![]() Talak also mentioned about the era when there was a break in Goan Konkani cinema and how it was revived. Hence, at that time many Mangalore based directors came forward and started directing films in Konkani which also came under the banner of Konkani cinema.” But the accent was different from what was spoken in Goa. After which in 1978 ‘Bhuierantlo Munis’ became the first Goan Konkani coloured film.Įxplaining how Konkani films were made more in Mangalore rather than Goa, Talak says: “Belonging to the Konkan region, people of Goa and Mangalore, mostly spoke the Konkani language. Later in the year 1977 ‘Mog ani Moipas’ was the first Konkani coloured film directed by Mangalore based director N L R Sahyadri. The film which was made on the budget of one lakh rupees, was later remade in Hindi in 1967 with the name ‘Taqdeer’ and was also dubbed in other languages like Tamil, Telegu, Kanada, Malayalam and Bengali, Assamese. Nirmon was among the first Konkani films to get a national certificate of merit for its storyline. Then on, with the coming of filmmakers, musicians and producers from Bombay, it helped Konkani cinema to strengthen its roots and that’s when films like Amche Noxib and Nirmon began production in Goa.” Recalling how Konkani cinema has revived over the years, vice-chairman of Entertainment Society of Goa (ESG) and filmmaker, Rajendra Talak says: “Mogacho Aunddo (loves craving) directed by Al Jerry Braganza was the first Konkani film that was made in 1950 that gave birth to Konkani cinema. Understanding the whole idea, I attempted to use some of those words in my script to replicate the environment of the past.” Also, the language keeps changing depending on the region and place. There were several words that were used in the past which now have gone missing from the Konkani vocabulary. He says: “It was quite fascinating to see how the Konkani language has evolved over the years. While researching for the film, Barretto came across the various facets pertaining to Konkani language. When I was shooting my first feature film ‘Nachom-ia-Kumpasar, the story was set in the 1960s and to create an atmosphere of that era I had to adopt and use the culture and language of that specific era.” Director of Konkani film Nachom-ia-Kumpasar (which was vying for a place at the Oscars 2016), Bardroy Barretto says: “It is true that language is an essential tool for understanding the historical, technical and cultural significance of a film but it is also true that the cinema plays an equally important role in preserving and promoting language of a particular place. And cinema has been playing an important role in documenting the language and culture of the state right from the 1950s. ![]()
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