Malayalam Cinema Script Writing Model Pdf Average ratng: 8,9/10 8396 votes
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Author: ADOOR GOPALAKRISHNAN Category: SCREENPLAY,SCREENPLAY,SCREENPLAY,SCREENPLAY,SCREENPLAY,SCREENPLAY Publisher: DC BOOKS Language: MALAYALAM Face Value: ₹ 750.00. Special Price:₹ 675.00. Total Votes: 39. ADOOR GOPALAKRISHNANTE PATHINONNU. Malayalam Movie Scripts Pdf File Free Downloads - 2000 Shareware periodically updates software information and pricing of Malayalam Movie Scripts Pdf File from the publisher, so some information may be slightly out-of-date. You should confirm all information before relying on it. Malayalam Script Writing. This page allows you to write your name or a text in English and have it transliterated into Malayalam. Simply write in English, once you press SPACE or hit ENTER you will see the phonetics of what you wrote in Malayalam.
by mathsonmcreated - 03 May 2013updated - 06 May 2013 Public Malayalam cinema is known for its realistic portrayal of relevant subjects in films with less commercial elements. Malayalam cinema has pioneered various thematic and story-telling techniques among films in India. It has a rich resource of Story and Screen writers who play a very important role in making this industry a great one. It is also one of the largest producers of parallel cinema in India. Heres a list of some of its bestest Writers according to me.. This list contains both parallel cinema and comercial cinema writers. If anyone feels this list lacks something please feel free to comment.
1. P. Padmarajan
Writer Oridathoru Phayalwan
P. Padmarajan was an Indian author, screenwriter, and film director who was known for his landmark works in Malayalam literature and Malayalam cinema. Padmarajan was the founder of a new school of film making in Malayalam, along with Bharathan, in the 1980s, which created films that were widely ...
Padmarajan was noted for his fine and detailed screenwriting and expressive direction style. He introduced a new way of fimmaking in malayalam cinema.. His stories deal with subjects like deceit, murder, romance, mystery, passion, jealousy, libertinism.. also dealt with sexuality but very carefully.. Padmarajan made some of the landmark motion pictures in Malayalam cinema, including masterpieces like Oridathoru Phayalvaan (1981), Koodevide (1983), Arappatta Kettiya Gramathil (1986), Namukku Parkkan Munthiri Thoppukal (1986), Thoovanathumbikal (1987), Moonnam Pakkam (1988), Innale (1989) and Njan Gandharvan (1991). He died in 1991.. a great loss for malayalees..
2. A.K. Lohithadas
Writer Thaniyavartanam
A.K. Lohithadas was born on May 10, 1955 in Chalakudy, Kerala, India as Ambazhathil Karunakaran Lohithadas. He was a writer and director, known for Thaniyavartanam (1987), Kasthuriman (2003) and Joker (2000). He died on June 28, 2009 in Kochi, Kerala.
Lohithadas was also known for his rich, detailed, and realistic screenplays... He has written screenplays for 35 films in a twenty-four year long career, such as Thaniyavarthanam (1987), Kireedam (1989), His Highness Abdullah (1990), Bharatham (1991), Amaram (1991), Padheyam (1993), Chenkol (1993), Thooval Kottaram (1996) and Veendum Chila Veettukaryangal (1999).He later became a director, and has directed films such as Bhoothakkannadi (1997), Kanmadam (1998), Joker (2000), and Kasthooriman (2003).. He passed away in June 2009.. again a great loss..!
3. M.T. Vasudevan Nair
Writer Kadavu
M.T. Vasudevan Nair was born on August 9, 1933 in Kudallur, Kerala, British India. He is a writer and director, known for Kadavu (1991), Nirmalyam (1973) and A Slender Smile (2000). He is married to Kalamandalam Saraswathi.
MTV Nair has won the National Film Award for Best Screenplay four times for: Oru Vadakkan Veeragatha (1989), Kadavu (1991), Sadayam (1992), and Parinayam (1994), which is the most by anyone in the screenplay category. He also directed 7 movies and wrote screenplays for more than 50 movies in malayalam.. Most of them are crictically acclaimed.
4. Sreenivasan
Actor Nadodikkattu
Sreenivasan is an actor and writer, known for Nadodikkattu (1987), Njan Prakashan (2018) and Udayananu Tharam (2005).
