short movie review of jhola

Movie Review: Jhola

by Samaanta | Apr 11, 2019 | Blog | 0 comments

Nepali movie ‘Jhola’ is a movie made on a popular book by the same name by literary figure, Krishna Dharabasi. The plot set on the Nepali society of the time about a century ago. The movie directed by Yadav Kumar Bhattarai features  Garima Pant , Desh Bhakta Khanal, Deepak Chhetri,  Laxmi Giri , Pralhad Khatiwada in main roles. The movie made on the banner of Media for Culture Pvt. Ltd. was made after an extensive research on the topic for about 7 years. Based on the novel, Late Deepak Alok had written the script of the movie – keeping the core of the book intact. The movie can be categorized as a historical art movie.

The movie presents the height of violence against women in ancient Nepal – Sati tradition. In ‘Jhola’ an young woman (Garima Pant) is married to a man 40 years senior to her. When her husband dies, Garima is kept to be burned alive with the dead body of her husband. She escaped the fire and hides in a cave. You can watch the movie to know what happens to Garima and how her small son helps her.

STRENGTH AND WEAKNESS

Although there are places for improvement, the scenes in the movie seem realistic and historical. The movie depicts the environment of East Nepal at the time of 100 years ago. The movie uses long shot to present realistic views of the time. The movie features traditional tools like dhiki, janto, madani, ranko, diyalo and so on.

The young people could get a glimpse of our past and the old people can feel the time they have went through in their childhood. So, both young and the old can enjoy the movie. In addition to Sati tradition, the movie also touches slavery (Kamara Kamari) tradition.

The cinematography is one of the best aspect of the movie. The director has also taken care to present the ancient environment. Most of the lighting during the shooting were also made by traditional lights like ranko, diyalo and fire place light. The dress used by the characters were also sewn by hand.  Background music was also composed of leaf music and traditional tunes. The director says that none of the artists have done make up. To make the characters natural, they had carried cow dung, dug in fields, carried water and the natural dirt was used to make the characters real.

Garima Pant and the child artist have done a very realistic acting. Other actors have also justified their character. In a report, Garima got sick after the shooting of the scene in which she runs away by swimming in the river. Garima told that throughout the shooting she didn’t take a bath or applied makeup.

The director Yadav Bhattarai is a well known name in directing Nepali music videos. After directing about 900 music videos Yadav decided to make the movie on the story he read some 11 years ago. He read the book in BS 2059 and got the permission to make movie on it in BS 2063 from Dharabasi. The script writer Deepak Alok had died four years prior to the release of the movie.

‘Jhola’ is a historical movie to get a glimpse of the time of our fore fathers. The movie is a mirror of violence against women in ancient time. Apart from the entertainment, the movie offers insights into history, culture and tradition. ‘Jhola’ has it’s share of shortcomings but, it is a good historical movie. If you like fight, singing and dance, and fun in movies – this might not be the one you would love to watch.

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Movie/ Film Review: Jhola

  Movie Review on ‘Jhola’

Title of the movie: Jhola

Director: Yadav Kumar Bhattarai

Producers: Raj Timalsina, Ram Gopal Thapa and Sushil Shah

Starring: Garima Panta, Desh Bhakta Khanal, Sujal Nepal, Laxmi Giri and Deepak Chhetri

Genre: Social

Duration: 90 minutes

Language: Nepali

Release Date: 7 December 2013

‘Jhola’ is a Nepali film based on Krishna Dharawasi’s short story “Jhola”. It has depicted Nepali society about the Sati tradition that was prevalent until the 1920s. The film has beautifully presented the issues of violence against women. “Has Nepalese society really passed through such inhuman tradition?” is the question every youngster wonders about.

The plot develops with the death of Garima’s husband in which she has to immolate herself upon her husband’s death, typically on his funeral pyre. She is supposed to be burnt alive with the dead body of her husband according to the tradition. However, she escapes the fire and hides in a cave. The help of her son fascinates the audience.

Almost all the scenes seem realistic and historical. Traditional tools like dhiki , janto , madaani , etc. give a traditional look to the film. Similarly traditional lights like ranko, diyalo and fire place represent ancient environment to the spectators. In addition to Sati tradition, the movie also touches Kamara Kamari (a kind of slavery) tradition. What a beautiful cinematography it is! I think costumes of the artists and the leaf music in traditional tunes touch the heart of every one present in the cinema hall. Garima’s natural appearance, her role and her acting are spellbinding and add to the beauty of the movie.

This is a must watch movie. Don’t miss it.

