Author Topic: Nepali Movies till date  (Read 61426 times)

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Re: Nepali Movies till date
« Reply #10 on: September 09, 2008, 11:59:32 AM »


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Re: Nepali Movies till date
« Reply #11 on: September 09, 2008, 12:00:42 PM »


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Re: Nepali Movies till date
« Reply #12 on: September 10, 2008, 12:20:20 AM »
Banking On Vulgarity
Bishnu Gautam

Lately, Nepali actresses seem to be in a race to expose their bodies only to continue their career in films. Currently, actresses Rekha Thapa, Rejina Uprety and Richa Ghimire have left many of their contemporaries far behind in terms of exposing their bodies in films. Rekha Thapa in Debar Bhauju and Rejina Uprety in Hangama showed their feat to appear topless. Richa, too, was equally open in another film. New actress Jenisa KC has not lagged behind on this score.

Why do our actresses choose to do cheap roles by exposing their body unnecessarily when they are well aware of the bad performance of most of the so called glamorous Nepali movies?

Producer-cum director Yuba Raj Lama says it is an outcome of the entry of increasing number of new producers and directors in the industry.

"The new directors and producers impressed by the success of glamorous foreign films often try to ape them back here. This must be a cause behind the growing practice of wearing shirts or exposing bodies," Lama says.

Even in the past the directors had tried to make glamorous films but most of them flopped miserably.

Probably, Lobhipapi was the first Nepali film offering glamorous scenes. Director Yadav Kharel had offered a bath scene of actress Gauri Malla in this film. But it failed at the box office. Bijaya Parajay of Rajendra Salav met the same fate and many critics pointed at the bed scene for its failure. Director Deepak Rayamajhi’s experience of presenting Bina Budathoki in a glamorous scene also did not work. Actress Tulasa Silwal had to quit the filmdom a decade back because of her being liberal to expose her body unnecessarily.

Even the recent history of local glamorous movies is not encouraging.

Yuba Raj Lama wants to do its analysis in this way: "Our audiences who like to enjoy glamorous English and Hindi movies, do not want to see the Nepali actresses discarding their dresses in movies."

Lama looks absolutely right considering the poor performance of our glamorous movies.

Even in India, big-budget films hardly offer vulgar or glamorous scenes. Only small budget films resort to the glamorous scenes there.

Despite knowing this, our actresses are becoming more liberal towards body exposures. Yet, Nepali films are less glamorous than the foreign films.

"If we compare our films with the foreign films, they do not look vulgar and glamorous," Lama says.

However, our films are slowly becoming glamorous and the actresses are playing the key role in this regard. The situation is such that if an actress hesitates to expose her body or wear shirts, she may not survive in the industry. The disappearance from the scene of actress Bipana Thapa years back from filmdom before she tied the nuptial knots with an Indian doctor must be looked from this perspective. Even Niruta Singh widely believed to appear in decent dresses in films has opted for glamorous look up. Her picture printed in a
controversial calendar comes as a testimony to this fact.

Prakash Subedi, who has been closely observing the Nepali film for the past two decades, also agrees that Nepali films are becoming glamorous because of the actresses. "Some actresses do not hesitate to show everything in films," he said. "Rekha Thapa, Richa Ghimire and Rejina Uprety have left other actresses far behind in the race of exposing their bodies."

However, Lama likes to define this situation differently. " Actually, they are not exposing their bodies but their dresses are becoming shorter day by day," he said.

Going a step ahead, actress Sarita Lamichhane claimed that an actress who is not ready to show everything cannot enter and survive in the industry.

Anyway, our films are becoming glamorous and it is not still not known whether our producers who were selling their films by showing Rajesh Hamal and Nikhil Uprety until now have started selling their films by showing the nudity of our actresses and have given our films a glamorous look.



