Thozha director Vamsi Paidipally has remained very honest to the original script, which is based on a French movie, The Intouchables. From the opening scene to the closing shot, the film has tried to replicate every fame of the acclaimed French film. However, the director has lost his grip on core narrative while tweaking the story to suit the taste of south Indian moviegoers.
The Intouchables is inspired by true story of French businessman Philippe Pozzo Di Borgo, and his caregiver Abdel Sellou, a former con. The Intouchables, which runs 112 minutes, mainly narrates the story of bonding and friendship between two men from different class in Paris.
The story is about a black ex-con, from an unprivileged community, Diss (Omar Sy), who
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In order to make it appealing to the regional audience, Vamsi has played up problems of Seenu 's dysfunctional family. The problems within his family are not something unheard of: a hard working mother, who has given up on her elder foster son with arrest record, a daughter, who is ready to elope, a younger brother, who is a felon in making. The drama arising from Seenu 's efforts to win back his family 's love and trust deviates the focus from the main narrative.
If we take a closer look, the film throws light on obsolete methods of some Indian filmmakers, who are ready to compromise the quality of a film with unwanted songs, fights and drama to pander to the masses. It also shows a flawed understanding and judgement of filmmakers about the regional audience. Many directors are still under the belief that Indian audience are not yet ready for no-nonsense films and this film is a case in point.
Thozha could have been a better film had director had avoided unwarranted distractions in the narration. Vamsi has tried to retain most of the originality of the film, including properties used in The Intouchables. For instance, the luxury bedroom provided to Diss at Philippe 's mansion is replicated in the Tamil remake to every
In 2010, a poll taken from over 1000 people named Darryl Kerrigan of The Castle as the favourite Australian movie character with 23% of the votes (Hayes, 2010). The accolades kept flowing for the 1997 film, with over a third of those interviewed thinking The Castle best represents the real Australian culture (Hayes, 2010). These results raise an interesting question. How does a film taken in 11 days with a budget of half a million dollars capture the hearts of more Australians than a Hollywood blockbuster? What is it about Darryl and his family, and the story of the Kerrigans that Australians can relate to?
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
The show Band of Brothers was produced by Steven Spielberg and Tom Hanks who, at the time, recently had success with a World War II film entitled Saving Private Ryan. Spielberg and Hanks used their expertise on war films to craft the exceptional television series Band of Brothers which originally aired on HBO in 2001. The show follows “Easy” Company, 2nd Battalion, 506th Parachute Infantry Regiment, of the 101st Airborne Division, from the moment they begin their training to the moment their deployment ends. Throughout the show we see the men of “Easy” Company mature a thousand times over. The men experience love, loss, and death at rate that is inconceivable to someone that has never experienced the theatre of war.
Throughout the career of writer and director Jim Sheridan, there has been a significant change to not only Irish-made films but those directed by Irish individuals as well. Sheridan has attempted to maintain a realistic balance of both local and global expectations of “Irish Films.” Mr. Sheridan has helped move Ireland away from the many stereotypes found in films about or even set in the country. One of the lasting films in Ireland was director John Ford’s The Quiet Man.
The film 13th directed by Ava DuVernay targets an intended audience of the Media and the three branches of the United States government with an emphasis that mass incarceration is an extension of slavery. It is intended to inform viewers about the criminalization of African Americans and the United States prison boom. 13th uses rhetorical devices in its claim to persuade the viewers by using exemplum in the opening seconds of the film. President Barack Obama presents statistics, saying “the United States is home to 5% of the world’s population but is home to 25% of the world’s prisoners.” Also the film uses a hyperbole in talking about the movie Birth of a Nation produced in 1915 which portrays a black man as a violent savage who will kill white women.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
The 1995 film adaptation of Sense and Sensibility, directed by Ang Lee and originally written by Jane Austen, has timeless elements in its composition. Starring Emma Thompson, also the screenwriter, and Kate Winslet as Elinor and Marianne Dashwood, the movie tells of two heroines and their struggle between balancing idealism and reality. As young, female adolescents of the 1800s, they are responsible for finding husbands that can support them financially; and following their father’s death and loss of money, this becomes even more emphasized. But, they come to struggle when having to choose between what their hearts crave, and what their minds know is best. Elinor’s ideal partner is the initially dull Edward Ferrars, who is discovered to be secretly engaged
To summarize this essay, there are several points that highlight differences between the two films, yet the overall context of the film remains the same. One common theme that tends to drive the force between the reasoning in why the two films have varying aspects is because they were made for slightly different audiences at different times in society. Though both versions of the movie have small portions that vary from one another, the main emphasis is the same and both versions are loved by the
From the cinematic techniques to the plot line, the film incorporates many elements of the style of film. Despite being set in an older period of time and adapting the elements of the spaghetti westerns, it appeals largely to the modern audience due to the certain things which capture their attention. Director Jocelyn Moorhouse
Topic 1: Film genres Through the 1995 film “Clueless”, written and directed by Amy Heckerling, the idea that film genres are located in industry and texts and audiences is clearly shown. “Clueless” is an American typical romantic comedy. This film can be seen as a hybrid genre as it include different characteristics of two film genres. In this movie, elements of humour and romance are both illustrated by its generic formulas and story content. The film talked about the heroine Cher goes through her perplexed teenage and finally realizes she is interested in Josh, her stepbrother.
The outsiders is a book by ( S.E Hilton ) narrating the story of over the course of two weeks of a 14 year old boy . The novel revolves around economical class and depending on the clothes you wear , how much money you have or where you 're from you are either a Greaser or Soc . The story paints the picture of the gang Warfare between the east and west sides in the mid 1960s in a town . The conflict in the novel represents the division of the east at West sides. The following essay will discuss each of the 3 conflicts that were encountered between the Socs and Greaser .
O Brother Where Art Thou? is a film that will take you on a perilous journey with Ulysses Everett McGill and his simpleminded cohorts. This film may be set amidst the early 1930’s Great Depression era, but it still has a Homer’s Odyssey feel to it. Down in the dusty and highly racial south, Everett recruits a couple of dimwitted convicts, Pete Hogwallop and Delmar O’Donnell, to help him retrieve his lost treasure and make it back home before his wife marries another suitor.
Throughout life we are told to express our individuality and swim against the stream of the general population to put emphasis on the characteristics that make us, in short, individuals. Cherishing what makes an individual special and different is what establishes roots in creativity and self expression, however there is a forced false sense of comradery in today’s society that takes the form of involvement with the masses; peer pressure forces many people to fall into the mold of an average character. The Academy award winning film, “The Incredibles” displays the themes of expressing one’s true self and special qualities, and in contrast repression by society to fit a basic mold. These themes are elaborated on through the development of the main characters and expressed further through the supporting roles and their dialogue and endeavors.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Adversity in “The Intouchables” “My true disability is not having to be in a wheel chair. It’s having to be without her.” (The Intouchables). Lines like that are just a piece of the great undertaking directors Olivier Nakache and Eric Toledano took when they decided to be part of The Intouchables.