Malayalam Full Movie ๐
Saturday, 30 May 2020
Friday, 29 May 2020
เดฎเดฒเดฏാเดณം เดซുเตพ เดฎൂเดตി
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Thursday, 28 May 2020
Malayalam Full Movie
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Tuesday, 26 May 2020
Malayalam Full Movie
https://alfad.pro/go/266933/567818
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Monday, 25 May 2020
Sunday, 24 May 2020
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Friday, 22 May 2020
Malayalam Full Movie
Malayalam Full Movie
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam full movie ๐
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Thursday, 21 May 2020
Malayalam Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Wednesday, 20 May 2020
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Tuesday, 19 May 2020
เดฎเดฒเดฏാเดณം เดซുเตพ เดฎൂเดตി
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film – it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Monday, 18 May 2020
Sunday, 17 May 2020
Saturday, 16 May 2020
เดฎเดฒเดฏാเดณ เดธിเดจിเดฎเดฏിเตฝ เดเดค്เดฐ เดธിเดจിเดฎเดเตพ 50 เดോเดി เด്เดฒเดฌ്เดฌിเตฝ เดเดം เดชിเดിเด്เดു|All 50cr Club Movies in Malayalam
เดฎเดฒเดฏാเดณ เดธിเดจിเดฎเดฏിเตฝ เดเดค്เดฐ เดธിเดจിเดฎเดเตพ 50 เดോเดി เด്เดฒเดฌ്เดฌിเตฝ เดเดം เดชിเดിเด്เดു|All 50cr Club Movies in Malayalam๐
Friday, 15 May 2020
เดเดช്เดชเดฎുเดณ്เดณ เดชുเดฐുเดทเดจ് เดเดคു เดจാเดฑിเดฏാเดฃെเด്เดിเดฒും ‘เดธംเดตിเดงാเดฏเดเดจ്’ เดชเดฑเดฏുเดจ്เดจเดค് เด เดจുเดธเดฐിเด്เดേ เดฎเดคിเดฏാเดൂ: เดคുเดฑเดจ്เดจു เดชเดฑเด്เด് เดธเดฃ്เดฃി
เดുเดฑเด്เดു เดാเดฒം เดฎുเตปเดช് เดจ്เดฏൂเดฏോเดฐ്เด്เดിเดฒ് เดจเดเดจ്เดจ เดซാเดทเดจ് เดตീเด്เด് เดชเดฐിเดชാเดിเดฏിเดฒ് เด
เดฐเด്เดിเดฒൂเดെ เดจเดเดจ്เดจുเดตเดจ്เดจ เดเดฐു เด
เดช്เดธเดฐเดธിเดจെ เดเดฃ്เดു เดാเดฃിเดเดณ് เดเดฐเดോเดทം เดฎുเดดเด്เดി. เด
เดค് เดธเดฃ്เดฃി เดฒിเดฏോเดฃാเดฏിเดฐുเดจ്เดจു.
เด เดธ്เดฑ്เดฑേเดിเดฒ് เดเดค്เดคുเดจ്เดจ เดเดฆ്เดฏเดค്เดคെ เดเดจ്เดค്เดฏเดจ് เดจเดിเดฏും เดธเดฃ്เดฃിเดฏാเดฏിเดฐുเดจ്เดจു. เดเดตเดฐ് เดൈเดฑ്เดฑാเดจിเด് เดจാเดฏിเดเดฏാเดฃോ เดเดจ്เดจും เดാเดฃിเดเดณ് เดถเด്เดിเด്เดു. เดธเดจ്เดคോเดทเดค്เดคാเดฒ് เดตിเดเดฐ്เดจ്เดจിเดฐുเดจ്เดจ เดธเดฃ്เดฃി เดธ്เดฑ്เดฑേเดിเดฒ്เดจിเดจ്เดจും เดตിเดเดชเดฑเด്เดเดช്เดชോเดณ് เดจിเดฑเด്เด เดฎിเดดിเดจീเดฐ് เดคൂเดตാเดฒเดൊเดฃ്เด് เดเดช്เดชിเดฏെเดുเด്เดുเดจ്เดจเดค് เดാเดฃാเดฎാเดฏിเดฐുเดจ്เดจു.
เด
เดญിเดจเดฏിเด്เดുเดจ്เดจ เดธിเดจിเดฎเดเดณ് เดฌോเด്เดธ്เดเดซീเดธിเดฒ് เดตเดฒിเดฏ เดตിเดเดฏเด്เดเดณ് เดจേเดുเดจ്เดจിเดฒ്เดฒെเด്เดിเดฒും เดฌോเดณിเดตുเดกിเดจ് เดชുเดฑเดค്เดค് เดฎോเดกเดฒിംเดും เด
เดก്เดตเดฐ്เด്เดൈเดธിംเดുเดฎെเดฒ്เดฒാเดฎാเดฏി เดตเดฒിเดฏ เดตിเดชเดฃിเดฎൂเดฒ്เดฏเดฎുเดณ്เดณ เดคാเดฐเดฎാเดฃ് เดธเดฃ്เดฃി เดฒിเดฏോเดฃ്. เดฌോเดณിเดตുเดกിเดฒ് เดเดค്เดคിเดฏ เดธเดฎเดฏเดค്เดค് เดฎുเด്เดฏเดงാเดฐเดฏിเดฒ് เดคാเดจ് เดจേเดฐിเด്เด เดเดฑ്เดฑเดช്เดชെเดുเดค്เดคเดฒിเดจെเด്เดുเดฑിเด്เดും เด
เดตเดเดฃเดจเดฏെเด്เดുเดฑിเด്เดുเดฎാเดฃ് เดธเดฃ്เดฃി เดฒിเดฏോเดฃ് เดเดช്เดชോเดณ് เดฎเดจเดธ് เดคുเดฑเด്เดുเดจ്เดจเดค്.
เดเดฐു เด
เดตാเดฐ്เดก് เดจിเดถเดฏിเดฒ് เดชเด്เดെเดുเด്เดเดตെ เดคเดจിเด്เดൊเดช്เดชം เดธ്เดฑ്เดฑേเด് เดชเด്เดിเดാเดจ് เดฌോเดณിเดตുเดก് เดคാเดฐเด്เดเดณ് เดคเดฏ്เดฏാเดฑാเดฏിเดฒ്เดฒെเดจ്เดจ് เดธเดฃ്เดฃി เดคുเดฑเดจ്เดจു เดชเดฑเด്เดു. เด
เดคിเดจാเดฒ് เดเดฑെ เดจേเดฐം เดตേเดฆിเด്เด് เดธเดฎീเดชം เดเดฐിเดฏ്เด്เดേเดฃ്เดിเดตเดจ്เดจ เดคเดจിเด്เดൊเดช്เดชം เดเดฐാเดณ് เดฎാเดค്เดฐเดฎാเดฃ് เด
เดตเดธാเดจം เดธ്เดฑ്เดฑേเดിเดฒേเด്เด് เดตเดฐാเดจ് เดคเดฏ്เดฏാเดฑാเดฏเดคെเดจ്เดจും เดธเดฃ്เดฃി เดชเดฑเด്เดു.