Best known for writing scripts on social issues and he did that so well...He has written the screenplays for films such as Sanmanassullavarkku Samadhanam (1986), Gandhinagar 2nd Street (1986), Nadodikkattu (1987), Pattanapravesham (1988), Varavelpu (1989), Sandesam (1991), Midhunam (1993), and Azhakiya Ravanan (1996) among others. He has scripted and directed Vadakkunokkiyanthram (1989) and Chinthavishtayaya Shyamala (1998).. He is also a good actor.. Great man..!
5. Adoor Gopalakrishnan
Director Mathilukal
Adoor Gopalakrishnan is India's most acclaimed contemporary filmmaker. Born in 1941 in Kerala, a state in south India, he belongs to a family with strong links to the performing arts, especially Kathakali, a highly-stylised form of dance drama. From the age of eight Adoor began acting for the stage...
Adoor has scripted and directed eleven feature films and about thirty short films and documentaries. His movies are very much artistic and hence general public wont appeal to it.. He has the DadaSaheb Phalke award, PadmaVibhusan, PadmaShri, 16 national film awards in various category and various other international awards in his bag..Swayamvaram, Kodiyettam, Elippathayam, Mukhamukham, Anantaram, Mathilukal, Vidheyan and Kathapurushan etc are his masterpieces.. The very recent Naalu pennungal(four women) and Mathilukal are my fav..
6. T.V. Chandran
Director Dany
T.V. Chandran was born on November 23, 1950 in Thalassery, Kerala, India. He is a director and writer, known for Dany (2002), Ponthan Mada (1994) and Alicinte Anweshanam (1989).
Chandran is widely regarded as one of the finest directors/scriptwriters in Indian cinema and is widely credited with having revolutionised parallel cinema with his complex-structured art-house films..Alicinte Anveshanam (1989), Ponthan Mada (1993), Ormakal Undayirikkanam (1995), Mangamma(1997), Danny (2001) and Paadam Onnu: Oru Vilapam (2003), Kathavasheshan (2004), Vilapangalkappuram (2008) BhoomiMalayalam (2008) and Bhoomiyude Avakashikal (2012).. Ponthan Mada (1993) is his most appreciated work till date..
7. Renjith
Writer Paleri Manikyam: Oru Pathirakolapathakathinte Katha
Renjith is a writer and director, known for Paleri Manikyam: Oru Pathirakolapathakathinte Katha (2009), Indian Rupee (2011) and Spirit (2012).
He is a well known writer in malayalam as he has written many mega blockbusters... Devasuram, Aaraam Thampuran, Summer in Bethlehem, Ustaad, Narasimham, Valliettan, Ravanaprabhu, Nandanam.... He was the most wanted and the most successful writer in the early 2000.. Some scripts like Aaraam Thampuran, Paleri Manikyam: Oru Pathira Kolapathakathinte Katha and Indian Rupee were also widely critically acclaimed..In the year 2008, Ranjith stunned Kerala with his film Thirakkatha, based on actress Srividya's life, which won the National Award for the Best Malayalam Feature Film.Indian Rupee and Pranchiyettan and the saint are my fav...
8. Fazil
Director Kancheepurathe Kalyanam
He wrote and directed many commercial classics..Manjil Virinja Pookkal, Ente Mamattikkuttiyammakku, Nokketha Dhoorathu Kannum Nattu, Ente Sooryaputhrikku, Pappayude Swantham Appoos, Manichitrathazhu, Aniathipravu, Harikrishnans and No. 1 Snehatheeram Banglore North(wrote script for sathyan anthikad)..
9. Reghunath Paleri
Writer Onnu Muthal Poojyam Vare
Although his major genre is commerial cinema, he has written some masterpieces.. He is also a good novel writer in malayalam..Notable movies are Vanaprastham, Piravi, Swaham, Onnu Muthal Poojaym Vare, Ennum Nanmakal, My Dear Kuttichathan etc..
10. Blessy
Director Thanmathra
Blessy is an assistant director and director, known for Thanmathra (2005), Pranayam (2011) and Kaazhcha (2004).
Blessy learned his trade as an assistant director with filmmakers such as Padmarajan and Lohithadas..Although he wrote and directed only 6 movies as of today, all are well known for its beautiful and heart touching filmmaking.. Kaazcha(2004), Thanmathra(2005), Palunku(2006), Calcutta News(2008), Bhramaram(2009) and Pranayam(2011)I liked all of them..!
