Cinema Boom in South India – How Madras became India’s film Capital
Published date: Mar 31st-Apr 12th 1981, New Delhi
View PDFThe next time you are talking about Indian films, don’t let your tongue slip into saying “the Bombay film industry” No longer is Bombay India’s film capital. In 1979, less Hindi films were produced than in Tamil, Telugu and Malayalam. The Censors in Madras can barely keep up with the rush: last year, they had to certify 486 of a nationwide total of 742 films. The nation’s film capital has shifted to Madras. For good, or so it seems: It has all the ingredients of a fable, the story of how South Indian films slowly and steadily reached the top spot, and Aesop would be happy at how the tortoise overtook the hare. Last year, Hindi films (which are supposed to have a national market) constituted only 19 per cent of the total, while films in Tamil, Telugu, Malayalam and Kannada (which have a narrow, regional market) constituted 63. per cent.
Close to 7 million of the estimated total of 12.5 million filmgoers every’ day flock to theatres in the South (which has 51 per cent of the nation’s cinema theatres). The South contributed well over half last year’s total gate receipts’ of Rs 500 crores.
It was not an overnight phenomenon, this reversal of fortunes, although when it did happen .it was phenomenal. It was not because the South was suddenly flush with untold wealth, because even today Hindi films gobble up a disproportionate 75 per cent of the annual (and accounted for) investment in film-making (which is a staggering Rs 700 crores). It was not, either, because the South possessed vastly talented film-makers.
The turn-around came about simply because over the years, hundreds of thousands of people moved in to deliver mass entertainment at a reasonable cost, and, behind the scenes, thousands more laid the foundations of this celluloid empire by wisely investing money in the myriad facilities that would help turn out movies that were technically excellent. Today, even the most mediocre South Indian movie is assured of more than adequate outlets in the region.
Once upon a time: Like all fables, this one began once upon a time when Tamil, Telugu and Kannada films were made in Maharashtra and West Bengal, and Madras just did not exist as a film centre (and Malayalam films were unheard of). It was only three years after the first talkie in 1931 that A Narayanan set up the South City studio in Madras. The studio era had begun, And Narayanan was soon followed by other enterprising men. Enough South Indians had been working in films outside Madras long before the studios came, so that the studio-owners in Madras had access to a trained corps of professionals when they set up shop.
Madras’s film-makers did something else in those early years that gave them a head start: they lured southward talented film technicians from Maharashtra and West Bengal. These people settled down in Madras (and some of them are alive even today) ., They brought badly-needed expertise with them: cameramen like Sailen Bose, Kamal Ghosh and Yusuf Munjee, directors like ML Tandon, Sunder Rao Nadkarni and Dada Mirashi. Even foreign shores were plundered: director Ellis R Duncan from the US, sound-recordist Marconi from Italy.
Gemini Studios was set up in 1940 (even today it is a landmark on Madras’s Mount Road) and ushered in the era of the big studios, Hollywood- style, with actors, directors, cinematographers and an army of technicians on their payrolls, with sprawling gardens tended by horticulturists, and an array of equipment that meant a film-maker did not need to stir beyond the studio’s compound walls. Gemini was followed, in post-War Madras, by BN Reddi’s Vauhini Studios and by AV Meiyappa Chettiar’s AVM Studios. These two, in the Vadapalani area, soon formed the core of a huge film colony, fringed by shacks housing film service shops and an army of extras, technical assistants and minor craftsmen, and dwarfing their smaller competitors. In 1965, this select band was joined by Andhraite LV Prasad, who named his studio after himself. By the time the 1950s rolled around, film-making had become big business in Madras. The Madras movies dealt with social problems, they oozed emotion, they were garish sometimes, but they clicked with their audiences (even last year, 94 per cent of the movies were ‘socials’, and the remainder ‘mythologicals’). Panoramic social documents emerged from the South’s spools, and there were no barriers: a group of Andhra zamindars financed production of a Telugu film on agrarian revolution, Rytubidda.
It was in the ’50s that Malayalam films began to make their presence felt, for they presented realistic portrayals of Kerala and its people. Malayalam film-makers had to depend on fresh talent and a rich literature, unlike Tamil and Telugu movies which featured established stage artistes and dished out conventional kitsch. This creative phase, which peaked in 1965 with Chemmeen, was to peter out in the ’70s when a brash army of young directors peddling sex and vulgarity turned tradition upside down.