เดธിเดจിเดฎാเดฎേเดเดฒเดฏിเดฒ് เดคเดจിเด്เด് เดเดฐുเดชാเด് เดธുเดนൃเดค്เดคുเด്เดเดณ് เดเดฒ്เดฒെเดจ്เดจും เดเดจ്เดจാเดฒ് เด
เดുเดช്เดชเดฎുเดณ്เดณ เดിเดฒเดฐുเดฃ്เดെเดจ്เดจും เดคാเดฐം เดชเดฑเด്เดു. เดเดจ്เดจോเดൊเดช്เดชം เดช്เดฐเดตเดฐ്เดค്เดคിเด്เด เดിเดฒเดฐ് เดจเดฒ്เดฒ เดธുเดนൃเดค്เดคുเด്เดเดณാเดฏിเด്เดുเดฃ്เด്. เด
เดค്เดคเดฐം เดชเดฐിเดเดฏเด്เดเดณേ เดธൗเดนൃเดฆเดค്เดคിเดฒേเด്เด് เดจเดฏിเด്เดിเด്เดുเดณ്เดณൂ. เดชเดฐിเดเดฏเดช്เดชെเดാเดจ് เดตเดฐുเดจ്เดจ เด
เดจേเดം เดชേเดฐ്เด്เด് เดธเดฃ്เดฃി เดฒിเดฏോเดฃ് เดเดจ്เดจ เดฏเดฅാเดฐ്เดฅ เดต്เดฏเด്เดคിเดฏെ เด
เดฒ്เดฒ เด
เดฑിเดฏേเดฃ്เดเดคെเดจ്เดจും เดคാเดฐം เดชเดฑเด്เดു.
เดเดจ്เดค്เดฏเดจ് เดธിเดจിเดฎാเดฐംเดเดค്เดค് เดเดจ്เดจുเดตเดฐെ เดฆเดฐ്เดถിเด്เดാเดจാเดตാเดค്เดค เด്เดฒാเดฎเดฐ് เดธเดฎുเดฆ്เดฐเดฎാเดฃ് เดธเดฃ്เดฃിเดฒിเดฏോเดฃ്. เดฎเดฑ്เดฑേเดคു เดจเดിเดฎാเดฐോเดും เดชเดฑเดฏാเดค്เดค, เดชเดฑเดฏാเดจ് เดชാเดിเดฒ്เดฒാเดค്เดค เดจിเดฐ്เดฆ്เดฆേเดถเด്เดเดณ് เดเดฐു เดธംเดตിเดงാเดฏเดเดจ് เดธเดฃ്เดฃിเด്เดു เดจเดฒ്เดാเดจ് เดเดดിเดฏും. เด
เด്เดเดจെ เดเดฐിเด്เดാเดจ് เดชเดฑเด്เดാเดฒ് เดിเดเด്เดുเดจ്เดจ เดเดฐു เดธ്เดตเดญാเดตം เด
เดตเดฐ്เด്เดുเดฃ്เด്. เดคเดจ്เดฑെ เดจเด്เดจเดธൗเดจ്เดฆเดฐ്เดฏം เดฎเดฑ്เดฑുเดณ്เดณเดตเดฐുเดെ เดฎുเดจ്เดจിเดฒ് เดช്เดฐเดฆเดฐ്เดถിเดช്เดชിเด്เดുเดจ്เดจเดค് เด
เดตเดฐ്เด്เดൊเดฐു เดธുเดเดฎാเดฃ്. เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดคเดจ്เดฑെ เดീเดตിเดคเดค്เดคെเด്เดുเดฑിเด്เด് เดชเดฑเดฏുเดจ്เดจเดค് เดเด്เดเดจെ:
เดธเดฃ്เดฃിเดฒിเดฏോเดฃിเดจെ เดจിเด്เดเดณ്เด്เดเดฑിเดฏാം. เดฌോเดณിเดตുเดก്เดกിเดฒെ เดคเดค്เดธเดฎเดฏ เด്เดฒാเดฎเดฐ് เดฑാเดฃി. เดเดช്เดชോเดดും เดทൂเด്เดിംเดിเดฒ് เดฌിเดธ്เดธിเดฏാเดฏിเดฐിเด്เดുเดจ്เดจ เดเดฐു เดจเดി. เดชเด്เดทേ เดเดฐเดฃ് เดിเดค്เดคിเดจെ เดเดฐ്เด്เดും เด
เดค്เดฐเดเดฃ്เด് เด
เดฑിเดฏിเดฒ്เดฒ. เด
เดตเดณ് เดเดน്เดณാเดฆเดชൂเดฐ്เดต്เดตം เดเดฐുเดുเดฑ്เดฑുเดจ്เดจ เดเดฐു เดชെเดฃ്เดฃാเดฃ്. เดตീเด്เดിเดฒ് เดจാเดฏ്เด്เดുเด്เดിเดฏോเดൊเดช്เดชം เดธเดฒ്เดฒเดชിเด്เดുเดเดดിเดฏുเดจ്เดจു. เดുเดുംเดฌം เดเดจ്เดจു เดชเดฑเด്เดാเดฒ് เด
เดตเดณ്เด്เด് เดീเดตเดจാเดฃ്.
เดാเดจ് เดชോเดฐ്เดฃോเด്เดฐാเดซി เดชเดเด്เดเดณിเดฒ് เด
เดญിเดจเดฏിเด്เดുเดเดฏും เดธംเดตിเดงാเดจം เดെเดฏ്เดฏുเดเดฏും เดെเดฏ്เดค เดต്เดฏเด്เดคിเดฏാเดฃ്. เด
เดคാเดฏിเดฐുเดจ്เดจു เดชเดฒเดฏിเดเดค്เดคു เดจിเดจ്เดจും เดชിเดจ്เดคเดณ്เดณเดช്เดชെเดാเตป เดാเดฐเดฃം. เดจ്เดฏൂเดฏോเดฐ്เด്เด് เดซാเดทเดจ് เดൂเดാเดคെ เดฎเดฑ്เดฑുเดชเดฒ เดฐാเด്เดฏเด്เดเดณിเดฒെ เดซാเดทเดจ് เดทോเดเดณിเดฒും เดാเดจ് เดจിเดฐാเดเดฐിเด്เดเดช്เดชെเดുเดเดฏുเดฃ്เดാเดฏി.
