Gajaraja Manthram
May 10 1997
•Drama
Anantha Padmanabhan (Jagadish) steals Sankarankutty's (Premkumar) job as an elephant trainer by posing as him , in a town he was sent to work for.
Cast
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Prem Kumar
Sankarankutty

Jagadish
Anantha Padmanabhan

Kalabhavan Mani
Paraman

Charmila
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The story is about Thilakan and his two adopted sons, one of them blind, Unni (Sreenivasan), and the other one deaf, Balan (Mukesh). The story takes a turn when the sons marry and their in-laws try to steal the family money. Krishnankutty (Jagathy) is the clever but honest caretaker for the deaf and blind siblings who is constantly at odds with their in-laws. The father (Thilakan), carries the burden of sorting things out.

Georgekutty C/O Georgekutty
George Kutty is a hard working student, who graduated with top rank in college as an engineer. His family which was once rich is burdened in debt. His father meets with Chandi a marriage broker who proposes a match for Georgekutty with a rich family, but they would have to lie a little about their economic status. George Kutty resists first, but pressure from his dad who sees the marriage as a way to get money to payback the family debts, he agrees. Unfortunately the Itichen finds out the truth about the family and confronts them. He makes Georgekutty and his family agrees to certain terms for the wedding to take place including that Georgekutty and his wife have to stay in their house with them. After the wedding Georgekutty sees that he and visiting family and friends are disrespected and that he is controlled and held like a prisoner at Itechan's house. Georgekutty comes up with a plan to get back at his father in law which forms rest of the movie.

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Portrait of a troubled peasant family. The film tells the story of two times widow Anna Belova who lives together with her brother Mikhail. Blending the two personalities, Kosakovsky characterizes the true Russian soul: she is the rational worker, honest and strong - he is the drunken poet, the idealist, his philosophy fades into radical nonsense time after time.

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A woman sits alone in a bare white tiled bath, reading Georges Bataille’s ‘Story of the Eye.’ The bizarre events described in the text provoke a series of fantasies in which the room and its accoutrements become the stage and the woman the main player. As her dreams unfold in the liquid medium of the bath, she becomes the ‘eye’ of the story and her own body the object of its gaze. With a feminine hand, THE STORY OF I plucks Bataille’s central metaphor from its original context and re-invents its erotic vision from the inside out. The eye is the vagina, seen throught he blood, urine and tears, it looks at itself in a mirror.