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Ollywood lastly transferring out of consolation zone

Odia cinema has been appeared upon with condescension by a significant chunk of its viewers in Odisha for nearly twenty years. This has not been with out legitimate causes.

The problems plaguing ‘Ollywood’ could be apparent if somebody provides a cursory take a look at a ‘hit’ film. First, the chance that it’s copied from a south Indian film was extraordinarily excessive. Secondly, lack of nuanced performing and a heavy dose of overacting has characterised Odia cinema. A typical Odia film has a predictable storyline- Boy woos a woman, they fall in love, mother and father/society oppose, boy fights and defeats villain and voila there you may have a film! Add to this some clich├ęd songs and predictable dance strikes paying homage to a 90s Hindi film.

This ‘escapism’, mixed with technical mediocrity, meant the film would enchantment to a really slim part of the populace. The explanation for that is fairly easy. Folks have entry to raised and extra nuanced ‘escapist’ films from each the South and Bollywood. Thus, there isn’t any motive to want a parody remake in Odia masquerading as a film.

Over the previous few months, issues have began to vary. Audiences with a various vary flock to movie halls to observe Odia films. This began with the discharge of DAMaN. Directed by Debi Prasad Lanka and Vishal Mourya and starring Babushaan and Dipanwit, the film covers the story of a younger physician posted in a distant area with barely any entry to healthcare. The inhabitants of the village are watched with superstitious beliefs. Sufferers are handled via exorcism. What follows is the battle of the protagonist to vary the mindset of the villagers by elevating consciousness about healthcare. The movie works on three ranges. First, it is an unique rooted story which highlights the problems that many encounter in rural pockets of the state. Second, not a single considered one of its songs is irrelevant to the storyline. Not solely are they properly written and decently composed however additionally they add and propel the narrative ahead. Third, the cinematography is gorgeous and has been barely witnessed in Odia cinema in a very long time.

This isn’t the one Odia film that is making waves. Months earlier than the discharge of DAMaN, Amartya Bhattacharya’s ‘Adieu Godard’ premiered at Moscow Worldwide Movie Competition. In an ingenious story, the film locates the work of legendary French movie director Jean Luc Godard in a distant village in Odisha. It follows the battle of its protagonist to arrange a Godard movie competition within the village. Its profound and thought-provoking impression will be glimpsed by the truth that it has already bagged a number of prizes at each nationwide and worldwide movie festivals. Final month, it gained an award for Greatest Function Movie at Cardiff Worldwide Movie Competition.

Latest developments present causes to be hopeful about the way forward for Odia cinema. Additionally they vindicate critics like me who’ve at all times maintained that the business failure of Odia cinema is because of manufacturing of dangerous films, not as a result of disinterest of viewers.

In actual fact, there can’t be a greater time for revival of Odia cinema. The language barrier is damaged. Folks now not go to films as a result of reputation of ‘stars’ or the accessibility of language. Quite the opposite, they actively search for films that are characterised by good tales, writing, music and performing. Nothing explains the huge success of the comparatively low-budget ‘Kantara’ in opposition to the failure of costly star-powered Samrat Prithviraj.

There is no such thing as a scarcity of fine tales in Odisha. For starters, we’ve a treasure trove of Odia literature, the overwhelming majority of which haven’t been tailored into display screen. Whether or not it is Gopinath Mohanty or Manoj Das, Odia literature is characterised by a robust sense of rootedness that the viewers in the present day calls for. The golden period of Bengali cinema heralded by the likes of Satyajit Ray and Ritwik Ghatak have been characterised by a proliferation of adaptation of nice writers like Tagore and Bibhutibhushan.

Odisha additionally has a wealthy and various legacy of conventional art-forms paying homage to Bhoota Kola depicted in ‘Kantara’. These art-forms will be explored to craft narratives. Aside from these, a give attention to the problems going through frequent populace has the potential to seize the plenty given the rising reputation of realism in cinema.

(DISCLAIMER: That is an opinion piece. The views expressed are the writer’s personal and don’t have anything to do with OTV’s constitution or views. OTV doesn’t assume any accountability or legal responsibility for a similar.)

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