It’s no longer a secret that Nigerians place a high premium on quality, and are willing to part with cash just to obtain same. This growing trend has also found its way into Nollywood, where filmmakers who have made films boasting of such qualitative content boarded the National flight to fame and fortune. Nollywood has been presently rated as the 2nd largest Movie Industry in the world (quantity based) but not in quality. It is worthy of note that filmmakers back in the mid 90’s (during the Nollywood boom) simply churned out movies just to make money and not because they had a passion for it.

Tunde kelani, however stood out from the pack, and his regular quality output propelled him effortlessly into the limelight. His dexterity with the camera and consequent productions stems form the knowledge he acquired at the London film school. You can get most of his works in one of my articles “Tunde Kelani: A legend in Nollywood.” Steve Gucas who shot “keeping in Faith” is said to have attended same as well.

Despite the presence of the National Film Institute, Jos, Nigeria, the new generation of film makers and those in other spheres of filmmaking, thirsty for the requisite skills to produce movies of international standard have found their way to the prestigious New York Film Institute. Those who have made the Alumni list include Kunle Afolyan ( Irapada, The Figurine, araromire), Stephanie Okereke (Through the Glass), Chineze Anyaene (Ije), Daniel Ademinokan (Omo Iya Kan). Due to their resounding success, others have begun to look towards the New York Film Institute (“NYFI”)

“NYFI” offers courses in filmmaking, digital filmmaking, acting, cinematography, broadcast journalism, documentary filming, producing for film and television, digital film editing, photography, 3D animation, game design, screen writing amongst others. Their hands on (practicals) from the first day through to the last is a weighty plus factor for them, and people from different parts of the world converge there to learn. They are taught by the very best and located in New York, London, Italy, Abuja, China, Japan, Korea, Columbia and other areas.

Some of their ex- students have gone to make good films in Hollywood. Notable people and their relatives who have attended the institute include Steven Spielberg, Kevin Kline, Al pacino, Jamie foxx, pierce Brosnan amongst others. The use of latest Hi tech equipments is the hall mark of the institute. Flexible courses for various spheres are also available. Although the fees are expensive, nevertheless, the knowledge garnered at the end of the day and the ability to implement what one has been taught and infused into various projects embarked upon, resulting in outstanding work will compensate for that.

It’s certainly a great place to study the art and intricacies of film making. I’m not in the least bit surprised that our film makers and those who aspire to be such are trooping there.

Dhadak Movie Review: The movie is an official redo of most well known Marathi movie Sairat Directed by Nagraj Manjule. The film takes gigantic openning on Marathi silver screen and film industry. What’s more, As A Result Sairat Gets most elevated earning Marathi film ever

Dhadak which is discharging tomorrow Hindi film presentation of Janhvi Kapoor and Ishaan Khatter. The film Directed by Shashank Khaitan.. Trailer And Music Gets Good Response On Social Media.. Three Songs Released By Team Dhadak i.e. Dhadak Title Song,Pehli Baar and Zingaat brought up the buzz But Songs Gets Negative Reviews As Well On Social Media.. Film mass concentrations like Gujarat and Rajasthan Circuits.. Be that as it may, Delhi and Mumbai circuits Is Important for dhadak

Gets Negative Reviews As Well On Social Media.. Movie mass focuses like Gujarat and Rajasthan Circuits.. But Delhi and Mumbai circuits Is very Important for dhadak

he film begins with the comparative opening arrangement as that of the Marathi film Sairat, the fantasy succession in which the Madhu is imagining (Ishaan Khatter) and Parthavi (Janhvi) comes to him in his fantasy. Their pronunciations may appear somewhat off initially, yet you’ll get over it.

Up to this point, there are different set pieces in the film which are balanced from Sairat, regardless, the components of the two lead characters and their individual character depict is phenomenal getting a handle on. Both Janhvi and Ishaan have been amazing in the first half. furthermore, the second part likewise great.. general great execution ”

Janhvi Kapoor makes a crushing presentation in Dhadak. She is crude and new, and brazen simply like her character in the film. She is promising the extent that her Bollywood vocation is concerned. Ishaan Khatter who was seen in Majid Majidi’s Beyond the Clouds has done a great jon in dhadak. He is excessively develop as a performing artist, making it impossible to be two-films old!