Tamil, Telugu and Hindifilms have become box office hits as they have been inspired by Malayalam filmsof 80’s and 90’s. Malayalam films are still deeply rooted in 80’s and 90’s. Weare thirty years behind and have not made any progress.
John Paul’s versatile way of writing scripts made him asuccessful scriptwriter of Malayalam cinema. He resigned his successful careeras a bank employee to pursue his ambition as a full time script writer.Recently he has written books which recollect old memories of his friends incinema. The deep relationship between yesteryear directors Bharathan and Mohanmade him stay in Malayalam Cinema. He has written scripts for more than 100films. The Veteran scriptwriter has particular views on cinema and he shareshis experiences in a casual talk at his small flat in ‘maradu’ near Ernakulam.
1 How do you analyze Malayalam film industry from your 30years of experience?
I understand the fact that there is a great distance betweenme and new Malayalam cinema. I think the new coming Malayalam films are not apart of my way of writing and they are not related to me and if I were to writethose films it won’t be good for me and the film itself. It may be mylimitation or otherwise the specialty of those films. What has happened toMalayalam films can be judged by the audience as films are made for them.However I will not hold the audience guilty because new stories are far fromrealistic. The audience are individuals. They are not organized and so notcapable of requesting for films of their choice. Art is the “LyricalExaggeration of Reality’. But now it has turned to “Absurd Exaggeration ofreality”.
2 Is this the very reason why your film “Vellathooval” wasnot accepted by the people?
Vellathooval is not at all a good film and I don’t haveanything to hide in this statement. Actually the director of this film IV Sasiwas responsible for my entry into filmindustry . When he told me to write the script, I was not able to say no becauseof the deep relationship between us. IfI had told him ‘no’ he would havechanged the story itself. But now I regret in not doing so.
3 So, you give importance to friendship?
Obviously, we are human beings .Every person has his ownjustifications of what he does. IV Sasicame much before my entry to film industry and he was much popular at thattime. Iam not blaming him but he was not able to swim with the tide. I was alsonot able to correct him and advise him that films should be made according to changesin time. I was also not able to stand firm and the two vices stood together toform a great mistake. I have no regrets in saying that Vellathooval is not atall a good film.
4 What all factors have influenced you in the formation anddevelopment of characters in your films?
They includes many factors and mostly our own experiences,for example what all events and things happen on our way will also be taken fordevelopment of the story .The knowledge from reading and experiences from ourown life add to the formation of characters. The other major factor is acquiredculture which is inborn and transferred or passed through genes. When a musician sits with his harmonium tocompose music the tunes coming will bethose composed by Beethoven or Mozart years back. This is because of a natural phenomenonhappening unknowingly. Sometimes when we write a book or article the wordusages used by the characters are not there in our usual vocabulary . Thisparticular usage is needed for the character at that particular point of timeand these things are acquired automatically. This happened knowingly orunknowingly and it can also be happened because of our sixth sense .
5 How were you able to maintain a chemistry betweenBharathan, Mohan, IV Sasi etc?
I have worked with many of the directors and every one had built his own empire. There weredirectors who had provoked and revoked my feelings and made me understand thehidden talents in me. But some were not able to strike that vibration in me andso I was not able to make me understand the talents in me. In these caseswritings were mechanical one. Thevibration that entrusted me was different when working with differentdirectors. My teachers have told me to write the script on the directors mindbefore writing it on paper. It means ,there should be a deep relation betweenthe director and script writer during the writing of the script. Two minds andtwo brains join together to form a newstory and this forms the agony and ecstasy of life. After that it is thetechnical area of cinema. This isdifferent with different directors. I have done films with Bharathan andsometimes Bharathan’s mind had gone rigid and sometimes my mind had gone out ofthe way.We cant say anything about the mind and You have studied in chemistryabout the combination of water(H2o) ie two molecule of hydrogen and onemolecule of oxygen, But this is not possible in the case of art. The chemistryformed beyond the chemistry of feelings and attitudes result in the realchemistry between a director and scriptwriter. This means that a difficultpassage is travelled by two different individuals with two different minds fora single result. A film watched by ten individuals make ten films because theywill include their own experiences while viewing and it is known as co –authoring. We should understand that a film is viewed by lakhs of people andlakhs of films are made out of a single film and this medium is having thatmuch reach. We are trying to make thesefactors come true but it is not at all possible to say that a film wassuccessful in doing so. I have a good relationship with all these directors andit was different exposure on different days.
