The artistic, creative thinking and study of the directors must be appraised!

Kathmandu – In the pages of history, half a century of film production in Nepal has been completed, it is also mature for its age. While crossing the age of half a century, this film sector has not been established as an industry even today or has not been allowed to be established. Some explanation and analysis can be done on the basis of the development of the Nepali film industry, the production of films of different eras, techniques, and effects.

It is not an easy situation when trying to write Nepali films in the film industry. The film industry should be understood as the well-organized and planned management of all aspects of writing, production, production equipment and studio, filming, editing, other technical aspects, processing, production, promotion, financial transactions, etc. If one were to study the norms established by Nepali films, the film industry would feel that the Nepali film industry has not yet expanded. It is the understanding of common film workers that the way the Nepali film sector is going now, the way it has progressed, will not allow the Nepali film sector to be established as an industry for a long time. If the Nepali film industry is to be developed as an established industry, the development of the business thinking of the producers, the talent of the directors,

There was a certain period, which is still proudly described by the older generations as the golden age of the Nepali film industry. At that time, the respect, respect, affection, etc. shown by the film workers towards each other is like a proverb for today’s generation. It is understood that successful artists like Rajesh Hamal, Nikhil Upreti, Viraj Bhatt, Ramesh Upreti, and Rekha Thapa are ancient, traditional, and unknown artists for some self-proclaimed stars of today’s generation. The legacy that was established by Rajesh, Nikhil, Viraj, and Rekha, in the period when the producers and directors who invested in Nepali films felt that their investment was safe by casting actors with that legacy in their films, those producers and directors have either fled or been displaced today. are

It can be felt that the self-proclaimed stars of today’s generation refuse to recognize Rajesh, Nikhil, Viraj, and Rekha. By saying this, if we start to understand that the new generation of artists and stars are all bad, then that may be wrong, but we have to understand that here, more than who is big and who is small, cultural matters have an important place. Competition happens everywhere, yesterday’s stars may disappear today, today’s talented artists may also be tomorrow’s stars, this is a time cycle, if we keep in mind that today we are young, we will be old tomorrow, if we combine the experience of the old generation and the technology of the new generation. We are able to compete with the films of the world’s biggest industries.

At one time, Nepali movies were accepted as a powerful medium of mass communication. Many actors such as Shiv Shankar, Bhuwan Chand, Bashundhara Bhushal, and Chaityadevi Singh emerged from the films made in the early days of Nepali cinema, including ‘Aama’, Pariwartan, ‘Hijo Aaj Aur Bolli’, Paralko Ago, and some of them are still active in this field. Did the film industry or its policymakers ever try to collect some of their struggles, experiences, and memories from those actors? The artists of the old generation should be an open university for the artists of today’s generation. Has any organization or government agency thought about this matter with a single cold thought after resting the bag of the political party? In this matter, there are many organizations that have come forward to develop the film industry, there is a new working committee, the new zeal, and vigor of the association,
Similarly, the current situation of the Nepali film industry can be analyzed from different perspectives. This sector is found to be moving forward in a chaotic manner without a plan, without a definite destination, as an industry without a base and direction. The international standards determined to establish the Nepali film sector as a creative, cultural, and entertainment sector are all met. A large number of tribals and tribals are making movies with their own cultural values. A large number of investments and jobs have been given by the film industry. International-level Nepali films have also been made. Competing films that can replace foreign especially Hindi films in business are also being produced and screened. According to the number of films produced in large numbers, it is seen that question marks are repeatedly raised in terms of quality.

When searching for Nepali originality, films cannot be counted on one finger. The current situation of the Nepali film industry is actually contradictory. The history, theory, and behavior of the Nepali film industry is flawed and misleading. There is a situation where the destination film policy of the Nepali film industry is not clear and is not implemented. The regulatory body seems to be unaccountable and directionless. There is no effective presence of professional organizations. Academic practice in the field of Nepali cinema is almost in a state of zero. However, the Nepali film industry is alive and dynamic. The Nepali film industry is centered in Kathmandu, however, screening and promotion and festival activities are also found to be expanding into markets throughout Nepal and the world where Nepalis live.

The development and expansion of the Nepali film sector have a positive effect on the filmmakers who are active in Nepali films. It will benefit a large number of dependent families. It indirectly helps the national interest. No matter how the history of the Nepali film industry has progressed, it has reached the present situation from the well-wishers and those who are interested in Nepali films. We have all the aspects that can establish the Nepali film sector as a prestigious sector and can be improved. The lack of order and planning in the film industry is the reason why the Nepali film sector cannot be as it wants to be. For this, the Nepali film industry is not a service and entertainment industry, but a creative, It should be established as a cultural and entertainment industry. Accordingly, the national film policy needs to come from the government level without delay. According to the National Film Policy, in order to advance the Nepali film industry, the organizational structure of the bodies related to Nepali films, especially the regulatory body Film Development Board, should be changed.

Film professional organizations should not be registered with the District Administration Office but should be registered with the Film Development Board. The Nepali film industry should be developed as an academic field. Every activity and financial transaction of Nepali movies should be transparent. Every filmmaker should be a respected citizen of society, Nepali film industry should be a respected industry and a field of national pride.

Writer Madhab Raj Kharel is also a film writer, director