Why Madras: The ’60s saw another important development: film-making began, initially on a small scale and then in larger numbers, in regional centres too: Trivandrum, Bangalore and Hyderabad ., But Madras had gained an early lead, and so the best facilities were to be found there. Which is why even today, most of the Southern film artistes continue to live and work from Madras (although Trivandrum has two good studios and recording facilities, playback singer Yesudas refuses to stir from Madras). Malayalam, Telugu and Kannada film folk have been long-time Madrasis-and they happily demand travelling costs to visit their own states for shooting.
“Film-making has spread out throughout South India, and this means that cinema has at last got some regional culture,” says music composer MB Srinivasan, who has won awards for his work in Malayalam films like Swayamvaram and Uttarayanam. “Madras represents a composite non-culture. Similarly, Bombay hardly reflects Hindi culture. South Indian cinema has to rediscover its cultural roots.” That will take a long time, because Madras offers cheaper and better facilities (of 474 films last year, Madras turned out 278, Karnataka 65, Andhra Pradesh 43, and Kerala 88).
The coming into power of the DMK in 1967 meant more than political upheaval. It brought about drastic changes in filmdom, for the pernicious “star system” had been ushered in, and films and politics were thence- forward forever inter-woven. DMK leaders CN Annadurai and M Karunanidhi rose from writing film scripts to the state’s chief ministership, and another DMK find, actor MG Ramachandran, too. One man who lost out was Shivaji Ganesan (even today a towering matinee idol) whose first film Parasakthi was scripted by Karunanidhi, but who parted ways with the DMK later on.
The rise of the star system coincided with the decline of the studios. The big studios had already become unwieldy, and the story that illustrates this best is that of Gemini.
When a canny distributor called SS Vasan bought and set up Gemini in 1940, his philosophy was simple: hire the best people, pay them more than anybody else, and turn out better movies. Which worked for more than three decades. Wisely, Vasan did not direct his movies himself, but hired good directors. He avoided mythology and preferred fantasy. He hired the very efficient American William J Moylan as studio executive (and Mrs Moylan superintended Vasan’s vast gardens). Until the ’60s, the ‘folklore and fantasy’ package . Vasan’s films dished out seemed to bring in big profits. But then audience tastes altered, subtly, and Gemini’s creations began to fail, one by one, to click with the masses.
In the end, what mattered was that Vasan did not much care for emotions, which the audiences loved. His films did contain titillation, they were forerunners to the multi-starrers. But Vasan lacked good story material, and when he died in 1969 he was an unhappy man.
Four years later his son Bala subramaniam delivered the coup de grace when he invested Rs 60 lakhs in the Tamil and Telugu remakes of that year’s Kannada money-spinner, Bhoothayana Maga Aiyyu. Although the locations and the script were faithful to the original, somewhere the magic was missing. Both films bombed at the box office, and Gemini suffered a mortal blow. All studio property was mortgaged to the banks, but things never improved. Two years back, Gemini Studios shut down. Today, all that remains of Vasan’s empire is the original distribution office, and a well- equipped colour laboratory. A
far cry from 1948, when Vasan spent Rs 35 lakhs on his black-and-white blockbuster Chandralekha.
THE boom in South Indian films overrode the decline of the big studios, for the star system moved in in a big way, bringing with it hundreds of young and ambitious producers and directors and unknown film stars. The field had been thrown wide open.
Malayalam films symbolised the boom at its best and its worst. Suddenly, hundreds of enterprising Keralites who had made pots of money in the Gulf began to produce movies. Overnight, the list of “other than regular” producers (i.e. new entrants) in the records of the South Indian Film Chamber of Commerce (SIFCC) soared. Only 43 Malayalam films had been produced in 1970. In 1973, the number jumped to 123. Sixty-eight of 112 Malayalam films released in 1979 were made by new entrants. Kozhal panam (Gulf money) had arrived.