The music anyway like yet not on a standard with the primary Sairat’s, is appropriate for Dhadak. The cinematography is excellent

Dhadak Box Office Collection Prediction First Day: Janhvi Kapoor and Ishaan Khatter’s Film

Dhadak Box Office Collection Prediction First Day: Janhvi Kapoor and Ishaan Khatter’s Film

Dhadak is magnificent as an independent film. Try not to contrast it and Sairat.

Ratings

3.5/5.0

#Dhadak Starring:-

#IshaanKhatter

#JanhviKapoor

#AshutoshRana

Written,Screenplay Directed by @ShashankKhaitan

Produced by @karanjohar

@apoorvamehta18

Certified as (U/A) Run Time:- 137:54 min:sec

Release Date:- 20th July

Read more:

https://directordada.com/dhadak-movie-review-janhvi-kapoor-and-ishaan-khatters-film/

Director Dibakar Banerjee is keener in establishing the little world his characters, both major and minor, inhabit. You are far more enthusiastic and involved with these people because Banerjee knits together the entire fabric of his creation rather than simply weaving the design; he allows his camera to capture the sight, the sound and the essence of his world and you are respond and reciprocate it to it more than you would to works by other directors. He is one of the best new Indian directors I have seen whose films have gotten far less credit than they deserve. Everyone talks about Karan Johar’s or Anurag Kashyap’s involvement and only a few (which includes me) may’ve gone for Bombay Talkies to watch out for Dibakar Banerjee. His segment is called Star and it comes right after Johar’s opening segment; Banerjee’s work simply blows the other segments out of water, and only Kashyap’s Murabba is able to escape uninjured. But poor Zoya Akhtar’s segment Sheila Ki Jawaani isn’t very lucky, barely holding up to the standards of Banerjee’s work. And Johar’s hokey gay-themed segment seems flaccid in comparison.

I don’t mean by saying all this that you should skip the other segments and only catch Banerjee’s; Bombay Talkies is a far better offering than most other Indian movies you might catch in theaters. It’s got a limited release and has managed to rake in mediocre box-office collections, but it surely deserves to be recognized for being novel not just for the sake of being novel. Four different directors with quite different styles and palettes put up their works for an anthology film (a term for many short films being compiled to form a feature film) and you as an audience member have a lot more to discuss here than just the quality of the film itself: you compare these filmmakers’ works and form your own preferences. I loved Banerjee’s work but I hear many other praising Karan Johar more, but you see what’s happening here is that everyone’s talking a lot more about the film than they usually would. For this alone people should catch Bombay Talkies before it exits theaters with its final salute to Bollywood.

Bombay Talkies, named after a prestigious movie studio of the same name which opened in the 30s and has closed down now, is a cinematic ode to celebrate the hundredth anniversary of Bollywood. This ode is sung by four directors: 1) Karan Johar, known for his epic-length melodramas with names usually beginning with letter ‘K’, 2) Dibakar Banerjee, a superbly talented director whose works evoke the multiplicities seen in Neorealist films 3) Zoya Akhtar, who has won a couple of awards in India and comes from a family of talented actors, musicians and lyricists and 4) Anurag Kashyap, whose works have been screened at Cannes. While Johar and Akhtar share this style of directing that many of the filmmakers who’ve been brought up in this industry from the start possess, Kashyap and Banerjee inject the flavor of world cinema into commercial Bollywood..

Johar begins first, his film being about Avinash, a lonely gay man estranged from his family who meets a lonely married straight woman whose sex life (with her husband, of course. Infidelity not usually tackled in Indian films) is sterile. There’s the husband who is dull and lonely (and completely not aroused by his wife) and loves old Hindi songs, and things get complicated when Avinash meets the husband and his gay sensor tingles. You perfectly know what’s going to happen next. Once Johar’s done, its Banerjee’s turn: his film is about a lower-middle class Maharashtrian (Nawazuddin Siddique, awards coming your way) whose many little ambitions, which includes breeding Emus, have never taken flight until the moment he gets the golden opportunity to share the screen space with megastar Ranbir Kapoor one day. If Banerjee makes us hate the theater owners for keeping an interval for the film, Zoya Akhtar’s segment post-intermission about a little kid who hates football and likes dressing up like a girl and who idolizes actress Katrina Kaif makes us hate the film’s editor for not including more of Dibakar’s story. The final segment is a little queer and quirky, and it’s by Kashyap; his film is about Vijay, an Allahabad native who, under his ailing father’s insistence, travels to Bombay to offer the King of Bollywood half of a Murabba, a jam pickle, so that the other half, once blessed with Bachchan’s uhm… teeth could be consumed by Vijay’s father to get well.