เดാเดฐเดฃം เดเดจ്เดจെ เดเดฒ്เดฒാเดชേเดฐും เดเดฐു เดจീเดฒเดจเดിเดฏെเดจ്เดจ เดตീเด്เดทเดฃเดോเดฃിเดฒൂเดെเดฏാเดฃ് เดเดฃ്เดിเดฐുเดจ്เดจเดค്. เด
เดคേเดธเดฎเดฏം เดเดจ്เดฑെ เดฎോเดกเดฒിเด് เดฎเดฑ്เดฑും เด
เดญിเดจเดฏเดฎിเดเดตിเดจെ เดเดฐും เด
ംเดീเดเดฐിเด്เดിเดฒ്เดฒ.
เดชเดฒเดคเดตเดฃ เดชเดฒเดฐും เดฎൂเดฒം เดാเดจ് เดเดคിเด്เดเดช്เดชെเด്เดു. เด
เดตเดฐിเดฒ് เดชเดฒเดฐും เดเดจ്เดฑെ เดถเดฐീเดฐം เดเดตോเดณം เด
เดจുเดญเดตിเด്เดเดตเดฐാเดฃ്. เดเด്เดเดจെเดฏുเดณ്เดณ เดเดชเดീเดตเดจเดค്เดคിเดจു เดชเดฑ്เดฑിเดฏเดค് เดจീเดฒเดช്เดชเดเด്เดเดณാเดฃെเดจ്เดจ് เดเดുเดตിเดฒ് เดാเดจ് เดฎเดจเดธ്เดธിเดฒാเด്เดി. เดฎเดจเดธ്เดธും เดนൃเดฆเดฏเดตും เดเดฒ്เดฒാเด്เดിเด്เดൊเดฃ്เดാเดฃ് เดാเดจ് เด เดช്เดฐോเดเด്เดിเดฒേเด്เด് เดคിเดฐിเด്เดเดค്.
เดเดฐു เด
เดนเด്เดാเดฐിเดฏാเดฏി เด
เดญിเดจเดฏിเด്เดുเดจ്เดจു เดเดจ്เดจു เดชเดฑเดฏുเดจ്เดจเดคാเดตും เดเดിเดคം. ‘เด
เดค്’ เดชോเดฒുเดณ്เดณ เดตീเดกിเดฏോ เดชเดเด്เดเดณിเดฒ് เดാเดจ് เด
เดญിเดจเดฏിเด്เดുเดൊเดฃ്เดിเดฐുเดจ്เดจเดช്เดชോเดณ് เดเดจ്เดจോเด് เดเดจ്เดจുเดാเดฒിเดเดณെเด്เดാเดณ് เดนീเดจเดฎാเดฏ เดฐീเดคിเดฏിเดฒാเดฏിเดฐുเดจ്เดจു เด
เดตเดฐ് เดชെเดฐുเดฎാเดฑിเดฏിเดฐുเดจ്เดจเดค്.
‘เด
เด്เดോเด്เด് เดฎാเดฑി เดจിเดฒ്เด്เดെเดീ, เดเด്เดോเด്เด് เดชോเดീ..’ เดเดจ്เดจൊเด്เดെเดฏാเดฏിเดฐുเดจ്เดจു เด
เดตเดฐ് เดเดจ്เดจെ เดธംเดฌോเดงเดจ เดെเดฏ്เดคിเดฐുเดจ്เดจเดค്. เดทൂเด്เดിംเดിเดฒ് เดชเด്เดെเดുเด്เดുเดจ്เดจ เดธാเดงാเดฐเดฃ เดെเด്เดจീเดท്เดฏเดจ്เดฎാเดฐ് เดชോเดฒും เดเดจ്เดจോเด് เดจീเดเดฎാเดฏ เดฐീเดคിเดฏിเดฒാเดฏിเดฐുเดจ്เดจു เดชെเดฐുเดฎാเดฑിเดฏിเด്เดുเดณ്เดณเดค്.
เดจൂเดฒ്เดฌเดจ്เดงเดฎിเดฒ്เดฒാเดค്เดค เด เดตเดธ്เดฅเดฏിเดฒ് เดാเดจ് เดเดดിเดฏുเดฎ്เดชോเดณ് เดฎിเด്เดเดช്เดชോเดดും เดเดค്เดฎเดนเดค്เดฏ เดെเดฏ്เดคാเดฒ് เดเดจ്เดคാเดฃെเดจ്เดจ് เดിเดจ്เดคിเด്เดുเดชോเดുเดฎാเดฏിเดฐുเดจ്เดจു. เดเดช്เดชเดฎുเดณ്เดณ เดชുเดฐുเดทเดจ് เดเดคു เดจാเดฑിเดฏാเดฃെเด്เดിเดฒും ‘เดธംเดตിเดงാเดฏเดเดจ്’ เดชเดฑเดฏുเดจ്เดจเดค് เด เดจുเดธเดฐിเด്เดേ เดฎเดคിเดฏാเดൂ.
เดเดുเดตിเดฒ് เดเดค്เดฎเดนเดค്เดฏเดฏെเด്เดുเดฑിเด്เดുเดณ്เดณ เดตിเดാเดฐം เดเดชേเด്เดทിเด്เดു. เดคുเดเด്เดเดค്เดคിเดฒ് เดเดจ്เดฑെ เด
เดง്เดตാเดจเดค്เดคിเดจ് เดคเด്เดเดคാเดฏ เดช്เดฐเดคിเดซเดฒം เดฒเดญിเด്เดിเดฐുเดจ്เดจിเดฒ്เดฒ. เดเดฐുเดชാเด് เดชേเดฐ് เดเด്เดเดจെ เดชเดฃം เดคเดฐാเดคെ เดเดจ്เดจെ เดช്เดฐเดฏോเดเดจเดช്เดชെเดുเดค്เดคിเดฏിเด്เดുเดฃ്เด്. เด
เดคിเดฒൂเดെ เดോเดാเดจുเดോเดിเดเดณ് เดเดฐോเดฐുเดค്เดคเดฐും เดธเดฎ്เดชാเดฆിเด്เดിเด്เดുเดฃ്เด്.
