Ghoul Not Holding a Finger Specifically at One Government: Director Patrick Graham

Agencies
August 31, 2018

There is a fascist government in place. Check. Instances of majoritarianism. Check. Clampdown on civil liberties. Check. This is what a dystopian society looks like.

Patrick Graham's Netflix Original, Ghoul, ticks all the above checkboxes as a dystopian show and the director says the setting provided "vitality" to the series, which is essentially a horror thriller.

"First thing we wanted to do was to tell a good story. Basically, a compelling, exciting, edge-of-the-seat story. I think that is the primary objective of filmmakers.

"But add to the atmosphere and give an interesting context and that extra vitality and relevance, we kind of create an alternative reality. We thought having this kind of fascist dictatorship and this totalitarian society would provide nice atmospheric backdrop to the action," Graham said.

When asked whether Ghoul is a commentary on the present situation in India and other parts of the world where sectarian divide is at its zenith, Patrick said they were not pointing finger at any particular group.

"Inherently, it does (hold a mirror to the society) because we have seen in the history the instances of fascist governments and tropes of those governments. Clampdown on civil liberties, victimisation of ethnic minorities and use of torture and propaganda, these are some recognisable generic traits of fascist governments.

"Also in this day and age, we see the rise of populism and fear of immigrants and extreme right-wing governments that are almost becoming a norm. It does hold a mirror to life but its not holding a finger specifically at one government or one group of people," Graham said.

George Orwell's 1984, British graphic novel V for Vendetta and most recently "The Handmaids Tale" are some of the adaptations that have used dystopia as a narrative devise and Graham said these books worked as an inspiration for him.

"We all love famous dystopian works of fiction. 'V for Vendetta' is one of my favourite graphic novels. '1984' left a huge impact. It is a fun genre to explore and I find it particularly interesting. Also, I don't think we have seen much of it in India," Graham said.

Ghoul is Netflix's first foray into the horror-genre in India and Graham believes there is a huge but untapped audience that yearns for scares of international standards.

"In India, there is a good, solid audience for adult-horror. We see that because films like 'Annabelle' and 'Conjuring' have been some of the most successful foreign films to come to Indian cinemas, so there is this hunger for horror in India.

"The horror films that were being made in India were probably catering to just one group of people, while ignoring the other sections, the one which is more familiar with American horror. There was ample opportunity and real niche to create homegrown, serious, adult-horror which is what we have tried to do," he said.

Starring Radhika Apte and Manav Kaul, Ghoul is currently available on Netflix.

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Agencies
March 3,2020

Chennai, Mar 3: Makkal Needhi Maiyam president and actor Kamal Hassan on Tuesday appeared before Chennai Police on Tuesday in connection the deaths last month of three people on the set of the movie, 'Indian 2'.

Hassan appeared before Chennai Police Commissioner in Egmore to record his statement.

Three people died while around 10 suffered injuries when a crane collapsed while shooting of the film was underway in Chennai at EVP Studios on February 19.

Madhu, personal assistant to director Shankar, Krishna, assistant director, and a staffer Chandran, lost their lives in the incident.

In an open letter, "Indian 2" Director S Shankar announced Rs 1 crore as financial assistance to the kin of the deceased.

'Indian 2' stars Kamal Haasan, Kajal Agarwal, Rakul Preet, Siddharth, Priya Bhavani Shankar, Delhi Ganesh and Nedumudi Venu in prominent roles.

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News Network
July 9,2020

Mumbai, Jul 8: Veteran Actor-comedian Jagdeep, best known for his role as Soorma Bhopali in "Sholay", died on Wednesday at his residence. He was 81.

The actor, whose real name is Syed Ishtiaq Ahmed Jafri, was not keeping well. "He passed away at 8: 30 pm at his residence in Bandra. He was not keeping well due to age related issues," producer Mehmood Ali, a close family friend, told news agency.

Jagdeep appeared in around 400 films but it is his role as Soorma Bhopali in 1975 film "Sholay" that is etched in audiences' minds even today. He also played memorable roles in "Purana Mandir" and in "Andaz Apna Apna" as Salman Khan's father.

Better known by his stage name Jagdeep, the actor also directed the movie "Soorma Bhopali" with his character as the protagonist. He is survived by two sons - Javed and Naved.

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News Network
June 16,2020

Mumbai, Jun 16: Filmmaker Dibakar Banerjee remembers Sushant Singh Rajput as a dance loving 'chhokra' from an engineering college who, having made it in Bollywood, was “enthused, sincere and totally focused” on his craft.

Banerjeee said the actor always had “a book or two” with him and took pride in the fact that he had an “inner intellectual life away from the shallower aspects of showbiz”.

Rajput was found dead in his Bandra apartment on Sunday at the age of 34, leaving his friends, colleagues and collaborators in a state of shock.

The Patna-born actor and the director worked together in 2015 film "Detective Byomkesh Bakshy!" when Rajput was a relative newcomer in the industry. Banerjee says it was Rajput's vulnerability and willingness to do different that made him stand out for the role.

In an interview with news agency, the filmmaker looks back at Rajput's sincerity, his love for science and astronomy and how an outsider has to work harder than a "mediocre, unmotivated and entitled establishment elite" to succeed in Bollywood.

Excerpts:

You worked with Sushant when he was less than two-year-old in the film industry. What struck you the most in him to cast as Detective Byomkesh Bakshy?

Banerjee: His vulnerability and intensity and the ambition to do different things than the usual Bollywood stuff.

What were your memories of Sushant- the actor and the person?

Banerjee: As an actor he would tense himself up for the scene and then completely plunge in take after take. He would put a lot of value on preparation. He would be up the previous night of the shoot, reading the scene and making notes and land up on the sets all raring to go.

He would be on, ready and give his hundred per cent throughout the shoot of Byomkesh - no matter how hard or long the day. The unit did not really have to worry about him - considering he was the star. That's what I remember - a total pro, enthused, sincere and totally focused.

As a person, he seemed to me a happy dance loving 'chhokra' from an engineering college who had made it in showbiz and now was serious about acting. He was deeply nostalgic about his carefree student days in Delhi. We used to laugh a lot - I remember that quite clearly.

Sushant's friends say that he spoke more about books and his love for astronomy than films and their fate, which is rare for an actor in the industry. Do you also remember him that way?

Banerjee: Totally true. He was a science and astronomy nut. Always had a book or two with him - and was proud of the fact that he had an inner intellectual life away from the shallower aspects of showbiz. I recognized it as a reflex, protective action to prevent the Bollywood swamp sucking him in totally. And also an identity he wanted to protect and project.

Sushant's death has brought to the fore the struggles of outsiders and the alienation they often face from the nepotistic culture of the industry. Did you feel that Sushant was also fighting this battle despite being a successful actor?

Banerjee: We all fight it, day in and out - whether successful or failing. But the trick is to define that success and failure ourselves and not let the narrative constantly forced by the establishment to get to you. Those who know this weather the storm and ultimately survive and thrive.

The biggest unfairness in all this is that it takes double the talent, energy and hard work for an outsider to convince the audience and the industry that he or she is as safe a box office bet as a mediocre, unmotivated and entitled establishment elite.

The media colludes in this by wallowing in family, coterie and celebrity worship. This leads to deep anger and frustration. Those who can let this slide survive. Those who can't - those who hurt a little more or are vulnerable and impressionable - they are at risk.

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