Johar’s segment is simple are quite predictable; you are well aware what’s going to happen and because it’s a Johar film, you know there’ll be a lot of tears shed by the characters. Apart from its hokey and hackneyed theme, I really wasn’t sure whether it portrayed gays in a flattering light. Akhtar on the other hand makes a film full of annoyingly precocious children and one-dimensional characters, especially the kid’s father who keeps repeating ‘Football is a guy’s game. Football will make you strong’. Anurag Kashyap’s ‘Murabba’ is delicious and delightful, but not anywhere close to the richness of Banerjee’s offering. There’s so much to enjoy, so many little things that we watch happening in Banerjee’s film, and he’s a pro when it comes to handling his camera and sound. There’s a common theme of father-son relationship running in all four shorts.

There’s a music video after the shorts which celebrates the hundred years of Bollywood, and they’ve added a montage that shows Bollywood through the period. Towards the end, stars like Aamir Khan turn up but I was sadly disappointed by the presence of some actors like Sonam Kapoor here, which shows just how retarded Bollywood has become. Why couldn’t they let Nawazuddin sing? Or Kalki Koechlin? When your entire film is about celebrating the true stars, why ruin the moment by bringing in the hundred crore club whose films are strapped on stars and short on sense?

Grand Beginnings

South Africa started making movies in the early 1900s: the silent movie era. American Director, D.W Griffiths made ‘Birth of a Nation’ and movies on the Voortrekkers were produced.

The first South African movie with sound was ‘Moedertjie’ in 1933. South Africa grew side-by-side with the international film industry because Kilarney Studios in Johannesburg was actually a satellite 20th Century Fox studio.

The film, ‘Ruiter in die Nag’, in 1963 was shot on a zoom lens, which in those days was the big discovery that screwed onto a Mitchell camera. The only other film that used it was the American blockbuster ‘The Robe’ starring Richard Burton and produced by 20th Century Fox. With this cross pollination happening, the South African film industry kept in step with international expertise.

Our Golden Globe

In the early 60s, the Germans started making movies here. They also made television programmes, because http://www.prinzproductions.co.za/aboutus.html%C2%94″>production was a lot cheaper. England also jumped on the bandwagon, making the film, ‘Zulu’ with actors, Stanley Baker and Jake Hawkins, which went on to become a famous classic – still shown around the world today. Actors, Richard Todd and Sydney James starred in the movie Tokolosh. The Americans made ‘The Naked Prey’ a Paramount Picture starring Cornell Wilde and South African star, Gert van den Bergh. South African film, ‘Katrina’ directed by Jans Rautenbach won a Golden Globe for Best Foreign Film in 1968. During this decade, we made one of our finest films, ‘Die Kandidaat’, which makes comment on our political history and has stood the test of time.

‘The Wild Season’, a South African film made in 1965, did extremely well here in 1966, and was sold outright to the Japanese for the ludicrous sum of R40 000. It went on to make millions in Japan and scooped $14 million internationally. Success in the late 60s came with Jamie Uys who directed, ‘Beautiful People’, a documentary movie which did exceptionally well overseas; especially in Japan and Germany.

The Australian Connection

When the Australians came to South Africa to make the movie ‘Breaker Morant’, they approached a South African company to co-produce, asking for 50% of the funds. Unfortunately the offer was turned down. ‘Breaker Morant’ went ahead to become one of the real success stories of the Australian film industry. There was a huge Australian awareness around that time with the ‘Peter Weir’ films. This was the early 70s, and Australia was rushing onto the film map. South Africa could have been there with them.

The Gods Must Be Crazy

‘The Gods Must Be Crazy’, directed by Jamie Uys in the early 80s was a huge success in Germany. In fact, there was a cinema in Stuttgart that showed the movie continually for years. It was also huge in Japan. They flew the bushman star, Xau to Japan, where he was revered as a huge star. Rather overwhelming for someone who had spent his entire life in a grass hut in the rural north-eastern side of Namibia.

