|ह्या लेखाचा/विभागाचा इंग्रजी किंवा अमराठी भाषेतून मराठी भाषेत भाषांतर करावयाचे बाकी आहे. अनुवाद करण्यास आपलाही सहयोग हवा आहे. ऑनलाईन शब्दकोश आणि इतर सहाय्या करिता भाषांतर प्रकल्पास भेट द्या.
भरतन (कलाकार)(मल्याळम कलाकार=अभिनेता,दिग्दर्शक,निर्माता इ,) साचा:Infobox actor
Bharathan (साचा:Lang-ml) (14 November 1947 – 29 July 1998) was a Malayalam film director, artist, sculptor, poster designer and art director. He is widely regarded as one of the most influential filmmakers of Malayalam cinema, and also one of the most prolific. At the time of his passing, at the age of 51, he had directed more than 50 movies in several languages. He was born at Engakkadu near Wadakkancherry, in Thrissur district of Kerala, India.
After completing his diploma from the School of Fine Arts he entered the world of Cinema as an art director for Vincent, an accomplished director of the time and the movie was Ghandarva Kshetram. He got the inspiration from his uncle, P. N. Menon — a veteran film director. After working as an art director and assistant director for a few movies, he made his directorial debut in 1974 with Prayanam, based on Padmarajan’s script. The movie received the national award for the best regional film in that year. It also marked the rise of two early proponents of middle-stream Malayalam cinema.
Style and themes[संपादन]
Bharathan's films were known for their realistic portrayal of rural life in Kerala. Melodrama and escapism, often an integral part of mainstream cinema in India, were usually absent in his films. He also managed to steer clear of the "star-centric" culture, prevalent in Indian cinema, throughout his career. His later films did involve major movie stars but usually without compromising on plot or narrative. Bharathan, along with Padmarajan and K. G. George were largely responsible for introducing a counter culture of meaningful mainstream cinema which often tread the middle path between art-house and commercial cinema. This movement was often called the "middle of the road cinema". Bharathan's films were known for their visually appealing shot compositions. His background as a painter enabled him to create frames that were often credited for their visual beauty. Natural props and nature itself often became important characters in his films (like the railway track in Paalangal, or the sea in Amaram). Bharathan is one of the few Indian directors known to use an elaborate story-board system for filming. He also often designed the posters for his films.
Several of his early films were known for their bold portrayal of sexual themes.His films often defied social conventions and norms about man-woman relationships. Rathinirvedam was the sexual-coming-of-age story of the relationship between a teenager and an older woman while Chaamaram dealt with the tumultuous affair between a student and his college lecturer. In Kaatathe Killikoodu an elderly, married Professor falls for his student. Kaathodu Kaathoram was about the social ostracism of a woman who has an adulterous relationship.
The latter half of Bharathan's career saw a distinct change in film making style characterized by a wider canvas,more attention to detail with more distinct focus on narrative style (e.g., Vaishali, Amaram, Thaazhvaaram, and Thevar Magan). Some critics argue that this quest for technical excellence was at the expense of the quality of thematic content. Films like Vaishali and Amaram (where he collaborated with acclaimed cinematographer Madhu Ambat) set a new benchmark for cinematographic excellence in Malayalam and Indian Cinema. Thaazhvaaram was stylistically inspired by Classic Hollywood Westerns though the theme and backdrop were distinctly original.
His last few films (Padheyam, Chamayam, Devaraagam) did not receive much critical acclaim or commercial success.
The director showed a penchant for brilliantly portraying rustic life in rural Kerala. Bharathan has directed over 50 films in Malayalam, Tamil, Telugu and Kannada. Starting his career in 1975 with Prayanam, Bharathan rode to fame with his off-beat Thakara, a film about a dumb-witted central character who falls in love with the village beauty. Some of his other memorable films include Rathinirvedam, Chamaram, Paalangal, Amaram, Vaishali and Alolam.
He displayed a rare talent in treating sex without falling into vulgarity which was to later became the trademark of the so called Bharathan touch. His association with Padmarajan was the beginning of a golden era in malayalam cinema. Few more films came out from the duos partnership before Padmarajan became an independent director himself. Rathi Nirvedam and Thakara were the most noted among them with latter being considered one of his best.
Rathi Nirvedam was a sensitive treatment of teenage sexual angst. In Thakara, he deals with life and longings of a mentally retarded youth and his association with the society.
In the early eighties he made several notable movies like Chaamaram, Marmaram, Paalangal, Oormakkai, Kaatathe Killikoodu, and many more. They did well in theaters and set the trend for meaningful mainstream cinema. Other noted directors also followed suit. It was the romantic era of Malayalam cinema.
