#Ponniyin Selvan: Part Two

[373minami]

Ponniyin Selvan: Part Two 見たよ

絵は腰を屈めて剣を取ろうとするナンディニと側によりそうアディタ

面白かったし悲劇に胸が張り裂けましたなぁ〜。活劇と陰謀、あの人がここでこうなるか、みたいなストーリーラインが回収されていくのすごい。やはりナンディニとアディタの邂逅と張り詰めたやりとりがクライマックスだと思いました。インドで一番演技が上手い男優はヴィクラムさんと思ってるのですが、同じく格調高い演技をするアイシュワリヤラーイと素晴らしく、そして悲しい場面を作り上げていました。

ここからもちろんストーリーに触れているのでご注意。

ナンディニとアディタが悲恋に終わってしまったのも、階級差がなければ、戦争がなければ、と思ってしまうのでありました。

水と火を対照的に描こうとしてるようにも感じた。水は生命、火は死みたいな。マンダキニが水のイメージでアルルモリが救われるが、最後アディタがナンディニに誰もいないところへ逃げようと言ってそれができない、となった後に火が燃え広がる、て感じ。火のイメージが鮮烈なので、アルルモリの水のイメージは少し薄れたかなと思った。同じく、クンダヴァイももう少し見せ場が欲しかったかな〜。

[timetravellingkitty]

Do you know any Indian horror movies like a slasher film (or just in general) because I've personally never seen an Indian slasher movie? Or Indian musicals because I love musicals or just Indian films in general I would love some recommendations!!!<3

Hey! There aren't that many Indian slashers but two I remember are NH10 and Chup: Revenge of the Artist. For other horror, I recommend Bulbbul, Tumbbad, Aamis and Manichitrathazu (this one has been remade in other Indian languages so you can also check those out)

Indian musicals well. I will be really honest most of our movies technically fall under this category we just have to start dancing everywhere BUT to start off, I'll recommend some movies from the different industries:

Hindi: Om Shanti Om, 3 Idiots (mandatory viewing if you want to get into Indian cinema), Rang De Basanti, Qala, Sholay, Taare Zameen Par, Kal Ho Naa Ho and Fitoor

Telugu: Jersey, Magadheera, Sita Ramam, Shyam Singha Roy, Eega (don't question anything. Please don't) and Mahanati

Malayalam: Uyare, Premam, Bangalore Days, Minnal Murali, Athiran, Jallikkattu and Jana Gana Mana

Tamil: Iruvar, Ponniyin Selvan (both parts), Kaithi and its sequel Vikram, Jai Bhim, Super Deluxe, Gargi, Paava Kadhaigal and Soorarai Pottru

For Marathi I've only watched Sairat and The Disciple but I would recommend both and for Kannada there's always 777 Charlie (it's about a dog. What more could you want)

Like you can probably tell, there is a LOT meaning that there's a lot of other amazing stuff I had to leave out but I think this is a good starting point (our film output is number 1 in the world for a reason). Feel free to ask if you want more recs <3

[thirst4light]

In Memoriam

This is my first try at Vanmozhi Fanfiction. Inspired from the PS 2 movie scene. Planning to do a two part follow-up of this prologue. Let me know what you think!

Prologue

'Tis better to have loved and lost Than never to have loved at all.’ (In Memoriam A. H. H., 27.13-17) 

The sky of Thanjavur was strangely grey on a Vaikasi afternoon as the people waited for their beloved crown prince, Aditha Karikalan, to come home.

Only this time, there was no line of excited girls, wearing their best sarees,  chattering away with their aarti thali on the steps of majestic Thanjavur fort, waiting to catch a glimpse of their handsome  prince.

Instead, a grief-stricken royal family waited patiently. Chakrvarthi and the young prince, Ponniyin Selvan were waiting at the front, while the women of the royal family waited behind.

Slightly behind the royal family, Kodombalur Ilavarasi Vanathi was also waiting along with other royal women, looking over the sea of the people that gathered at the outer court of the fort. Since last night, as the news of the prince’s death spread, people kept coming from all corners of the Cholanadu. 

While Vanathi waited, she thought of everything and nothing.

Such a contrast, Vanathi reflected, looking at the grey sky briefly before her gaze settled on the royal family who were clad in pristine white, a decorum when someone in the family passes away.

As if even the sky was mourning along with this family.

Vanathi’s thoughts got interrupted as people’s clamour suddenly increased, making her focus at the entry gate of the fort.

Finally, Aditha Karikalan had arrived in Thanjavur.

In the city where he grew up. In the city where he belongs.