เดคുเดเดฐ്เด്เดเดฏാเดฏി เดാเดจ് เดตเด്เดിเด്เดเดช്เดชെเด്เดാเดฒും ‘เดเดฎ്เดฎാเดคിเดฐി’ เดชเดเด്เดเดณിเดฒ് เดธ്เดฑ്เดฑാเดฑാเดฏി เดจിเดฒเดจിเดฒ്เด്เดാเดจ് เดാเดจ് เดเดുเดตിเดฒ് เดคീเดฐുเดฎാเดจിเด്เดു. เดฆൈเดตം เดเดจിเด്เด് เดตാเดฐിเด്เดോเดฐി เดจเดฒ്เดിเดฏ เดถเดฐീเดฐเดตും เดธൗเดจ്เดฆเดฐ്เดฏเดตും เดตേเดฃ്เดเดตเดฃ്เดฃം เดช്เดฐเดฏോเดเดจเดช്เดชെเดുเดค്เดคാเดจും, เดคുเดเดฐ്เดจ്เดจ് เด เดฒോเดเดค്เดคോเด് เดคเดจ്เดจെ เดช്เดฐเดคിเดാเดฐം เดെเดฏ്เดฏเดฃเดฎെเดจ്เดจ เดตൈเดฐാเด്เดฏเดฌുเดฆ്เดงി เดเดจ്เดจിเดฒ് เดเดฆเดฏം เดെเดฏ്เดคു.
เดเดค് เดാเดจ് เด
เดจുเดญเดตിเด്เด เดค്เดฏാเดเด്เดเดณ്เด്เด് เดตേเดฃ്เดിเดฏുเดณ്เดณ เดชൊเดฏ് เดตേเดทเดฎാเดฃ്. เดാเดจ് เดเดจിเด്เดുเดคเดจ്เดจെ เดงเดฐിเดช്เดชിเด്เด เดฎുเดംเดฎൂเดി. เดธเดค്เดฏം เดชเดฑเดฏเด്เดെ. เดാเดจ് เดชൂเด്เดเดณേเด്เดാเดณ് เดฎൃเดฆുเดฒเดฏാเดฃ്. เดുเด്เดു เดฎเดจเดธ്เดธാเดฃ്. เดเดจ്เดจെ เด
เดുเดค്เดคเดฑിเดฏാเดตുเดจ്เดจ เดเดฒ്เดฒാเดชേเดฐ്เด്เดും เด เดตเดธ്เดคുเดค เด
เดฑിเดฏാം.
เด
เดฆ്เดฆേเดนเดตും เดเดจ്เดจോเดൊเดช്เดชം เดจീเดฒเดช്เดชเดเด്เดเดณിเดฒ് เด
เดญിเดจเดฏിเด്เดുเดൊเดฃ്เดിเดฐുเดจ്เดจ เดต്เดฏเด്เดคിเดฏാเดฃ്. เดเดจ്เดฑെ เดถเดฐീเดฐเดธൗเดจ്เดฆเดฐ്เดฏം เดเดฃ്เด് เดญ്เดฐเดฎിเด്เดเดคാเดฃോ, เดเดจ്เดจോเดൊเดช്เดชം เดทൂเด്เดിംเด് เดธเดฎเดฏเดค്เดค് เดถാเดฐീเดฐിเดเดฌเดจ്เดงം เดชുเดฒเดฐ്เดค്เดคിเดฏ เดเดฐു เดจเดฒ്เดฒ เด
เดจുเดญเดตเดฎാเดฃോ เดเดจ്เดจും เด
เดฑിเดฏിเดฒ്เดฒ.
เดเดฐുเดฆിเดตเดธം เดเดฐു เดฌംเด്เดฒാเดตിเดจുเดณ്เดณിเดฒ്เดตเด്เด് เดจീเดฒเดช്เดชเดเดค്เดคിเดจ്เดฑെ เดทൂเด്เดിംเด് เดคുเดเด്เดുเดจ്เดจเดคിเดจ്เดฑെ เดเดเดตേเดณเดฏിเดฒ് เด
เดฆ്เดฆേเดนം เดเดจ്เดจോเด് เดตിเดാเดฐเดญเดฐിเดคเดจാเดฏി เดชเดฑเด്เดു.
‘เด เดฒเดต് เดฏു!’ เดാเดจ് เดเดฐുเดจിเดฎിเดทം เดฎเดฐเดตിเด്เดു เดจിเดจ്เดจുเดชോเดฏി. เดเดเดจെ เดฎเดฑുเดชเดി เดൊเดുเด്เดാเดจ് เดเดดിเด്เดിเดฒ്เดฒ. เดാเดฐเดฃം เดชിเดฑเดจ്เดจ เดฎേเดจിเดฏോเดെ เดเด്เดเดณിเดฐുเดตเดฐും เด്เดฏാเดฎเดฑเดฏ്เด്เดു เดฎുเดจ്เดจിเดฒ് เดിเดเดจ്เดจ് เด
เดญിเดจเดฏിเด്เดเดตเดฐാเดฃ്.
เดเดฑുเดฎാเดธเด്เดാเดฒเดฎാเดฏി เดเด്เดเดณ് เดชเดฒเดฏിเดเด്เดเดณിเดฒും เดുเดฑ്เดฑിเดฏเดിเด്เด് เดฒൈംเดിเดเดฌเดจ്เดงเดค്เดคിเดฒ് เดเดฐ്เดช്เดชെเด്เดเดตเดฐാเดฃ്. เด
เดคുเดൊเดฃ്เด് เดชൊเดเดจ്เดจเดจെเดฏുเดณ്เดณ เด
เดฆ്เดฆേเดนเดค്เดคിเดจ്เดฑെ เดช്เดฐเดฃเดฏം เดธ്เดตീเดเดฐിเด്เดാเดจ് เดเดจിเด്เด് เดเดฒോเดിเด്เดേเดฃ്เดเดคാเดฏി เดตเดจ്เดจു.
เดเดുเดตിเดฒ് เดเดจ്เดจോเดു เดคോเดจ്เดจുเดจ്เดจเดค് เดเดจ്เดคുเดคเดฐം เดธ്เดจേเดนเดฎാเดฃെเดจ്เดจ് เดോเดฆിเด്เดเดช്เดชോเดณ് เดเดจ്เดจെ เด
เดฆ്เดฆേเดนം เดตിเดตാเดนം เดെเดฏ്เดฏാเดจ് เดคീเดฐുเดฎാเดจിเด്เดเดคാเดฏി เดชเดฑเด്เดു. เดเดുเดตിเดฒ് เดാเดจ് เดธเดฎ്เดฎเดคിเด്เดു. เด
เด്เดเดจെ เดเดฆ്เดฏเดฐാเดค്เดฐി เดเด്เดเดณ് ‘เดฎเดงുเดตിเดงു’ เดเดോเดทിเด്เดു. เดชเด്เดทേ เด്เดฏാเดฎเดฑเดฏ്เด്เดു เดฎുเดฎ്เดชിเดฒാเดฏിเดฐുเดจ്เดจിเดฒ്เดฒ.
