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Reader Writes – C/o Kancharapalem, a universal philosophy from the subaltern standpoint

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There are two major problems one can see in the contemporary Telugu cinema. One, the spatiality of our movies are either city-centric or rural or a mix of both. Second, notwithstanding the spatiality, the stories, that are narrated, are majorly elitist which invokes false aspirations or sense of escapism with regard to audience. In other words, our Telugu cinema tends to over-represent certain spaces, slangs, professions, and certain section of people while under-representing the other. This discrimination has marginalized certain stories to make it to the cinematic spaces. The point is that though certain section of people’s stories richly deserved to be narrated on celluloid, they don’t seem to come under the cinematic imagination of most of the writers and directors. Because we not only privilege certain stories over the other but also we can’t see other possible stories.

It is in this context, C/o Kancharapalem is celebratory moment in Telugu cinema. It, at the representation level, transcends most of the boundaries that are regularly seen in Telugu movies-Spatial, linguistic, the depiction of characters, etc.: Setting the childhood love story in Government school; Speaking of Uttarandhra slang in the movie; Telling the stories of an attender, a sex worker, and a widow (without being titillated or ridiculed); making an old settlement and town look like Kancharapalem as its background; and, roping-in all the new actors to essay these characters. This movie sets to bring, hitherto less narrated stories, to the mainstream Telugu cinema. It is one thing to mainstream the subaltern voices and quite another to narrate it from their perspective itself. This movie does both. If we see, this film touched upon a range of issues such as religious rigidities, the dignity of labor, power inequalities, poverty, underpayment for overwork, hypocrisy, and gender. Yet, they don’t seem to be forceful or out of place. The reason being, the marginal voices generally hold the truer account of the social world. If cinema can capture it properly, it cannot get a saner voice than this.

Much has already been spoken and written about this movie. But, the critical question is this: Why does the director want us to feel empathetic with male characters (Sundaram, Joseph, Gaddam, and Raju) by putting female characters (Sunitha, Bhargavi, Saleema, and Radha) as the victims of one or other social vulnerabilities? [Narrow-minded and insecure father in case of Sunitha; Brahminical father in case of Bhargavi; the Protectors of religion in case of Saleema; and, the problems of a widow wanting to remarry]. At the time of every heartbreak, male characters’ suffering is represented. For instance, at every heartbreak, the female character not just ends but also made us feel empathetic with the male character. How does one have to look this simultaneity? Does the filmmaker want to represent this as ‘just part of life’ or does he want the audience to feel empathetic with all the male characters so that one would rejoice in cinematic high during the climax when Raju narrates to Radha his past love stories? The answer certainly lies in the second. Constructing the empathy this way- making us feel empathetic with the male character through female characters- is quite complicated though there is certain social reality to this construction.

To elaborate this further, despite the female characters are well written, the film is still in the mainstream dominant mode of narration: narrating the story of the male protagonist from the male perspective and all the female characters are just incidental. The counter-question would be this: Do we accept this film the same way had it narrated the story of, say, some female character having different love stories at different stages of her life? One needs to engage with this question while also celebrating the cinematic grounds it has broken.

Nonetheless, by positing the love stories within the social vulnerabilities that the female characters undergo, the film, perhaps, is trying to flag off three things. One, that the religion is ‘false consciousness’ (means, Religion is an ideological discourse that promotes false hope) and the true essence lies in believing fellow human beings (Raju actually explains this philosophy when he is asked by Radha as to why he didn’t come into the temple and this is also why Raju’s faith in religion seems to be waning but not in the people and love). Second, though the actual victims of the socio-religious rigidities are women, men are also sufferers of the same. Three, every heartbreak, quite interestingly, deals with the religion and critiquing it. [Be it Sundaram’s hurling of stones at Ganesh statue after Sunitha is forcefully shifted to another school in Delhi or Joseph’s leaving rosary in anger in the church after Bhargavi is forcefully married to another person. And, with Saleema’s death, Gaddam seems to have lost faith in Islam as well]. This critique is mature and subtle as against being loud and populist. The filmmaker taking empathy as a tool to both make the audience feel for the characters and to deconstruct/critique the religion is quite liberating in Telugu cinema. And the filmmaker, trying to address the questions of religion and gender, while also conveying universal philosophy of humanism along through its beautiful love stories, is one of the biggest contributions among many of this movie.

A movie gets a social value when it goes beyond the cinematic expression, lives beyond the period in which it is made and be a part of social histories. This movie, C/o Kancharapalem, certainly deserves that position. And this movie is truly one of the few renaissance moments as it gives not only the guts but also the brains to the already changing trends in Telugu cinema. But the question still remains: When do we get to see female love stories, Dalit stories, transgender stories, migrant workers stories and many more? One would hope the success of this movie really does open avenues for such stories.