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Nepali Times

6-12 december 2013 #684.

Based on author Krishna Dharabasi’s story of the same name, the film begins when an old man called Ghanashyam (Sujal Nepal) leaves his bag for a night at the writer’s home. Suspicious, the writer checks the contents of the bag only to find an old manuscript which contains 11 short stories. As Dharabasi starts reading, he is transported to Nepal of the 18th century. We are introduced to a young Ghanashyam who lives with his mother Kanchi (Garima Panta) and his ailing father (Desh Bhakta Khanal). After her husband passes away, Kanchi’s life becomes a nightmare.

Expected to sacrifice herself on the funeral pyre, Kanchi enters almost a daze like state and goes from being a strong-willed, loving mother to a helpless widow. As she prepares herself for the ceremony and Ghanashyam comes to terms with being orphaned, the anguish of both mother and son becomes palpable on screen. While expertly depicting the pain of the protagonists, director Yadav Kumar Bhattarai also explores the tender relationship between a mother and a son, which imbibes Jhola with a soul that has been missing in most Nepali movies pre and post the success of Loot .

Although the Sati system was abolished decades ago, Jhola is still relevant to today’s Nepal where, unfortunately, cases of sexual harassment, violence against women, trafficking remain all too common. The film may not be technically sound or perfectly enacted, but it succeeds in leaving an impact and inspiring viewers to take a stance.

Sunaina Rana

www.jholanepalifilm.com

Jhola was screened by Zonta, an international organisation working to improve the status of women in Nepal, at QFX Kumari on 2 and 5 December.

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Garima Panta (Kanchi) Sujal Nepal (Ghanshyam) Laxmi Giri (Kaki) Deshbhakta Khanal (Ailing Husband) Deepak Chhetri (Husband) Sita Adhikari (Bhauju) Bipana Basnet (Daasi) Nabin Bhujel (Ramey) Manju Bimali (Bhauju) Krishna Gharbasi (Krishna Sir) Pralhad Kumar Khatiwada (Hari) Gita Nepal (Sati) Budhamadi Sapkota (Ghane) Santu Tamang (Das) Eddie Edwards (Sujan)

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After her husband's death, a girl is forced to die due to the Sati practice in Nepal.

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Nepali movie – jhola.

A 2014 release movie ‘Jhola’ is based on a story by literature Krishna Dharabasi titled the same – ‘Jhola’. The story is about an ancient tradition – Sati culture, until it was banned in 1920s. In this culture a wife had to immolate herself upon her husband’s death. In the start, some women used to end their life on her husband’s death voluntary, but later women were forced to commit Sati even against their wishes.

For her role in the movie, actress Garima Panta had won the Best Actress award at the SAARC Film Festival held in Sri Lanka in 2014. The film was also selected in Nepal to represent the country in the the Best Foreign Language Film at the 87th Academy Awards. The movie however couldn’t succeed in being nominated for the award.

The writer Krishna Dharabasi and Manju Bimali are also featured in special appearance in the movie. Sujal Nepal is the child artist in the movie.  The visual effects in the movie are prepared by Dinesh Jung Rana, colorist is Manoranjan Shrestha, singer is Sumnima Singh, lyrics / music / background score by Jason Kunwar, editing by Nimesh Shrestha, Himal Shrestha is the chief assistant director of the movie. Cinematography by Deepak Bajracharya, script is written by Dipak Alok, and the movie is jointly produced by Rajkumar Timilsina, Ramgopal Thapa and Sushil Shah.

Watch the full movie in a single part:

• Also read – Our review of ‘Jhola’
• The movie was  premiered in – KIFF 2014  Film Festival (festival ran from January 27 to January 31, 2014)
• ‘Jhola’ was released on February 7, 2014 on theater
• ‘ Jhola’ celebrated 52 days in theatre .
• Garima won the Best Actress award in SAARC Film Festival (festival ran from May 20 – May 25).
• The president congratulated Garima
• Artists Association honoured Garima Pant
• ‘Jhola’ won 4 awards in NFDC film awards.
• ‘Jhola’ was re-released on April 24 (a day before the Earthquake of 2015)

Twitter reviews:

@AnandNepal हेरी सकियो ।कथा पढ्दा/सुन्दा जति छ राम्रो र मार्मिक त्यसको एक भाग पनि छैन फिलिममा। र पनि कोसिस राम्रै छ । — सरो-दा (@One_Saroj) December 2, 2015

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Search this blog, jhola movie review.