เดฎเดจเดธ്เดธ് เดจിเดฑเดฏെ เดธเดจ്เดคോเดทเดตുเดฎാเดฏി เดเดดിเดฏുเดจ്เดจ เดฎเดจുเดท്เดฏเดจാเดฃ് เดเดจ്เดฑെ เดญเตผเดค്เดคാเดต് เดกാเดจിเดฏเตฝ. เดเดจിเด്เด് เด
เดฆ്เดฆേเดนം เดเดฐു เดเดณിเดช്เดชാเดต เดชോเดฒെเดฏാเดฃ്. เดเดช്เดชോเดดും เด
เดฆ്เดฆേเดนเดค്เดคെ เดാเดจും เด
เดฆ്เดฆേเดนം เดเดจ്เดจെเดฏും เดเดฎเดจിเด്เดുเดൊเดฃ്เดിเดฐിเด്เดും.
เดเดจ്เดจോเด് เด
เดฆ്เดฆേเดนเดค്เดคിเดจ് เด
เดฃ്เดฒിเดฎിเดฑ്เดฑเดก് เดธ്เดจേเดนเดฎാเดฃ്. เดเดจ്เดจോเดൊเดช്เดชം เด
เดฆ്เดฆേเดนം เดชുเดฑเดค്เดคുเดตเดฐുเดฎ്เดชോเดณ് เดชെเดฃ്เดฃുเด്เดเดณ് เด
เดฆ്เดฆേเดนเดค്เดคെ เดเดฐ്เดค്เดคിเดฏോเดെ เดจോเด്เดുเดจ്เดจเดคു เดเดฃ്เด് เดเดจിเด്เด് เด
เดธൂเดฏ เดคോเดจ്เดจാเดฑുเดฃ്เด്.
เดเดจ്เดฑെ เดฎേเดเดฒ เดฏเดฅാเดฐ്เดค്เดฅเดค്เดคിเดฒ് เดธിเดจിเดฎ เด
เดฒ്เดฒ. เดാเดธ് เดฎെเดกിเด്เดธ് เดฎെเดกിเด്เดเดฒാเดฃ്. เด
เด്เดเดจെ เดเดฐു เดเดฎ്เดชเดจി เดคുเดเด്เดാเดจാเดฃ് เดฒเด്เดท്เดฏം. เด
เดคിเดจു เดตേเดฃ്เดเดคാเดฏ เดฎുเดจ്เดจൊเดฐുเด്เดเด്เดเดณ് เดจเดเดจ്เดจുเดൊเดฃ്เดിเดฐിเด്เดുเดจ്เดจു. เดญാเดตിเดฏിเดฒ് เดാเดจ് เดธിเดจിเดฎเดฏിเดฒ്เดจിเดจ്เดจും เดตിเด്เดുเดจിเดฒ്เด്เดേเดฃ്เดുเดจ്เดจ เดเดฐเดตเดธ്เดฅ เดเดฃ്เดാเดฏാเดฒ് เดเดฐു เดคൊเดดിเดฒเดงിเดชเดฏാเดฏി เดฒോเดം เดฎൊเดค്เดคം เดชเดฑเดจ്เดจ് เดธเด്เดเดฐിเด്เดാเดฎเดฒ്เดฒോ.
เดเดเดช്เดชാเด്: เดฎംเดเดณം เดเตบเดฒൈเตป เดช്เดฐเดธിเดฆ്เดงീเดเดฐിเด്เด เดตിเดตിเดง เด
เดญിเดฎുเดเด്เดเดณിเตฝ เดจിเดจ്เดจ്
Thursday, 14 May 2020
เดชൂเด്เดเดเดณെ เดเดฎ്เดฎเดตെเด്เดเดฐുเดค്! เดൊเดตിเดก് เดชเดเดฐാเดจ് เดธാเดง്เดฏเดคเดฏെเดจ്เดจ് เดเดตേเดทเดเดฐ്
เดตിเดธ്เดോเดจ്เดธിเดจ് เดธ്เดൂเดณ് เดเดซ് เดตെเดฑ്เดฑเดฑിเดจเดฑി เดฎെเดกിเดธിเดจ്เดฑെ เดธเดนാเดฏเดค്เดคോเดെ เดจเดเดค്เดคിเดฏ เดชเดฐീเด്เดทเดฃเดซเดฒം เดจ്เดฏൂ เดംเด്เดฒเดฃ്เด് เดേเดฃเดฒ് เดเดซ് เดฎെเดกിเดธിเดจിเดฒാเดฃ് เดฑിเดช്เดชോเดฐ്เด്เด് เดช്เดฐเดธിเดฆ്เดงീเดเดฐിเด്เดเดค്. เดเดฐു เดൊเดตിเดก് เดฐോเดിเดฏെเดฏും เดฎเดจുเดท്เดฏเดฐിเดฒ് เดจിเดจ്เดจ് เดฐോเดം เดชเดเดฐ്เดจ്เดจ เดฎൂเดจ്เดจ് เดชൂเด്เดเดเดณെเดฏുเดฎാเดฃ് เดชเดฐീเด്เดทเดฃ เดตിเดงേเดฏเดฎാเด്เดിเดฏเดค്. เด
เดตเด്เดൊเดช്เดชം เดฎൂเดจ്เดจുเดชൂเด്เดเดเดณെเดฏും เดเดดിเดฏാเดจ് เด
เดจുเดตเดฆിเด്เดു. เดുเดฑเด്เดു เดฆിเดตเดธം เดเดดിเด്เดเดช്เดชോเดณ് เดฎൂเดจ്เดจുเดชൂเด്เดเดเดณിเดฒേเด്เดും เดตൈเดฑเดธ് เดชเดเดฐ്เดจ്เดจเดคാเดฏി เดเดฃ്เดെเดค്เดคി. เดเดจ്เดจാเดฒ് เดฎൂเดจ്เดจുเดชൂเด്เดเดเดณിเดฒും เดฐോเดเดฒเด്เดทเดฃเด്เดเดณ് เดช്เดฐเดเดเดฎാเดฏിเดฒ്เดฒ.
เดตเดณเดฐ്เดค്เดคുเดฎൃเดเด്เดเดณിเดฒ് เดจിเดจ്เดจാเดฃ് เดชเดฒเดฐ്เด്เดും เดชเดเดฐ്เด്เดเดต്เดฏാเดงിเดเดณ് เดเดฃ്เดാเดുเดจ്เดจเดค്. เด เดคുเดൊเดฃ്เด് เดคเดจ്เดจെ เดชൂเด്เดเดเดณെเดช്เดชോเดฒെเดฏുเดณ്เดณ เดตเดณเดฐ്เดค്เดคു เดฎൃเดเด്เดเดณിเดฒ് เดจിเดจ്เดจ് เดถ്เดฐเดฆ്เดงാเดชൂเดฐ്เดต്เดตം เด เดเดฒം เดชാเดฒിเด്เดുเดเดฏാเดും เดจเดฒ്เดฒเดคെเดจ്เดจും เดฎുเดจ്เดจเดฑിเดฏിเดช്เดช് เดจเดฒ്เดുเดจ്เดจു.
