Celluloid

What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from. Beautifully put together by T S Eliot, these words seem suggestive of the life of an artist who deserved to be a part of cinematic history, but who almost didn't. In Celluloid Kamal shows what 'passion for cinema' really meant before it became a stylish thing to say. Chandni gives a lifelike performance as Rosy with stars in her eyes. Hatzz of to the entire team behind the project.

The character development is almost complete in 'Celluloid', and I say almost since it cannot afford to fill up the cracks that exist in real. It's as much the story of Daniel, as it is of Rosie, and their haunting portrait seizes you up, even as it goes up in flames. Any comparisons to 'Harishchandrachi Factory' are odious; the two films barring the fact that they talk about the struggles of a film maker, are as different from each other as chalk and cheese.

It isn't really surprising that Prithviraj makes a convincing Daniel. The vision of the film maker remains safe with him, and he captures the psychological turmoil that Daniel goes through in the later years of his life with great competence. Mamta is impressive as well, though its new find Chandni who is the scene stealer in the film. The innocence that spurts out of the corner of her lips as they stretch into a hesitant smile defines the person that Rosie must have been; unimaginably daring and yet immensely terrified.

Venu's frames maintain the elegance that is required of a biopic, while Suresh Kollam's art direction is top notch. Pattanam Rasheed'a makeup makes Daniel's transformation complete, and M Jayachandran's melodies add up to the retro feel of the film.

What is astonishing is that Kamal's film, despite maintaining a distance from us with regard to time and space, continues to fascinate us in multiple ways. Passionate, provocative and real heartrending, this is the stuff with which classic films are made.

Dr. J C Daniel's life and times with an adaptation of two of his related novels is chronicled in this biopic so extensively executed by Kamal.

Prithviraj is phenomenal. After his Ayalum Njanum Thammil's exotic performance, Celluloid maintains his superstar rank in not only Malayalam cinema but also Bollywood (Aiyyaa & Aurangzeb). Mamata, though she complements Prithivraj, didn't have much to play as Sreenivasan had to portray. Supporting cast is good while the screenplay is non-linear with year-by-year graph. Music & score is apt and reminded me of Dilip's Vellaripravinte Changathi!

Showing the plight of his initial film-making stages (of Vigathakumaran) and how his determination finally pays off as he is regarded as Malayalam Cinema's father is a wonderful watch & I appreciate the whole crew behind this informative classic. It also provides us with facts that are worth knowing and thus, makes it at least a one-time watch. With old reminiscing inputs of songs, movies and the anti-anachronistic screenplay, Celluloid is melodious and enjoyable.

Too bad, most directors nowadays have failed to come up with similar biopics or intriguing themes, but yes, Celluloid is truly an ode to Malayalam cinema with almost every film-making factor taken care of. But, I personally believe, the short running time could have been extended. Kudos!

Can be watched with a typical Indian family? YES

Language: No | Sex, Nudity or Vulgarity: No | Violence: Strong | Gore: No | Smoking. Alcohol or Drugs: No

They tried Daniels real life in 1928 to catch in celluloid. Again this time Vinu Abraham's novel celluloided by Kamal without leaving the seriousness of the writers portrayal of one of Malayalam films's troubled actor's real life story. A man's tireless journey of only living life in movies and it's turbulence of difficulties in personal as well as societal discouraging fabrics. I think Prithviraj Sukumaran did an excellent acting as well as he followed the director's unending trysts for perfection. Those days film artists are not accepted as in today's ways of fan's craziness. The protagonist being succumbed to life's inabilities of financial constraints tried to came out darkness of frustration in times.

The Director and writer lead the film to be a hit.

Also the cinematography by Venu Isc is outstanding. A real watchable film👍

When we saw the celluloid first we first thought in the mind the "development" one on the screen, but we will never get the best of it, because the only proof that remains today is the only stable image.

One of the reasons why she acted in the film was that the chief ministers were burnt out in the small cottage of the poor wage laborers and ran away from them. The poor girl who came to act in the film for a day of Rs 5 a day spent the rest of her life in the Kanyakumari district without any change. The Malayalam movie was later turned out to be fun and forgot about this poor woman and the movie Vigathakumaran which she had acted in. Daniel Kathi Ketti depended on his old work (Dental Doctor) and refused to live in the film because he was not a Malayali. The award is now awarded in his honor. Can you ever remember that the poor people in the big fossil of Malayalam cinema stood on the bottom of the rosy bottom of the house?