& çâÌæÚUæð´ ·¤è ¥ôÚU Îð¹Ùæ ÁæÚUè ÚU¹ð´ ¥ÍæüÌ ¥ÂÙð ÜÿØ ÂÚU ŠØæÙ ÚU¹ð´Ð ãæÚU Ù ×æÙð´, €UØô´ç·¤ ·¤æ× ·¤ÚUÙð âð ¥æÂ·¤ô ©gðàØ ·¤è Âýæç# ãôÌè ãñ ¥õÚU ÁèßÙ ·¤æ ¹æÜèÂÙ ÎêÚU ãôÌæ ãñÐ ÖÜð ãè ÁèßÙ ×ð´ ç·¤ÌÙè Öè ·¤çÆÙæ§ü €UØô´ Ù ¥æ°, çÁ™ææâæ ¥õÚU ©ˆâæã ÕÙæ° ÚU¹ð´Ð ŠØæÙ ÚU¹ð´, ÜÿØ ã×ðàææ ¥æÂ·Ô¤ Âæâ ãôÌð ãñ´ çÁ‹ãð´ ÂæÙð ·Ô¤ çÜ° ÂýØæâ ¥æÂ ·¤Öè Öè àæéM¤ ·¤ÚU â·¤Ìð ãñ´Ð

"Waltz with Bashir": Mideast conflict forces animation to grow up
Everyone has their childhood favourite: whether it is the hand-drawn beauty of ’SnowWhite and the Seven Dwarfs,’ or the modern, computer-generated genius of 'Shrek " Cartoons have always been a family staple in the movie industry.
In 2002, however, the Academy Awards took a major step in legitimising animated feature films, by giving "Shrek' the inaugural "Best Animated Feature’ award. Since then several animations have sought to break new ground in mainstream film and help this traditionally childish genre to grow up
This year's Cannes Film Festival sees "Waltz with Bashir," a brutal and unforgiving animated documentary movie, drawing a lot of attention from audiences and critics alike.
Based on a conversation between the director and an old friend of his, the film explores their shared experiences in the Israeli army and their part in the massacre at the Sabra and Shatila refugee camps in Lebanon in 1982.
In the film, a character sharing the director's first name visits former Israeli army colleagues to piece 'together the details of a three-day mission, which he cannot remember.
The journey leads to the harrowing reality of Sabra and Shatila, where an estimated 700 to 3.500 Palestinian refugees were killed or injured. Former Israeli prime minister Ariel Sharon was sacked as then defence minister for his role in the incident
From this brief plot outline, it is clear the film is not one for the family.
Even so the movie caught the imagination of the audiences at Cannes this year, and was included in the Official Selection.
Fora project of its relatively small size - - the production team consisted of a modest 18 people - - it is amazing that "Waltz' received the kind of attention it did.
The making of "Waltz" took a total of four years and included heavy research by Ari Folman, the director. After producing a script, he shot a live action version of the film in a studio and then animated it, using the original version as a reference point for the final movie.
But if they already had a film made, why give himself the extra workload of converting it to animation?
'If you think about all the elements in the film you would figure It’s: memory; lost memory; conscience-, subconscious, dreams; hallucinations; drugs; war. death, nightmares And if you want to go from one dimension to another dimension really with a lot of freedom, for me, the best way to do it would be to draw it,"he said.
The movie is far more than a simple documentary account of the Middle East conflict: Flashbacks to war zones, dream sequences and moments where the unreal creeps into an apparently ordinary interview are dotted through the film, emphasising the personal angle the director has been able to lend to the project.
"The film was kind of a therapeutic process,' he told us. 'While making the film I was recovering lost pieces of my memory in going to meet people who told me who we were and what we did together. *
"In terms of facts it made me learn more about myself, but in terms of psychological manner I would say it made me connect better with what I had been, with what 1 used to be like when 1 was 19-years old '
In the movie, the viewer follows Folman's journey to reclaim his past, and witness the affects of recovering memories from a highly traumatic experience.
More than just device for the director to exorcise rhe demons of his war experience, the film also carries an unambiguous message about
the horrors of war.
If you look at anti-war movies in the eyes of 16- or 15-year old guys they would say yes, war is terrible, but then again there is a lot of bravery and man friendship and being cool when you’re there' - and they say 'yes, it's terrible but 1 want to be one of those guys on the screen.' .And 1 hope when young people watch my film they'll say ’ 1 definitely don't want to be one of those guys.' "
This is definitely more than the run of the mill cartoon.
With this film. Folman and his team have proven the versatility and the artistic integrity of animation, adding a weight and seriousness to a medium more often associated with child-like fantasies. •••••••••••••••••••••••#•••••••••••••••••»••••••••••«••*• •••••••••••••«•••••
Source CNN