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能源化工央企董事长“工资条”公布，这家“一把手”年薪居首_我的网站

A |     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。

B |     能源央企高管最新年薪情况公布。国资委网站近日披露了96家中央企业负责人2023年薪酬信息，其中包括7家能源化工央企，分别为“三桶油”（中国石油集团、中国石化集团、中国海油集团）、“两化”（中国化学工程集团、中国中化集团）、国家管网集团和中煤集团。

C | 央企负责人税前薪酬收入由三大部分组成，包括应付年薪，社会保险、企业年金、补充医疗保险及住房公积金的单位缴存部分，以及其他货币收入（如补贴）。其中，应付薪酬由国资委核定。目前已公布的7家能源化工央企董事长2023年的应付年薪均未超过100万元，整体在65万元至95万元区间波动；其社保、企业年金、补充医疗保险及住房公积金的单位缴存部分金额范围大多在22万元至28万元。整体看，公开披露的能源化工央企董事长税前年薪总额在80万元到121万元范围。与2022年情况类似，能源化工央企“一把手”应付薪酬靠前的仍是“三桶油”。中国石油集团董事长戴厚良、中国海油集团董事长汪东进、中国石化集团董事长马永生分别以94.23万元、94.09万元、93.82万元应付薪酬位居前三。中国中煤集团董事长王树东、国家管网集团董事长张伟、中国化学工程集团董事长戴和根、中国中化集团董事长李凡荣则分别以90.35万元、87.14万元、84.43万元、65.07万元应付薪酬次之排列。不过，与2022年相比，2023年包括“三桶油”在内的多数能源化工央企董事长应付薪酬普遍下滑，同比降幅在0.5%-2.1%不等。7家能源化工央企中，仅国家管网集团、中国化学工程集团董事长年薪微涨或持平。这一现象或与行业景气度下滑大背景下的企业经营业绩相关。按照《中央企业负责人经营业绩考核办法》，国资委依据年度和任期经营业绩考核结果对企业负责人实施奖惩，经营业绩考核结果作为企业负责人薪酬分配的主要依据和职务任免的重要依据。中国海油在年报中介绍，2023年国际油价在地缘溢价消退及美联储加息背景下波动下跌，英国布伦特（Brent）原油均价同比下降17%至82.2美元/桶。另据中国石油和化学工业联合会数据，中国油气、化工板块2023年营收与净利润双双下滑，原油、天然气及其绝大多数石化产品价格大幅下跌，造成2023年石油石化全行业增产增销不增利。(本文来自第一财经)。

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