A long procession of regiment came by foot, closely followed by the prince's beloved horse regiment, waving the chola flag. 

From where she was standing, Vanathi could  see the chariot carrying the prince’s body from a distance, closely flanked by his trusted fighting companions, Manamalyan, Parthibendran and Vanthiyadevan; not leaving their beloved prince’s side, even in death.

As the chariot slowly moved across the crowd, Vanathi could hear muffled cries while some people started to shower flower petals at the chariot, a sign of their last respect to their Ilavarase. A section of the crowd even started to tussle with the guards to touch the chariot and pray.

It took a long time for the guards to clear the way for the chariot to cross the short distance of the entry gate to the steps of the fort. 

When the chariot carrying the prince's body finally stopped in front of the fort stairs, there was a momentary pause among the royal family members. 

As if they could not believe what they were seeing.

The ailing Chakravarty was the first to break down as he could not support his weight anymore. Ponniyin Selvan gripped his father tightly, making sure his father could come down the stairs to meet his beloved elder son.

Raṇi varataṭcaṇai Sembiyan Mahadevi, Rani Vanavan Mahadevi, Iliya Piratti slowly started to walk behind the Chakravarty to meet their nephew, son and brother, Aditha Karikalan, one last time. Vanathi followed them as well, her steps heavy with grief.

As everyone in the family huddled at the front of the chariot and tried to caress the beloved prince’s face, the cries of the Chakravarti and Rani were the most heart-breaking.  Vanathi, who was standing at the end of the chariot, could not take it anymore. She bowed her head, closed her eyes to drown out the sound of cries and desperately put her hands together in prayer.

Ishvara, may the Ilavarase join you in heaven. And…And give my beloved royal family and the people of Cholanadu the strength to overcome this difficult time.

Vanathi stayed still for a few minutes, hoping the cries had subdued. As she opened her eyes, she knew that her attempt at focusing on praying was futile. 

But she had to try. 

In desperation, her eyes searched for the only face that could give her strength at this moment. 

As her eyes landed on Ponniyin Selvan’s face, Vanathi realized, despite being such a pillar of strength to his father, the young prince could not hold himself together anymore.

His face contorted with unspeakable grief; tears were streaming down his eyes continuously.

Vanathi had endured loss in various forms from a very young age. Her mother’s death, even though she had never met her, had left a deep wound in her childhood. Then her father’s death at Ilankai war, leaving her as an orphan in this cruel world. Then bidding farewell to her only father like figure uncle Periya Velar before every war, not knowing whether he would return alive from them was always tantamount to loss for her….Yet, no pain of these losses compared to the pain of seeing her beloved Ponniyin Selvan grieving at this moment.

Until this point, Vanathi did not realize that she had been crying along with everyone else. But seeing her Ponniyin Selvan break down like this, fresh tears blocked her vision completely. Her heart felt so heavy that for a moment she felt like she could not breathe anymore.

Wiping her tears with pallu, Vanathi took a few deep breaths to calm herself.

As the guards started to move to take the chariot away for cremation, on a whim, Vanathi decided to come at the front of the chariot and touch Ilavarase Aditha Karikalan’s feet, seeking blessings.

An opportunity she never had before.

While she looked at the crown prince’s resting face one last time, Vanathi realized, in death, Aditha Karikalan had finally found his peace.

The peace that he had been searching for a long time.

Tagging my enablers who I have on my profile: @harinishivaa @nspwriteups @balladedutempsjadis @celestesinsight @thelekhikawrites @reeeereeeereeereee @whippersnappersbookworm @sambaridli

Feel free to tag others/reblog if you like :)

[bidoofenergy]

UNREQUITED LOVE AND GENDER CONFUSION??? :D GOOD TITLE

okay okay this one is for all kollywood fans on AO3: Ponniyin Selvan Doomed Yuri. it's about Kundavai (princess) and Vaanathi (betrothed to youngest prince) and the angst comes to you in two parts

ancient sexism: Kundavai has a lot of power and influence as princess and she got a lot of freedoms but ultimately she's still beholden to the men in her family: her father and her brothers for now and, whenever she gets married, her husband. her father granted her the liberty to do what she liked and i think you'd spend your whole life hyperaware of this, worried he's change his mind, worried about what would happen to you when he died. i went on a bit of a research spiral trying to find any kind of reading about gender in the Chola empire lmao

unrequited love: Vaanathi is placed in Kundavai's circle, probably since they were young, as part of her betrothal to Arunmozhi (the youngest prince) (the actual main character of this movie but dw about that) and they grow really close and rely on each other and scheme together. and idk about you but if a beautiful woman meant to marry my brother was my companion and my brother didn't actually know anything about her not the way i did not as well not as long not as deeply,, i would probably fall in love with her

[wip ask game]

[thereader-radhika]

2- Friends and Foes from the Beyond

Part 1

Nandini shivered as the rain came pounding down. Thirumalai says that she feels colder these days because she lost too much weight. She tied a piece of cloth over her thin grey hair fashioned into a small bun. When she was younger and the hair was thicker, it used to stay tight for a long time.