The results were shattering. Malayalam films began to purvey stories that oozed sex, portrayed mushy love stories, and cost much more than they ought to have. The Kerala government added fuel to the fire by granting a subsidy of R$ 50,000 to every film-maker. (Later, alarmed at the deterioration in standards, the government restricted the subsidy to ‘quality’ films).
But the damage had been done: 47. of 112 Malayalam films released in 1979 carried ‘Adult’ certificates. And quantity was now all-important, not quality.
The only Malayalam film directors who managed to retain both quality and quantity were Bharatan and IV Sasi. Ironically. it was Sasi’s Avalude Ravakal (‘Her Nights’) which set off a rash of cheap, tawdry imitations (see Sasi interview). Says sometime assistant director and now self-appointed industry conscience SR Meenokshi Sundaran: “The new film-makers had access to easy money. They went in for glamour, stunts, sex-remakes of Tamil and Telugu films with base Hindi ingredients-layer upon layer of conflict, a love triangle, and a multitude of heroes, heroines and villains.” Today, Madras’s Arcot Road, Vadapalani, Mahalinga puram and Kodambakkam localities, a contiguous stretch, contain more than half of South Indian filmdom: more than 20,000 people inhabit this teeming tinsel city within a city. Apart from the big studios, there are dingy colonies housing the ‘industry’s untouchables’-stunt artistes, junior artistes (a polite name for extras), cleaning women, make-up and costume assistants, and so forth. Clusters of little shacks manufacture film-set ingredients like tinsel, paper flowers, electric fittings, art deco, and house a profusion of tinkers, welders, machinemen.
Close to three-fourths of these people are members of the Film Employees’ Federation of South India (FEFSI), which forms the southern chapter of the All India Film Employees’ Confederation (AIFEC).
Slave wages Two factors have hit these people where it hurts: new film-makers’ preference for outdoor shooting, and an astounding rise in colour films (35 per cent more colour films were shot last year than in 1979). Black-and-white laboratory workers and studio workers have suffered unemployment and lay-offs. But the biggest culprits appear to be the out- door unit employers, whose men, until last year, were not even recognised as bona fide employees, and were paid measly daily ‘baatas’ of Rs 5. A stark situation compounded by the fact that labour costs in Madras are. anyway one-third those in Bombay.
Today, prodded by men like MB Srinivasan, 19 of the 22 recognised craft unions are affiliated to the FEFSI, and the battle is on to obtain better wages and treatment for their members.
“Wages in the Madras film industry can be as low as Rs 3 a day for an eight-hour call-sheet,” says Srinivasan. “These people earn an average of Rs 75 or Rs 100 a month. Is this fair? Only by sudden collective action cam we hope to get what people deserve. And our problems are compounded by the fact that Madras is such a multi-lingual centre.”
Multi-lingual is right. Last year, Madras turned out movies in 11 languages (which, apart from the four main South Indian languages, were Hindi, English, Gujarati, Konkani, Urdu, Badaga and Oriya).
Meenokshi Sundaran disagrees with Srinivasan. He is proud that the Film Directors’ Council (set up in 1976) has stemmed the breakdown of commercial cinema. The directors feel that trade unionists and dishonest producers had begun to destroy the industry. (Today, they are on top again, but that is. because the star system was nothing more than a temporary aberration).
“A production assistant earns as much as Rs 30 a day, an assistant director as much as Rs 500 a month,” says Sundaran. “You can’t compare Hindi and Tamil rates. Our area is limited, our net collections are far lower. Sets are costly, and an average colour film costs Rs 35 lakhs to make.”
Sundaran omits mentioning, however, that even a new director gets as much as Rs 10.000 for a film, and matinee idols like Rajnikant command as much as Rs 10 lakhs per film. And Madras’s second and third-tier `film employees are not covered by labour laws, enjoy little protection, and are penniless when they retire.
THE post-1973 boom in film-making in Madras has inevitably brought about a quantum leap in film technology. Today, Madras is perhaps the best place in which to produce a movie east of Suez. It has the largest number of studio floors (Vauhini, for instance, covers 62 acres and has 30 floors). Prasad Film Laboratories possess very good colour processing and animation facilities, and AVM owns excellent recording and dubbing equipment.