เดฎเดฑ്เดฑുเดณ്เดณเดตเดฐെ เดชเดฑ്เดฑിเด്เด് เดเดฏാเดณ്เด്เด് เดเดจ്เดคാเดฃ് เดจേเดാเดจ് เดเดณ്เดณเดคെเดจ്เดจ് เด เดฑിเดฏിเดฒ്เดฒ !! เดฐൂเด്เดท เดตിเดฎเตผเดถเดจเดตുเดฎാเดฏി เดจเดി เดฎീเดฐ เดจเดจ്เดฆเตป
เดฎുเดฒ്เดฒ เดเดจ്เดจ เดธിเดจിเดฎเดฏിเดฒൂเดെ เดฎเดฒเดฏാเดณിเดเตพเด്เด് เดเดฑെ เดช്เดฐിเดฏเด്เดเดฐിเดฏാเดฏ เดเดณാเดฃ് เดฎീเดฐ เดจเดจ്เดฆเตป, เดฎിเดเด്เดൊเดฐു เดจเดി เดเดจ്เดจเดคിเดฒുเดชเดฐി เดคാเดฐം เดฎിเดเด്เดൊเดฐു เดാเดฏിเด เดൂเดിเดฏാเดฃ്, เดเดกിเดฏ เดธ്เดฑ്เดฑാเตผ เดธിเด്เดเตผ เดเดจ്เดจ เดชเดฐിเดชാเดിเดฏിเตฝ เดൂเดിเดฏാเดฃ് เดฎീเดฐ เด
เดญിเดจเดฏ เดฐംเดเดค്เดคേเด്เด് เดตเดฐുเดจ്เดจเดค്, เดเดฆ്เดฏ เดിเดค്เดฐം เดฆിเดฒീเดช് เดจാเดฏเดเดจാเดฏ เดฎുเดฒ്เดฒ เดตเดณเดฐെ เดตിเดเดฏിเด്เด เดിเดค്เดฐเดฎാเดฏിเดฐുเดจ്เดจു เดชിเดจ്เดจീเด เด
เด്เดോเด്เด് เดจിเดฐเดตเดงി เดിเดค്เดฐเด്เดเตพ เดคാเดฐം เด
เดญിเดจเดฏിเด്เดിเดฐുเดจ്เดจു เดเดช്เดชോเตพ เดฆുเดฌാเดฏിเดฏിเตฝ เดเตผ เดെ เดเดฏി เดോเดฒി เดെเดฏ്เดฏുเดเดฏാเดฃ്.
เดธിเดจിเดฎเดฏിเตฝ เดจിเดจ്เดจും เดตിเด്เดു เดจിเตฝเด്เดുเดเดฏാเดฃെเด്เดിเดฒും เดธോเดท്เดฏเตฝ เดฎീเดกിเดฏเดฏിเตฝ เดธเดീเดต เดธാเดจ്เดจിเดง്เดฏเดฎാเดฃ് เดคാเดฐം, เดจിเดฐเดตเดงി เดซോเด്เดോ เดทൂเด്เดുเดเดณും เดคാเดฐം เดจเดเดค്เดคാเดฑുเดฃ്เด്, เดเดช്เดชോเตพ เดฒോเด്เด് เดกൗเตบ เดญാเดเดฎാเดฏി เดธൈเดฌเตผ เดเด്เดฐเดฎเดฃเด്เดเตพ เดเดฐുเดชാเดു เดൂเดുเดคเดฒാเดฃ്, เดเดช്เดชോเตพ เดคเดจ്เดฑെ เดชേเดฐിเดฒുเดณ്เดณ เดต്เดฏാเด เดชേเดിเดจെ เดുเดฑിเด്เด് เดฒൈเดตിเตฝ เดตเดจ്เดจ് เดคുเดฑเดจ്เดจ് เดชเดฑเด്เดിเดฐിเด്เดുเดเดฏാเดฃ് เดคാเดฐം..
เดตിเดชിเดจ് เดเดจ്เดจാเดฃ് เดเดฏാเดณുเดെ เดชേเดฐ്. เดซോเด്เดോเด്เดฐാเดซเดฑാเดฃെเดจ്เดจാเดฃ് เด เดฑിเด്เดเดค്. เดฎീเดฐเดฏൊเด്เดെ เดฎെเดธേเด് เด เดฏเด്เดാเดฑുเดฃ്เด്, เดซോเด്เดോ เดเดുเด്เดുเดฎോ เดเดจ്เดจ് เดോเดฆിเด്เดാเดฑുเดฃ്เดെเดจ്เดจുเดฎൊเด്เดെ เดเดฏാเดณ് เดฎเดฑ്เดฑുเดณ്เดณเดตเดฐോเด് เดชเดฑเด്เด് เดจเดเด്เดുเดจ്เดจเดคാเดฏി เดเดจ്เดฑെ เดเดฐു เดธുเดนൃเดค്เดค് เดตിเดณിเด്เดാเดฃ് เดเดจ്เดจോเด് เดชเดฑเดฏുเดจ്เดจเดค്. เดเดฏാเดณെ เด เดฑിเดฏുเดฎോ เดเดจ്เดจ് เดോเดฆിเด്เดു. เดตിเดชിเดจ് เดเดจ്เดจ เดชേเดฐിเดฒ് เดเดฐു เดซോเด്เดോเด്เดฐാเดซเดฑെ เดเดจിเด്เด് เด เดฑിเดฏിเดฒ്เดฒ.
เดฎീเดฐเดฏൊเด്เดെ เดเดจ്เดฑെ เดชുเดฑเดേ เดจเดเด്เดുเดเดฏാเดฃ്, เดเดจ്เดฑെ เดซോเด്เดോเดทൂเด്เดിเดจ് เดตേเดฃ്เดിเดฏെเดจ്เดจാเดฃ് เดฎเดฑ്เดฑുเดณ്เดณเดตเดฐോเด് เดชเดฑเดฏുเดจ്เดจเดค്. เดชเดฒเดฏാเดณുเดเดณ്เด്เดും เดฎെเดธേเดിเดจ്เดฑെ เดธ്เด്เดฐീเดจ്เดทോเด്เด് เดเดുเดค്เดค് เด
เดฏเด്เดാเดฑുเดฃ്เด് เดเดฏാเดณ്. เดชเด്เดทേ เดธ്เด്เดฐീเดจ് เดทോเด്เดിเดฒ് เดാเดฃുเดจ്เดจ เดฎീเดฐ เดจเดจ്เดฆเดจ് เดเดจ്เดจെ് เดชเดฑเดฏുเดจ്เดจ เดชേเดിเดฒ് เดฌ്เดฒ്เดฏൂ เดിเด്เด് เดเดฒ്เดฒ. เด
เดค് เดൊเดฃ്เด് เดคเดจ്เดจെ เดเดค് เดต്เดฏാเด เดช്เดฐൊเดซൈเดฒ് เดเดฃെเดจ്เดจเดค് เดต്เดฏเด്เดคเดฎാเดฃ്.