(Raviteja Rambarki is pursuing his Ph.D. Sociology at the University of Hyderabad and his interest is to write on the interface between cinema and society)

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

National Awards Row: All hurdles cleared for C/O Kancharapalem

Couple of days ago, Paruchuri Praveena who produced Telugu recent classic and critically acclaimed film C/O Kancharapalem, revealed that the film has been rejected and disqualified from the National award nominations after the committee found that Paruchuri Praveena is not an Indian national. As per Praveena’s request, Telangana leader and TRS Working President KTR took his official twitter handle to inform Rajyavardhan Rathore. Soon Rathore informed KTR that the issue has been resolved and his office spoke to Paruchuri Praveena.

C/O Kancharapalem has been asked to apply for the National Film Awards through the film’s presenters Suresh Babu and Rana Daggubati. Praveena expressed her happiness on resolving the issue and wanted the Centre to permanently amend such rule. C/O Kancharapalem is a small budget film that featured a bunch of fresh faces that received critical acclaim from all the corners of Telugu states.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

C/O Kancharapalem Review : Entertaining , Honest Lovestor(y)ies

Care of Kancharapalem review, C/O Kancharapalem

Telugu360 Rating 3.25/5

Story:

Raju is a government office clerk in a place called Kancharlapalem. Despite hitting 49, he is still unmarried and that obviously becomes a hot topic for everyone in the town. A woman named Radha arrives in Raju’s office after getting transferred from Orissa. She is 42 years old and a single mother of a 20 year old girl. She falls for the good nature of Raju and proposes to get married to him.

In the mean time, an eight standard school boy named Sundaram is entirely involved in love with his classmate Sunitha. This girl has a great voice and loves to sing. But her father doesn’t approve of this. After singing at independence day event in school, she is compelled to leave the place abruptly.

Coming to another character named Gaddam Babu, he works at a wine shop. Everyday a Muslim woman comes to his shop to buy a quarter of alcochol. Hhe falls in love with her. But one day he comes to realize that she is a prostitute.

The fourth story is about Joseph and Bhargavi who belong to different religions. Bhargavi’s Dad disapproves of their relationship and fixes her wedding with somebody else seeing the time Joseph is away in town.

What happens to these stories?How do they unfold? How do they fight with their challenges and come out with flying colors? What sort of lessons do they learn from the people they meet and the experiences?- forms the rest of the plot.

Analysis:

Somehow, Telugu film industry has been stuck with glamour all the way. We have been witnessing only larger than life stories on big screen because of this. Incidents which are based on real life, and experiences have become rare. When a Marathi or Bengali movie is watched on, we tend to get amazed at the realism . C/o Kancharlapalem will definitely remain to be the one of best attempts in showcasing such realism in Telugu films. There are no cinematic expressions in this flick and pre-meditated dialogues. Regular aspects like interval bang, climax twists are non existent. In fact, a determiantion to show a frame beautifully is also not seen. An honest attempt in showcasing the people of Kancharlapalem, the mindset of people were greatly shown in the film. The audience will get a feeling of witnessing the village bit by bit, sitting in the theatre seat! The film’s entire beauty lies in this fact.

The character of Raju reflects sadness and lonliness throughout but he doesn’t speak of philosophy. He has a tinge of humor , realistic attitude and progresses the story. Sundaram’s character reminds us of our childhood where we fall for a girl in a tender age and a stark innocence is seen when he abuses God for taking the girl away from him. The story of Gaddam Babu will tug the heartstrings and even make the viewer wonder whether such pure love exists these days! Can anyone really love a girl like Saleema and be devoted so much?- such questions occur in the viewer’s mind.

It is only Joseph’s love story which pales down compared to these three amazing storylines. But at the same time, the story isn’t something which can be ignored.

How are these four stories brought together? What are the twists in the tale?- are the questions which ponder in viewers mind throughout. But such screenplay has been witnessed in ‘Manamantha’ earlier. In fact, these four stories needn’t be fused in one frame. The director made sure every frame has great honesty and integrity. Without losing the realism aspect, he managed to show honest emotions with entertainment and humour, sentiments, and genuine feelings.

Coming to the flaws, there are certain few. Too much of realistic feel also showcases a bit of rawness. Somewhere in between the flick,the director falls in the trap of practicality. He chooses the regular path of happy ending like any other commercial film.

Performances:

Every character of the film has equal screen space. They acted in quite a balanced manner without over performing a frame. The realism of the film was greatly reflected throughout. Especially Raju character guy stands out

Technical Aspects:

A director’s efforts are clearly seen in the film. It is indeed a great attempt to stay in the village, understand the lifestyles of it to bring it into life. Irrespective of its commercial success, the film will remain as the most experimental flick in Telugu Cinema off late. The background score is haunting and elevates the flick. The songs are quite to the timing of the story and dialogues are very natural.