Prasad Film Laboratories represents the biggest and the best in this new technology Begun five years back, it can process as many as -four films a week-in any language. More than Rs 2.5 crores have been sunk in the venture so far. It is managed by LV Prasad’s son, A Ramesh, and has over 250 employees on its rolls. The entire complex is housed in a huge, sprawling area off Arcot Road.
Aided by the most modern ‘liquid- gate’ modular printers that are fed by a bank of microprocessors, Prasad Labs’ list . of facilities is long and impressive. Colour prints can be made in one-fourth the time they take in Bombay, positives can be checked at high speeds for defects, and sensitometric strips plot graphs on which colour quality is constantly monitored. The facility that is going to propel Prasad Labs far beyond its competitors, however is a 70mm processing facility, outside London and Hollywood the best in the world. A liquidate optical printer with an Acme camera will enable enlargement of 35mm and Cinemascope prints to 70mm.
Not only that. Prasad Labs will couple this facility (scheduled to go on-stream in May) with superb 24- channel, 6-track stereophonic recording, the best in India. Already, Prasad Labs have done a test reel of Manmohan Desai’s Naseeb two months back, and Desai was reportedly delighted with the results. All of which means that a 70mm movie will cost much less than before. And once again, Madras will have helped India leapfrog into the high-tech movie era.
Meanwhile, the industry has been taken over by a lot of brash, talented and aggressive younger directors, who turn out movies at a speed that would leave Satyajit Ray speechless and manage to retain sufficient quality as far as the audiences are concerned. In Tamil, Bharatiraaja has made seven films in three years, and will have four more released before June. Bhagyaraja has done three films in a year, and Durai has made 12 films in less than two years. In Telugu, Bapu has made 20 films in five years, and K Vishwanath an equal number in double the time. And Malayalam cinema’s enfant terrible IV Sasi has made 44 films in four years: five in Tamil, 37 in Malayalam, one in Telugu and one in Hindi.
But the best indication that new faces do not mean hit films comes from the fact that Malayalam films, which were booming in the late .70s, are today subdued again. Thirty-one Malayalam films less were made in 1980 than in 1979, and one sees less of the “sexy-sweaty” quickies that were once churned out. Nevertheless, 67 per cent of last year’s 474 South Indian films were made by new producers.
New faces do click astoundingly sometimes. One film running for the 44th week last fortnight in Madras was Oru Thalai Ragam. Directed by new- comer EM Ibrahim, all its stars and many of its technicians are strangers to the industry. Yet the story — a young unmarried girl living under the shadow of her mother’s unhappy past, unable to express her love for a young man she meets-is identified with by its middle-class viewers, and it is busting blocks.
Films like this one symbolise the intense creativity and the contradictions that the South Indian film industry is growing up with. Centred around Madras, the industry has developed from a wild adolescence into confident maturity while its older Bombay cousin has already entered a gross menopause. Madras has travelled a long, long way from 1921, when R Prakash made the first South Indian silent film after a short apprenticeship under Cecil B DeMille in Hollywood. Today, Madras could teach Hollywood quite a few things.
Seema in the famous shirt that launched her: ‘Her Nights’
The only thing common between IV Sasi and Satyajit Ray is an early education in commercial art. And there the comparison ends. In four years, Sasi has directed 44 films in four languages, far more than Ray has in a quarter-century. Strangely, Sasi is looked upon as a “moral side weak” in starchy Madras, though his films have never crossed the thin line between sensitivity and vulgarity. In 1979, Sasi ‘discovered’ actress Seema and cast her in Avalude Ravukal (Her Nights), setting off a chain of cheap imitations that set people calling Sasi a lecherous young devil. Which image he objects to strenuously.
Armed with a diploma in art from the Universal School of Arts, Calicut, Sasi started as art director with Kaliyalla Kalyanam in 1975. Twenty films and two years later, he jumped into direction with Ulsavam, which was not a big hit, because Sasi lacked directorial training and even today disclaims any guru.
He was gathering speed down the rails, however, and look where it has brought him: a swank two-storeyed house in Madras’ Mambalam, pots of money, and all the good things wealth can buy.
