I hope they don’t touch Angamaly Diaries. But I worry if it is remade, the gaze might be inverted, from that of the child to that of the parents. – Prathyush Parasuraman Kumbalangi Nights (Malayalam) The love of the adopting parents is merely a springboard. The film is about the journey of the child to meet her real mother, in Sri Lanka. Tamilians speaking to each other in Hindi might be the flight of imagination. The rooted nature of this narrative, about the Sri Lankan Civil War, might protect it from being re-made. – Vishal Menon Kannathil Muthamittal (Tamil) Also, it’s impossible to find a word for jaathikathottham in Hindi. It’s just the makers trying to recreate their memories as scenes only they can see in their heads.
#KUMBALANGI NIGHTS PLOT SERIES#
It’s more a series of micro-moments that build up to a montage, like a beautiful music video. This teenage love story is hardly about plot or story.
TMD is that rare Malayalam film one can safely call Priyadarshan-resistant. The thought of a remake seems wrong at so many levels. But what if an unimaginative director got his hands on the film’s out-of-the-box central idea - that of an amateur filmmaker shooting a documentary about love, and in the process, stumbling upon a village where every visitor is known to fall in love? The village in question is the director Pradipta Bhattacharyya’s real-life home: Tehatta, in Nadiya, the land of Chaitanya Mahaprabhu, where many of the film’s mystical ideas seem to be rooted in. – Baradwaj Rangan Bakita Byaktigato (Bengali)īakita Byaktigato, the best Bengali film you didn’t know about, seems safe from a remake because of its relative obscurity. It’s about the very strange poetry an idiosyncratic filmmaker can impose on his material – and until Hindi cinema produces such a filmmaker, Pisaasu is best left untouched. This isn’t just about the script and about what happens. This paranormal drama is nominally about the hero trying to get rid of the ghost that’s taken residence in his house – but the film is really Mysskin’s idea of a love story, which means it’s light years away from your typical love story. The difference between the two will be lost in translation. I have a very strong feeling that if the film is made into Hindi, when the hero would ask for Bournvita while everyone asks for black coffee, there will be a comedy track, a boink or something. There’s an abusive brother, on whom no revenge is extracted. Here, we have a hero who does 100 pushups every morning but feels shy talking about it. If this film marries the Bollywood aesthetic of drummed cinematic moments, moral tales and satisfying conclusions, the charm will be lost. The reason this film-about-love feels like a bulldozer-to-the-heart is because it indulges the ambiguity, with characters and situations that aren’t final.
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