เดാเดจ് เดซേเดธ്เดฌുเด്เดിเดฒ് เดคീเดฐെ เดเด്เดീเดต് เด
เดฒ്เดฒ. เดฎെเดธേเดกോ เดാเดฐ്เดฏเด്เดเดณോ เดจോเด്เดാเดฑുเดฎിเดฒ്เดฒ. เดซേเด്เด് เดช്เดฐൊเดซൈเดฒ് เดเด്เดെ เดเดฃ്เดാเด്เดാเดจ് เดตിเดฐുเดคเดจാเดฃ് เดเดฏാเดณ് เดเดจ്เดจാเดฃ് เด
เดฑിเดฏാเดจ് เดเดดിเด്เดเดค്. เดชാเดฒเด്เดാเด് เดธ്เดตเดฆേเดถിเดฏാเดฏ เดเดฏാเดณ് เดฆുเดฌാเดฏിเดฒാเดฃുเดณ്เดณเดคെเดจ്เดจ് เดชเดฑเดฏുเดจ്เดจു. เดฎเดฑ്เดฑുเดณ്เดณเดตเดฐെ เดชเดฑ്เดฑിเด്เด് เดเดฏാเดณ്เด്เด് เดเดจ്เดคാเดฃ് เดจേเดാเดจ് เดเดณ്เดณเดคെเดจ്เดจ് เด
เดฑിเดฏിเดฒ്เดฒ.
เดാเดจ് เดเดจ്เดฑെ เดธുเดนൃเดค്เดคുเดเดณ്เด്เดൊเดช്เดชം เดฎാเดค്เดฐเดฎാเดฃ് เดซോเด്เดോเดทൂเด്เด് เดจเดเด്เดാเดฑുเดณ്เดณเดค്. เด เดค് เดชเดฑเด്เด് เดเดฐുเดെเดฏും เดชുเดฑെ เดจเดเด്เดാเดฑുเดฎിเดฒ്เดฒെเดจ്เดจും เดฎീเดฐ เดจเดจ്เดฆเดจ് เดชเดฑเดฏുเดจ്เดจു. เดเดฏാเดณ്เด്เดെเดคിเดฐെ เดจിเดฏเดฎเดจเดเดชเดി เดธ്เดตീเดเดฐിเด്เดാเดจ് เดเดฐുเด്เดുเดเดฏാเดฃ് เดคാเดจ്. เดฎാเดค്เดฐเดฎเดฒ്เดฒ เด เดฏാเดณുเดെ เดชേเด് เดฑിเดช്เดชോเดฐ്เด്เด് เดെเดฏ്เดฏാเดจ് เดเดฒ്เดฒാเดตเดฐുเดെเดฏും เดธเดนാเดฏം เดตേเดฃเดฎെเดจ്เดจും เดจเดി เดเดตเดถ്เดฏเดช്เดชെเดുเดจ്เดจു.
เดเดฆ്เดฏം เดชോ-เตบ เดตീเดกിเดฏോ เดเดฃ്เดเดช്เดชോเตพ เด เดฑเดช്เดช് เดคോเดจ്เดจി, เดชിเดจ്เดจീเดเดค് เดเดธ്เดตเดฆിเด്เดเดช്เดชോเตพ: เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดตെเดณിเดช്เดชെเดുเดค്เดคുเดจ്เดจു
เดฒോเดเดฎൊเด്เดുเด്เด് เด เดฑിเดฏเดช്เดชെเดുเดจ്เดจ เดคാเดฐ เดธുเดจ്เดฆเดฐിเดฏാเดฃ് เดธเดฃ്เดฃി เดฒിเดฏോเตบ. เดเดจ്เดจ് เดธเดฃ്เดฃി เดฒിเดฏോเดฃിเดจ്เดฑെ เดฎുเดช്เดชเดค്เดคിเดฏൊเดฎ്เดชเดคാം เดเดจ്เดฎเดฆിเดจเดฎാเดฃ്. เดฒเด്เดทเด്เดเดฃเด്เดിเดจ് เดเดณുเดเดณാเดฃ് เดคാเดฐเดค്เดคിเดจ് เดชിเดฑเดจ്เดจാเตพ เดเดถംเดธเดเตพ เดจേเตผเดจ്เดจുเดൊเดฃ്เด് เดธเดฎൂเดน เดฎാเดง്เดฏเดฎเด്เดเดณിเดฒൂเดെ เดเดค്เดคിเดฏിเดฐിเด്เดുเดจ്เดจเดค്. 1981 เดฎെเดฏ് 13 เดจാเดฃ് เดเดจ്เดจ് เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดเดจ്เดจเดฑിเดฏเดช്เดชെเดുเดจ്เดจ เดเดฐเด്เดിเดค് เดൗเตผ เดเดจിเด്เดเดค്. เดฎൂเดจ്เดจു เดുเด്เดിเดเดณെ เดฆเดค്เดคെเดുเดค്เดคു เดตเดณเตผเดค്เดคുเดจ്เดจുเดฃ്เด് เดเดจ്เดจ് เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดเดจ്เดจ เดชോ-เตบ เดคാเดฐം. เด เดฎേเดฐിเด്เดเตป เดชൗเดฐเดค്เดตเดฎുเดณ്เดณ เดเดจ്เดค്เดฏเตป เดตംเดถเดเดฏാเดฏ เดธ്เดค്เดฐീเดฏാเดฃ് เดธเดฃ്เดฃി เดฒിเดฏോเตบ. เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดเดฆ്เดฏเดฎാเดฏി เดชോ-เตบ เดตീเดกിเดฏോ เดเดฃ്เดเดช്เดชോเตพ เดคเดจിเด്เด് เด เดคിเดจോเด് เดคോเดจ്เดจിเดฏเดค് เดตെเดฑുเดช്เดชാเดฃെเดจ്เดจ് เดคാเดฐം เดตെเดณിเดช്เดชെเดുเดค്เดคുเดจ്เดจു. เดชเดค്เดคാം เดตเดฏเดธിเตฝ เดเดฆ്เดฏเดฎാเดฏി เดเดฐു เดชോ-เตบ เดตീเดกിเดฏോ เดเดฃ്เดเดช്เดชോเตพ เด เดฏ്เดฏേ เดเดคെเดจ്เดค് เดฎോเดถเดฎാเดฃെเดจ്เดจു เดชോเดฒും เดിเดจ്เดคിเด്เดു เดชോเดฏിเด്เดുเดฃ്เดെเดจ്เดจ് เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดเดฐു เด เดญിเดฎുเดเดค്เดคിเตฝ เดตെเดณിเดช്เดชെเดുเดค്เดคി.
เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดชിเดจ്เดจീเด് เดชോ-เตบ เดฎേเดเดฒ เดคเดจ്เดฑെ เดാเดฐിเดฏാเดฑാเด്เดി เดฎാเดฑ്เดฑി เดฎുเดจ്เดจോเด്เด് เดตเดฐിเดเดฏാเดฏിเดฐുเดจ്เดจു. เดเด്เดാเดฐ്เดฏം เดธเดฃ്เดฃി เดฒിเดฏോเดฃിเดจ്เดฑെ เดീเดตിเดคเดค്เดคെ เดเดธ്เดชเดฆเดฎാเด്เดിเดฏുเดณ്เดณ เดตെเดฌ് เดธീเดฐിเดธിเดฒും เดชเดฑเดฏുเดจ്เดจുเดฃ്เด്. เดคเดจ്เดฑെ เดเดจ്เดฎเดฆിเดจเดค്เดคിเตฝ เดเดถംเดธเดเตพ เดจേเตผเดจ്เดจเดตเตผเด്เด് เดจเดจ്เดฆിเดฏുเดฎാเดฏി เดคാเดฐം เดเตปเดธ്เดฑ്เดฑാเด്เดฐാเดฎിเตฝ เดตീเดกിเดฏോ เดชเด്เดുเดตെเด്เดുเดเดฏും เดെเดฏ്เดคിเด്เดുเดฃ്เด്. เดจിเด്เดเดณുเดെเดฏെเดฒ്เดฒാം เดธ്เดจേเดนം เดฒเดญിเด്เดുเดจ്เดจ เดാเตป เดเดค്เดฐെเดฏോ เดญാเด്เดฏเดตเดคിเดฏാเดฃെเดจ്เดจും เดจിเด്เดเดณെเดฒ്เดฒാเดตเดฐും เดเดจ്เดฑെ เดീเดตിเดคเดค്เดคിเดจ്เดฑെ เดญാเดเดฎാเดฃെเดจ്เดจും, เด เดฆുเดฐിเดคเดാเดฒം เดเดฐു เดെเดฑുเดชുเด്เดിเดฐിเดฏോเดെ เดจเดฎുเด്เด് เดจേเดฐിเดാเดฎെเดจ്เดจും เดคാเดฐം เดเตปเดธ്เดฑ്เดฑാเด്เดฐാเดฎിเตฝ เดชเด്เดുเดตെเด്เด เดตീเดกിเดฏോเดฏിเตฝ เดชเดฑเดฏുเดจ്เดจുเดฃ്เด്. เดชോ-เตบ เดฎേเดเดฒเดฏിเดฒേเด്เด് เดตเดฐുเดจ്เดจเดคിเดจു เดฎുเตปเดช് เดคാเดฐം เดเตผเดฎเตป เดฌേเด്เดเดฑിเดฏാเดฏ เดെเดซി เดฒൂเดฌിเดฒും เดാเด്เดธ് เดเตปเดก് เดฑിเด്เดเดฏเตผเดฎെเดจ്เดฑ് เดเดจ്เดจി เดธ്เดฅാเดชเดจเดค്เดคിเดฒും เดธേเดตเดจเดฎเดจുเดท്เดിเด്เดിเด്เดുเดฃ്เด്. เดธിเดจിเดฎ เดฎേเดเดฒเดฏിเดฒേเด്เด് เดตเดจ്เดจเดคോเดെเดฏാเดฃ് เดคാเดฐം เดชേเดฐ് เดฎാเดฑ്เดฑി เดธเดฃ്เดฃി เดฒിเดฏോเตบ เดเดจ്เดจാเด്เดിเดฏเดค്.
2011 เตฝ เดฌിเด് เดฌോเดธ്เดธ് เดเดจ്เดจ เดെเดฒിเดตിเดทเตป เดชเดฐിเดชാเดിเดฏിเตฝ เดชเด്เดെเดുเดค്เดคിเด്เดുเดฃ്เด് เดคാเดฐം. เดൂเดാเดคെ เดเดจ്เดค്เดฏเตป เดธിเดจിเดฎเดฏിเดฒും เด เดญിเดจเดฏിเด്เดിเด്เดുเดฃ്เด്. เดชൂเด เดฌเด്เดിเดจ്เดฑെ เดിเดธം 2 เดเดจ്เดจ เดฒൈംเดിเด เดค്เดฐിเดฒ്เดฒเตผ เดിเดค്เดฐเดค്เดคിเตฝ เดൂเดി 2012 เตฝ เดฌോเดณിเดตുเดกിเตฝ เดคാเดฐം เด เดญിเดจเดฏിเด്เดു. เดคുเดเตผเดจ്เดจ് 2013 เตฝ เดാเด്เด്เดชോเด്เด്, 2014 เตฝ เดฑാเดിเดฃി เดം เดം เดเดธ് 2, 2015 เตฝ เดเด് เดชെเดนเดฒി เดฒീเดฒ เดเดจ്เดจി เดിเดค്เดฐเด്เดเดณിเดฒും เดธเดฃ്เดฃി เดฒിเดฏോเตบ เด เดญിเดจเดฏിเด്เดിเด്เดുเดฃ്เด്. เดൂเดാเดคെ เดฎเดฒเดฏാเดณ เดธിเดจിเดฎเดฏാเดฏ เดฎเดฎ്เดฎൂเด്เดി เดจാเดฏเดเดจാเดฏി เด เดญിเดจเดฏിเด്เด เดฎเดงുเดฐเดฐാเด เดเดจ്เดจ เดിเดค്เดฐเดค്เดคിเตฝ เดฎോเดนเดฎുเดจ്เดคിเดฐി เดเดจ്เดจ เดാเดจเดค്เดคോเดൊเดช്เดชം เดฎเดฎ്เดฎൂเด്เดിเดฏ്เด്เดൊเดช്เดชം เดുเดตเดുเดเตพ เดตെเด്เดുเดൊเดฃ്เด് เดธเดฃ്เดฃി เดฒിเดฏോเตบ เด เดญിเดจเดฏിเด്เดിเดฐുเดจ്เดจു.
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