Gamvir Bista and
cinematographed by Purushottam Pradhan (firstname.lastname@example.org). Banish Shah is on editorial, and story, screenplay & dialouges were prepared by Dinesh DC. The make up was done by Ashok Rokka with background score of Digital Intermediate and VFX by Achyut Gajurel. The chief assistant director is Himal Upreti with art direction of Nirzal Shrestha including the art work done by Uddhav Raj “Junge” Bhattarai.
And here are some more info about the movie – Maya’s bar below:
1. Hair Designer: Gita Pande,
2. Production Controller: Shankar Pande,
3. First Asst. Director: Taranath Neupane,
4. Asst. Action: Shankar Maharjan,
5. Asst. Make Up: Suresh Asim,
6.Asst. Production Controller: Krishna Dhungana,
7. Supervisor: Purushottam Shrestha,
8. Post Production: Cine Zone,
9. Playback Singers: Rajesh Payal Rai, Aastha Raut, Remanti Rai, Durga Pariyar and Dinesh DC;
10. Music Arranger: Maharaj Thapa,
11. Artists: Nisha Adhikari, Karishma Manandhar, Baaldip Rai, Naagendra Rijal, Sundar Shrestha, Saroj KC, Raj Kumar Thapa, Dipak Adhikary, Surya Thokar, Dipeshwor Gautam, Rirendra Shrestha and Rajesh Hamal;
12. Introducing: Gajit Bista,
13. Child Artist: Rirendra Shrestha (WORLD’S YOUNGEST PHOTOGRAPHER/ GUINESS BOOK RECORD HOLDER).
14. Others: Mohan Niraula, Dhiren Shakya, Raj Bhai Suwal, Raju Thapa, RP Bhattarai, NB Maharjan, Pradip Niraula and Samana Sitaula.
Now lets have a review of Maya’s Bar – when all this go wrong.
A Nepali feature film of a “commercial nature”, said to have been made for “both city and rural audiences”, Maya’s Bar is a pathetic attempt at trying to draw Kathmandu audiences to what seems to be the new trend in Kollywood: selling lewd content as a step toward modernity. Directed by Dinesh DC, who makes pseudo-heroic appearance towards the end of the movie as a “sniper trained in America” (of all places!), the film is a pitifully unimpressive attempt at trying to combine fist fights, bar dances, alcohol and –from all I could decipher –the ‘moral corruption of city dwellers’ into a drama that is supposed to captivate audiences and keep them riveted. Starring Rajesh Hamal, Karishma Manandhar, Gajit Bista, Nisha Adhikari and Saroj KC, the film is pretty much a waste of the ten million rupees producer Sunil Manandhar purportedly spent on it. The cinematography, by Purushottan Pradhan, is mind bogglingly confusing. Scenes of rock face and barren hills that look like they belong in the vicinity of Chobar
(but heaven knows what hills they actually are) are made to swerve and change shots to such an extent that they end up creating a dizzying effect. Familiar streets around Babarmahal,
Basantapur and Durbarmarg are presented in such badly shot frames that one can barely recoganise them anymore. The fights, directed by NB Maharjan, are a farce, and most of the scences want to make you roll out an the floor and laugh (unintended hilarity, of course). The film is an attempt, as messily executed as it may be, to present to Nepali audiences action, drama, murder, shock, surprise and sex (how could it not be) in one single go. The sexual innuendos themselves are disgustingly presented, and there is nothing going on on screen to keep your mind occupied for more than a second. Certainly no one expected Maya’s Bar to be the Nepali version of Moulin Rouge, but many might have expected it to entertain. In reality, however, it is a flashily (albeit unappealingly) decked out, and many more expensive (very pointlessly so) version of thoughtless, pointless and distasteful cinema that in no way adds to the country’s film industry crddentials. Thanks for viewing this post article about Maya’s Bar and keep in touch with your very own dear Rabins.