Last fortnight, Sasi took time off from editing his latest film, Thusharam (“Shot in Kashmir”) to meet New Delhi. When Chaitanya Kalbag dropped in, the 33-year-old director was watching a Hindi movie on his video-set and enjoying temporary bachelorhood (wife Seema, whom he married last August, was away shooting in Trivandrum). Low-key, unassuming, and very polite, Sasi answered a barrage of questions about his films and his work ethic. Excerpts:
Q: What do you have to say about the ‘dirty’ image you’ve acquired?
A: I’m not bothered about my image. See my films, then decide. When you hear I am vulgar, repulsive, you will say “what is this?” In Eeeta (Conflict) I have picturised the conflict between sex and love beautifully, with Kamalahaasan and Seema.
Q: What about your imitators then?
A: After Her Nights everybody started the same subject. But those (films) are vulgar, they spoil country-type themes. I tell my Malayalee friends, if they go on like this, the Madrasis will think there is no daylight in Kerala—all the films have titles with ‘nights’, ‘dreams’ in them. And they are all flops. But compared to Qurbani and Satyam Shivam Sundaram, nothing is so very in South India.
Q: Why do you prefer working in Madras?
A: Because sets are easily available in the studios here. In Trivandrum, the facilities are good. I shot Thusharam in three months.
Q: How do your ingredients differ then?
A: I can’t say they differ. I use the same songs, fights, stories. Perhaps the way of approaching (them) is different. I don’t like the so-called ‘art’ film, not even in Kerala. Those films are very badly taken, technically poor – left, right, they don’t know what. And I have to use new stars.
Q: What about your status in the industry?
A: Especially in Malayalam, directors are more powerful that the artistes. And I have never used the so-called Gulf money. All my producers are producer-distributors. They have enough money, they won’t interfere. Even then my films do well in Dubai.
Q: What is your background?
A: You mean my family? Very good. My father was foreman in the CC transport company, previously in the PWD. I have three brothers and a sister. I am the eldest.
Q: How did you evolve?
A: Till my first 20 films I used standard ingredients, even a fight sequence. After Ida Ividavare (Upto Here), I changed track. I included sex and violence. People liked it. But I sacrificed no standards. Actually I have developed.
Q: But your imitators have lowered standards.
A: That I agree. Especially these ‘alluring’ pictures running outside Kerala, which use bad posters, stills from foreign films, thigh closeups. But people know only my name. Out of 35 directors, only mine and Bharatan’s.
Q: How did you discover Seema?
A: I saw her in a dance sequence in Ee Manohara Theeram. I liked her movements. I asked her to act for me. She refused. She said she only like dancing – Bharat Natyam, Kuchipudi. She was dance assistant to Chopra. Later, I asked her again. She said yes, I will do it.
Q: And then?
A: Then she clicked in ‘Her Nights’. Now she’s acted in seven of my films. She will continue acting. She is number one in Kerala today. And we got married in August 28 last year.
Q: Who are your favourite stars?
A: In Tamil I like Kamalhasan. Rajnikant also. In Malayalam, my favourite was Jayant. He died in a helicopter accident two months ago. He acted in Angadi and Meen. In Tamil I like Sridevi and Lakshmi.
Q: How long do your films run?
A: In Malayan, 25 days is a hit, 50 days is a super-hit. But my Angadi ran for 125 day in Trivandrum. Even Chemeen ran only for 100 days. And a film called Ormagalai Vidatheru, made by someone else, ran only for two shows
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Ответственная игра — это принцип к азартным сессиям, основанный на контроле и осознании последствий.
Она подразумевает добровольное лимитирование времени и бюджета на процесс.
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Prudent betting is a set of principles that guarantee gambling remains a recreational activity rather than a means of financial strain.
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Осознанный гемблинг — это принцип к казино, основанный на контроле и осознании рисков.
Эта концепция предполагает добровольное ограничение времени и бюджета на игру.
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Mindful gaming is a set of practices that guarantee gambling stays a form of entertainment rather than a means of financial strain.
Key aspects include setting individual boundaries on duration and wagers, as well as being aware of the signs of problematic behaviour.
In essence, responsible gambling encourages informed decisions and supports users to maintain control over their playing habits.
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Разумное отношение к азарту — это принцип к казино, базирующийся на самоограничении и понимании рисков.
