C Kkompany (alternatively C Company) is a 2008 Indian Hindi-language comedy film directed by debutant Sachin Yardi,[1] and produced by Ekta Kapoor and Shobha Kapoor. The film stars Tusshar Kapoor, Rajpal Yadav, Raima Sen and Anupam Kher. It released on 29 August 2008 to negative reviews from critics, and was a failure at the box office.[2][3][4][5]
Sachin Yardi, who previously worked as a screenwriter for films such as Kyaa Kool Hai Hum (2005) and Traffic Signal (2007), got an idea for a story which dealt with ordinary men placed in extraordinary situations. He worked on the script for six months and invested much time on the character sketches.[6] Speaking about his directorial debut, Yardi felt direction to be a satisfying experience and helped him have control over his script.[7] After filming, he felt that the film was executed in the way he wanted it and was quite confident about the way it shaped up.[6]
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Until this film, Raima Sen appeared in supporting roles in several films such as Chokher Bali (2003), Parineeta (2005), and Honeymoon Travels Pvt. Ltd. (2007). This was the first time in her commercial movie career that she portrayed a lead character's role. Quite unlike her real life love for food, Sen portrays a role of a dietitian.[8] Tusshar Kapoor, the sibling brother of producer Ekta Kapoor, loved to work in the film due to his sister's conviction to the film.[9]
Gaumont predominantly produces, co-produces, and distributes films, and in 2011, 95% of Gaumont's consolidated revenues came from the film division.[7] The company is increasingly becoming a TV series producer with its American subsidiary Gaumont International Television as well as its existing French production features.
Originally dealing in photographic apparatus, the company began producing short films in 1897 to promote its make of camera-projector. Lon Gaumont's secretary Alice Guy-Blach became the motion picture industry's first female director, and she went on to become the Head of Production of the Gaumont film studio from 1897 to 1907.[9] From 1905 to 1914, its Cit Elg studios (from the normal French pronunciation of the founder's initials L-G) at La Villette, France, were the largest in the world. Gaumont began producing full-length feature films in 1908.
The company manufactured its own equipment and mass-produced films until 1907, when Louis Feuillade became the artistic director of Gaumont. When World War I broke out, he was replaced by Lonce Perret, who continued his career in the United States a few years later.[citation needed] In 1909 the company participated in the Paris Film Congress, a failed attempt by European producers to create a cartel similar to that of the MPPC in the United States.
Gaumont opened foreign offices and acquired the theatre chain Gaumont British, which later notably produced several films directed by Alfred Hitchcock such as The 39 Steps (1935) and The Lady Vanishes (1938). Along with its competitor Path Frres, Gaumont dominated the motion picture industry in Europe until the outbreak of World War I in 1914.
Following World War I, Gaumont suffered economic losses owing to increased competition from American Hollywood productions. In 1925, the studio's output decreased to only three films. In addition, Gaumont was unable to keep pace with the cost of technological changes (e.g., the advent of sound movies). Struck by mounting debts in the early 1930s and the effects of the Great Depression, Gaumont declared bankruptcy in 1935. In 1937, the studio ceased production and operated only as a theater and distribution company. The company was purchased by the French corporation Havas in 1938, was renamed Socit Nouvelle des Etablissements Gaumont, and reopened its film production studio.[10]
During the later years of World War II, Gaumont was affected by the financial ruin of France's economy as well as the physical destruction of its facilities. The company ceased production until 1947. However, the global interest in French New Wave films in the 1950s, as well as the permissiveness within French films (e.g., nudity), allowed French productions to successfully compete against an American cinema that was still burdened by conservative moral codes. The period was to see the return to prominence of Gaumont Studios.[10]
From early 2004 to 2007, the company had a partnership with Sony for producing films and for theater and DVD distribution worldwide. And for many years, Gaumont's home video division was a joint venture with Sony Pictures. Currently, Gaumont distributes its films through Paramount Home Media Distribution on video in France.