Verdict:

C/O Kancharapalem is a fun and realistic movie. These type of honest and new attempts should always be appreciated. This is a film for all those who are eager to watch a change in Telugu Cinema.

Telugu360 Rating 3.25/5

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

C/o. Kancharapalem USA Premiers confirmed for Today

C/o. Kancharapalem – “A small film with Golden Heart” received rave reviews from across the entire Telugu Film Industry and critics is all set for the USA Premiers Today.

Telugu film stars including Samantha Akkineni, Nani, Rashi Khanna, Navdeep, Adivi Sesh, Sudheer Babu have shared their appreciation and support after attending the premier that was held last week in Hyderabad.

Many directors including SS Rajamouli, Sekhar Kammula, Krish, Sukumar, Vamsi Paidipally have watched the movie and showered praises describing the film as “One of a kind” and urge everyone to go and watch the movie.

C/o. Kancharapalem – is a beautiful depiction of life in a village and is categorized in the romance genre. It is a reflection of life in its purest form and is guaranteed to resonate with all viewers as the story is portrayed by the residents of Kancharapalem (is a locality in the city of Visakhapatnam) themselves.

Almost the entire cast of the film, i.e. around 80 people, have been selected from real life and from Kancharapalem locality. As the film has been made with a conviction that they shouldn’t miss the nativity and to be more raw and realistic. Not to miss the essence.

This film is produced by Dr. Vijaya Praveena Paruchuri (a New York based Cardiologist) and directed by Venkatesh Maha, has already set a remarkable achievement of beingthe first ever Telugu film to be selected for the New York Indian Film Festival 2018 – a clear hallmark of its content’s authenticity and honesty.

Dr. Vijaya Praveena Paruchuri also acted in the film and equates the essence of C/o. Kancharapalem to ‘Malgudi Days’ in the way the town stands witness to four stories unfolding within its neighbourhoods.

Weekend Cinema – a film distribution company (USA) with the prime intention of showcasing good content cinema is proud to be associated with Suresh Productions and Mr. Rana Daggubati and distributing C/o Kancharapalem – “The Big Small Film of the Year” to Overseas movie enthusiasts and viewers.

We would like to extend our heartfelt thanks to Mr. Suresh Babu Daggubati and Mr. Rana Daggubati for collaborating with us and for having immense faith in our intention to entertain all film lovers.

C/o. Kancharapalem is premiering in USA TODAY (Sept 06th 2018 – Thursday) in many locations and releasing in 90+ Locations all over USA.

Book your tickets now!

Click Here !! for the USA Theaters List.

Thank you.

Team – Weekend Cinema

WeekendCinemaUSA@gmail.com

www.weekendcinemausa.com

Press release by: Indian Clicks, LLC

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

C/o KANCHARAPALEM Overseas Release by Weekend Cinema USA

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C/o. Kancharapalem is a beautiful depiction of life in a village and is categorized in the romance genre.

It is a reflection of life in its purest form and is guaranteed to resonate with all viewers as the story is portrayed by the residents of Kancharapalem (is a locality in the city of Visakhapatnam) themselves.

Almost the entire cast of the film, i.e. around 80 people, have been selected from real life and from Kancharapalem locality. As the film has been made with a conviction that they shouldn’t miss the nativity and to be more raw and realistic. Not to miss the essence.

This film, produced by Dr. Vijaya Praveena Paruchuri (a New York based Cardiologist) and directed by Venkatesh Maha, has already set a remarkable achievement of being the first ever Telugu film to be selected for the New York Indian Film Festival 2018 – a clear hallmark of its content’s authenticity and honesty.

Dr. Vijaya Praveena Paruchuri also acted in the film and equates the essence of C/o. Kancharapalem to ‘Malgudi Days’ in the way the town stands witness to four stories unfolding within its neighbourhoods.

Suresh Productions, one of India’s largest production/distribution companies contributing to both regional and national cinemas since 1964; recognized the genuine storytelling of C/o Kancharapalem and are presenting the film.

Weekend Cinema – a film distribution company (USA) with the prime intention of showcasing good content cinema is proud to be associated with Suresh Productions and distributing C/o Kancharapalem to overseas (USA, Canada, Australia & New Zealand) movie enthusiasts and viewers.

We would like to extend our heartfelt thanks to Mr. Suresh Babu Daggubati and Mr. Rana Daggubati for collaborating with us and for having immense faith in our intention to entertain all film lovers.

C/o. Kancharapalem Release Date (India): Sept 7th 2018 Friday

USA Premiers on Sept 6th 2018 (Thursday Evening)

For trade enquiries please contact:

Harsha: +1 (848)-259-1619

Deepak (India): +91-8309866579

Email ID: WeekendCinemaUSA@gmail.com

Website: www.weekendcinemausa.com
Press release by: Indian Clicks, LLC

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

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