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Re: Nepali Movies till date
« Reply #13 on: September 10, 2008, 12:24:02 AM »
Date: 10 October 96 To: The Nepal Digest
Subject: News from Nepal

Source: Explore Nepal (Saptahik Janmabhumi) Online --------------------------------------------------

Actress Models in semi-nude

Tulasa Silwal, a young Nepali heroin is now in news, not because she has performed anything special but because of her halfnude photograph appeared in a film magazine. Indian models Madhu Sapre and Milind Soman might have inspired her to pose in nude. The couple who posed naked to promote an Indian shoe, was in Kathmandu last month in connection with a fashion show. After the controversy created by the breast-feeding scene given by Nilu Rayamajhi in Amako Maya (Mother's Love) Tulasa created another controversity in the field of Nepali film industry. We are not sure whether Nepali society can digest such nude scenes or not, but no women's organization has yet made any protest against such nude pictures appeared in the magazine. I can expose my whole body except two most sensetive private parts, says Tulasa, "I would have posed in complete nude if I were in the Hollywood." The sexy girl who is said to have gone through trauma of rape during her childhood says 'You can hardly find any virgin girl in the present time." I cam pose in complete nude if I get benefit from that, she ventures to say. She wants to maintain her different identity in the acting world by posing naked.


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Re: Nepali Movies till date
« Reply #14 on: September 16, 2008, 10:24:51 AM »
Evolution of Nepali Music Video

Nepali music videos play a vital role in a channel's programming and popularity. The music video industry started small but has gone through a dramatic digital revolution over the last three years. WAVE talks to some of the best in the music video scene.

"The first Nepali music video was the first video film song," says Mr. Bhushan Dahal, an industry pioneer. "With the advent of Nepal television, Nepali music videos came into existence. The first music videos were simple and created with little effort. The director would shoot singers and musicians performing in a studio," he adds.

Sahaj Man Shrestha, another pioneer amongst music video directors, introduced the use of models in music videos. With Roshan Pratap Rana's innovation, music videos took a different turn; documentary bits were included, and camera frames moved from the television studios to the colossal sky. Deepak Kharel, Kiran Pradhan, Dwarika Lal Shrestha, Taradevi and other famous singers began making music videos.

"I began my music video direction with Sur Sudha." quotes Mr. Dahal. With Nima Rumba's Miss Catwalk, he exposed a new approach. "Nima requested me to direct his music video. We started after a few days. I hardly knew what I was doing. We shot the entire video in twenty minutes." With music videos of popular artists like Cobweb, Bidhan Shrestha and Sanjeeb Pradhan making regular rounds on TV, the music video industry was well on its way.

Fast forward to the new millennium, Simosh Sunuwar and Nexus changed the face of Nepali music videos; their use of graphics with 1974 A.D's Baacha Ra Baachna Deu is a milestone in the industry, paving the way for the digital age in music videos here. Till date, Simosh Sunuwar continues to receive praise for his videos, like Astha's Harpal, Nabin Bhttarai's Chaina Joon, and Kamal Man Singh's Sakdina Ma. Alok Nembang is another big name in the music video world today. His video for Anil Singh's Dooba Deu has not just won praises but awards too.

Music videos are now being produced regularly. Whether it is Bhushan Dahal's direction or Nepathya's Sa Karnali, Alok Nembang's Ke Ma Timro Sathi Banna Sakchu for Deepesh K. Bhattarai, or Anil Tandukar's Komal Tyo Timro Badan Aa, each music video is distinctive. "A music video director must know and feel the essence of the music. It is a challenging task to translate a song's soul into pictures," Mr. Dahal said.

"The evolution of [music] videos is a remarkable development in Nepali music. You can compare our videos with international ones. I am sure that the Nepali music videos will prosper in the future," remarks Nima Rumba. Mr. Dahal believes that the Nepali music video scenario is still growing, and on a global scale. The growth of private sector media has made music videos commercially viable.

But everything has its pros and cons. The popularity of music videos is making emerging music artists spend huge amounts of money to produce high-quality music videos; this makes it difficult for talented, but financially challenged artists to reach listeners.

"Music videos have responsibilities. They should inspire people, and yes, nepalipan is essential," Simosh Sunuwar asserts.

