a normal Nair (a community in Kerala) household (tharavaadu) meant sisters and brothers living with the sisters' children, and these children's fathers would continue to live with their own sisters.

Sexuality that made one “kundan” lie outside the conjugal sphere if not for marriage equality activism and movements seeking legalization of non-monogamous kinship arrangements. I have discussed this form of male-male sexuality, the term kundan and its connection with BL, in my post on Kubi and Gohatto.

Sibi struggles with the task Sharon entrusted him with. He has to learn about queer people (he is seen browsing the internet and watching videos to learn), understand the couple he is expected to introduce, and present it in a manner that would not spook Sharon’s parents (for example, the conversation about food preferences) and would instead make them root for their son. Sibi’s hesitation costs the couple time and drives a wedge between them that widens enough to tear their relationship apart.

Sharon’s mother is the first one to learn of his relationship with Nathan. She responds in a way that would be best explained by the Chinese phrase “rugui” (entering the closet) which refers to the initial and depressive stage [many Asian] parents enter upon learning about their child’s queerness. It is a painful psychological state consisting of shock, anger, grief, disbelief, and self-blame. These parents then must work their way back to a balanced state.

It is clear that she was suspecting and that is why she had insisted on speaking to Sibi at the church. After learning the truth, she chooses to walk back home and breaks down while hugging her son, upon finally realizing the pain he has been in all this time and the reason behind the pain.

Sharon’s father learns the truth from his wife. The second stage of his reaction is what the Chinese call “jiating chugui” (familial coming-out) wherein a parent seeks moral support from someone he trusts. However, his decision to confide in Baby backfires.

Drunk out of his wits, Baby reprimands Johnson for hesitating to accept his son. Interestingly, Baby uses a lot of slang popular on the internet among Malayali folk online including those relating to political correctness and progressive thinking. Baby is disingenuous since he is not free from heterosexist bias himself. However, learning that Baby and Sibi have been keeping a bunch of secrets from him breaks Johnson who was already emotionally vulnerable. He lashes out at Baby and Sibi as well as his son, whom he prevents from leaving the country by withholding his passport.

Shosha, Sharon’s sister is upset with Sibi for hiding about Sharon’s relationship. However, she is able to offer the good counsel that Johnson had fruitlessly sought in Baby. Sharon and Johnson renew their bond over alcohol. Finally, at peace, Sharon is able to set Shosha straight too.  

There has been criticism that the movie failed to do justice to the queer theme by focusing uneven amounts of energy on heterosexual couples. But, I think Little Hearts did a good job of upsetting the conventional idea that heterosexual relationships are automatically normative and easily accepted. Even with heterosexual relationships being intra-caste, class is a powerful enough divide to try and force couples apart through familial/societal disapproval (from Papan against Baby and Johnson against Sibi). Consider the fact that Kerala is yet to have an on-screen inter-caste heterosexual couple have their happy ending. By calling into question what can be considered queer in Malayali society, the movie manages to critically examine the emergent theme of Christian Nasrani familialism.

-

notes:

Hema Committee report - Wikipedia

Baburaj, the actor who played Baby, is one of the post-report accused.

2. Shine Tom Chacko previously played a queer character in the 2022 action thriller Bheeshma Parvam.

[drivingsideways]

Year-end discussion in the Indian film space was dominated by the success of controversial film maker Sandeep Reddy Vanga's latest offering of undiluted misogyny and rage, appropriately titled "Animal"; but the best commentary I've seen on failed fatherhood and violent, toxic masculinity this year comes in a 2 minute scene in Kaathal: The Core, where a wizened old man testifies quietly in a family court that yes, he always knew that his son is gay, and still coerced him into a heterosexual marriage.

Kaathal: The Core isn't a film without flaws; one could argue that it's the quintessential film made about queer people by straight allies- actually more interested in the reaction to queerness and the adjustment to queerness by cishets, than in queer lives; that it has a one dimensional view of the reality of queer living in India. It has its moments of what I call "educational speechifying" that feel tonally at odds with the rest of it, but again, this paternalism in Indian cinema of the self-consciously "progressive" variety isn't unfamiliar.