"Aazhi mazhai kanna . . . ", she hummed as she covered herself with the thick blanket given by Annan and lied down on the mat. Since the day his gurunathan handed her over to him, she hasn't let him know peace or rest. Even in this old age, he dutifully visited her at least thrice every year.

"Do you need heat, kanmani?"

She woke up with a start and looked around frantically searching for the source of that sound. Which devil has come to torture her today? It seems like father-in-law and son-in-law have come together today. Weren't Pandyas the sworn enemies of Pazhuvettaraiyar? How could they become such thick friends in death?

"Our darling is confused."

"My little girl isn't confused. This smart girl killed him and avenged poor old me." Veera Pandyan's severed head laughed from Periya Pazhuvettaraiyar's lap. "No, I didn't kill . . . ", Nandini groaned. The events of that cursed night replayed in her mind.

"Hoy! Hoy! Veera Pandyan thalai konda Koparakesari stabbed himself. You are such a misfortune".

"But he too didn't get her maama", Periya Pazhuvettaraiyar tickled Veera Pandyan's cheeks and he laughed even louder.

"I will only blame you. You clothed her in the finest silk and gold, endured all mockery while this yakshi was observing fasts and austerities for that upstart".

"That isn't true. She touched my arms a few times".

"Chi! Are you a man? I was with her mother only for a few days but I shot two birds with one stone", Veera Pandyan's head winked. Nandini felt like vomiting but her body was unable to move. Someone caressed her hair and wiped her tears. Amma! She buried her head into her lap and cried bitterly.

"How many men have these women claimed to be their lovers? Pathetic maamiyar, her hopes were shattered when Sundara Cholan's veera-patni entered the pyre with her husband. That's our Chola women for you". Pazhuvettaraiyar's boasting turned to screams as Veera Pandyan's furious head bit his hands.

"Don't you hear this, you whore? I am so embarassed to admit that you are my daughter too".

"Sorry maama. I have spoken in anger."

"Don't worry. I will teach you to tame unruly women".

"Thanks. I will try it on her in our next birth".

Nandini's blood boiled as she listened to this exchange. She only hoped to console the old man after using him for years but he haunts her with her own words. "Get lost, you old perverts. I will never be yours".

"Old? Have you seen yourself, moothevi? Do you think your komagan will look twice at you? Even your mother looks younger than you. How lovely of them to send my mohini to me!"

Veera Pandyan's headless body approached Mandakini as the head jeered at Nandini from Pazhuvettaraiyar's lap. She dropped Nandini's head on the hard floor and dashed into the rain as the mutilated body followed her with outstretched arms. Nandini massaged her temples. Isn't there an end to this? Earlier, it was Veera Pandyan alone. After that fateful night, more apparitions started to torture her.

Where is he?

Why hasn't he come today? Is it because she looks old and ugly now? Perhaps he doesn't want her anymore.

"You know that isn't true", Aditha Karikalan chuckled from the other side of her mat. She tried to hug him but her arms passed through his form. She got as close as she could get and stared into those lovely brown eyes.

"Do they bother you . . . there?"

"No. Don't you know that we have our own place?  For us."

"Ummmm"

"There are a lot of flowers. You can make as many garlands as you want and I will adorn your neck with all of them".

"Can we take my Amma too? She doesn't have anyone else."

"Yes, but she won't come alone".

"I am coming. I just want to meet Ponniyin Selvan once, just once, and tell him everything. After that I won't linger. I can't wait."

His form dissolved into thin air before her eyes but she heard his whisper, "Neither can I".

Parts 3, 4

@favcolourrvibgior @willkatfanfromasia @sowlspace @sampigehoovu @sakhiiii @ambidextrousarcher @harinishivaa @celestesinsight

[ambidextrousarcher]

Thanks for the tag @enigma-the-mysterious !

I have a fanfiction.net account that I have long stopped using, not least because I started disliking the site, as well as the character whose name I had used as my username on that site.

I had a Wattpad phase when I was 15. I haven’t opened that in years.

Definitely have an Ao3 account! AmbidextrousAecher

I do not like either reading or writing smut, maybe it’s part of my manifestation of aroace news.

