About Bharat Chronicler

The in-house master of ceremonies, online janitor and chronicler of the life and times of Bharat Gopy - playwright, author, director, producer and actor extraordinaire of Indian Cinema.

ജീവിതമെന്ന അസംബന്ധനാടകം.

Bharat Gopy as Tablist Ayyappan in Yavanika

അയ്യപ്പന്റെ തിരോധാനത്തെക്കുറിച്ച് അന്വേഷിക്കുന്ന ഈരാളി എന്ന പൊലീസ് ഉദ്യോഗസ്ഥന്റെ ബുദ്ധികൂര്‍മ്മത ചിത്രത്തെ ആദിമദ്യാന്തം ഉദ്വേഗജനകമാക്കുന്നു. കുറ്റവാളിയെ കണ്ടെത്താന്‍ ഈരാളി സഞ്ചരിക്കുന്ന വഴികള്‍ പൊലീസ് അന്വേഷണത്തിന്റെ കാണാപ്പുറങ്ങള്‍ അനാവരണം ചെയ്തു. കഥയുടെ പശ്ചാത്തലത്തിലെ സൂക്ഷ്മതകള്‍ പോലും ചോര്‍ന്നുപോകാതെ ചിത്രം പകര്‍ത്തിയെടുക്കാന്‍ കെ ജി ജോര്‍ജിനു കഴിഞ്ഞു.

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SM Rana on Kodiyettam (1977)


Adoor is a gentle poet in the tradition of Tagore and Satyajit Ray and his vision is of oriental, Indian and Keralite vintage. In the movements of the environment most intimately known to him he hears and captures the pulsation of universal life.

He is sensitive, compassionate, humane, artistic. Adoor’s film holds a mirror to nature.

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Njattadi (1979) | A cinematic metaphor

Bharat Gopy at the sets of Njattadi

Paradoxically, the film was screened only twice and its print is still untraceable. For a film like that, which was seen only by a few, there is every chance of it being relegated to oblivion. But in the case of ‘Njatadi’ it was not so. On September 24, after 30 years, the group of then youngsters who made that film possible got together to refresh their memories.

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Njattadi (1979) | A classic that vanished


‘Njattadi’ was the result of hard work by a group of youngsters who believed films could change society. K.N. Sreenivasan, Bharat Gopi, P.N. Vishwanathan, T.K. Kochu Narayanan, Bharat Murali etc. had taken on the mantle of producer, director, scriptwriter and actor. Many of them had to play more than one role. Kochu Narayanan was the scriptwriter and producer.

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Jai Arjun Singh on Aghaat, and Govind Nihalani’s use of actors


Brooding intensity is sometimes an overrated quality in actors, but Puri’s performances as the mute victim of caste discrimination in Aakrosh and as the introspecting policeman in Ardh Satya are outstanding. As Madhav, a sincere man who begins to despair of the moral ambiguities he finds himself facing, he dominates Aghaat, which is some achievement considering the many acting heavyweights on view here. (The Malayali actor Bharath Gopi, as the menacing Krishnan, is another standout.)

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Revisiting Thampu


Thampu does not have a storyline as such; instead, it attracts the viewer with a succession of true-to-life images strung together by Aravindan’s unique poetics and his cinematographer Shaji Karun’s extraordinary visual flair. The film abounds in passages, long and short, that stick to the mind tenaciously.

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Goodbye, Mr Bharat Gopy


I had the good fortune to watch Gopy perform on stage. I was a young girl then, and yet the performance was mesmerising. He was not a professional actor then; his love was stage and he associated himself with the great stage directors like C N Sreekantan Nair, Kavalam Narayana Paniker and G Sankara Pillai. When filmgoers were ready to slot him as an art film actor, he started appearing in commercial films too. He eclipsed even a handsome actor like Mammootty in K.G.George’s Yavanika.

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A classic called ‘Yavanika’


Bharat Gopy has fond memories of the film. The moustache that my character, Ayyappan, sported was real. George made me pose for still photographs in the costumes of Ayyappan and that was it. The entire shoot was in the suburbs of Thiruvananthapuram (Vattiyoorkavu).

The theatre, the house to which I bring Jalaja, were all located nearby. If my memory serves me right, the name of the studio was ‘Sreekrishna Studio.’

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Interview in Kilippattu – November 2007


In a no-holds-barred chat with MV Sreejith, Bharat Gopy opens out on his early years in theatre, his entry into films, and his acceptenance of destiny as a crucuial part of one’s existence.

Bharat Gopy minces no words as he discusses his political affiliations, his transition from a staunch leftist to his growing disenchantment with the principles itself, and how a new perspective is the need of the hour for the nation.

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Video | Interview with Asianet Television – November 2003


In conversation with Asianet Television in its Suprabhatham segment on his birthday as he speaks on his illness, his views and perspectives on life and his journey as an actor, in film and theatre.

Brutally frank and objective he analyses the changing business of film acting, and the business of movie production. Movie making is an industry now, and as with any other commodity, it need to have all “ingredients” to make it fly off the shelves.

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