非你莫属

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    　　前 NBA 球员迈克尔-比斯利做客节目，回顾自己早年在迈阿密热火的打球经历，聊到了热火独特的球队文化。    Ahead of director Priyadarshan nearing the remarkable milestone of 100 films, Filmfare's Editor-in-Chief Jitesh Pillaai reflects on the filmmaker’s unmatched legacy, especially in Malayalam cinema and why the maestro deserves to be celebrated much more.          In his words:     Kilometers of Laughter: A Journey Through Priyan’s World     He is on his century—that is 100 films old. I think he is currently batting on 99. Inching close to seventy years of age, Director Priyadarshan has celebrated enough. He should be toasted for his style and his Malayalam body of work. Cine goers of a certain vintage remember him for his sharp comedies, including his debut Poochakkoru Mookkuthi. He paid tribute to Sai Paranjpye with Odaruthammava Aalariyam (inspired by Chashme Buddoor) and Mukunthetta Sumitra Vilikkunnu. He rehashed several Malayalam films like Ramji Rao Speaking, Kireedam, and Punjabi House to give us a slew of Hindi bonanzas like Hungama, Hulchul, Gardish, and of course, the rib-tickling Hera Pheri.                    Priyadarshan brought spit and polish to Malayalam movies with technical marvels like Kaalapani and Kanchivaram. The team of Mohanlal and Priyadarshan gave us a slew of classics: Kinnararam, Kilukkam, Thenmavin Kombath, Chandralekha, and Mithunam. Films like Mazha Peyyunnu Maddalam Kottunnu, Kilukkam, and Thenmavin Kombath reach "iconic" status with every passing year.     What makes the familiar and time-tested Priyadarshan tropes so warm and all-embracing? He gave comedy a mad, zany world appeal. He humanised comedians and gave them an afterlife. Whether it was Vellanakalude Nadu or Adwaitham, Priyadarshan showed us life’s foibles; he showed us how a unique strength lies within our dysfunctional families and their frailties. With a master craftsman like Mohanlal helming his ventures, you could not go wrong.          You may recall the Priyadarshan of Bhool Bhulaiyaa and Bhagam Bhag, but he is more than all of that. He redefined comedy and rewrote the rules of drama. He mocked filmmakers ever so gently and turned the rules of filmmaking topsy-turvy. Watch that one scene in Boeing Boeing where a three-timing Mohanlal is trying to hide his three girlfriends in different rooms; it is a hoot. That scene was later re-enacted in Garam Masala by John Abraham and Akshay Kumar.          To reduce Priyadarshan’s oeuvre to just comedy is to diminish his legacy. One of my favourite films of his, Dheem Tharikida Thom, about a run-down drama troupe, is a classic. As are Punnaram Cholli Cholli and Thalavattam. Like all great filmmakers, Priyadarshan harnessed the best out of Santosh Sivan, Sabu Cyril, and S. Kumar, alongside his band of wonderful ensemble actors: Nedumudi Venu, KPAC Lalitha, Innocent, Oduvil Unnikrishnan, and Mamukkoya. You have to watch Mithunam to realise his legerdemain and absolute control of his craft.          It would be a pity if Priyadarshan is cited only for his Bollywood outpourings. What he gave to Malayalam cinema was clout, longevity, charisma, and unabashed storytelling. I have lost count of the times I have watched Kilukkam, Vandanam, Mazha Peyyunnu Maddalam Kottunnu, and Poochakkoru Mookkuthi. He makes the absurd believable and the impossible look real.          Priyadarshan is a part of our Malayalam movie memories and our rites of passage. If we cut our milk teeth on Poochakkoru Mookkuthi, we came of age with Vandanam and Kaalapani. I assure you, well into our dotage, we will still be chuckling at the "kilometers and kilometers" joke from Mazha Peyyunnu Maddalam Kottunnu. Like Priyadarshan and his movies, we grew up at the turnstiles. His music and his shot-taking changed the lexicon of how Malayalam film songs are picturized. We still sway to Doore Kizhakudikkum, Ambalappuzhe, and Ende Manassil Oru Naanam.          Priyadarshan is not celebrated enough, which is a pity because it means we do not celebrate our wonder years enough. You may go and enjoy Bhooth Bangla in theatres soon, while I will yet again rewind to the mad world of Vandanam and Boeing Boeing. Priyadarshan’s gift to the movies is that he made us all believe in magic and the fanciful, and he never let us grow up.     Also Read: Bhooth Bangla: Priyadarshan Openly Discusses The Age-gap Between Akshay Kumar and Wamiqa Gabbi。

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    　　比斯利坦言，放到现在，自己完全能够认同并且践行帕特-莱利的管理理念与热火的团队文化，但当年自己仅仅只有 19 岁，心智还未成熟，完全理解不了这一套标准。他表示，那时候韦德无比迫切想要再度拿下总冠军，如今自己能够体会这份求胜欲，可年少的自己并不能感同身受。
    
    　　比斯利还补充，彼时韦德刚刚和奥尼尔分开，虽然没有不尊重哈斯勒姆的意思，但后者并不具备场均 20 分的得分输出。热火当时希望自己能够打出卡洛斯・布泽尔那样的赛场效果，但他自认本身并不是这一类型的球员。