I used to roleplay with someone who had been a friend of mine, online here on Tumblr.

I have beta read fics and fic related scenes for both former and current friends.

I have definitely published an unbeta’ed fic! Most of my early works in the Mahabharata fandom were unbetaed, as well as most of my fics for all other fandoms I have written in.

I have definitely written self-indulgent fics. A King’s Fortune is one I can think of immediately, though that one is angst central right now, as well as Let Not Sleeping Skunks Lie, which is the height of self-indulgence.

I usually write grammatically correct sentences, even in comments, something I have been teased for. No keysmashes, sorry.

Yes, I have left kudos on many fics twice, at least in the form of comments. @starlightasteria and her amazing fics are the ones I can think of off the top of my head.

I do love me some good fluff sometimes!

No, I have not written for same sex ships. I don’t ship in general, with some very rare exceptions, all of which are somehow cishet ships.

Fan fiction is definitely a genre of its own!

Definitely multifandom. Mahabharata, ASOIAF, Jodhaa Akbar, Baahubali, Harry Potter, Hunger Games, have fics I have written fro them that are published, including two crossovers. I am writing a fic for the Thor (Marvel) movie, as well as have ideas for fics on the Ponniyin Selvan fandom, which I intend to execute. Oh! And I also have a fic for the TV serial Kuch Rang Pyaar Ke Aise Bhi, though most of that fandom would flame that fic, because it is very biased to the male lead, being in his PoV with a lot of canon divergences.

I enjoy research before writing! Have spent many happy hours in that.

If a mental outline counts, I keep an outline of sorts, yes.

Who doesn’t wait for feedback after publishing?

Haven’t received or commissioned art.

Have about 8-10 unpublished fics, mostly having Jaime Lannister in multiple universes.

I actually…like editing?

Oh, most of my ideas strike right before bed, in the middle of the night, or when I startle awake after a nightmare.

I don’t drink alcohol, tea or coffee, so those two are out.

Yes, I think I have a fic that deserves more attention. Darin is one of my favourite pieces that I have written, and hardly anyone reads it. (Understandable, it’s a Mahabharata crossover with the Hunger Games)

Yes, I hope to publish my novel series which is solely from Arjun’s PoV.

Sorry for not reblogging, I wasn’t able to, app glitch. Credit for the bingo to the original poster.

Tagging @harinishivaa @hum-suffer @selkiesstories @hindumyththoughts @favcolourrvibgior @chaanv

[myallmoviein]

https://myallmovie.in/download-ponniyin-selvan-part-two-2023/

[hopefulkidshark]

Ponniyin Selvan: II

2023 ‧ Action/Adventure ‧ 2h 45m

Ponniyin Selvan: II (PS-2, transl. The Son of Ponni) is a 2023 Indian Tamil-language epic historical action drama film directed by Mani Ratnam, who co-wrote it with Elango Kumaravel and B. Jeyamohan. The film is produced by Mani Ratnam and Subaskaran Allirajah under Madras Talkies and Lyca Productions. The second of two cinematic parts based on the 1954 novel Ponniyin Selvan by Kalki Krishnamurthy, it serves as a direct sequel to Ponniyin Selvan: I (2022). The film stars an ensemble cast including Vikram, Aishwarya Rai Bachchan, Jayam Ravi, Karthi, Trisha, Jayaram, Prabhu, R. Sarathkumar, Sobhita Dhulipala, Aishwarya Lekshmi, Vikram Prabhu, Prakash Raj, Rahman and R. Parthiban.

In the wake of his brother Ponniyin Selvan's presumed death, Aditha Karikalan of the Chola dynasty rallies his kingdom and tries to resist threats on all sides.

Initial release: April 28, 2023

Director: Mani Ratnam

Box office: 3.5 billion INR

Story by: Kalki Krishnamurthy

Distributed by: Red Giant Movies

Starring

Vikram

Aishwarya Rai Bachchan

Jayam Ravi

Karthi as Vallavaraiyan Vandiyadevan was a commander of the Chola Army. He was one among the famous chieftains of the Chola emperors Rajaraja I and Rajendra I and chief of the Samanthas of Chittoor and also the husband of Rajaraja's elder sister Kunthavai Pirattiyar

Vallavaraiyan Vandiyadevan - Wikipedia

Trisha as Kundavai Pirattiyar, commonly known mononymously as Kundavai, was a princess of the Chola empire who lived in the tenth century in South India. However when her husband Vallavaraiyan Vandiyadevan was crowned king in his hometown Bana Kingdom, she did not accept the offer to become queen of the kingdom and remained as the princess of Tanjore

Kundavai Pirāttiyār - Wikipedia

Sobhita Dhulipala

Aishwarya Lekshmi

Ponniyin Selvan: II - Wikipedia

“What about the promise?”  “What promise” “About his life belonging to her and not him?”