6 Of these directors, who were you close to?
Talking about friendship, I have worked mostly with Bharathanand Mohan. P.N Menon had seen me as his own son and KS Sethumadhavan was anelder brother to me. I have friends out of film world too but in cinema I thinkI have worked and cooperated more with Bharathan and Mohan. Our familiesmaintain a good relationship each other.
7 How was your conversion from a bank employee to a full timescript writer?
I think you had read this from somewhere, Do you know a JohnPaul who was a freelance journalist and who worked in film societies?. I got ajob at Canara bank after completing my MA in Economics and I was a popularemployee and a union worker in the bank. From the first day when I signed theattendance register I knew that I won’t stay there for long. I was sure that Iwould stick on to journalism or writing but I had no idea of joining thecinema. In fact it took me 11 years to come to cinema. Maybe it is because ofBharathan and Mohan, I was there in cinema for a long period.
8 How was your coming to “Chamaram”?
It was a time when I was working in film societies andBharathan had directed his first film “Prayanam”. This was a point of time whenKG. George came with “Swapnadanam” which stood between experimental film andcommercial film and it had realistic and artistic values a person who waspassionate to cinema I felt it my duty to work behind it. As a journalist I hadalready a relationship with Bharathan, Mohan, George etc as I had writtenfeatures on them. I had earlier had casual talks with Bharathan on cinema andother subjects and I hadn’t even thought of coming to cinema then. One day IVSasi came and asked me to write a story and that was my first film ‘Njan njanMathram’. The screenplay was written by Thoppil Bhasi. I was reluctant to writethe story as I have not even written a short story till now. Iam also not goodat fiction writing and so I don’t like to write because I respect those whowrite it. But the producer with whom Sasi came, by mistake liked the story andmy first film was born. It was at this time that Bharathan came and told thathe wanted to do a campus film. A producer was also available at that time. Hetold us that it was his desire to study at college but he was not able to doso. So we all gathered at the Muttassimaram of Maharajas college and thoughtof a story. I had studied at Loyola and Stella Mary in Madras. It was only four years since I leftmy college. I had many characters in my mind and by the time we parted from MaharajasCollege that day a story was born. I cansay that I remained in the film industry for a long time because of thesefriends all recognition and achievement in my life only is because of thesepeople.
9 Lal Jose and Dennis joseph have said that Chamaram andAthirathram had inspired them to do Classmates and Rajavinte Makanrespectively. What do you feel on hearing this statements?
Naturally as a human being I feel happy. The credit goes tothe director and the team who made those films. Chamaram was one of the finestCampus films in Indian cinema and the very life of College campus was exhibitedin this film. The acting was done by some of the students of the college.Talking about Athirathram I should say Itook a challenge as I had never written such a script before. The story isbased on a real life character KS Abdullah a smuggler of Kasargode. Though Iknew him I went to Kasargode to get his full details. The Car chase andMammooty’s introduction scene in Athrathram are actually real life scenes ofK.S Abdullah.
10 Do you see new Malayalam films?
I do view Malayalam movies and also see preview of films. Iam not very much interested in seeingfilms in the city because of the hustle and bustle created at theatres. But Ido see films when I go out of Ernakulam.
11 How do you evaluate new Malayalam films with that of thefilms of 80’s and 90’s? Tamil and Telugu films have borrowed stories froMalayalam films and they have become a great success. At the same timeMalayalam films are lagging behind now. Could you comment on this?
Outwardly this is a fact, but if we are to ask theTamil,Telugu and Hindi directors as to how their films had become box hits theywill reply that they have been inspired by viewing the Malayalam films of 80’sand 90’s ie films of 30years ago. Our Malayalam films however remains stagnant.We are still in the 80’s and 90’s and have not made any step forward toprogress.
12 Talking about the audience, do you think taste haschanged since films like Chattambinaduand Rajamanikyam have been blockbusterswhereas Paleri manikyam and Kerala Café have failed ?
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This situation can be termed as “Flirting with ugliness”. Theaudience themselves are taking revenge on the films. If they are not gettinggood films they satisfy themselves with what they get ie low class films. This is human psychology.Talking about Paleri Manikyam I won’t say that it is an outstanding film andIam not satisfied with the castings of the film. The producer and director ofthis film were not able to create an awareness of the launch of this film.