Wave Magazine


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Re: Nepali Movies till date
« Reply #15 on: May 28, 2009, 06:34:14 AM »
Nepali films: boom or bust     


Within a week after its release, Rekha Films’ “Himmat” earned five million Rupees from the Kathmandu Valley alone. Likewise, “Hamro Milan Kaile Hunchha?” has registered a business of over two million Rupees in the capital alone, and Jharana Thapa’s “Takdir”, which was released last week, is running houseful all over Nepal, according to Film Development Board (FDB).

With Nepali films doing superb business lately, it looks like the entire Nepali film fraternity is back to boom time again, like it did during the time when films like “Darpan Chhaya,” “Lahana” and “Ta Ta Sarainai Bigrisni Badri” were released.

Due to ongoing rifts about the distribution of shares between film distributors and producers with multiplex owners in India, Bollywood hasn’t been able to release any of their big banner films. But Nepali films seem to be making hay while the sun shines.

In just two months, Nepali film market has come up remarkably, says Yuvaraj Lama, filmmaker and FDB member.

“Nepali films have really been successful in earning its investment during the initial days of the screening. After “Himmat,” “Takdir” is doing great, and as per our sources, “Silsila” has earned more than ten million Rupees from cinema halls outside the Kathmandu Valley. Three to four “muhurat-s” take place every week,” Lama adds.

To be sure, with no latest Bollywood films in Nepali theaters, Nepali films don’t have any competition. If there is any, it’s only among themselves. And audiences are left with no other options than to either watch old Hindi movies that are still being screened, or watching Nepali movies.

According to Mohan Saraf, owner of Bishwa Jyoti Cinema Hall in Kathmandu, the ratio of audiences in his cinema hall has increased by 20% in the last two months. However, the uptrend hasn’t made any big difference to Bishwa Jyoti. Why?

Because “We don’t screen international films. So it’s all the same to us. Yes, I’ve heard that some other multiplexes in town are making handsome money by screening as many Nepali films as they can. And Nepali film producers are quite happy with the fact that there are no new international films in the country for quite sometime now,” Saraf adds.

On the contrary, Uddhab Poudel, chairman of Gopi Krishna Movies, is very disappointed. Because there are no new releases of Bollywood films, he’s finding it really hard to keep his seven screens lit up everyday.

“I have seven theaters in my complex, which means I need seven different movies every week to run my business. For the last two months there have been no new releases. I’m going through hefty losses,” he says, and adds, “The scenario is worsening as I must keep my curtains open even if there are only five people to watch a film, and still I must pay the taxes and VAT as per government rules. And, please, this has nothing to with Nepali films booming. “Himmat” was a nice film and it did well, “Takdir” hasn’t been able to earn ¼th of its investment.”

Poudel makes it clear that audiences of international films and Nepali films are completely different.

“How can people be so stupid? How can they say the numbers of Nepali filmgoers have grown up because there are no new Hindi releases? No, it’s completely wrong. Will people go and watch Bhojpuri and Maithili films because there are no Hindi films to watch?” he questions and concludes, “It’s a free trade market. If you can, then come up with good Nepali cinemas rather than living in illusions.”

Like other multiplexes, Quest Entertainment has also been forced to rerun old movies, and it’s still running “Gajhini” and its own production “Sano Sansar.”

Bhaskar Dhungana, a director at Quest, says, “I don’t believe that viewers of Bollywood films have switched to Nepali films. Regarding Quest, it’s obvious that we’re suffering greatly. There are fewer people to watch repeat runs. Let’s just hope that things will be sorted out soon.”

Producer Chhabi Ojha has his own argument regarding the commercialization in Nepali films. He highlights, “We don’t need more than fifteen films a year in Kathmandu. But more than 50 have already been produced and are in the pipeline. There’s no need to be happy at this moment. We must understand that it’s only for a short period before India will soon release new films, and we’ll go back to the same wacky position. Let’s just concentrate on making good movies.”

But Yuvaraj Lama differs and elaborates that this is an “eye opener” period for producers. They must learn that Nepali films can do as well as international movies. And he adds, it’s high time for Nepal’s artistes to come together and make plans to regulate international films systematically so as to promote more Nepali films.