Vanthiyathevan and Kundavai in Ponniyin Selvan: II

[ID in ALT]

[freepressjournals]

Eka Lakhani – The Creative Force Behind Iconic Costumes in Indian Cinema

Early Life and Education:

Born in 1987, Eka Lakhani is a celebrated Indian fashion costume designer who has made a significant impact in the world of Indian cinema. Her journey began with a strong educational foundation in fashion design. She studied at SNDT Women’s University in Mumbai, where she developed her creative skills over three years. Seeking further expertise, she attended the Fashion Institute of Technology in New York City, where she refined her craft. During her time in the United States, Eka had the opportunity to assist established designers during New York Fashion Week, gaining invaluable insights into high fashion.

Emerging as a Costume Designer:

Eka’s career in costume design took a significant leap when she returned to India and interned on the sets of the bilingual film “Raavan” in 2010. Her talent and dedication quickly caught the attention of notable cinematographer Santosh Sivan, who offered her the role of costume designer for the Malayalam period drama “Urumi” in 2011. This project presented the challenge of creating authentic 15th-century Portuguese and Indian costumes for prominent actors like Vidya Balan, Genelia D’Souza, and Tabu, showcasing her ability to handle complex historical themes.

Collaboration with Director Mani Ratnam:

A pivotal moment in Eka’s career came in 2013 when she became the costume designer for Mani Ratnam’s film “Kadal.” This collaboration marked the start of a successful partnership that continues to thrive. Eka’s meticulous attention to detail and dedication to her craft made her the preferred choice for Mani Ratnam’s projects. Her work has been particularly lauded in films like “O Kadhal Kanmani” (2015) and “Kaatru Veliyidai” (2017), where her stunning costume designs for actresses Nithya Menen and Aditi Rao Hydari stood out.

For the period drama “Ponniyin Selvan: I” (2022), Eka undertook extensive research, traveling to Tanjore temples, meeting weavers, and immersing herself in the rich heritage to create authentic costumes that vividly brought the historical narrative to life.

Versatile Portfolio:

Eka Lakhani’s diverse portfolio includes biopics such as “Sanju” (2018) and the web series “Queen” (2019), where she meticulously recreated the fashion styles of the respective historical periods. In 2019, she founded “Team E,” a platform where seasoned designers collaborate under her guidance. Their first project was the Madras Talkies production “Vaanam Kottattum” (2020).

Eka’s versatility is further demonstrated by her appearances in films like “Kadal” (2013) and “One by Two” (2014), showcasing her talent as both a costume designer and an actress.

Awards and Recognition:

Eka Lakhani’s contributions to costume design have been widely recognized and celebrated. Her meticulous attention to detail and unwavering commitment to her craft have earned her a well-deserved place in the industry.

With an estimated net worth of $1.2 million and a career spanning various languages and genres, Eka Lakhani continues to be a driving force in Indian cinema. Her exceptional costume designs bring characters to life, making her an indispensable part of the film industry.

[boyfhee]

an indian here to add on!

indian media (bollywood, tollywood, sandalwood etc) only became popular in other countries fairly recently (3 idiots/rrr, which are both amazing films and deserve all the hype they got) so here are some of my personal favourite movies that hopefully you and others could check out! several of them also feature our country's rich history and culture :)

ponniyin selvan (part 1 and 2) - this is literally a cinematic masterpiece. it's based on the series of tamil books by kalki krishnamurthy, set in the chola dynasty of india. it's historical fiction but the characters featured are real, barring a few. (plus, the costumes and the overall aesthetic? immaculate.)

jab we met - pls this is the ultimate rom-com it's so so so good

kantara - this is a kannada film that is based entirely on the theme of nature vs man. amazing cinematography + it's based on a small community that still, to this date, follows the tradition of bhoota kola. the last 20 mins will give u chills i promise

lagaan - oh my gosh i watched this movie with my family on a rented dvd when i was seven and it has stuck with me since. it's set during the rule of the british in india and is considered a classic + it was even nominated for an academy award!