Iam also of the opinion that Mammotty is not his actual self in Rajamanikyam. It is just an ordinary role, nothingspecial. Mammotty as an artist is at his best when seen in his matured ,serious,volcanic and dramatic roles. Mohanlal on the other hand strikes best in roleswhere he can drown his most bitter and sad feelings and face cruel fate in acool and calm manner.
13 Associations were not prevalent at a time when you were making films. But you are one of thefounders of associations in Malayalam film industry. Are theseorganizations now a curse or blessing toMalayalam film industry?
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When we started this organization our main objective wasmaking good films and the welfare of technicians. But in course of time egoclash has caused much harm to the organizations.
14 what do you say about the present day strike going on inthe industry?
I don’t know. Usually strikes are held when talks fail buthere no talks were held. One fine morning Producers come and say that they are not co-operatingwith shooting of films. April and May are the peak months when Malayalam industry gets much revenue but here they are promoting Tamiland Hindi films instead.
15 You were once a freelance journalist. What do you thinkabout today’s present media?
As there is international ethics so also is their there thatjournalists should abide to. For example in Rajiv Gandhi’s assassination thegory shots were taken and displayed in posters scattered all over the country.In another case a temple worker who tried to rescue an insane person drowningin the “Padmatheertha kulam” was instead drowned by latter .Shots of the sceneappeared in the papers. If the journalist had only tried to help the templeworker instead of taking photographs, he could have saved the poor man.
16 How will you comment on the portrayal of the characters inthe film “Thirakatha”? Do you feel there is a similarity in the lives of thelead roles played by Anoop Menon and Priyamani with that of Kamal Hasan andyesteryear actor Sreevidya?
When I heard this news from media I asked Ranjith whether theportrayal of the lives of the hero and heroine reflected anyone he just smiledat me. You should understand that all these are techniques to market a filmwell. Talking about Sreevidya, she was deeply in love with only one individualand that happened to be director “Bharathan”.Sreevidya was in love withYesudas and Balachandran Chullikad and one should understand the truth thatthis love was an outcome of the talents inborn in these individuals.Sreevidya’s love could be seen in her beautiful eyes which added to her beauty.She also adored and admired “Kamal Hasan” who had an exceptional talent indancing and acting. Ranjith who maintained a good relationship with Sreevidyahad noted the scene where Kamal Hasan visited Sreevidya at the hospital duringher last days. All other incidents in the film are purely directors creation.
17 What are the circumstances that made you a producer in MTVasudevan Nair’s script “Oru Cheru punchiri”?
At that time I had completed seven years as secretary OfMACTA. I was in an awkward situatin as I didn’t have scripts with me to directa film. I was in a dilemma as my health refrained me from directing a film. Iameven was under treatment and to tell you frankly I can’t stand for more than five minutescontinuously. It was at that time I decided to to produce a film and MT whom Iconsider as my elder brother offered me a script. The result was “Orucherupunchiri”. Interestingly this film didn’t hit the silver screens as therewas a cold war
between television channels and film exhibitors. I didn’t gainany profit from this project.
18 Are you comfortable as a teacher in the mass communicationschools?
Iam pretty comfortable with my profession as a teacher as mystudents are my companions and we have a close relationship. They even confidetheir problems in life with me . My classes mostly start with a film and endwith a discussion and I like to make it an interactive session. I have takenclasses in more than four Universities and taught about 300 students . The onlyproblem I have faced in this connection is with the authorities ofCommunication schools. For eg we all know That Adoor Gopalakrishnan and MTVasudevan Nair are versatile scriptwriters in Indian Cinema. Is it mandatoryfor them to be conferred with a PG degree for setting question papers indirection for media students. ‘Yes’ is the answer given by the authorities inour state. BSC is the basic degree required to apply for MSC VisualCommunication, this means that Literature and Journalism students are noteligible for Visual Communication. Changes should be made so as to enable artsstudents to apply for the MSC Visual communication course.
19 What can Malayalam film expect from John Paul in future?
I have no idea on this matter. I came to the film worldbecause of my passion for Cinema. Unlike the clerical job which is monotonousthe film world has much scope for artists. Many artist sit together in making agood film and if a good story is made the outcome will be a success.