Will or will not Nepal’s film industry come above average standards is yet to be seen. For now, it’s high time for both directors and producers to start thinking of making movies which are worth seeing.


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Rana PM didn't like movies -- 1940s news
« Reply #16 on: May 28, 2009, 07:37:24 AM »


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Re: Nepali Movies till date
« Reply #17 on: June 20, 2009, 05:33:38 AM »

First Film show in Nepal

SEPTEMBER, 1933 (1990 Bhadra, 1) By Kunjar Shamsher Rana in Singha Durbar, Nachghar (Screened 4 Hindi and English Film)

First Film Corporation
Royal Nepal Film Corporation (RNFC) November 2, 1971 (2028 Kartik 16 B.S.)

Establishment of FDB
30 June 2000 (2057 Ashadh 16 B.S.) Film Development board, Nepal

First Television (Established)
NEPAL TELEVISION (2041 Poush 17 B.S. - January 30, 1985)

First Television (Broadcast)
NEPAL TELEVISION (2042 Poush 14 B.S. - December 29, 1985)

First Film Director

First Heroine (Actress)

First Hero (Actor)

First Cameraman
BAIKUNTHA MAN MASKEY (Trained from Film Institute of India, Poona)

First Sound Recordist

First film Editor

First Female Film Editor

First Art Director

First Still Photography

First Fight composer

First Song Recordist(s)

First Re-recording

First Film Producer (Private Sector)

First Cinema Hall
KATHMANDU CINEMA GHAR (Later renamed as JANASEWA)-2006 Mangsir 27 B.S.

First Song Recording (on Film)

First Film Shot in Great Britain

First Nepali Film
AAMA (October 1, 1965-Ashoj 15, 2022), (Producer- HMG Department of Information, Nepal)

First B/W Film
AAMA (Actor-Shiva Shanker Manandhar, Actress- Bhuwan Chand)

First Color Film
KUMARI (Produced by RNFC in September 25, 1977-2034 Ashwin 9 B.S.) in September 15, 1951-2008 Bhadra 30

First Documentary/ Short Film
HIS MAJESTY'S MAHENDRA'S 42ND BIRTH ANNIVERSARY DOCUMENTRY/NEWS (2019 B.S.) (Director- Hira Singh Khatri, Producer- Ministry of National Information, Nepal)

First Nepalese Language Film
SATYA HARISCHANDRA (Produced by D.B Pariyar of Darjeeling in Kolkata, India)

First Newari film
SILU (Prem Production- Laxmi Das Manandhar & Prem Baniya) (2044 Kartik- November 1987), Actor- Jay Shrestha, Madan Krishna Shrestha, Hari Bansa Acharya, Gopal Bhutani etc Actress Nabina Shreshta

First Film Produced by RNFC
MAN KO BADH (director: Prakash Thapa) Feb 19, 1974- 2030 Falgun 8 B.S.

First Film on International Film Festival
SINDOOR (1980)

Film Produced on Private Banner
MAITIGHAR (Sumonanjali Films P. Ltd., Producer- Dr. Jogendra Jha & Gen. Nar Shamsher JBR, Director- B.S. Thapa, Actor- C.P Lohani, Actress- Mala Singh)

First Co-Produced film
KE GHAR KE DERA (Jay Ajima Films P. Ltd. & RNFC 1985) Director- Pradip Rimal

First Silver Jubilee Celebrated Film
KUSUME RUMAL (Celebrated in 2043 Jestha 26- 1986 June 9) Producer- Sayapatri Films P. Ltd. - Tulsi Ghimire & Sumitra Paudel

First National Film Festival
NATIONAL FILM FESTIVAL- 2005 (Ashadh7- Shrawan 22, 2062) organized by Film Development Board, Nepal

First National Award winner Film
BANDHAKI (Producer- Dr. Singh Gurung) - 'Best Film' on National Film Festival-2005


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Re: Nepali Movies till date
« Reply #18 on: June 24, 2009, 09:32:36 PM »
वयस्कका लागि मात्र 'पलपलमा'