The ending feels a little trite, and some artistic choices- an actual rainbow in the sky appears as the two lovers drive off into the sunset of their newly liberated lives-feel particularly anvil-like- much like the ending of another of director Jeo Baby's films, The Great Indian Kitchen, which was an exploration of the brutality of Indian-flavoured patriarchy. In short: a movie filled with intricately and deliberately placed subtleties that occasionally - somewhat inexplicably-loses confidence in its audience, and chooses to remedy that by being a bit over the top.

But those are minor quibbles. This movie gutted me. The story revolves around a middle-aged closeted gay man from a small close knit village community in Kerala whose life- and the lives of those around him- is thrown into disarray when his wife of twenty years files for divorce citing his gayness as the reason for the breakdown of the marriage- a step she takes just as he's nominated as his party's candidate for the local elections. With this premise, you'd be forgiven for expecting the movie to be high decibel melodrama- and possibly a tragedy- from start to finish. Instead, it deliberately chooses the quieter route, the most tender one; while not flinching away from the grim realities of widespread homophobia, it portrays both individuals and a community who , in a moment of crisis, discover that they are better than they think they are. And it does this not from a jingoistic, self-congratulatory ethno-nationalist perspective- but from a place of genuine love- as a reminder and a beacon in these dark times.

All of this is anchored in some fantastic performances- Mammootty once more showing up to remind us why he's one of the greatest living actors in the world, and Sudhi Kozhikode as Thankan in what should be a multiple-award winning performance as his long time lover. I've rarely seen an actor make so much of their limited screen time. When I say that minutes 50-52 of this film are the most devastatingly tragic-romantic moments in world cinema, you'll think I'm exaggerating and perhaps I am, but I can also guarantee that you're going to want to rewatch that sequence at least ten times and cry about two old geezers in love. Lives were changed in those moments, no lie.

My one disappointment in terms of performances is Jyothika, playing Omana, the long suffering wife. Omana is one of the stand-outs in the history of female characters in Malayalam cinema, and Jyothika is- barely adequate. When you contrast it with a similar role - say Hsieh Ying -xuan's performance as Liu San-lian in Dear Ex (2018)- the flatness is even more jarring. Still, the sheer love with which her character and her relationships, especially with her husband, are written carry the film through.

Tl;dr: watch it on Amazon Prime or at a theatre near you! You will not regret it.

[brokoala-soup]

South Indian cinema: Part 1

I think we (I) don't talk enough about my obsession with the South Indian film industry. I'm less of a star or fame powered fangirl and most of my obsessions start from very niche observations and qualities. Both me and my mom are good cinema enthusiasts, that being said, we love not just watching movies but also analyze them and talk about them in great lengths and detail; and it isn't always just about the actors but also the scenes, the cinematography, the dialogues and so on. We enjoy a good story based cinema that's more about carrying the characters in place and action than about how much hype a movie gets. I enjoy old movies, including monochrome movies of the yesteryears and the faded coloured classics of the 70's and 80's.

Let me go from one obsession to other. First, comes my unexplainable obsession with actors who are also trained dancers. That's a sexy characteristic because it adds an edge to the actor's identity over being just a movie star and IMHO, it also refines the depth of character and acting skills (many talented actors who aren't dancers do exist, this is just my view). I have this captivation with dancers because something in them, be it the unseeable depth of efforts and practice and hurdles they cross before they set foot on the stage or be it the inordinate amount of beauty they express and portray in both costumes and jewelry or be it the grace with which they carry themselves or be it the way the fluidity, fragility and fierceness of dance entwines with their soul and body making it indistinguishable, obvious and redefines their identity and adds meaning to their character for the better. Irrespective of gender, classical dance forms in my opinion, have a profound effect on the individual and somehow makes them all the more charming to me because it's art that flows in their body and art has that unique fragrance to which you can never turn a blind eye to. It also anchors you down to your inner zen because gender conforms and norms are all broken (atleast in Indian classical dances) as both male and female dancers play either roles in dances and it's all the more about expression and emotion than the role per se. And that I think is a very liberating thing and I love Indian classical dances for it.