dangal & chak de india - both are sports films based on women! dangal is a movie about women wrestlers based on real life people and chak de india is about women hockey players

zindagi na milegi dobara - very slice of life, feel good kinda movie <3

if you want some classic movies that became super popular in the late 1990s and early 2000s, check out: kabhi khushi kabhie gham, dilwale dulhania le jaayenge, kuch kuch hota hai, and jo jeeta wohi sikandar

this was a long list, sorry TT

OH MY GOD i love ponniyin selvan, lagan and dangal TT i love dangal sm, it sort of changed my views on my dad and i love him even more now >< znmd and ddlj are all time favs, i cannot stress how many times me and my friends have watched those two. like we used to waste a good twenty minutes looking for a movie and would end up watching those two every single time lmfao. and i'm definitely going to watch kantara, it sounds fun :O

thank u sm for these recs and to anyone interested, please check these out, they are so so good ^_^

[sequelscreen]

Eka Lakhani – The Creative Force Behind Iconic Costumes in Indian Cinema

Early Life and Education:

Born in 1987, Eka Lakhani is a celebrated Indian fashion costume designer who has made a significant impact in the world of Indian cinema. Her journey began with a strong educational foundation in fashion design. She studied at SNDT Women’s University in Mumbai, where she developed her creative skills over three years. Seeking further expertise, she attended the Fashion Institute of Technology in New York City, where she refined her craft. During her time in the United States, Eka had the opportunity to assist established designers during New York Fashion Week, gaining invaluable insights into high fashion.

Emerging as a Costume Designer:

Eka’s career in costume design took a significant leap when she returned to India and interned on the sets of the bilingual film “Raavan” in 2010. Her talent and dedication quickly caught the attention of notable cinematographer Santosh Sivan, who offered her the role of costume designer for the Malayalam period drama “Urumi” in 2011. This project presented the challenge of creating authentic 15th-century Portuguese and Indian costumes for prominent actors like Vidya Balan, Genelia D’Souza, and Tabu, showcasing her ability to handle complex historical themes.

Collaboration with Director Mani Ratnam:

A pivotal moment in Eka’s career came in 2013 when she became the costume designer for Mani Ratnam’s film “Kadal.” This collaboration marked the start of a successful partnership that continues to thrive. Eka’s meticulous attention to detail and dedication to her craft made her the preferred choice for Mani Ratnam’s projects. Her work has been particularly lauded in films like “O Kadhal Kanmani” (2015) and “Kaatru Veliyidai” (2017), where her stunning costume designs for actresses Nithya Menen and Aditi Rao Hydari stood out.

For the period drama “Ponniyin Selvan: I” (2022), Eka undertook extensive research, traveling to Tanjore temples, meeting weavers, and immersing herself in the rich heritage to create authentic costumes that vividly brought the historical narrative to life.

Versatile Portfolio:

Eka Lakhani’s diverse portfolio includes biopics such as “Sanju” (2018) and the web series “Queen” (2019), where she meticulously recreated the fashion styles of the respective historical periods. In 2019, she founded “Team E,” a platform where seasoned designers collaborate under her guidance. Their first project was the Madras Talkies production “Vaanam Kottattum” (2020).

Eka’s versatility is further demonstrated by her appearances in films like “Kadal” (2013) and “One by Two” (2014), showcasing her talent as both a costume designer and an actress.

Awards and Recognition:

Eka Lakhani’s contributions to costume design have been widely recognized and celebrated. Her meticulous attention to detail and unwavering commitment to her craft have earned her a well-deserved place in the industry.

With an estimated net worth of $1.2 million and a career spanning various languages and genres, Eka Lakhani continues to be a driving force in Indian cinema. Her exceptional costume designs bring characters to life, making her an indispensable part of the film industry.

[talkingfilmsnet]

A Tapestry of Triumphs - Unveiling the Best Indian Films that Had it All

2023 wasn't just another year in Indian cinema; it was a vibrant explosion of colors, stories, and cinematic experiences. From critical darlings that sparked intellectual firestorms to commercial juggernauts that painted the box office red, and from hidden gems nestled in regional corners to internationally acclaimed masterpieces, this year offered a cinematic feast for every palate. So, grab your metaphorical popcorn and settle in, for we're about to embark on a journey through the best Indian films of 2023, a journey guaranteed to leave you entertained, moved, and perhaps even a little wiser.

The Critics' Coronation:

·         Ponniyin Selvan: Part Two: Mani Ratnam's epic historical saga wasn't just a visual spectacle; it was a meticulously crafted masterpiece that earned critical acclaim for its grand storytelling, nuanced performances, and sheer cinematic brilliance. This Tamil film transported audiences to a bygone era, offering a glimpse into the Chola dynasty's power and intrigue, and reminding us of the enduring power of historical epics.

·         Aamis: This Assamese drama dared to be different, and critics lauded its unconventional narrative and nuanced exploration of gender and identity. Set in the world of meat shops, the film challenged societal expectations of femininity and sexuality, sparking conversations about representation and inclusivity, and proving that regional cinema can be at the forefront of artistic innovation.

