Resul Pookutty refutes AR Rahman's communal remark, "He shouldn't have said that. I have never faced anything like that in my entire career"

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Oscar winning sound designer has much common in A R Rahman. They both won Oscars for Danny Boyle’s Slumdog Millionaire and they are both Muslim. So, has Resul also felt the “communal thing” that Rahman says he has experienced? Said Resul, “He shouldn’t have said that. I have never faced anything like that in my entire career. I think film industry is one sector where such thoughts haven’t gone deep rooted and we see things way beyond sectarian thoughts. I’m very proud of that aspect of my industry.” Defending Rahman’s remarks Resul Pookutty said, “If you listen to what he said about this is, when he was removed from projects he ‘heard’ whispers from people referring to it as ‘that might be communal’. Now what he said is what people told him. In the same breath he said, people are too mature to not see things beyond all these factors. It seems we are very quick to pin Rahman down. I think he said things with sincerity. Let’s not crucify him for what he felt ab...
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Tod Browning: the film-maker who brought the carnival to Hollywood

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A new retrospective offers another chance to appreciate the daring and often deranged films made by a director who was once the centre of a moral panic

When a kid threatens to run away and join the circus, perhaps upon being forced to eat broccoli or go to bed, they’re fantasizing about more than just independence. The traveling carnival offered an alternative way of life that appealed specifically to those uninvested in the politenesses of the grownup world. No one can make a carny shower, wear a tie or go to church. This liberation from the strictures of civilized society was a must for an ethically spotty line of work reliant on a mix of trickery, hucksterism, prurience and morbid fascination, a low art form that attracted a certain kind of scuzzy personality. The tents of the sideshow provided a home to thieves, oddballs, creeps, chiselers, dope fiends, conmen, women of ill repute, leches, lushes and any other species of degenerate in need of a paycheck. If vaudevillians were the rock stars of the pre-cinema era, then circus folk were van-dweller punks cutting a swath of blithe misbehavior from gig to gig.

Just before the turn of the 20th century, at the ripe age of 16, a bricklayer’s son named Charles Albert Browning Jr decided that these were his people and abandoned his well-heeled family to join their grubby ranks. He would spend 10 years cutting his teeth as a barker, song-and-dance man, clown and contortionist before rechristening himself Tod, the German word for “death”, conferring a ghastly gravitas. Three years later, he’d take leave of the stage with sights set on the burgeoning silent film industry, but he’d carry the lurid spirit of the big top with him through the rest of an illustrious, disreputable career.

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