A Second Beginning

The South African film industry got on the Oscar map, when Darryl Rood’s ‘Yesterday’ was nominated for Best Foreign Film in 2005. Oscar-winning South African actress, Charleze Theron has also been instrumental in keeping our name alive, as she always mentions South Africa. When ‘Tsotsi’ directed by Gavin Hood won the Oscar for Best Foreign Film in 2006. The dye was cast! South Africa seems to be the flavour of the decade and let’s hope it carries on to a century, not just a couple of years.

Veteran Actor and Film Director, Regardt van den Bergh comments: “We are moving into a season where South African films are being watched with interest. People are enjoying looking at our stories and we’re having various successes, not just with feature films, but also our short films. We had a short film at the Cannes Film Festival this year made by students from AFDA, which was received really well. The doors are opening more and more.”

Sustainable Development

>From Government’s side things are more forthcoming. The IDCand the NTVA are inspiring young people to come up with ideas and get something off the ground. The IDC will give 50% of the money to make a film if they decide it’s a good idea. The money has to be paid back with interest but they do not take 50% of the film. That’s a good deal!

Now is the time to create a sustainable, successfulfilm industry that makes money for producers and the various people involved: that also makes inroads in terms of the stories we tell. We have some really amazing stories, not different from stories overseas, but there’s a different flavour, which makes it unique.

Forthcoming Attractions

This year Ster Kinekor will release three South African films: ‘Ouma se slim kind’, directed by Gustav Kuhn. ‘Faith like Potatoes’ directed by Regardt van den Berg and ‘Running Riot’ written by the versatile actor and writer, Bill Flynn. “The Lamb” a South African written and produced movie, with an international cast and international distribution will be shot in Morocco in 2006, directed by South African Regardt van den Berg. A new season of success is on its way!

“What? You think a first-class girl can’t drink?” In the movie Titanic that was written and produced James Cameron in 1997, depicts the situation of women during 1912. The movie showcases a dynamic loves tory between a Caucasian – poor artist lad and a wealthy-independent lass. It also showcased the story of one of the most remembered disaster in the history.

The story started on present time year 1997 where treasure hunter Brock Lovett is in search for a necklace with a rare diamond, Heart of the Ocean, on the wreck of RMS Titanic. They happen to found a drawing of a young woman wearing the necklace naked. The woman appeared to be Rose DeWitt Bukater—- Rose Dawson Calvert. Then she showed up to Lovett and told her experiences about the titanic. The story goes on as a 17 year old, Rose DeWitt Bukater, first-class passenger on the year 1912 board the Titanic. She was forced to marry a rich man named Caledon Hockley, which gave her the conclusion of ending her life is the way to escape it. When she was about to Jump, a man stopped her and offered help but the authorities thought it was a rape and when they found his innocence Cal was force to invite Jack on a dinner with the other first class passenger. The story goes on, Rose and Jack fell in love with each other despite the warning of her mother Rose, Ruth DeWitt Bukater. Afterwards, Cal found out everything and locked Jack away from Rose. Then the Titanic hit an iceberg, and the ship starts to sink, and Rose made her way to save Jack. Leaving the both of them not save because all the lifeboats already departed. Because of the wooden panel where in Rose ride into, she was saved because one of the life boats came back. While Jack died because of hypothermia. After being saved Rose decided to change her name as Rose Dawson and follow her heart leaving all the wealth she have before. The story came back to the present time, Lovett and his company who heard the story got moved and just dismissed the thought of the Heart of the Ocean necklace. The movie ended with the old Rose holding the necklace and throwing it to the Ocean.

Rose is simply someone who is a representation of an independent woman, fell in-love with a poor artist, rejected her family and her fiancé, abandoned her past life, and live her life on her own. She proved so many things throughout the movie; women have knowledge about things too and they are not just beauties, she is a woman who has her own opinion and not afraid to share them because she believes she is just expressing her own, she is willing to try new stuff not minding what will other people think about her, she does not give a concern to how people define femininity, she gave off a new definition of strength, she is confident with her own body, she does not need Jack to save her but otherwise she risked her life only to save Jack. Rose proved that heroes do not just wear capes, they wear dresses as well.

Overall, the movie Titanic marked to me as it shows women empowerment. It may not be the main focus of the story but somehow it did give me a different perspective if you will look on that area. Titanic is worth a thousand tears. The actors and actresses portrayed their roles well which gave more flavor on the film. The production team and the other technical staffs did a great job in producing a blockbuster movie that until now touches the heart of its viewers. The music complimented the flow of the story well, which gave a good narration to the story. Hence, the movie suites my taste and I can say that it is a very dramatic yet meaningful movie to watch.

