Thriller Cinema Quotes

She was born under the sign of Gemini. And that stands for the good and evil twin. Dr. Jekyll and Mr. Hyde both hiding and residing inside her heart. Her good twin was not bad at all. But her evil twin was even better, and showed up to be way too fatal!

The thing that weighed on him most, however, was the irrationality of the world in which he now found himself. To some extent he was a prisoner of his own training. As a historian, he had come to view the world as the product of historical forces and the decisions of more or less rational people, and he expected the men around him to behave in a civil and coherent manner. But Hitler’s government was neither civil nor coherent, and the nation lurched from one inexplicable moment to another. Even the language used by Hitler and party officials was weirdly inverted. The term “fanatical” became a positive trait. Suddenly it connoted what philologist Victor Klemperer, a Jewish resident of Dresden, described as a “happy mix of courage and fervent devotion.” Nazi-controlled newspapers reported an endless succession of “fanatical vows” and “fanatical declarations” and “fanatical beliefs,” all good things. Göring was described as a “fanatical animal lover.” Fanatischer Tierfreund. Certain very old words were coming into darkly robust modern use, Klemperer found. Übermensch: superman. Untermensch: sub-human, meaning “Jew.” Wholly new words were emerging as well, among them Strafexpedition—“punitive expedition”—the term Storm Troopers applied to their forays into Jewish and communist neighborhoods. Klemperer detected a certain “hysteria of language” in the new flood of decrees, alarms, and intimidation—“This perpetual threatening with the death penalty!”—and in strange, inexplicable episodes of paranoid excess, like the recent nationwide search. In all this Klemperer saw a deliberate effort to generate a kind of daily suspense, “copied from American cinema and thrillers,” that helped keep people in line. He also gauged it to be a manifestation of insecurity among those in power. In late July 1933 Klemperer saw a newsreel in which Hitler, with fists clenched and face contorted, shrieked, “On 30 January they”—and here Klemperer presumed he meant the Jews—“laughed at me—that smile will be wiped off their faces!” Klemperer was struck by the fact that although Hitler was trying to convey omnipotence, he appeared to be in a wild, uncontrolled rage, which paradoxically had the effect of undermining his boasts that the new Reich would last a thousand years and that all his enemies would be annihilated. Klemperer wondered, Do you talk with such blind rage “if you are so sure of this endurance and this annihilation”?

Klemperer detected a certain “hysteria of language” in the new flood of decrees, alarms, and intimidation—“This perpetual threatening with the death penalty!”—and in strange, inexplicable episodes of paranoid excess, like the recent nationwide search. In all this Klemperer saw a deliberate effort to generate a kind of daily suspense, “copied from American cinema and thrillers,” that helped keep people in line. He also gauged it to be a manifestation of insecurity among those in power. In

His reading habit was so varied that in his early teens, he was reading both Maxim Gorky’s Mother and the detective thrillers (Jasoosi Duniya) of Ibn-e-Safi. The detective thrillers—be it Indian or American pulp fiction—were a big favourite for their fast action, tight plots and economies of expression. He remembers the novels of Ibn-e-Safi for their fascinating characters with memorable names. ‘Ibn-e-Safi was a master at naming his characters. All of us who read him remember those names . . . There was a Chinese villain, his name was Sing Hi. There was a Portuguese villain called Garson . . . an Englishman who had come to India and was into yoga . . . was called Gerald Shastri.’ This technique of giving catchy names to characters would stay with him. The wide range of reading not only gave him the sensitivity with which progressive writers approached their subjects but also a very good sense of plot and speaking styles. Here, it would be apt to quote a paragraph from Ibn-e-Safi’s detective novel, House of Fear—featuring his eccentric detective, Imran. The conversation takes place just outside a nightclub: ‘So, young man. So now you have also starred frequenting these places?’ ‘Yes. I often come by to pay Flush,’ Imran said respectfully. ‘Flush! Oh, so now you play Flush . . .’ ‘Yes, yes. I feel like it when I am a bit drunk . . .’ ‘Oh! So you have also started drinking?’ ‘What can I say? I swear I’ve never drunk alone. Frequently I find hookers who do not agree to anything without a drink . . .’ This scene would find a real-life parallel as well as a fictional one in Javed’s life later. Javed

How many diners should a man rob before he turns the gun on himself? The question whispered in Richie’s ear as he swallowed the last bite of pancake. He and Alabama had gotten the idea of stealing from diners when they caught Pulp Fiction at a four-year anniversary screening in the New Beverly Cinema in LA last year where they’d gone to shoot dope and drift among the neon haze of Hollywood glitz, thinking Shit, look how in love they are holding up that diner, that could be us. But a dozen diners later the charm had worn off and they’d returned to being just a couple junkie losers stuck in the small-time.

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.