So here goes the list: Kamal Haasan is a trained Bharatanatyam and Kathak dancer; the best of which is seen in his performance in the movie Sagara Sangamam which is a majorly dance based movie. My most favorite scene is when he humbles Sailaja when she opposes his critique. Padmini, one of the famous Travancore sisters, was a trained Bharatanatyam dancer and in her retired days also opened a dance school and taught abroad. Shobana, one of my favorite actresses, who is also the niece of the Travancore sisters is a trained Bharatanatyam dancer; she also received a national award for her performance in the Malayalam movie Manichitrathazhu which was the original for the famous Chandramukhi, Bhool Bhulaiya, Nagavalli, Aatmamitra etc. I rate her acting top notch because her expressions and her eyes often speak way more than the dialogues. Revathi, is again a trained Bharatanatyam dancer and has delivered multiple box office hits and is also one of my favorite actresses. Bhanupriya, who's pretty famous in tamil and telugu cinema, is a trained Kuchipudi dancer and appeared in the film Sitaara which went on to win the National award for that year. Jayalalitha, apart from her successful political career was a leading film actress in the tamil industry. She was trained dancer of multiple forms like Bharatanatyam, Kuchipudi, Mohiniyattam, Kathak etc. Sukanya, who famously starred against Kamal Haasan in Indian, is a trained Bharatanatyam dancer. Prabhu Deva, who we all know as the Michael Jackson of India, is a trained Bharatanatyam and Udupi dancer. Amala Akkineni, is a trained Bharatanatyam dancer and also has a degree bachelor degree for the same from Kalakshetra. Vineeth, who works mostly in tamil, telugu and malayalam films is a trained Bharatanatyam dancer; lesser known but he's Shobana's cousin and Padmini's nephew from her husband's side. Asin, who is well known for her role in Ghajini, is also a trained Bharatanatyam dancer. Jayam Ravi, now well known as the Ponniyin Selvan after the famous novel adaptation, is also a trained Bharatanatyam dancer.

This is in my list (can't think more, brain fried) do feel free to add more. Tagging @sister-of-satan @voidsteffy and @bipdf because I think y'all will enjoy reading this

Do reblog and tag people who'd enjoy reading this

[newspatron]

Sai Pallavi: The Rising Star of South Indian Cinema

Sai Pallavi - The rising star of South Indian cinema. She is one of the most versatile and talented actresses in the industry today. She has impressed us with her acting skills, her dancing skills, and her charming personality, her dedication and passion

Sai Pallavi is a talented actress and dancer who has won the hearts of millions with her captivating performances in Telugu as wel as Tamil and Malayalam films. Read all about Sai Pallavis journey from a medical student to a superstar to her best movies and her upcoming projects and her personal life. If you are a fan of Sai Pallavi or want to know more about her read this article until the…

[keralatour10]

The Faces Who Made Kerala Proud

Kerala boasts the highest literacy rate in India and as per the latest census it has a projection of 94%. With the sobriquets ‘God’s Own Country’, ‘Land of Coconut’ and ‘Spice Garden of India’, Kerala has always been in the limelight from the perspective of tourism. Thanks to its incredible geographical features. Although being a small state, occupying around 1% of India’s total area, Kerala is always presented as an honorary example for its rich culture, education, ayurveda and other development. Kerala has also given rise to several personalities who have made Kerala and India tremendously proud.

P T Usha - Frequently called ‘Queen of Indian Track and Field’, P. T. Usha was born in Kozhikode, Kerala on 27th June, 1964. Nicknamed the Golden Girl, P T Usha has been associated with Indian Athletes since 1979. She had an illustrious career in athletics and won 33 international medals. In 1984 she was honoured with the Arjuna Award and the Padma Shree Award. The Indian Olympic Association has crowned her with the name ‘Sportsperson of the Century’.