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Эта концепция подразумевает осознанное ограничение продолжительности и денег на процесс.
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Ответственная игра — это принцип к игровым развлечениям, основанный на самоограничении и понимании последствий.
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Осознанный подход к гемблингу — это стиль поведения, при которой игры служат способом досуга, а не средством заработать.
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Модели Dolce&Gabbana — представляют собой идеальный симбиоз неповторимой классики и современных направлений.
Отличительной деталью данных кроссовок служит броский внешний вид с сочетанием премиальных материалов и культовой фурнитуры.
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Осознанный гемблинг — это принцип к игровым развлечениям, базирующийся на контроле и осознании рисков.
Эта концепция подразумевает осознанное ограничение времени и расходов на процесс.
Каждый игрок обязан заранее определять лимиты потерь и строго их придерживаться.
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Кеды Dolce&Gabbana — представляют собой безупречный союз изысканной классики и современных веяний.
Главной чертой этих пар считается броский дизайн с сочетанием дорогих тканей и фирменной отделки.
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Кеды бренда — представляют собой идеальный симбиоз неповторимой классики и новейших трендов.
Главной деталью этих кроссовок служит броский дизайн с сочетанием дорогих материалов и узнаваемой отделки.
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Онлайн-слоты — это самые популярные развлечения в онлайн-казино.
Их главное преимущество — простота, красочная визуализация и множество бонусных возможностей.
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Следует выбирать проверенных операторов, а также тщательно анализировать кэфы до оформлением пари.
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בפלטפורמה תוכלי למצוא חוויות ייחודיים בתחום המבוגרים ברמה מעולה.
השירות מאפשרת אפשרות פשוטה לתכנים אלו באמצעות הקפדה על פרטיות הגולש.
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Здоровый подход к азарту — это набор правил, направленный на укрепление баланса в отношении собственными действиями и исключение потенциальных проблем.
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Букмекерские конторы предлагают шанс делать пари на различные турниры.
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Ставки способны превратиться увлекательным досугом, однако необходимо придерживаться принципы осознанного подхода и контролировать расходы.
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Sağlam oyun — bu şəxsin davranışını nəzarət altında saxlaması və oyunun əyləncə olaraq saxlanılması üçün qaydalar məcmusudur.
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Правила осознанной игры — это регламент, ориентированный на сохранение самоконтроля в отношении финансовыми расходами и предотвращение негативных последствий.
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Безопасное увлечение ставками — это практика, ориентированный на обеспечение меры над игровым поведением и понимание негативных последствий, связанных с азартными играми, при одновременном упоминании на досуг как базовую причину участия.
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Ответственная игра — это набор правил, направленный на обеспечение баланса в отношении своими решениями и предотвращение потенциальных проблем.
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Финансовый трейдинг — это деятельность, заключающийся в приобретении и продаже торговых активов для получения дохода на разнице их стоимости.
Прибыльный трейдинг нуждается в глубоком анализе конъюнктуры, разработке плана и контроле риск-менеджменте.
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A generic version is a medication that has the same active ingredient as the original product.
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A generic medication is a medication that includes the equivalent active substance as the brand-name drug.
This type of product is produced to match the brand medication in dosage form, quality, and effectiveness.
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Ağıllı oyun — bu istifadəçinin öz hərəkətlərini nəzarət altında saxlaması və mərc prosesinin əyləncə olaraq davam etdirilməsi üçün qaydalar sistemidir.
Bu yanaşma vaxt və pul məbləğlərinə limitlər qoymağı, həmçinin təhlükəli oyun əlamətlərini tanımağı nəzərdə tutur.
Bu, bu yanaşma istifadəçilərə mərc ərzində hakimiyyəti qorumağa imkan verir və mümkün fəsadların azaltmağa yönəldir.
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Контролируемый игровой процесс — это принцип, предназначенный на поддержание баланса над временем за игрой и понимание негативных последствий, связанных с участием в ставках, при одновременном упоминании на досуг как основную причину участия.
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Safe wagering is an approach that promotes gambling remains a form of entertainment instead of a financial burden.
This approach encompasses establishing financial caps on wagers and time, as well as spotting the warning signals of risky play.
