一 | Ahead of director Priyadarshan nearing the remarkable milestone of 100 films, Filmfare's Editor-in-Chief Jitesh Pillaai reflects on the filmmaker’s unmatched legacy, especially in Malayalam cinema and why the maestro deserves to be celebrated much more. In his words: Kilometers of Laughter: A Journey Through Priyan’s World He is on his century—that is 100 films old. I think he is currently batting on 99. Inching close to seventy years of age, Director Priyadarshan has celebrated enough. He should be toasted for his style and his Malayalam body of work. Cine goers of a certain vintage remember him for his sharp comedies, including his debut Poochakkoru Mookkuthi. He paid tribute to Sai Paranjpye with Odaruthammava Aalariyam (inspired by Chashme Buddoor) and Mukunthetta Sumitra Vilikkunnu. He rehashed several Malayalam films like Ramji Rao Speaking, Kireedam, and Punjabi House to give us a slew of Hindi bonanzas like Hungama, Hulchul, Gardish, and of course, the rib-tickling Hera Pheri. Priyadarshan brought spit and polish to Malayalam movies with technical marvels like Kaalapani and Kanchivaram. The team of Mohanlal and Priyadarshan gave us a slew of classics: Kinnararam, Kilukkam, Thenmavin Kombath, Chandralekha, and Mithunam. Films like Mazha Peyyunnu Maddalam Kottunnu, Kilukkam, and Thenmavin Kombath reach "iconic" status with every passing year. What makes the familiar and time-tested Priyadarshan tropes so warm and all-embracing? He gave comedy a mad, zany world appeal. He humanised comedians and gave them an afterlife. Whether it was Vellanakalude Nadu or Adwaitham, Priyadarshan showed us life’s foibles; he showed us how a unique strength lies within our dysfunctional families and their frailties. With a master craftsman like Mohanlal helming his ventures, you could not go wrong. You may recall the Priyadarshan of Bhool Bhulaiyaa and Bhagam Bhag, but he is more than all of that. He redefined comedy and rewrote the rules of drama. He mocked filmmakers ever so gently and turned the rules of filmmaking topsy-turvy. Watch that one scene in Boeing Boeing where a three-timing Mohanlal is trying to hide his three girlfriends in different rooms; it is a hoot. That scene was later re-enacted in Garam Masala by John Abraham and Akshay Kumar. To reduce Priyadarshan’s oeuvre to just comedy is to diminish his legacy. One of my favourite films of his, Dheem Tharikida Thom, about a run-down drama troupe, is a classic. As are Punnaram Cholli Cholli and Thalavattam. Like all great filmmakers, Priyadarshan harnessed the best out of Santosh Sivan, Sabu Cyril, and S. Kumar, alongside his band of wonderful ensemble actors: Nedumudi Venu, KPAC Lalitha, Innocent, Oduvil Unnikrishnan, and Mamukkoya. You have to watch Mithunam to realise his legerdemain and absolute control of his craft. It would be a pity if Priyadarshan is cited only for his Bollywood outpourings. What he gave to Malayalam cinema was clout, longevity, charisma, and unabashed storytelling. I have lost count of the times I have watched Kilukkam, Vandanam, Mazha Peyyunnu Maddalam Kottunnu, and Poochakkoru Mookkuthi. He makes the absurd believable and the impossible look real. Priyadarshan is a part of our Malayalam movie memories and our rites of passage. If we cut our milk teeth on Poochakkoru Mookkuthi, we came of age with Vandanam and Kaalapani. I assure you, well into our dotage, we will still be chuckling at the "kilometers and kilometers" joke from Mazha Peyyunnu Maddalam Kottunnu. Like Priyadarshan and his movies, we grew up at the turnstiles. His music and his shot-taking changed the lexicon of how Malayalam film songs are picturized. We still sway to Doore Kizhakudikkum, Ambalappuzhe, and Ende Manassil Oru Naanam. Priyadarshan is not celebrated enough, which is a pity because it means we do not celebrate our wonder years enough. You may go and enjoy Bhooth Bangla in theatres soon, while I will yet again rewind to the mad world of Vandanam and Boeing Boeing. Priyadarshan’s gift to the movies is that he made us all believe in magic and the fanciful, and he never let us grow up. Also Read: Bhooth Bangla: Priyadarshan Openly Discusses The Age-gap Between Akshay Kumar and Wamiqa Gabbi。
二 | 本报讯 王美玲 记者刘波报道在全国第33个税收宣传月，绥中县税务局组织开展“点亮小小梦想税法助我成长”税法启蒙活动，将税收知识带进绥中县逸夫幼儿园的课堂，通过通俗易懂的视频短片、实物展示及沉浸式绘卷，寓教于乐、寓学于趣，让小朋友走近税收、了解税收，培养他们从小学税、知税。 “老师想问一下，小朋友长大之后都想做什么职业？”“我想当警察，我想当医生，我想当护士……”小朋友积极踊跃地表达自己的人生理想。
三 | “那么你们来观察一下老师的制服，猜一猜我是做什么工作的呢？”青年税务干部充分感知幼儿心理，从职业规划开始引导，让孩子们从观察税收工作者入手，逐步了解税字起源以及税收的作用，把孩子们带进了税收“取之于民、用之于民”的故事中，引导他们早早树立“诚信纳税、纳税光荣”的意识，倡导并鼓励大家争做“小小税法宣传员”。 在课堂上，青年税务干部还邀请小朋友们一起用彩色蜡笔绘制了3.2米长的税收长卷，并且让每一位小朋友都在长卷上签上了自己的名字，孩子们为自己成为税法小小宣传员而感到自豪。绥中县逸夫幼儿园负责人表示，“这样的活动很有意义，通过孩子们共同绘制税收长卷这种方式，让孩子们了解税字，体会税收为我们的生活带来的变化，在孩子们心中播撒学税、护税的种子。
四 |
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