Raja Ravi Varma - Raja Ravi Varma was born on April 29, 1948, in Kilimanoor Palace, Kerala, and is the most celebrated artist in the history of Indian Arts. His artistic talent was exposed at a young age by his uncle who provided him the elementary guidance. He got exposure to various art forms and himself mastered portraits, portrait-based compositions and myths and legends-based theatrical compositions. Ravi Varma received the first prize at the Madras Painting Exhibition in 1873. Shakuntala Composing a Love Letter to King Dushyanta, Damayanti Talking to a Swan and many more are among the famed paintings of Ravi Varma.

Dr. K J Yesudas - A notable Indian classical musician and playback singer, Yesudad was born in Fort Kochi, on January 10, 1940. His musical voice has recorded more than 40,000 songs in Malayalam, Kannada, Tamil, Hindi, Bengali, Telugu, Gujarati, Marathi, Odiya, Arabic, English, Russian, Latin and many more. Initially, Yesudas was groomed by his own father Augustine Joseph, who was a classical musician and a stage actor, and later he joined the Music Academy. His career started with playback singing in Malayalam and Kollywood movies in the 1960s and in the mid-1970s, he set his foot in the Bollywood industry. Yesudas garnered 7 National Film Awards for the best singer in Indian Cinema.

Arundhati Roy - A renowned novelist and political activist, Arundhati Roy was borned on 24th November, 1961. Although she took birth in Shillong, she shifted to Kerala, to her mother’s maternal house at the age of 2, and completed her schooling there. She has won several awards both for her writing talent and social work. Arundhati Roy began her career by writing the screenplay ‘In Which Annie Gives It Those Ones’ in 1989, which was directed by her husband Pradip Krishen. Her semi-autobiographical novel ‘The God of Small Things’ in 1996 brought her worldwide fame and received the Booker Prize in 1997. 

Vidya Balan - The popular Indian actress was born on 1st January, 1978, in Palakkad, Kerala. She has played the role of a strong female protagonist in several movies. In 2005 she acted in the movie Parineeta and received the Filmfare Award for best female debut. Paa is yet another notable movie of Vidya Balan which brought her the Filmfare best actress award. Vidya Balan was honoured with the Padma Shri award in 2014 for her meticulous contributions to Indian Cinema. 

Almost every travel enthusiast’s bucket list in India contains a trip to Kerala. Your Kerala Tour Booking will provide a detailed overview of the unique landscapes of Kerala, but familiarising with these personalities and their achievements is worth cherishing the talents of India. There are many more individuals who inscribed their identity in Indian history for their distinguished attributes. 

[thebobby1432world]

Anjali Patil Wiki, Biography, Age, Height, Weight, Family, Net Worth

Anjali Patil Wiki: Anjali Patil is an Indian actress, director, and model born on September 26, 1987, in Nashik, Maharashtra, India. She is mainly known for her role as 'Malko' in the Bollywood film "Newton." Today, we will explore Anjali Patil's biography, including her early life, family, boyfriend, movies, TV shows, and more. Anjali Patil Wiki Anjali Patil Movies Anjali Patil Web Series Anjali began acting in 2011 with the Hindi film "Delhi in a Day." In 2012, she played the role of 'Selvi' in the Sinhala film "Oba Nathuwa Oba Ekka." She also appeared as 'Durga' in the Malayalam film "Ente" in 2013. In 2015, she entered the Marathi film industry and acted in the film "The Silence" as 'Maami'.