At its core, this mindset encourages conscious actions and enables participants to uphold oversight over their betting engagement.
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Здоровый подход к азарту — это алгоритм, ориентированный на обеспечение дисциплины в отношении игровым процессом и минимизацию вреда.
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Web-based games serve as a prevalent source of leisure for numerous users globally.
They deliver compelling gameplay and community engagement, frequently letting users to interact with people instantaneously.
Featuring a vast selection of types, there exists something for any play style, be it casual or competitive play.
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Digital games constitute a common mode of pastime for numerous people globally.
These games present engaging adventures and community opportunities, often enabling gamers to connect with friends instantaneously.
With an extensive variety of types, one can find something for any play style, whether relaxed or hardcore play.
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Internet games constitute a prevalent type of entertainment for millions individuals globally.
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Internet games represent a popular type of entertainment for countless users worldwide.
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With an extensive variety of genres, there is a title for each player, be it relaxed or hardcore engagement.
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Virtual experiences provide gamers a superb means to engage and have fun with others globally.
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Gaming gaming give users the enjoyable means to interact and play with friends everywhere.
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Responsible gambling is a methodology that encourages players to maintain control over their playing activity while understanding the associated dangers.
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Prudent betting is a set of principles that ensures users to preserve mastery over their playing decisions while understanding the inherent risks.
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Safe wagering is a practice that ensures participants to exercise management over their playing engagement while noticing the likely pitfalls.
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Mindful gaming is a set of principles that supports players to exercise discipline over their gaming decisions while noticing the potential risks.
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Safe wagering is an approach that facilitates players to exercise mastery over their gambling decisions while being aware of the attendant dangers.
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Responsible gambling is a set of principles that promotes participants to preserve management over their gaming behaviour while recognising the attendant dangers.
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Safe wagering is a set of principles that supports users to maintain discipline over their gambling habits while acknowledging the attendant dangers.
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Responsible gambling is a methodology that ensures participants to maintain management over their gaming behaviour while identifying the associated dangers.
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На этой платформе вы сможете найти базу данных публичной материалов.
Там представлены номера компаний и частных предпринимателей.
Указанная информация являются публичными и могут востребованы для проверки контактов.
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Обязательный осмотр автомобиля считается необходимой процедурой для обеспечения надёжности транспортного средства.
Во время проверки выявляются незаметные неисправности, которые могут стать причиной ДТП на трассе.
Своевременное посещение ТО помогает избежать серьёзных вложений на дорогостоящий восстановление в перспективе.
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Накрутка ПФ — представляет собой приём искусственного повышения позиций в поиске.
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Игровые платформы представляют собой профессиональные компании, которые проводят ставки на самые разные матчи.
Ключевая задача конторы — предоставить котировки на любое варианты игры, показывающие вероятность конкретного исхода.
При выборе букмекера нужно проверять на оформление лицензии, отзывы и комфорт системы.
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Процедура апостилирования — это специальный отметка, которая заверяет подлинность наших государственных бумаг для их применения за границей.
Данная процедура определяется Гаагской конвенцией и не нуждается в перевода документа (если это не требуется отдельно).
Штамп ставится уполномоченными ведомствами РФ — Министерством юстиции, органами ЗАГС или архивами — в зависимости от типа и места выдачи бумаги.
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An unbranded drug is a medicine that contains the identical active substance as the innovator product.
It is prepared after the patent on the original drug runs out, permitting other manufacturers to market versions.
Such copies are substantially less expensive than the original, mainly because they avoid the heavy investments of research and advertising.
Yet, every generic must undergo stringent equivalence trials to ensure that it works equally effectively as the reference drug.
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Adult films constitute a type of entertainment aimed at adults.
They can be used for sexual education as well as for private pleasure.
Nevertheless, it is important to tell apart among real-life relationships and scripted scenarios.
Conscious consumption requires understanding personal limits and choosing legal sources.
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Бот способен выдавать реалистичные изображения исходя из загружаемого снимка.
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Прокси-шлюз и VPN-подключение — это средства, применяемые для скрытия настоящего IP-адреса клиента.
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Ключевое отличие в том состоит в том, что прокси-сервер работает на уровне конкретных программ, а туннель — кодирует весь интернет-трафик.
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