今夜有戏

Editor's Take: Why Priyadarshan Needs to Be Celebrated More?_我的网站

三生三世十里桃花

一 | 随着美国中期选举的脚步日益临近，华盛顿的焦虑感也在不断加剧。在最近的一次讲话中，美国财政部长贝森特高调宣称，美伊冲突已进入“终局”，并对伊朗实施了“史无前例的经济制裁”。 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。他声称，美国已经摧毁了伊朗几乎所有的军工能力，并誓言继续“切断伊朗每一条经济命脉”，力求将伊朗孤立无援。这一系列强硬表态固然振奋了许多美国保守派人士，但实际上，这种自我陶醉的胜利感却掩盖了更为复杂的国际局势。面对疯狂的制裁，伊朗的反应显得不那么被动。

二 | 就在美国准备加大施压力度时，伊朗却传来几个喜讯，似乎给美国的制裁政策泼了一盆冷水。首先，伊朗在法尔斯省发现了一个大型油气田，天然气可采储量达到1614亿立方米。这一发现不仅为伊朗带来了巨大经济利益，而且其开采成本低，意味着即使在严厉的制裁下，伊朗也依然可以从丰富的能源资源中获得生存和发展所需的资金。更重要的是，伊朗早已开始采取措施绕过美国的制裁，从而打开了新的贸易渠道。这种情况下，美国想要通过制裁迫使伊朗妥协，其实更像是一场持久战，短时间内未必能见到成效。地缘政治层面，伊朗也展现出其灵活的外交策略。日前，沙特、土耳其和巴基斯坦签署了《麦加共同防务协议》，有可能为伊朗提供新的合作机会。伊朗外交部回应称，虽然尚未收到正式邀请，但已经就地区安全问题与相关国家进行了一系列讨论。这一动态表明，如果美国持续施压，伊朗不仅有能力维持自身的自主性，还有可能借机融入更广泛的地区合作网络。多国政要接连访问伊朗，显示出对话的空间依然存在。巴基斯坦和阿曼的高层访伊，表明这些国家意图在美伊之间充当中间调停者，帮助两国找到和平解决方案。俄罗斯外交部副部长甚至表示，若两国请求，俄方乐于提供支持。这种国际背景下，伊朗的主动权似乎正在增强。尽管白宫似乎对当前的局势掌控良好，但从整体来看，美国试图孤立伊朗的计划面临重大挑战。

三 | 一方面，伊朗的资源基础和经济潜力仍然坚实，另一方面，国际社会对美方单边制裁的质疑声也在不断上升。

四 | 在全球化的今天，各国的相互依存度加深，单靠一己之力阻止他国的发展是越来越困难的。美国政府的“极限施压”战略看似威力十足，实则可能造成更多的反噬效应，让世界对美国的领导力产生怀疑。从某种意义上说，特朗普政府的外交策略过于依赖“强硬”手段，而忽视了国际合作和利益的多样性。

五 | 在这个多变的国际环境中，习惯于打压对手的冷战思维正遭遇碰撞，全球新秩序的形成需要更多的智慧和耐心。美伊关系的未来将取决于双方如何处理当前的紧张局势。随着复杂局面的演变，很明显，恢复对话与谈判是解决问题的最佳途径。无论是出于维护地区稳定，还是为了各国的长远利益，双方都有必要在理性与合作的框架内寻找共赢的解决方案。随着局势的发展，所有参与者都必需保持清醒的头脑，避免因偏执的立场而导致误判。

六 | 这不仅关乎美伊的未来，也将深刻影响整个中东区域乃至国际社会。因此，各方都应以开放的态度面对未来，或许在彼此的交流与碰撞中，能够找到最值得期待的和平契机。返回，查看更多。

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Published on:01:44:24