Changes between Version 4 and Version 5 of John Abraham

Feb 29, 2012, 8:09:14 PM (12 years ago)
Lawrence Liang



  • John Abraham

    v4 v5  
    66Malayalam director born in Changanacherry, Kuttanad Dist., Kerala; studied economics at a college near Kottayam. Educated by grandfather who gave him his first camera. Worked as insurance salesman in Bellary; went to the FTII and studied under Ghatak. Assisted Mani Kaul on Uski Roti (1969) and worked on unreleased Hindi feature shot in Kerala, Trisandhya (1972). First films: Vidyarthikale Ithile Ithile, made in Madras as group co- operative effort, and his internationally acclaimed Agraharathil Kazhuthai in Tamil. Lived a nomadic existence in the 70s, depending on support from friends and colleagues in Kerala, later the basis of the Odessa Collective (Est: 1984 in Calicut) launched with street play Nayakali staged in Fort Cochin (1984). Odessa funded Amma Ariyan through screening 16mm prints of e.g. Chaplin’s The Kid (1921) and Anand Patwardhan’s Hamara Shaher (1985) in towns and villages throughout Kerala in return for small donations. After his accidental death, he is often portrayed as an example of the romantic artist who by-passed the tyranny of the market-place through a direct relationship with his people, raising money by travelling from village to village beating a drum and asking for contributions to a genuine ‘people’s cinema’. Others point to the probably Christian theme of infantile innocence in his work and place his marginal lifestyle in the cultural context of Kerala and the contentious history of authorial identity he inherited and lived out, exploring its alternatives. Suffered from alcoholism. Also wrote his own films. 
     8This is a tribute that Abraham wrote about Ghatak 
     10A tribute to Ritwik Ghatak 
     11John Abraham 
     14Ritwik Ghatak,in partition, not physically of willingness-the country departed 
     15Out of his outer consciousness - cosmic consciousness 
     16none of his mistakes, 
     17Reactions - natural reactions - reflections 
     18Ritwik Ghatak,refugee, unborn, unwanted, unbearablepenetrative towards the Victorian hang overof the Tagorian corruption of thinking Life was more important to him than the words in praise of god, 
     19the god of Victorian Tagorian thinking. 
     20Hence, he was rejected from the Bengalian thinking 
     21Ritwik Ghatak - the name doesn't suit the hierarchic thinking of the Raynian Zamidarian thinking Perhaps, the long echo of the forgotten factorsthat becomes reminiscence of the 'death of the salesman' or otherwisethe long columns and no more Chhabi Biswas,Cardiac arrest is common. 
     22The death of Ghatak is uncommon. 
     23Nay, Ritwik Ghatak I remember, a tall manhis hands moving around my shoulders, catching me with the feeling of nearness, rather than imperialism 
     24-the man who stands before mequestioning my manliness loosing his hands to shake my handsin appreciation of manliness recognizing each other 
     25-abiding in each other kicking on my an's and telling me"Get up, awake shoot 
     26"I remember, not with sentimentswith awakening proud, Ritwik Ghatak 
     27Ritwik Daa, let me call you Ritwik Daa, I know that you are no more. But I am, alive for youBelieve me. When the seventh seal is openedI will use my camera as my gunand I am sure the echo of the sound will reverberate in your bones, and feed back to me for my inspiration. 
     28Thank you Ritwik Daa, I am thanking younot with impotency and insipidity 
     29Ritwik Daa, I remember you, when the words fails to criticize you, 
     30Ritwik Daa, eternally you are in my brainin my spirit and in my Holy Ghost