In honor of June 26, we would like to recommend the following historically “accurate” films: Son of the Morning Star, Little Big Man, Bury My Heart at Wounded Knee, and American Experience’s Emmy award winning documentary Last Stand at Little Big Horn

Between June 25 and 26, 1876, a combined force of Lakota and Northern Cheyenne led the United States 7th Cavalry into a battle near the Little Bighorn River in what was then the eastern edge of the Montana Territory. The engagement is known by several names: the Battle of Greasy Grass, the Battle of Little Big Horn, and Custer’s Last Stand. Perhaps the most famous action of the Indian Wars, it was a remarkable victory for Sitting Bull and his forces. They defeated a column of seven hundred men led by George Armstrong Custer; five of the Seventh’s companies were annihilated and Custer himself was killed in the engagement along with two of his brothers and a brother-in-law. Known as the battle that left no white survivors, Little Big Horn has inspired more than 1,000 works of art, including over 40 films. Here are four of the best…

Son of the Morning Star

Based on the 1984 best selling historical novel by Evan S, Connell, Son of the Morning Star won five Emmys when it first aired in 1991. Focusing on the life and times of General George Armstrong Custer, it takes up Custer’s life near the end of the American Civil War, follows him through his involvement in famous Indian wars, and culminates with the battle of Little Big Horne. I particularly like this version because it attempts to get beyond the stereotypes and introduce you to the real man; it provides an excellent introduction to the personalities involved and the events leading up to and following the battle.

Little Big Man,

The 1970 film Little Big Man, directed by Arthur Penn and starring Dustin Hoffman, was based on Thomas Berger’s 1964 fictionalized “historical” novel by the same name. Admittedly adjusted history, it tells the satirical, fictional and picaresque story of Jack Crabb; a white boy orphaned in a Pawnee raid and adopted by a Cheyenne warrior, he eventually becomes the only white survivor of the Battle of Little Big Horn. It is considered a “Revisionist Western” because Native Americans receive a sympathetic treatment that was uncommon for Western films in previous decades. Revisionist or not, I simply adore this wickedly humorous film about one man’s life revolving through the kaleidoscope of cultures that made up the American “Wild” West, and I recommend it with all my heart.

Bury My heart at Wounded Knee,

HBO’s 2007 adaptation of Bury My heart at Wounded Knee, a 1970 classic of Native American history by Dee Alexander Brown, recounts the struggle of the Indian Wars from the perspectives of three people: Charles Eastman, a young Sioux doctor who received his medical degree from Boston University in 1889; Sitting Bull, who led the combined forces at Little Big Horn and refused to submit to U.S. government policies that stripped his people of their dignity, identity, and sacred land; and Senator Henry Dawes, one of the men responsible for the government’s Indian affairs policy. The story line begins with the American Indian victory at Little Big Horn in 1876 and continues though to the shameful slaughter of Sioux warriors at Wounded Knee, South Dakota, on December 29, 1890. If the film has any fault, it’s that it attempts to explain the whole deeply complex fourteen-year struggle in just over two hours. It manages to do an excellent job at providing an educational and entertaining overview for future investigation.

The American Experience: Last Stand at Little Big Horn

The American Experience: Last Stand at Little Big Horn takes the time to explore this controversial battle from two perspectives: The Lakota Sioux, Cheyenne, and Crow who had lived on the Great Plains for generations, and the white settlers who were moving west across the continent. Using journals, oral accounts, Indian ledger drawings and archival footage, James Welch and Paul Stekler combined their talents to create one of the most balanced documentaries about this event ever produced. Their efforts won them a much-deserved Emmy.

More and more manufacturers all around the world produced stretch wrap for products security purposes. Stretch film processors are being used in markets and every five years these have been doubled. The demands of stretch films developed in the mid of 1985 to 1990 with 250 million lb/yr up to 500 million lbs. In the following years after 1990, the orders puffed up to one billion lb until the end of 1995. During these years, the five-layer film was the most popular even in recent times, but the demands still continued to grow in binary digits. For the past two years, the demand for stretch film resin has cut out to 1.4 billion lb. Stretch wrap reached 65% to 70% cast film and most of these are for machine packaging, and for blown film it has 30% to 35% generally for product hand wrap and a little extremely pierce-resistant specialty films.