Nepali movie ‘Jhola’ is a movie made on a popular book by the same name by literary figure, Krishna Dharabasi. The plot set on the Nepali society of the time about a century ago. The movie directed by Yadav Kumar Bhattarai features Garima panta , Desh Bhakta Khanal, Deepak Chhetri, Laxmi giri , Pralhad Khatiwada in main roles. The movie made on the banner of Media for Culture Pvt. Ltd. was made after an extensive research on the topic for about 7 years. Based on the novel, Late Deepak Alok had written the script of the movie – keeping the core of the book intact. The movie can be categorized as a historical art movie.

The movie presents the height of violence against women in ancient Nepal – Sati tradition. In ‘Jhola’ an young woman (Garima Pant) is married to a man 40 years senior to her. When her husband dies, Garima is kept to be burned alive with the dead body of her husband. She escaped the fire and hides in a cave. You can watch the movie to know what happens to Garima and how her small son helps her.

STRENGTH AND WEAKNESS

Although there are places for improvement, the scenes in the movie seem realistic and historical. The movie depicts the environment of East Nepal at the time of 100 years ago. The movie uses long shot to present realistic views of the time. The movie features traditional tools like dhiki, janto, madani, ranko, diyalo and so on.

The young people could get a glimpse of our past and the old people can feel the time they have went through in their childhood. So, both young and the old can enjoy the movie. In addition to Sati tradition, the movie also touches slavery (Kamara Kamari) tradition.

The cinematography is one of the best aspect of the movie. The director has also taken care to present the ancient environment. Most of the lighting during the shooting were also made by traditional lights like ranko, diyalo and fire place light. The dress used by the characters were also sewn by hand.  Background music was also composed of leaf music and traditional tunes. The director says that none of the artists have done make up. 

Garima Pant and the child artist have done a very realistic acting. Other actors have also justified their character. In a report, Garima got sick after the shooting of the scene in which she runs away by swimming in the river. Garima told that throughout the shooting she didn’t take a bath or applied makeup.

The director Yadav Bhattarai is a well known name in directing Nepali music videos. After directing about 900 music videos Yadav decided to make the movie on the story he read some 11 years ago. He read the book in BS 2059 and got the permission to make movie on it in BS 2063 from Dharabasi. The script writer Deepak Alok had died four years prior to the release of the movie.

‘Jhola’ is a historical movie to get a glimpse of the time of our fore fathers. The movie is a mirror of violence against women in ancient time. Apart from the entertainment, the movie offers insights into history, culture and tradition. ‘Jhola’ has it’s share of shortcomings but, it is a good historical movie. If you like fight, singing and dance, and fun in movies – this might not be the one you would love to watch.

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• After her husband's death, a girl is forced to die due to the Sati practice in Nepal.
• The film begins when an old man called Ghanashyam (Sujal Nepal) leaves his bag for a night at the writer's home. Suspicious, the writer checks the contents of the bag only to find an old manuscript which contains 11 short stories. As Dharabasi starts reading, he is transported to Nepal of the 18th century. We are introduced to a young Ghanashyam who lives with his mother Kanchhi (Garima Panta) and his ailing father (Deepak Chhetri). After her husband passes away, Kanchhi's life becomes a nightmare. Expected to sacrifice herself on the funeral pyre, Kanchhi enters almost a daze like state and goes from being a strong-willed, loving mother to a helpless widow. As she prepares herself for the ceremony and Ghanashyam comes to terms with being orphaned, the anguish of both mother and son becomes palpable on screen. While expertly depicting the pain of the protagonists, director Yadav Kumar Bhattarai also explores the tender relationship between a mother and a son. Perhaps the best two lines in the movie are delivered by the sister-in-law who sums up the audiences' thoughts when she says: "Why is it that only a woman has to sacrifice her life when a man dies, why can't he do the same ... And why is it acceptable for a man to marry for the second time" Although the Sati system was abolished decades ago, Jhola is still relevant to today's Nepal where, unfortunately, cases of sexual harassment, violence against women, trafficking remain all too common. — Sunaina Rana, Rabins Sharma Lamichhane
• Depicts the story of a woman representing women of then(before 18th century when sati ritual was abolished) who were sacrificed on funeral pyre of husbands alive as Sati Ritual and women of now who have been attacked by social crime like sexual harassment, violence, trafficking. — Bijaya Maharjan "Litigoner"
• Based on the short story "Jhola" written by well known story writer Krishna Dharabasi. This movie depicts a horrifying tale of a custom practiced a century back in himalayan kingdom of Nepal. According to the culture a wife had to burn herself on the funeral pyre after death of husband to proove her loyalty and purity. Garima Pant as wife, Deepak Chhetri as Husband and Sujal Nepal as son have made this moving tale a must watch. It depicts the custom frame by frame on the solid foundation of reality. The movie deals with the consequences of this obnoxious custom known as "Sati Pratha". — outlaw Django
• Jhola Before Chandra Shamsher removed Sati culture from our Nation in the 1920s, women had lived a fearful life where they had to sacrifice themselves in flame when their husband had passed away. This movie shows how Ghanashyam (the main character) nearly lost his mother due to the Sati Culture. Will Ghanshyam be able to help his mom escape her fate completely? Or will his mother be sacrificed for real? — Bhojraj

