Yesterday's binocular world

The reason is the lack of actors to play that role. Then he was made old with make-up, his hair was grown and the thunder of that time was removed. How would a person younger than the hero be his father? However, that was a necessity at that time.

scenes: The two

heroines had to play the role of Thuliama Phupoo or Pa, the elder sister of the heroine who had just given birth. Either he had to give up the temptation to be an actor for now or he had to accept the role. She accepted. Because for the moment there was a lack of actors to act in that role. A recent teenager, the mother of the child! Another Mahabharata to get a child that matches his character.

scene: Three

s A young man who went to see a movie with his friend after barely spending money and time, when he left the hall, the back part of his pants was completely torn. As he got out of the hall seat and his pants were torn, he ran to get home to avoid embarrassment.

6 decades long Nepali film industry has gone through many ups and downs. Even if those who look and understand superficially see it as normal, the senior generation who have been really devoted to this field and have been working since the past have solved such problems by making a great contribution. Whether it is about developing positive thinking in the society about movies, about introducing technology, whether it is about giving birth to new and mature artists or whether it is about investment and business, the contribution and dedication of the previous generation cannot be underestimated. So now Nepali film industry has become prosperous in many ways.

Starting from DB Pariyar's 'Satya Harishchandra' shot in Kolkata to 'Aama' shot in Nepal, the Nepali film industry has taken a lot of hard work and effort by many senior, diligent and honest filmmakers to reach the present state. At that time, there was no place to learn, read or learn about movies, neither did we have the technology available, nor were there any indigenous technicians. On top of that, it was still a big challenge to change the society's view of actors acting in movies. On the one hand, there were no tech-friendly or camera-facing actors available, and on the other hand, we had to depend entirely on India technically. From song recording to minor technical work, he had to go to Bombay. In a way, the Indian film industry is the school where Nepali filmmakers learn. Even in such a situation, the filmmakers who worked at that time not only avoided the storm by using the available resources, but also prepared a strong foundation for future generations.

The first Nepali movie 'Aama' was produced by the Government Information Department of the then Shri 5. Even up to the first Nepali movie 'Maitighar' which was produced with private sector investment, our dependence was completely on India. To be honest, only after private sector investment started coming in, Nepali movies took a commercial form. However, the lack of artists was the same. Because it was difficult to find a suitable and tech-friendly actor for the role. On the one hand, it was difficult to make a living by making this a profession, and on the other, the society did not have a positive view of the artist. Even after waiting for years, a movie was made. Therefore, there was a compulsion to hire the available artists. Sometimes a person who was not old enough to play the role of the parents of the hero-heroine had to be made old by applying make-up, sometimes a female chorus dancer had to be made into a woman without being old enough. Due to the unnatural make-up, after watching the movie, the parents of the hero-heroine looked younger than the hero-heroine. Forced hair growth looked very unnatural. However, it was a necessity because the work had to be completed using whatever resources were available.

Only after the establishment of democracy in 2046, the Nepali film industry took a long leap. About 140 films were produced in a span of three years out of two or four films a year. Not only the movie, but also the movie screening hall reached around 300. The squalid and unsettled movie halls were greatly upgraded. The construction of air-conditioned and well-equipped halls also helped a lot in the advancement of cinema.

In a way, the Nepali film industry entered the golden age at that time. After that, the dominance of Hindi movies decreased to some extent, and technically, a lot of work started to be done in Nepal. Technically, the level of the film also started to rise.

The Maoist conflict that started in 2052 had a great impact on this pace of Nepali film production and performance. In these 10 years, Nepali film production has been greatly reduced. After the mass movement of 2062-63, the Nepali film industry took another turn. There started to be a lot of diversity in the subject of film production, and crores of investment started to be made in Nepali films which are made within lakhs. The whole thing started to take a professional form, starting from the artist's remuneration. Although many films are investing heavily in raising investment, Nepali films are not limited only to Nepal but have started to reach different places in the world where Nepalis live.

The film market has expanded among Nepalis to Japan, Korea, Europe, America, Canada and Australia through the Gulf. This has greatly benefited not only the producer but also the artists and technicians working on it. Some Nepali movies have also started shooting abroad. Attracting Nepali investors living abroad will greatly help in the expansion of the Nepali film industry. In the era of globalization, if artists, producers, directors and technicians who are outside Nepali land start producing Nepali movies together, it can give a new flavor and open new business doors. The access of competent Nepali actors, directors and technicians to different corners of the world is increasing.

In this way, the Nepali film industry is becoming capable from all sides, and the filmmakers who are involved in film production, directing and acting in many ways after suffering in the early days have an important role. Because nothing was readily available then. And, as much as was available, there was a compulsion to make a film by managing it. Such a situation continued in the Nepali film industry for a long time. Barring a few exceptions, the artist's efforts to avoid the limelight by applying unnatural make-up went on for a long time.

However, now the Nepali film industry has become very mature and prosperous. Actors with acting knowledge and skills are ready for such roles as it is said in the industry now. They have a good sense of acting from camera angles. The industry has produced hundreds of parents and grandmothers who don't need any makeup to play that role. Not only the artists but also the competent technicians of the related fields have been prepared.

So it is easy for this generation to make movies. Such actors are available in the industry. At that time, how much pain and suffering did they bear and how much effort did they give birth to those artists?

Yesterday's generation made today's illustrators much easier. How many technically good movies were made or not made yesterday? That is a separate debate, but yesterday has given a lot to today. Therefore, the current generation should also be able to use their skills and knowledge, and should learn to respect them. Only then can the future generations respect the present generation accordingly and receive support from them. Only if this can happen, the Nepali film industry can continue to move forward and the trend of respecting each other will develop. If yesterday enabled today, today should be able to make tomorrow even more refined and advanced.

Now, Nepali actors who are scattered in different corners of the world, not only in Nepal, are ready to play different types of roles. Actors, who have worked as heroes and heroines for a long time, are now suitable to play the role of old parents. They don't have to be taught how to make a camera face, nor do they have unnatural make-up. Now, even if Nepali movies have to be shot in America, there is no need to bring actors from Nepal to act in all the roles. Actors capable of acting in all types of roles are available.

The role of Nepali Theater and Nepal Television established in the year 2042 to mature artists is very abstract.

(Lamichhane is the director of films such as 'Boksi', 'Kin Lagaka Maya', 'The Mirror', 'O My Man', 'Lumfu')