A | 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。
近日，前NBA球员肯扬·马丁在自己的社媒，谈到了Skip对威少的贬低。
肯扬·马丁：“不。我绝不会容忍任何对拉塞尔·威斯布鲁克的诽谤。我刚看了你那段关于威少的长篇大论，真的很难看下去。看着真让人反胃。你说了那么多，其实全是废话，只是证明了你是个黑子，而大家早就知道这一点了。你说你早年没看出威斯布鲁克的天赋，因为你不是萨姆·普雷斯蒂。你不是总经理。你根本没有资格在那个层面上评估那种天赋。”
“但他是第一候选名人堂成员。幸好你没有投票权。
B | 不然我们肯定会看到偏见。
C | 任何对威斯布鲁克的诽谤都是不可容忍的。
D | 很遗憾我们现在不在同一栋楼里了，因为我真的很想当面跟你辩论这件事。
E | 任何对威斯布鲁克的诽谤都是不可容忍的。
F | 我不会花钱去看太多人打篮球，但我愿意花钱去看威少打球。就因为他对待比赛的态度。”
“你在发言里夹带的那些明褒暗贬的话，还是省省吧。Skip，你的话里没有任何积极的东西。所以我们不会容忍的。我不会容忍的。那个男人以最纯粹的方式打篮球。每天晚上他踏上球场都是如此。他还在这个联盟里做到了其他人无法做到的事情。所以你说在你的名人堂里他不够格，反正你也没有投票权。所以这毫无意义。”
“兄弟，不是每个人都需要一个平台来一直贬低别人的。送上赞美是可以的。在不夹带私货的情况下承认伟大也是可以的。是的，任何对威斯布鲁克的诽谤都是不可容忍的。
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Published on:05:25:32
