Friday, June 21, 2013

Call for Entries !


Pune International Film Festival (PIFF), 2014

January 9 to 16

The 12th Pune International Film Festival – PIFF 2014, will be held over 9-16 January, 2014. Organized by the Pune Film Foundation jointly with the Government of Maharashtra.

Festival Sections

  • World Competition Section for Feature Films:  judged by international juries, with the following cash prizes and awards given by the Government of Maharashtra in:
Best Film - Cash Award of  rupees 10, 00,000 (approx. US $20,000)

Best Director - Cash Award of  rupees 5, 00,000 (approx US $10,000)

The festival is calling for entries for the world competition as well as non competition sections.

Interested filmmakers are requested to send a DVD screener (with English subtitles) of films to be viewed by the Festival Selection Committee,  along with the entry form which available on the website www.piffindia.com  and can be submitted online. Please go through the rules and regulations before submitting the entry form.

The entries should reach  NO LATER than 31st October, 2013.

Feature films produced during the period of 1st January 2012 to 31st October 2013 will be eligible.

When a film is selected  for the Competition Section,  only a 35 mm print or DCP with English subtitles will be accepted for screening at the festival.  

PIFF  does not pay a screening fee should the film qualify for the competition section.

Competition films entitle  one representative (Producer/Director/Lead actor) to be invited as the representative of the film with the official  airline in economy class, accommodation and local transport with official Festival partners.

For full details about the festival as well as for the Rules & Regulations and for online entries visit http://www.puneinternationalfilmfestival.com/entry_login.php.

For any additional queries contact
Mr. Santosh Unecha, Associate Director, PIFF.
Telephone: +91-20-24424545.      
Email id: piff@piffindia.com

Dr. Jabbar Patel
Chairman\Director
Pune International Film Festival
Marathon Bhavan, Near Mitra Mandal Colony
Parvati, Pune 411009. Maharashtra, India
Tel: +91 20 2442 4545, Fax +91 20 2442 8788
Email: piff@piffindia.com, Web: www.piffindia.com

Wednesday, June 19, 2013



SILENT CINEMA IN INDIA: A PICTORIAL JOURNEY
BY
B.D. GARGA

HARPERCOLLINS | PAGES: 226 | RS. 5,000
Think silent movies and a few names and titles float on silently on to the mind’s screen before fading away. Dadasaheb Phalke, Arde­shir Irani, Raja Hari­sh­chandra, Light of Asia, Sulochana, Sita Devi.... Then my screen at least goes blank. B.D. Garga’s book Silent Cinema In India will change all that for anyone who dips into this elegantly produced coffee-table volume. Be warned, it is not a book to be read casually. Packed with names and facts, it covers a signi­fic­ant, formative part of India’s cinema his­tory, and thus is serious reading. But the text flows easily and the subject gains in its power to fascinate as one delves deeper.

In his introduction, Garga moans the loss of valuable footage from the sil­ent era—only one per cent of the 1,300 silent films produced in India are available for students of cinema. The rest is lost. The ones that survive are tha­nks to the fact that Ardisher Irani’s productions were with German collaboration, and pri­nts survive with German producers!

The narrative takes off with the lead-up to the advent of the moving picture, and covers modern theatre briefly to indicate the influence it would have on cinema. It’s amazing to learn that a $25,000 bet on the way a horse lifts its hoofs while trotting was the beginning of the ‘series’ photography that would eventually evolve into what the movie camera would do. The narrative winds its way through other significant milestones that cumulatively lead up to the Lumiere Brothers and their first ‘moving show’.

Garga describes Lumiere Brothers’ first ‘moving show’ in Bombay in detail: “The admission fee was one rupee, the programme featured six items...the ent­ire show lasted less than an hour with each film seventeen metres long. The tra­n­spa­rent screen was about 20 metres away from the projector. There were four shows daily. The audience, nearly 200 of them, watched with bated breath and cheered lustily at the end”. The Times of India called the invention “alm­ost the greatest scientific discovery of the age”.

Chapter by chapter, the story of the establishment—the growth and maturing of the silent cinema industry in India—is recorded in minute detail. Long forgotten names come alive, their contribution acknowledged. Like the pioneering work of Hiralal Sen, who set up the Royal Bioscope Company in Calcutta with his brother Motilal and who shot not just scenes from popular stage plays but also the first advertisement film, for Jabakusum Hair Oil. Helping set up cinema as an industry were Sen’s mentors—the brothers Pathe of the Societe Pathe Freres, French businessmen who turned the invention into an industry, manufacturing and marketing film equipment and raw stock, eventually producing films and making the first newsreels, shown for decades under the name Pathe News in cinema theatres the world

Garga tells us how the pioneer Dadasaheb Phalke laid the road on which the first movie mogul, Madan, could build his empire and the craftsman in Baburao Painter could establish a new standard of cinematic excellence and detail that brought elements of art into the craft. Phalke’s success with trick photography is known, but he also had a great marketing mind—when provincial audiences hesitated to spend three annas for a hour-and-a-half-long event, he advertised the film as ‘A performance with 57,000 photographs. A picture two miles long! All for only three annas’. And it worked—by 1927, there were 21 production houses in India.

Madan, on the other hand, moved to create the first socials based on Tagore’s stories; Painter was the first to introduce female artistes, and also created such realistic scenes with his painterly eye that had audiences screaming for more. He also made Savkari Pash, India’s first socio-realistic film, about money-lending, but it bombed. An audience fed on spectacle rejected his attempt at serious cinema.

Beauteous heroines light up the pages, as do photographs of stills from the films, that show
expertise in lighting. Also chr­o­nicled is Fatima Begum, India’s first woman director, and the accidental discovery of Prithviraj Kapoor’s acting abilities! The photograph, posters and excerpts from dispositions, interviews, press reviews and write-ups make the book a treasure. A book every producer, director and film buff must read, to learn about the true spirit that creates history, in cinema or anywhere else.