Not all of Bharathan's films skirted with bold themes and controversy. In Oru Minnaaminunginte Nurunguvettam (1987), he tells the poignant story of a childless couple in their post retirement life. The film deals with the isolation and loneliness that comes with old age. The film was a departure from Bharathan's usual style and proved to be a major commercial hit while garnering critical acclaim too.
His Vaisali (1998) is widely regarded as a modern day masterpiece in Malayalam cinema. Scripted by the iconic Malayalam novelist M. T. Vasudevan Nair, it was an adaptation of a sub-story told in the epic Mahabharatha. Another movie born from their association was Thazhvaram. The subject was revenge, a theme quite uncharacteristic of Bharathan movies.The style of the film was inspired by Classic Westerns with a brooding, reticent central character and expansive shots of barren landscape.
Even though he was not known to cater to the star-centric system, Bharathan was instrumental in bringing together the two screen icons of Tamil cinema Sivaji Ganesan and Kamal Hassan in the Tamil film Thevar Magan which won both critical acclaim and box office success.Sivaji gave an uncharacteristically restrained yet brilliant performance in the film. The movie was remade into many regional languages (most notably Virasat in Hindi) and bagged several national awards.
His more experimental films include Aaravam, more an arthouse than commercial venture, and Nidra, a film about the plight of a girl who is in love with a mentally deranged man.
His creativity was not confined to film direction. He also wrote lyrics and tuned songs for his films. (e.g., Keli; “Thaaram Valkannadi Nokki…")
Bharatan died at a private hospital in Madras on 29 July 1998 following prolonged illness. He was suffering from liver cirrhosis.
1. The person who is sitting and painting in the song "Ente Swapnathin" which was picturised on KJ Yesudas in the film "Achani" was Bharathan.
2. The drawings in the cave supposedly drawn by Rishyasrungan in Vaishali was undoubtedly drawn by Bharathan.
|1||Prayanam||P. Padmarajan||M.B. Sreenivasan||Mohan, Kottarakkara Sridharan Nair, Master Raghu, Lekshmi, Kaviyoor Ponnamma, Nanditha Bose||1975|
|2||Guruvayur Kesavan||Puthur Unnikrishnan||G. Devarajan||Soman, Adoor Bhasi,Sankaradi, Bahadoor, Jayabharathy, Meena||1977|
|3||Aniyara||Uroob (P.C. Kuttikrishnan)||G Devarajan||Soman, Bahadoor, Sankaradi,Urmila, Kaviyoor Ponnamma||1977|
|4||Rathinirvedham||P. Padmarajan||G. Devarajan||Jayabharathi, Krishnachandran||1978|
|5||Thakara||P. Padmarajan||M. G. Radhakrishnan||Nedumudi Venu, Surekha, Prathap Pothan||1979|
|6||Lorry||P. Padmarajan||M. S. Vishwanathan||Achankunju, Balan K. Nair, Nithya ,Pratap Pothan||1980|
|7||Aravam||Bharathan||M.G.Radhakrishnan||Prathap Pothan, Bahadoor, Venu Nagavally, K P A C Lalitha , Prameela||1980|
|8||Chamaram||John Paul||M. G. Radhakrishnan||Pratap Pothan,Zarina Wahab||1980|
|9||Chatta||PR Nathan||Johnson||Nedumudi Venu, Achankunju, Balan K Nair, Subha||1981|
|10||Parvathi||adapted from the novel Adiyaravu by Kaakkanaadan||Johnson||Premnazeer, Rajkumar, Latha, K P A C Lalitha , Prameela||1981|
|11||Nidhra||Bharathan||G. Devarajan||Vijay Menon, Abraham P K, Lalu Alex, K P A C Lalitha , Santhikrishna||1981|
|12||Parankimala||adapted from the novel by Kaakkanaadan||G. Devarajan||Nedumudi Venu, Benny, Achankunju, Rani Padmini, Soorya||1981|
|13||Marmaram||John Paul||M. S. Vishwanathan||Nedumudi Venu,Jalaja, Gopi||1982|
|14||Ormakkai||John Paul||Johnson||Madhavi, Gopi||1982|
|15||Palangal||John Paul||Johnson||Nedumudi Venu, Zarina Wahab,Gopi, KPAC Lalitha, Adoor Bhavani, Bahadur, Shankar||1982|
|16||Kattathe kilikoodu||T.Damodaran||Johnson||Gopi, Sreevidya,Mohanlal, Revathi||1983|
|17||Eenam||P. Padmarajan||Bharathan||Bharath Gopi, Venu Nagavally, Unni Mary, Santhikrishna||1983|
|18||Sandhya mayangum neram||Bharathan||Shyam||Bharath Gopi, Jayabharathy, Unni Mary||1983|
|19||Ithiripoove Chuvannapoove||adaptation of a drama by Thikkodiyan.script; T.Damodaran and John paul.
