一 | Ahead of director Priyadarshan nearing the remarkable milestone of 100 films, Filmfare's Editor-in-Chief Jitesh Pillaai reflects on the filmmaker’s unmatched legacy, especially in Malayalam cinema and why the maestro deserves to be celebrated much more.
In his words:
Kilometers of Laughter: A Journey Through Priyan’s World
He is on his century—that is 100 films old. I think he is currently batting on 99. Inching close to seventy years of age, Director Priyadarshan has celebrated enough. He should be toasted for his style and his Malayalam body of work. Cine goers of a certain vintage remember him for his sharp comedies, including his debut Poochakkoru Mookkuthi. He paid tribute to Sai Paranjpye with Odaruthammava Aalariyam (inspired by Chashme Buddoor) and Mukunthetta Sumitra Vilikkunnu. He rehashed several Malayalam films like Ramji Rao Speaking, Kireedam, and Punjabi House to give us a slew of Hindi bonanzas like Hungama, Hulchul, Gardish, and of course, the rib-tickling Hera Pheri.
Priyadarshan brought spit and polish to Malayalam movies with technical marvels like Kaalapani and Kanchivaram. The team of Mohanlal and Priyadarshan gave us a slew of classics: Kinnararam, Kilukkam, Thenmavin Kombath, Chandralekha, and Mithunam. Films like Mazha Peyyunnu Maddalam Kottunnu, Kilukkam, and Thenmavin Kombath reach "iconic" status with every passing year.
What makes the familiar and time-tested Priyadarshan tropes so warm and all-embracing? He gave comedy a mad, zany world appeal. He humanised comedians and gave them an afterlife. Whether it was Vellanakalude Nadu or Adwaitham, Priyadarshan showed us life’s foibles; he showed us how a unique strength lies within our dysfunctional families and their frailties. With a master craftsman like Mohanlal helming his ventures, you could not go wrong.
You may recall the Priyadarshan of Bhool Bhulaiyaa and Bhagam Bhag, but he is more than all of that. He redefined comedy and rewrote the rules of drama. He mocked filmmakers ever so gently and turned the rules of filmmaking topsy-turvy. Watch that one scene in Boeing Boeing where a three-timing Mohanlal is trying to hide his three girlfriends in different rooms; it is a hoot. That scene was later re-enacted in Garam Masala by John Abraham and Akshay Kumar.
To reduce Priyadarshan’s oeuvre to just comedy is to diminish his legacy. One of my favourite films of his, Dheem Tharikida Thom, about a run-down drama troupe, is a classic. As are Punnaram Cholli Cholli and Thalavattam. Like all great filmmakers, Priyadarshan harnessed the best out of Santosh Sivan, Sabu Cyril, and S. Kumar, alongside his band of wonderful ensemble actors: Nedumudi Venu, KPAC Lalitha, Innocent, Oduvil Unnikrishnan, and Mamukkoya. You have to watch Mithunam to realise his legerdemain and absolute control of his craft.
It would be a pity if Priyadarshan is cited only for his Bollywood outpourings. What he gave to Malayalam cinema was clout, longevity, charisma, and unabashed storytelling. I have lost count of the times I have watched Kilukkam, Vandanam, Mazha Peyyunnu Maddalam Kottunnu, and Poochakkoru Mookkuthi. He makes the absurd believable and the impossible look real.
Priyadarshan is a part of our Malayalam movie memories and our rites of passage. If we cut our milk teeth on Poochakkoru Mookkuthi, we came of age with Vandanam and Kaalapani. I assure you, well into our dotage, we will still be chuckling at the "kilometers and kilometers" joke from Mazha Peyyunnu Maddalam Kottunnu. Like Priyadarshan and his movies, we grew up at the turnstiles. His music and his shot-taking changed the lexicon of how Malayalam film songs are picturized. We still sway to Doore Kizhakudikkum, Ambalappuzhe, and Ende Manassil Oru Naanam.
Priyadarshan is not celebrated enough, which is a pity because it means we do not celebrate our wonder years enough. You may go and enjoy Bhooth Bangla in theatres soon, while I will yet again rewind to the mad world of Vandanam and Boeing Boeing. Priyadarshan’s gift to the movies is that he made us all believe in magic and the fanciful, and he never let us grow up.
Also Read: Bhooth Bangla: Priyadarshan Openly Discusses The Age-gap Between Akshay Kumar and Wamiqa Gabbi。
二 | 今天10时许，北京市顺义区疾病预防控制中心发布消息称，9月9日12时20分至当日门诊关闭前，到访过民航总医院门诊楼二层的所有人员（就诊及陪同人员、医护人员、服务保障人员、送货人员等所有人员），按照同时空密接管理。请与以上活动轨迹有时空交集的人员，立即主动向居住地所在社区（村）、工作单位、居住酒店报告。今天11时10分许，朝阳区疾病预防控制中心发布紧急寻人通知：请9月9日12时20分至9月9日门诊关闭期间，到访过民航总医院（朝阳区高井甲1号）门诊楼二层的人员，立即主动向所在社区（村）、工作单位、居住酒店报告，或者拨打朝阳疾控部门热线电话87789709报告。
三 | 同时本人及同住人居家不外出。
四 | 今天11时30分许，@北京昌平 发布消息，9月9日12:20以后至9月9日门诊关闭期间，到访过民航总医院（朝阳区高井甲1号）门诊楼二层的人员，立即主动向所在社区（村）、工作单位、居住酒店报告，或者拨打疾控部门热线电话报告。同时本人及同住人居家不外出。今天11时40分许，通州卫生健康委发布消息，请9月9日11时30分至当日门诊关闭到访民航总医院发热门诊、9月9日12时20分至当日门诊关闭到访过民航总医院门诊楼二层的人员，现住址为通州区的居民立即向所在街道、乡镇、工作单位或区疾控中心报告，本人及同住人确保居家不外出，涉疫风险人员建议通过电话方式报备。北京日报注意到，截至9月12日15时，北京本轮疫情报告的感染者中，已有3人曾到访民航总医院。
五 | 9月10日0时至15时，北京市朝阳区新增新冠肺炎病毒感染者7名，均为中国传媒大学在校学生，其中两人曾于9月9日11:30-次日2:00到访民航总医院发热门诊（其中13:40-14:05，民航总医院门诊楼二层）。9月11日0时至15时，北京新增本土新冠肺炎病毒感染者14例，其中1人现住朝阳区崔各庄乡京旺家园，9月9日10:40-15:50曾前往民航总医院门诊楼就诊。9月10日起，民航总医院门急诊暂停接诊患者，院区实施临时封闭管理。
六 | 今天16时，北京将召开新冠疫情防控第400场新闻发布会，通报疫情最新情况。
Current article:http://vdqk.cesangrangshunzashuangruijiu.pics/v4v8/20260826/1482.html
Published on:14:14:11