·         Mrs. Chatterjee vs Norway: Rani Mukerji's tour-de-force performance as a mother fighting for her child in this courtroom drama wasn't just a box office draw; it was a critical darling for its powerful portrayal of maternal love, cultural clashes, and the lengths a mother will go to. This Hindi film resonated with audiences and critics alike, sparking important conversations about parental rights and societal biases.

Box Office Bonanzas:

·         Jawan: Shah Rukh Khan, the king of romance, shed his usual charming persona and donned the rugged avatar of a global espionage agent in Atlee's high-octane thriller. The film's jaw-dropping stunts, breathtaking visuals, and Shah Rukh Khan's undeniable star power made it a box office behemoth, proving that action can be a recipe for commercial success.

·         Pathaan: Siddharth Anand's stylish spy thriller wasn't just a critical darling; it was a box office goldmine. The sizzling chemistry of Hrithik Roshan and Deepika Padukone, exotic locales, and edge-of-your-seat action sequences made Pathaan a visual treat and a commercial triumph, proving that Bollywood masala can still pack a punch at the box office.

·         Rocky Aur Rani Ki Prem Kahani: Karan Johar returned to his signature brand of quirky rom-com with this film, and audiences flocked to theatres in droves for a dose of laughter, romance, and Bollywood masala at its finest. Ranveer Singh and Alia Bhatt's infectious energy, slapstick humor, and a whirlwind romance made Rocky Aur Rani Ki Prem Kahani a commercial success, reminding us that sometimes, all you need is a feel-good escape.

Hidden Gems Uncovered:

·         Dasara: This Telugu drama set in Telangana wasn't just a regional hit; it captivated audiences with its heartwarming story of love, loss, and resilience in a rural village. Nani and Keerthy Suresh's nuanced performances, the film's authentic portrayal of village life, and its celebration of local language and customs won over audiences, proving that regional cinema can offer gems waiting to be discovered.

·         Vathi: Dhanush's passionate teacher fighting for educational reform in this Tamil drama wasn't just a regional success; it sparked conversations about social justice and educational disparities. The film's humor, emotional depth, and call to action resonated with audiences, proving that regional stories can tackle universal themes and create lasting impact.

·         The Archies: Zoya Akhtar's vibrant live-action musical set in 1960s India transported audiences to a bygone era with its infectious music, nostalgic vibes, and talented cast of newcomers. This Hindi film garnered international attention for its unique blend of music, comedy, and coming-of-age themes, proving that regional stories can have global appeal and find a niche audience even beyond borders.

In Conclusion

The top Indian films 2023 are set to redefine the landscape of Indian cinema and cement its position as a powerhouse of storytelling and creativity. With a diverse range of genres, themes, and talents, these films will appeal to a global audience and showcase the rich cultural heritage and artistic capabilities of India. From heart-wrenching dramas to adrenaline-pumping action flicks, 2023 will be a year to remember for Indian cinema. As we eagerly wait to witness these top films on the big screen, let us celebrate the ever-evolving and dynamic world of Indian cinema and its boundless potential for greatness.

[twinkl22004]

Kalki கல்கி , “Son of River Kaveri-Cauvery” പൊന്നിയിൻ സെൽവൻ (Ponniyin Selvan), 1955, PART TWO (II).

Kalki கல்கி , “Son of River Kaveri-Cauvery” പൊന്നിയിൻ സെൽവൻ (Ponniyin Selvan), 1955 was the topic of an earlier blog post. Here I present: Kalki கல்கி , “Son of River Kaveri-Cauvery” പൊന്നിയിൻ സെൽവൻ (Ponniyin Selvan), 1955, PART TWO (II). COMMENTS. Aishwarya Rai stars in this film-adaptation of the book; and, Mani Ratnam (मणिरत्नम्)  is the director of the movie. This combination of Aishwarya Rai…

[thereader-radhika]

A Note on the Language And History Of Ponniyin Selvan

The indented part is an abridged version of Prof. T. Sriraman's Introduction to C V Karthik Narayanan's English translation of Ponniyin Selvan and the rest is mine.

Kalki is the first significant historical novelist in Tamil. There were a few others before him who had attempted writing in the genre but none of them is read now or even remembered in literary histories. It is important to note the long interval between the birth of the novel as a genre in Tamil and the creation of the subgenre of historical fiction

LANGUAGE One explanation for this long interval could be that Tamil writers had first to master this new form before they could gain the confidence for attempting the extremely challenging task of writing historical novels.