|20||Ente Upasana||Based on a Novel by Mallika Younis||Johnson||Mammootty, Suhasini, Cochin Hanifa,Unnimary||1984|
|21||Kathodu kathoram||John Paul||Bharathan, Ouseppachan||Mammootty, Saritha, Janardhanan, Nedumudi Venu,Innocent||1985|
|22||Ozhivukalam||P. Padmarajan||Johnson||Prem Nazir, Karamana Janardhanan Nair||1985|
|23||Chilampu||Based on a Novel by N.T Balachandran,Lyrics Bharathan||Ouseppachan||Rahman, Shobhana, Thilakan, Babu Antony debut , Innocent||1986|
|24||Pranamam||Dennis Joseph||Ouseppachan||Mammooty, Ashokan, Suhasini,Vineeth||1986|
|25||Oru Minnaminunginte Nurunguvettam||John Paul||Johnson;Lyrics: O. N. V. Kurup||Nedumudi Venu, Sharada,Parvathi,Devan,M. S. Thripoonithara, Innocent,Shankaraadi||1987|
|26||Neelakurinji poothapol||John Paul||Jerry Amaldev||Karthika, Gireesh Karnad||1987|
|27||Vaishali||M. T. Vasudevan Nair||Bombay Ravi Lyrics: O. N. V. Kurup||Suvarna debut , Sanjay debut , Babu Antony Geetha , Sreeraman,Parvati, Nedumudi Venu Camera Madhu Ambatt||1988|
|28||Oru sayahnathinte swapnam||John Paul||Ouseppachan||Thikkurissi Sukumaran Nair, Mukesh, Madhu, Kaviyoor Ponnamma, Suhasini||1989|
|29||Thazhvaram||M. T. Vasudevan Nair||Bharathan||Mohanlal, Sumalatha, Salim Ghouse,Shankaradi, Anju Camera Venu||1990|
|30||Amaram||A. K. Lohithadas||Ravindran||Mammootty, Maathu,Ashokan, Murali, KPAC Lalitha,Chitra Camera Madhu Ambatt||1991|
|31||Keli||John Paul||Bharathan||Jayaram, Innocent, Nedumudi Venu,Murali,Charmila||1991|
|32||Thevarmagan Tamil||Kamal Hassan||Ilaiyaraaja||Sivaji Ganeshan, Kamal Hasaan, Revathi,Gauthami,Nazar||1992|
|33||Avarampoo Tamil (Remake of Thakara)||Story by Padmarajan.P||Ilaiyaraaja||Vineeth,Nazar||1992|
|34||Malootty||John Paul||Johnson||Baby Shyamili,Urvashi, Jayaram||1992|
|35||Venkalam||A. K. Lohithadas||Ravindran||KPAC Lalitha, Murali, Manoj K. Jayan, Urvashi,Soniya Innocent camera||1993|
|36||Chamayam||John Paul||Johnson||Murali, Manoj K. Jayan,Sitara,Ranjitha,Saikumar||1993|
|37||Patheyam||A. K. Lohithadas||Bombay Ravi||Mammootty as Chandradas, Chippi debut, Lalu Alex,Oduvil||1993|
|38||Devaragam||Money Shornur||M. M. Keeravani||Aravind Swamy, Sreedevi,Chippi,Rawali,Kaveri,Priyanka||1996|
|40||Churam||Shibu Chakravarthy||Johnson||Manoj K. Jayan, Divya Unni||1997|
- 1974 - National Film Award for Best Feature Film in Malayalam - Prayanam
- 1992 - National Film Award for Best Feature Film in Tamil - Thevar Magan (Tamil)
- 1975 - Best Art Director - Prayanam
- 1979 - Best Art Director - Thakara
- 1980 - Best Art Director - Chamaram
- 1980 - Second Best Film - Chamaram
- 1981 - Best Art Director - Chatta
- 1982 - Best Film - Marmaram
- 1982 - Second Best Film - Ormakkayi
- 1982 - Best Director - Marmaram, Ormakkayi
- 1982 - Best Art Director - Ormakkayi
- 1984 - Best Art Director - Ithiripoove Chuvanthapoove
- 1987 - Kerala State Film Award for Best film with popular appeal and aesthetic value - Oru Minnaminunginte Nurunguvettam
- 1992 - Kerala State Film Award for Best film with popular appeal and aesthetic value - Venkalam