In the mid ’90s when five-layer stretch wrap were launched, the hexane or octane LLDPE with one and three-layer films became a replacement. This requires a five-layer feed-block and fourth extruder with the use of low-cost butane LLDPE that supported with thin layers of metallocene LLDPE. A regular five-layer composition is A-B-C-B-A having 10% hexane LLDPE exterior skins, 20% metallocene LLDPE as subsurface layers, and 40% butane LLDPE interior. This means that mLLDPE has a little content percentage and somehow this makes the stretch wrap fragile and substandard.

The demands have started depending on the variety of stretch wrap. Other manufacturers do not use mLLDPE as the main component of the films because they believe it is pricey. This perception of some manufacturers is actually the reason why the demands for stretch films have been stalled down for the past years. Others have been using different chemical-based components that are less expensive in the production of stretch films. It is then found out that most films made of these kinds can be easily broken because these are not as durable as the mLLDPE. Consumers always look for something that is of best quality and manufacturers should be aware for this in order to meet the high demands of the consumers.

Metallocene LLDPE resins are well-known for their exceptional flit impact and pierce resistance, better organoleptics, excellent heat seal advantages, brilliant lucidity and superior warm tack. These characteristics of mLLDPE stretch films are preferably apt for high-performance film applications like for medical wrapping, foods and goods packaging, and other applications. Metallocene LLDPE was also examined to have extensively enhanced sealing properties than other polymers, thus improve the packaging line pace.

Since the demands for stretch wrap continue to grow in as early as five years, manufacturers produce these products in a constant basis. Most of the manufacturers today fabricate mLLDPE stretch film not just to satisfy the consumers and meet their demands, but to give these consumers the privilege of using these products to different applications and purposes, and test how strong and effective these metallocene stretch films are in securing their goods.

Open Cinema is an organisation intended to benefit homeless and disadvantaged people in the UK, through film. On their website, they describe themselves as a nationwide network of film clubs that help to educate and culturally enlighten marginalised people. Their main philosophy is that excluded people need the benefits of being culturally aware and informed, as well as the benefits of food and drink.

Their events are free for everyone to attend and participate in, and residents simply have to follow the promotional posters and flyers at their local community centres in order to find out about the activities and events occurring. Their seasons run quarterly, with 48 weekly events each year. These seasons are also often themed by genre, which helps to inform about particular titles. Additionally, Open Cinema welcomes events including filmmakers presenting their work, and speaking with participants directly.

The people behind this nationwide network believe that there is a need for this social business, because it helps to inform homeless and disadvantaged people about entertainment and culture, which they describe as another form of nourishment. On their website, they claim that research has shown that entertainment and culture contribute to the mental health and overall well-being of socially marginalised people.

Therefore, they help marginalised people to find stability and mental nourishment through film. Also, this enterprise provides a solid alternative to life on the streets for homeless people. They believe that the regularity of their film events and activities provides people with a sense of routine and belonging. Many organisations and leading institutions support Open Cinema and their goals. These supportive institutions include many important figures in the UK film and television industry.

Their social business was founded in 2005 by Christoph Warrack, a filmmaker who initiated a weekly support service for disadvantaged people in London. This weekly service, called Open House, provided food and fellowship, mainly aimed at homeless people in the local area. The idea for adding the element of film and culture came from a participant, who requested that his Open House idea included an entertainment aspect.

Then, in 2008, Homeless Link (an organisation providing homelessness services) offered support for their cause, in order to help Warrack spread the film club across the UK. Therefore, Open Cinema officially launched in 2009, with many film clubs of this nature established nationwide. They have only expanded since, over the years, and have now officially settled in their 2 head offices, in Shoreditch, London and in Yorkshire.

What do you think of this social business, and their aims? Do you believe that becoming culturally aware would truly benefit someone dealing with homelessness, related issues, or someone who is disadvantaged in some way?

I am a huge fan of vampire movies. One of the amazing things about this genre is how varied the actual movies are. They’re not all carbon copies of the same thing, which means there are a lot of original works among the classics. So with so many different types of movies, what determines a “good” vampire movie?

Part of that answer depends on what you enjoy most out of vampire movies. Is it gore? Terror? The sensual flair? The movie plot itself?

What makes this further interesting as a question is that even the vampire legends are different. Does sunlight really affect a vampire? What about silver? If you answered that the best vampire movies are action flicks, do you prefer “Blade,” “John Carpenter’s Vampires,” or “The Legend of the 7 Golden Vampires” (think vampire kung fu with zombies – great stuff)?