सुटिङकै बेला 'हट सिन' का कारण चर्चामा आएको फिल्म 'पलपलमा'लाई सेन्सर बोर्डले 'एडल्ट' सर्टिफिकेट दिएको छ। सोमबार सेन्सर गरिएको यो फिल्मलाई कथावस्तुका कारण एडल्ट फिल्मको सर्टिफिकेट दिइएको बताइएको छ।
सेन्सरले 'वयस्कका लागि मात्र' भन्ने सर्टिफिकेट दिएपछि यो फिल्म १६ वर्षभन्दा मुनिका दर्शकले हेर्न पाउने छैनन् । "चलचित्र विकास बोर्ड र सेन्सर बोर्डले यसको अनुगमन गर्नेछ" सेन्सर सदस्य सुचित्रा श्रेष्ठले भनिन् ।

रमित ढुंगाना र सुजाता सिटौलाका केही दृश्य पहिले नै चर्चामा आएका भए पनि सेन्सरले कुनै पनि दृश्य काटेको छैन ।

उकेश दाहालले निर्देशन गरेको यो फिल्ममा दिलिप रायमाझी रमित ढुंगाना सुजाता सिटौला र रुपा रानाले अभिनय गरेका छन् । फिल्म पुरुष यौनकर्मीको विषयमा भएको बताइएको छ।
यसअगाडि पनि 'फैसला' सहित केही नेपाली फिल्म वयस्कका लागि मात्र भनिए पनि जनचेतना र अनुगमन गर्ने निकाय प्रभावकारी नहुँदा किशोर किशोरीहरुले पनि फिल्म हेरेका थिए।


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Re: Nepali Movies till date
« Reply #19 on: July 16, 2009, 12:34:10 PM »
Ten Opposite Trends in Nepali Cinema

In the world history of cinema, those with “contradictory” views have become victorious. The students of cinema take those names with pride, those cinemas that have done “contradictory” in their time.

This is even more in Nepali cinema. However, there is no reason to be excited about the “opposite” or “contradictory” or “different” views in Nepali cinema. Because, the outcome of these “opposite” attempts are “opposite”, not creative.

Ten Opposite Trends in Nepali Cinema:

1. Heroine’s Dress up

The Nepali film makers just want to cash in by making the heroines wear shorter clothes – and the trend of bedroom dress in class rooms.

2. Wrinkle-less cheeks

The older actors never want to look old, even when they are playing old character.

3. Weak and Stupid Characters

In Nepali films, the leading character (Hero) is almost always portrayed as weak, poor, helpless and alone. He cannot afford to eat two times a day. No one believes him. He is proud and righteous, in other words – he is stubborn and stupid. On top of that, all sorts of diseases usually pester him. All the troubles and worries of the world that can be imagined, the hero character is endowed with.

4. Pay (not be paid) to become the “Star”

Most of the actors/actresses become hero/heroine by investing money into the film. They don’t get paid, they pay. Most of the “chalti ma raheka” actors/actresses entered into the industry by investing their own money.

5. Stories written to suit the actors

First, the actors are selected and then a script is written to suit the actors. On the notebooks of storywriters, one can find numerous stories/scripts that are written specifically for Rahesh Hamal and Nikhil Upreti.

6. Financer or Producer

The one who invests in films are financers. There’s a trend in Nepali cinema to see the financers as producers.

7. Posters that reduce audience

The designs of Nepali film posters have remained same for the last 20 years. They have resemblances of 30 years old Hindi film posters. The colour, font and design of almost all the posters are same.

8. Stars/Actors in pursuit of Media

Because, the number of actors/actresses is greater than the number of actual audience, in Nepal, the “Actors/actresses are always hounding the media” – not the other way around.

9. Releasing of films from village

In other parts of the world, the movies are released in major cities first. Nepali movies are however released first in the villages and later only in the cities.

10. Then 35 mm, now 16 mm

Nepali films are shot in 16mm and later in cinema halls, the film is blown up into 35mm and thus the picture instantly looses half of the original quality. The technical progression of Nepali cinema is exactly opposite.

By Dipendra Lama
Source: Nayapatrika (April 19, 2008 edition)