Anjali Patil

Anjali Patil Wiki

NameAnjali PatilProfessionActress, Director & ModelNationalityIndianYears Active2011 to PresentNet Worth (approx.)₹5 CroreAnjali Patil Personal LifeNick Name AnjaliBorn (Date of Birth)26 September 1987Age (as of 2023)36 Years OldBirthplaceNashik, Maharashtra, IndiaZodiac SignLibraGenderFemaleHometownNashik, Maharashtra, IndiaHobbies/HabitsSelfie Lover, Photography, Nature LoverFavorite BrandsLevi’s, Gap, Louis Vuitton, Calvin KleinFood HabitNon-VegetarianAnjali Patil CareerDebutIn 2011 - As an ActressAwards2012: International Film Festival of India in Goa - Best Actress - (With You Without You) (Won) 2012: Stardust Awards 2013 - Breakthrough Supporting Performance - Female - (Chakravyuh) (Nominated) 2012: Star Screen Awards for Most Promising Newcomer- Female - (Chakravyuh) (Nominated) 2012: New York Indian Film Festival for Best Actress - (Delhi in a Day) (Nominated) 2012: South Asian Film Festival New York - South Asian Rising Star for Best Supporting Actress - (Delhi in a Day) (Nominated) 2013: Nandi Award - Nandi Award for Best Actress - (Naa Bangaaru Talli) (Won) 2013: National Film Award – Special Mention - (Naa Bangaaru Talli) (Won) 2016: Sarasaviya Awards in Colombo Sri Lanka - Best Actress - (With You Without You) (Won) 2016: Presidential Film Awards in Colombo Sri Lanka - Best Actress - (With You Without You) (Won)Anjali Patil EducationSchoolNot KnownCollegeLalit Kala Kendra (Pune University) National School of DramaQualificationGraduated (in Acting) Post Graduate (in Design and Direction)Anjali Patil Family, BoyfriendMotherShubha ShindeFatherSanjay ShindeSister/BrotherNot KnownMarital StatusUnmarriedAffair/BoyfriendNot KnownHusband/SpouseNot KnownDaughter/Son/ChildrenNot KnownRelativesNot KnownFriendsNot KnownAnjali Patil Body Measurements Height165 cm 1.65 m 5 ft 5 inWeight52 KG 114 lbs (pounds)Eye ColorBlackHair ColorBrownFigure Size32-30-34Dress Size36 (EU)Shoe (Feet) Size5TattoosNoneDistinctive FeaturesSmile & ConfidenceAnjali Patil Social MediaInstagramInstagramFacebookNot KnownTwitterNot KnownYouTubeNot KnownLinkedInNot KnownGmail/Email IDNot Known

Anjali Patil Movies

YearMovies2011Delhi in a Day2011Green Bangles2012Prathyayam2012Oba Nathuwa Oba Ekka2012Chakravyuh2013Ente2013Naa Bangaaru Talli2013Apna Desh2013Shree2014Kill the Rapist?2014Finding Fanny2015The Silence2015Mrs Scooter2016Mirzya2017Sameer2017Newton2018Meri Nimmo2018Kaala2019Dithee2019Mere Pyare, Prime Minister2020Mann Fakiraa2022Kuthiraivaal2022Kaun Pravin Tambe?-Bardo

Anjali Patil Web Series

YearWeb Series2019Hutatma2020Afsos2020My Client's Wife Read the full article

[bambioleo]

what’s your favorite candle scent?

what’s your feel-good movie?

what calms you down?

hugs or hand-holding?

wow that’s a lot of questions thanks for asking I love answering questions like these :)

my favorite candle scent has to be vanilla bean noel or winter candy apple from this place called bath and body works they smell really good

my favorite feel good movie is a very difficult question cause I’d have one for every language I watch but right now I think it’s this Malayalam movie called meeshamadhavan it was apparently the first movie my mom and dad watched together after they got married so I’ve seen it quite some times always a good laugh and distraction from whatever I’m going through

I think talking to my best friend or practicing some of the older stuff I did when I was younger in dance class calms me down

BOTH. I haven’t had too much experience holding hands per se cause I have very long hands and not many people I’ve seen has hands that long but um THE GUY has hands the same size as me so maybe I’d get to hold hands more and I love getting and giving hugs so I’d give or take a hug anytime any day actually

[cinemateam44]

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[my-music-1460]

Singer Chinmayi: A Pioneer of Modern Playback Singing

Singer Chinmayi has carved a unique space in the Indian music industry with her soul-stirring melodies, linguistic versatility, and an inspiring journey that continues to enchant millions. Known for her ability to adapt effortlessly across genres and languages, Chinmayi has been a trailblazer in playback singing for over two decades. Her voice, first introduced to us in “Kannathil Muthamittal,” has since become synonymous with quality and emotion, creating unforgettable moments in Tamil, Telugu, Hindi, and Malayalam cinema. This article delves into the multifaceted life and career of singer Chinmayi, highlighting her musical achievements, her courage as a changemaker, and her enduring legacy as an artist.