There’s nothing sensual about the vampires in “30 Days of Night,” which shows vampires in a pack mentality, but there are some very attractive vampires in “Blade” and in “Bram Stoker’s Dracula.”

While the variety of various vampire movies is so great that it’s impossible to keep the list down to only one or two things that make a great vampire flick, there are a few basic things to look for:

1) Cool Vampires. This is mandatory. If the vampires are lame, the movie will be lame. There’s a lot of leeway here: it can be from the hot and alluring lady vampire, to the kung fu vampire, to the traditional played by a very strong lead (like Christopher Lee).

2) Strong hero. To fight off really evil vampires, you need a freaking cool hero.

3) Victims. What’s a good vampire movie without any victims? The vampire may be a suave monster, but they still need to be a monster.

These three things are mandatory in every successful vampire film, whether modern or old.

Jean Valjean was given a number of 24601 as a remark from prison, in which after 19 years of imprisonment from stealing a loaf of bread and several unsuccessful attempted escapes, he finally received his parole given by the in-charge police inspector named Javert. 24601’s parole is a warning for the people to be well-aware that he’s an ex-convict. He’s been rejected by the society that he started to starve from death, but suddenly a bishop let him stay to his home. But 24601 is still 24601, he was caught red-handed from stealing the silverwares and claimed that it was given to him. Unexpectedly, bishop Myriel show some mercy that he even lies just to protect him. 24601 felt ashamed and ask for repentance, Bishop Myriel encouraged him to become better person. 24601 broke his parole and started to live as Monsieur Madeleine. After 8 years, he became as the Monsieur le Mayor where Fantine was working. Fantine had a child and been caught by her co-workers, in which it came to the point that she loses her job and even ask for the help of Monsieur but they didn’t let her. Javert on the other hand, met 24601 as Monsieur Madeleine and suspect him. M. Madeleine decided to face his past as Jean Valjean who owned 24601. Therefore, when Valjean saw Fantine that she’s in need, Javert was dedicated to catch him. Fantine even told to Valjean that she asks for his help but didn’t notice it.

So as a repay, Valjean promised to Fantine that he would find her child named Cossette and take care of her. Soon, Fantine died and Valjean do what he promised. He found Cossette and even negotiates just to take her and became a father to her. Javert on the other hand, was so eager to caught 24601. And for Cossette’s sake, Valjean didn’t tell the truth that he was an ex-convict and keep it as his secret. Places to places are how they hide from Javert. Years past, Cossette now became a mademoiselle that captured the heart of his man named Marius. When Valjean caught it, he decided to join the revolution arise by the law students against the government, to save Marius from death. At the barricade, he had given the chance to kill Javert but he didn’t instead he set him free and pretend that he killed him to gain the trust of the students. When the soldiers attacked their barricade, Marius got deeply injured. Valjean carried him to bring him to a doctor but Javert saw them, Valjean pleaded him to let them pass for Marius’ sake. When Marius recovered and revolution is done, Valjean talk to him and confess his secret from the past that he was the ex-convict 24601. Valjean beg to Marius not to tell anything to Cossette and let her know that he’s on a long trip instead of letting her know that he run away from them. During their wedding day, Marius found out that Valjean was the savior of his life and was deeply in sick. He took her wife to see Valjean in his last moment to thank him. Jean Valjean felt relieved upon seeing his lovely Cossette and Marius that gave him enough reason for him to let go and say his last goodbye.

Jean Valjean’s death signifies that his sufferings had come to an end and finally had his freedom that he aims for a long time. Jean Valjean symbolizes the love, compassion, and repentance that can motivate another person. In which, most of us was living in a miserable life, where some couldn’t handle the pain and chose to end their lives but Jean Valjean shows that there’s another way of living but you need to encourage yourself to forgive and love your enemies. Life is bitter to live on, that’s why we need to find some sugar to make it balanced.

The film is not just a film that gives entertainment to the audiences’ eyes, but it is a film that gives an impact to the viewer and lots of lessons that can be applied in real life situation. The scenes and events of the film are well-organized and well delivered, in which it was so easy to follow the flow of the story and easy to identify the characters that had been portrayed by the actors, actresses and even extras. The film gives hope to every aspect of our lives and it let us feel that we’re part of the story.