On 2 May 2016 according to Deadline Hollywood, Gaumont teamed up with Lionsgate and seven other international companies to launch the Globalgate Entertainment consortium. Globalgate will produce and distribute local-language films in markets around the world. Lionsgate said Monday it had partnered with international entertainment executives Paul Presburger, William Pfeiffer and Clifford Werber to launch Globalgate.[22] Three years later, Gaumont was replaced by TF1 Studio as Globalgate's new French member.[23]
In January 2018, it was announced that the company's first office, in Cologne, is scheduled for opening in July 2018. The office is set to focus on development and production of premiere drama programming, according to film producer and new manager Sabine de Mardt.[25]
Gaumont currently[as of?] has 938 films in its catalogue, most of which are in French; there are, however, some exceptions, such as Luc Besson's The Fifth Element (1997). Among the most notable films produced by Gaumont are the serials Judex (1916) and Fantmas (1913); the comic Onsime series, starring Ernest Bourbon; and the comic Bb series, starring five-year-old Ren Dary. The two biggest films that Gaumont owns the rights of are Jean-Marie Poir's Les Visiteurs, with a box-office of $98 million, and the 2011 blockbuster Intouchables by Olivier Nakache and ric Toledano, with a box office of $427 million.[20]
She said she was certain she had seen a similar image of the characters in the George P. Johnson Negro Film Collection at UCLA, but she ran into dead ends when she contacted the archive about the provenance of the film at the height of the pandemic.
Diamond Film Company operated entirely in New Orleans from 1918 to 1920. Located on Bayou Saint John, the complex was equipped for a range of production activities, including carpentry shops for set design and scenery, makeup and costume rooms, lighting equipment storage, rehearsal space, machine repair shops, and even a large filming studio covered in glass to let light in. Many film reels and several feature films were produced entirely at the complex. Present day 1347 Moss Street served as Diamond's general offices.
All of the films made by Diamond Film Company had plots that pertained to New Orleans and highlighted its unique culture and society and historical relevance. The company aimed to celebrate the city of New Orleans with its inhabitants by taking authentic shots of the city and sharing this uniqueness with national audiences.
Despite its arrangement with the Motion Picture Patents Company, however, Edison films could not keep pace with the quality of competitors' films in terms of the advances made in narration. As a result Porter was taken away from his position of cameraman and made studio head, and later a consultant. Growing increasingly dissatisfied with his role, he was eventually let go from the company in November 1909. Few Edison films from this period survive today.
The Edison Company tried to improve its image through several initiatives. Imitating its competitors, Edison developed a stock company of actors in 1910. The company also tried to cultivate an image of respectability by making films for public service organizations like the American Red Cross or the New York Milk Committee. Famous literary works or historical events became the inspiration for film plots.
At this time, the Edison Company also attempted to improve its operations and products. In 1911, Thomas Edison again reorganized his businesses, combining various ventures, including the motion picture interests, into Thomas A. Edison, Inc. The same year also brought the first Edison multireel films (all previous Edison films had not been longer than 1,000 feet or 18 minutes in duration). The Home Projecting Kinetoscope was also launched in late 1911, using 21mm film. The following year saw its first serial film, What Happened to Jane.
But from 1912 onwards Edison's company was in sharp decline. It could not stay on the cutting edge of film production, and did not keep pace with competitors' innovations in film narration, partly because film production was not the main focus of Edison's industrial empire. An antimonopoly ruling delivered against the Trust in October 1915 was another blow to Edison's film business.
Edison continued to introduce new products in an effort to improve the situation. The Kinetophone, which was designed to merge the motion picture camera with the phonograph, was introduced in 1913. While this Kinetophone was an improvement on the earlier model, it ultimately proved unsuccessful due to the difficulty of achieving synchronization and to the lackluster reception of the film subjects by viewers. Falling sales for motion picture projectors by 1915 led to the end of the manufacture of Edison motion picture equipment, in spite of the introduction of a Super-Kinetoscope.
By 1915, Edison began using outside distributors for features, including Paramount and George Kleine, but the coming of World War I meant the loss of European markets. Efforts to diminish expenditures at the Edison Company were unsuccessful. Attempts to provide more wholesome films through a series known as the "Conquest Pictures" (Gold and Diamond Mines of South Africa) failed to rescue the company's flagging financial situation. On March 30, 1918, Thomas A. Edison, Inc., sold the studio and plant to the Lincoln & Parker Film Company, thus ending Thomas Edison's involvement in film production. be457b7860
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