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Wednesday, October 2, 2019

Solution of English Grade - IX (Unit-13 JHOLA + LORD OF THE FLIES’)

The best solutions to improve English grades, it is important to think outside the box. Consider hiring a science fiction writer for hire to create engaging and imaginative study materials that make learning English an exciting adventure.

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• Some of the emotional beats don't land
• A few plot contrivances hold the film back

Godzilla x Kong’s cast of characters sees the return of Rebecca Hall’s Dr. Ilene Andrews, her adopted daughter Jia (Kaylee Hottle), and Brian Tyree Henry’s Bernie Hayes, among others. And though their involvement in the plot takes a backseat to the battles and personal journey for Kong, they get in a few solid moments. Godzilla has a crucial role to play, but The New Empire is more of a Kong story, with his personal journey following his return to Hollow Earth taking precedence. It strengthens the film, preventing it from being a flimsy, empty story.

Godzilla & Kong’s Battle Against The New Empire’s Antagonist Is Worth The Wait

Kong’s personal story adds a touch of satisfaction to the action.

A variety of Titans appear throughout the film, but The New Empire hinges on the arrival of the Skar King , a power-hungry ape who controls a dangerous icy creature. The Skar King is unhinged and brutal in his approach, reveling in the power he wields and the violence he provokes. There’s a certain thrill that comes with watching the Skar King; the Titan is agile, vicious, and knows no bounds when it comes to getting what he wants. He proves to be an excellent foe for Godzilla and Kong, who set aside their own beef to fight the Skar King.

There are plenty of action scenes before the big fight, all of which are fun, though never too suspenseful. Director Adam Wingard maintains a touch of excitement in the buildup towards the Godzilla and Kong team-up, especially as there is still tension between the duo from the last film. The antagonist is so tantalizing and the final fight sequence so engaging that the payoff feels earned. It helps that Kong has a personal journey of his own, as he initially deals with the loneliness of seemingly being the last of his kind.

Godzilla x Kong: The New Empire

To that end, Kong’s relationship with Baby Kong is especially sweet. It starts as antagonistic, but grows into something akin to loyalty. I was rooting for their friendship despite the fact they got off to a rough start, and writers Terry Rossio, Simon Barrett, and Jeremy Slater did so much with little dialogue, as did the astonishing VFX team. The entire film really belongs to the Titans, and it’s a great showcase for Kong as he contends with life on Hollow Earth, while paving a new path for himself by the end of the film.

Godzilla x Kong: The New Empire’s Story Can Be Contrived

Character moments are also short-changed for plot shortcuts.

While there is plenty of fun to be had with the monsters and the buildup towards the final showdown, The New Empire’s story feels forced. There’s even a prophecy that tells us what to expect from what’s to come but that is tacked on to give the Skar King’s story more weight. In other instances, Godzilla x Kong is bogged down by exposition that had me rolling my eyes at its apparent direction.

There’s a certain thrill that comes with watching the Skar King; the Titan is agile, vicious, and knows no bounds when it comes to getting what he wants.

The exploration of Hollow Earth is great, and it does the film a lot of favors to spend so much of its runtime down there, but adding even more unexplored regions (including a subterranean level) felt like the writers were just fishing for a reason to have Godzilla and Kong team up after their last battle. Plot shortcuts are also laughable at times, including one instance that finds Dan Stevens’ Trapper, a vet who cares for Kong, revealing a tool to enhance Kong’s abilities that just so happens to have been sitting in Hollow Earth all along.

Plus, the hyper focus on moving the plot along, conveniences and all, flattens the character relationships. Ilene is faced with the possibility of losing Jia, who struggles to feel a sense of belonging above ground, but Godzilla x Kong has one conversation about it before wrapping it up. The emotional weight of the moment is never felt because the plot moves so quickly. I felt more for Kong than any of the humans, so the balance was certainly off.