Also it took centuries for historical information about ancient Tamil Nadu to be suitably incorporated into books of history; it took a long time too for Tamil prose style to evolve.

Kalki’s acknowledged achievement as a writer consists in a transformation of Tamil prose style into a medium eminently suited for discourse — literary, political, even historical — in the modern world. This transformation is similar to the revolution that Subrahmanya Bharati brought about in poetry.

It should be noted that there were debates about the limitations of vernacular languages like Tamil and Malayalam as compared to English.

Bengali historian Jadunath Sarkar, in his 1915 essay Confessions of a History Teacher said that efforts should be made to write history books and teach history in vernacular languages. Then 24 year old K A Nilakanta Sastri (who would go on to become the most prolific historian in South India) wrote a letter opposing this suggestion by saying that "English serves me better as a medium of expression than Tamil – I mean in handling historical subjects. Perhaps the vernacular is not so well off in this part of the country as it should be". This elicited severe criticism from people like Subramanya Bharathi.

Authors like Kalki challenged such notions through their works. But quite funnily, they had to depend on the works of these same historians (Nilakanta Sastri's eponymous work The Cōlas was a main source of Ponniyin Selvan). So we can't say that novels like Ponniyin Selvan are fully free of their influence either.

HISTORY

One way of interpreting Kalki's, or indeed any colonized writer intellectual's attempt to re-create past history is to view it as a psychological, but politically safe, release for his and his race's wounded pride as colonized subjects. As Meenakshi Mukherjee puts it: " . . .  any tale of past bravery or heroism vindicated present servitude".

Kalki firmly believed that centuries of political slavery had clearly resulted in a debilitation of body and mind: "“Owing to centuries-long subjugation under foreign rule, the mental firmness and the physical strength of the people of this country have declined. There cannot be two opinions about the need for the men of this country to regain them".

What interested Kalki was political, religious and literary history but not social and economic history, even when they had a bearing on those other histories. The deluding romanticism is obvious but we must say that  . . . a tendency to romanticize, can be made with regard only to the historical novels of Kalki and not to the social novels or the short stories.

We therefore return to the question: How historical, how true to history, is Ponniyin Selvan? The broad outlines of the novel do certainly accord with the historical facts. But there are two intriguing questions in the historical account which must surely have caused problems for Kalki in his overall project (agenda, as some of us might choose to call it) of the glorification of the Chozha age.

• The first is the obvious issue of claim: if Parantaka II (Sundara Chozha) was right to ascend the throne after the death of his father (only if Maduranthaka was still a child), was he justified in declaring his own son Aditya II (Karikala) heir-apparent, thus effectively, and well in advance, blocking Maduranthaka's path to the throne?

• The second question concerns the mystery behind the killing of Aditha Karikala.

Besides, and more importantly, everywhere in the novel there are paeans of praise, in prose and verse, for the Chozha Empire (which in fact had not expanded to its full extent at the time presented in the novel).

We have no reason to believe that these historical people behaved in the same way as in the novel. We know that they are as unrealistic and fictional as Nandini or Poonguzhali.

Sundara Cholan was not a lovelorn paralysed man. Aditha Karikalan was was married to multiple women and perhaps even had a son (or multiple children). It is possible that he only participated in battles but didn't kill Veera Pandyan with his own hands. Rajaraja Cholan was a ruthless conqueror. His heir's mother was a relatively under-represented queen. Kundavai did not marry an orphan, landless prince. There was no Senthan - Maduranthakan baby swapping. In fact, it was Arinjayan's line that usurped the throne from the rightful heir Maduranthakan/Uttama Cholan.

So where does this leave us? It leaves us in an imaginary world to enjoy the fiction, history and fictionalised history and have a good time 😄

[richdadpoor]

Vikram's Stalled Project Dhruva Natchathiram Back On Track, Trailer To Release Soon

The production of the movie started in early 2017. According to reports, Gautham Menon and Vikram have decided to now complete the long-delayed project as fast as possible. Tamil star Chiyaan Vikram tasted both success and failure in recent times. His magnum opus Ponniyin Selvan, which was released in two parts, did well. But his film from last year Cobra turned out to be a box office dud.…

[morals4u]

ponniyin selvan 2 download and watch full hd tamil movie

The story of the sons of Chola’s kingdom who are brave enough to fight and sacrifice their lives for their kingdom.   After the intriguing story of ‘Ponniyin Selvan: I’, now the movie ‘Ponniyin Selvan: II’ is revealing all the secrets. The movie is based on a novel named Ponniyin Selvan that includes five parts. The makers made these two parts by combining the stories of the five parts of this…