Early Life and Musical Roots

Chinmayi Sripada, born in Chennai, grew up in a household deeply influenced by music and culture. Her mother, T. Padmhasini, a renowned Carnatic vocalist, played a pivotal role in shaping Chinmayi’s early interest in music. Immersed in classical training from an early age, Chinmayi honed her skills in Carnatic music and Hindustani classical traditions. This strong foundation enabled her to bring a rich depth to her playback singing, setting her apart in a competitive industry.

Breakthrough with “Kannathil Muthamittal”

In 2002, Chinmayi’s life took a dramatic turn when she debuted as a playback singer for A.R. Rahman’s composition in the critically acclaimed movie Kannathil Muthamittal. The title track became an instant sensation, catapulting Chinmayi into the limelight. Her ability to convey profound emotion in her very first song showcased her potential as an artist destined for greatness. The song won numerous awards, and Chinmayi became the youngest recipient of the Tamil Nadu State Film Award for Best Female Playback Singer.

Contributions to Indian Cinema

Singer Chinmayi’s voice has graced the soundtracks of numerous blockbuster films across languages. From Tamil hits like “Sara Sara” (Vaagai Sooda Vaa) to Telugu classics such as “Vaarayo Vennilave” (Sachin), her repertoire includes songs that define moments in Indian cinema. She is particularly known for her collaborations with A.R. Rahman, Ilaiyaraaja, and other stalwarts of the music industry.

Chinmayi’s versatility is evident in her ability to seamlessly transition between classical renditions, peppy dance numbers, and soulful ballads. In Bollywood, she lent her voice to songs like “Tera Ban Jaunga” (Kabir Singh) and “Zehnaseeb” (Hasee Toh Phasee), which became chartbusters. Her skill in mastering diction and pronunciation in multiple languages has made her a sought-after vocalist across regional industries.

Recognition and Awards

Chinmayi’s contribution to the arts has not gone unnoticed. Over the years, she has received numerous accolades, including:

National Film Awards for Best Playback Singing

Multiple Filmfare Awards in Tamil and Telugu cinema

Recognition for her linguistic versatility and her knack for delivering emotional depth in her songs

Her work is also celebrated for bringing authenticity to diverse genres and languages. These honors reflect not just her talent but her dedication to perfecting her craft.

Advocate for Change

Beyond her musical journey, Chinmayi has emerged as a powerful voice for social justice. She played a pivotal role in India’s #MeToo movement, bringing to light the challenges women face in the music and film industries. Despite facing criticism and backlash, Chinmayi stood her ground, inspiring many to come forward and share their stories.

Her advocacy extends to promoting fairness and transparency in the music industry. She frequently uses her platform to discuss issues affecting artists, including copyright rights and equitable treatment for playback singers.

Chinmayi’s Impact on Aspiring Artists

Chinmayi is more than a singer; she is a role model for countless aspiring musicians. Through her journey, she has proven that perseverance, hard work, and authenticity are keys to long-term success. Her ability to evolve and remain relevant in an ever-changing industry continues to inspire young talents across India.

Conclusion: Singer Chinmayi journey is one of triumph, talent, and transformation. From her melodious debut in Kannathil Muthamittal to becoming a powerful advocate for justice and fairness, she has made an indelible mark on the Indian music industry. Chinmayi’s music, much like her, transcends boundaries, touching hearts and inspiring lives. Her legacy serves as a reminder that talent coupled with courage can create a lasting impact on the world.