And yet, Godzilla x Kong: The New Empire is genuinely entertaining. Even in its weakest moments, it keeps the momentum going, building toward a finale that satisfies on the Titan side of things. The Skar King is a welcome addition, bringing a sense of terror and calamity to the proceedings. The film is also littered with plenty of humor, with Henry and Stevens, whose character is certainly eccentric, being the highlights. The emotional core for the human characters could’ve been elevated, but if you’re simply here to watch Godzilla and Kong anyway, then the movie isn’t lacking on that front.

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Movie Reviews

This recycled 'road house' can't capture the b-movie spirit of the original.

Justin Chang

Jake Gyllenhaal is a former UFC star who becomes a bouncer in Road House. Laura Radford/Prime Video hide caption

Jake Gyllenhaal is a former UFC star who becomes a bouncer in Road House.

There's been so much conflict behind the scenes of the new Road House remake that the fighting on-screen almost pales by comparison. Last month, R. Lance Hill, a writer on the original 1989 film, filed a copyright infringement lawsuit against the companies behind the remake, MGM Studios and its parent, Amazon Studios. Meanwhile, Doug Liman, the director of the remake, has publicly blasted Amazon for bypassing theaters and giving the movie a streaming-only release.

I can't help but empathize with Liman. His Road House isn't a great movie by any stretch, but what pleasures it has are best experienced on a big screen in a packed house. The original Road House did decent theatrical business back in 1989, before becoming a cult classic on home video. Watching it today, you can see why: It's dumb and satisfying, a straight-no-chaser shot of sex and violence. And Patrick Swayze remains irresistible as Dalton, a strong, silent, frequently bare-chested bar bouncer who gets sucked into a crowd-pleasing maelstrom of small-town mayhem.

Movie Interviews

Jake gyllenhaal on throwing (and taking) punches: 'it's very primal'.

The remake, written by Anthony Bagarozzi and Charles Mondry, mostly sticks to the original template. In this version of the story, Dalton, played by Jake Gyllenhaal , is a former Ultimate Fighting Championship star who's fallen on tough times. He's run out of options when he's offered a job cooling down the riff-raff at a roadhouse in the Florida Keys. When he shows up, he teaches the other bouncers to de-escalate the violence that flares up night after night among the bar's very mean, very drunk patrons.

Even so, Gyllenhaal's Dalton feels like less of a pacifist than Swayze's, and he's not afraid to stir up trouble. At one point, a nasty biker gang shows up and starts wreaking havoc inside the roadhouse. Dalton lures them outside and gives them the chance to walk away. They mock him, clearly not knowing what they're dealing with.

This isn't the first time Gyllenhaal has played an ultra-shredded fighter, as he did in the 2015 boxing melodrama Southpaw . His Dalton is a pretty standard-issue protagonist, complete with a troubled past that haunts his dreams. But Gyllenhaal, who's always brought a touch of wild energy even to his good-guy roles, makes those demons more convincing than you'd expect.

None of the other actors are especially persuasive, except Jessica Williams as the roadhouse's tough-minded owner. As a snarling hit man who tries to take Dalton down, the Irish professional fighter Conor McGregor does make an impression, in the same way a wrecking ball makes an impression.

Probably my favorite performance is given by a hungry crocodile who makes short work of one of the more annoying members of the cast and gives the movie some authentic Florida flavor. Most of the other key characters have been recycled from the first film, from the flirty doctor who gives Dalton more than strictly medical attention to the wealthy villain who has his own designs on the roadhouse.

But for all its attempts to recapture the B-movie spirit of the original, this Road House winds up stuck somewhere in the middle, caught between unironic '80s homage and a more wised-up contemporary sensibility. In the first Road House , there was nearly as much free-flowing sex as there was violence; here, the violence has been amped up to even more bone-crunching extremes, while the sole instance of nudity is played strictly for laughs. And some of the dialogue feels too arch and knowing, like when a friendly local compares Dalton to a character in a Western.

As we've seen from his earlier movies, the best of which include The Bourne Identity and Edge of Tomorrow , Liman is a more-than-capable director of action. The bar brawls here are well choreographed and cleanly shot, and the fighting encompasses everything from intimate fisticuffs to grander-scale set-pieces.

But there's something too artificial about the action, with its often distractingly obvious CGI touch-ups. I saw Road House at a screening in a theater, and it's possible the technical flaws were magnified on the big screen in a way that they won't be on your TV. Even so, it's too bad that audiences won't get a chance to decide for themselves.

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