Panjaa's Premiere Show Talk - Public Talk of Panjaa
Power Star Pawan Kalyan Panjaa release with in few hours worldwide and the count down is ticking down.Pawan Kalyan fans ready for the Panjaa feast in theatres awaiting from few months.Panjaa premier show will be updated soon.
Panjaa shaped up in the hands of Vishnuvardhan in a stylish way.Pawan Kalyan has huge fan base not only in Ap but also around the world.Panjaa pre release business crossed 50 crores
(Distribution Rights, Music and Satellite rights) which this it is read that Pawan Kalyan's market
is strong whether the film is hit or flop.
The filmmakers of Panjaa are releasing this film aparently in 1800 screens worldwide and 8000 shows on the day 1 of Panjaa which is a record till date.We can expect for the record opening collections of Panjaa on the first day of its release.
Pawan Kalyan plays the role of Jayadev in the film who will called as Jai in Panjaa.Sarah Jane Dias and Anjali Lavania are the lead actress.Jackie Shroff, Adavi Sesh, Brahmanandam, Ali etc., will be seen in other key roles.Yuvan Shankar Raja is rendering tunes for the film.Shobu Yarlagadda and Neelima Tirumalashetty are producing Panjaa movie under Sanghamitra Productions and Arka media.
Glued here for Panjaa Premier showtalk,Public talk and rating of Panjaa soon. We will be updating Panjaa movie morning show updates......
Guys Leave Ur Comments On Panjaa Here below clicking on Comment Section .. Waiting For Ur Comments on Panjaa Movie na Ur View on Panjaa .......
Panjaa shaped up in the hands of Vishnuvardhan in a stylish way.Pawan Kalyan has huge fan base not only in Ap but also around the world.Panjaa pre release business crossed 50 crores
(Distribution Rights, Music and Satellite rights) which this it is read that Pawan Kalyan's market
is strong whether the film is hit or flop.
The filmmakers of Panjaa are releasing this film aparently in 1800 screens worldwide and 8000 shows on the day 1 of Panjaa which is a record till date.We can expect for the record opening collections of Panjaa on the first day of its release.
Pawan Kalyan plays the role of Jayadev in the film who will called as Jai in Panjaa.Sarah Jane Dias and Anjali Lavania are the lead actress.Jackie Shroff, Adavi Sesh, Brahmanandam, Ali etc., will be seen in other key roles.Yuvan Shankar Raja is rendering tunes for the film.Shobu Yarlagadda and Neelima Tirumalashetty are producing Panjaa movie under Sanghamitra Productions and Arka media.
Glued here for Panjaa Premier showtalk,Public talk and rating of Panjaa soon. We will be updating Panjaa movie morning show updates......
Guys Leave Ur Comments On Panjaa Here below clicking on Comment Section .. Waiting For Ur Comments on Panjaa Movie na Ur View on Panjaa .......
Panjaa Movie Review
Panjaa is a film of anti-heroes, all the characters either kill, get killed or languish in fear of being killed. The power between two groups, the machinations of it's members, the enmity and revenge is the crux of the story. Jai (Pawan Kalyan) plays the role of a hench man for Bhagwan (Jackie Shroff) and Kulkarni (Atul Kulkarni) comes out and forms the break away group.
The director clearly establishes the point and gives reason why you should like Jai though he is into the shady business; He in the preludes states that it is wrong not to show gratitude and also equally incorrect to expect it. Bhagwan has a battery of loyal men but trouble brews when he expects this loyalty to extend to his son as well. This stems from the insecurity he has in the face of his son's unacceptable behavior and character.
Jackie plays an interesting role of a powerful man whose love for his son clouds his judgement and refuses to see the truth in the counsel of his people around. Sesh Adivi is Munna, Bhagwan's son who triggers and precipitates the conflict. In this film Jai is shown as looking at his watch consistently to accomplish his task within the deadline.
Director Vishnu Vardhan who makes his debut does a smart job of encapsulating the major part of the story in establishing it within the first hour of the film and uses the second part to resolving it. Vishnu's penchant for style is very visible in the entire story and chooses and makes all his villains look cool and good-looking, there is never an unpalatable face.
Just like Jai's fear for his past threatening to disturb him when he is in village looking at himself in the mirror, the director's insecurity also becomes blatant. He brings in Brahmanandam to kick off entertainment which is not needed at all and it doesn't work, looks forced. It's disgusting to see characters relieving themselves in the rest room and some comedy being woven around it. Jai talking aloud looking into the mirror has been tried and tested before in various films and it doesn't look convincing at all or gel with his character.
Jai removing his footwear and walking on the grass is metaphorical, Chotu's (Ali) killing is also not offbeat, a fresh idea of bringing him onto revealing Jai's whereabouts could have added value to the story. Jhanvi (Anjali Lavania) has a fabulous height and her relationship with Jai has been etched well. She including Sarah Jane Dias bring in a fresh look and perspective to the entire story, Sara has a dreamy look but half-sarees quite don't suit her. Both the girls looked comfy in their part.
Sesh's Karma changes for the good with this film and he is quite a revelation, another example why good-looking men can't survive in this industry as heroes they are cursed to be villains. Sesh's and Paruchuri Venkateswara Rao's scene evokes and heighten's sympathy and Jhansi is very sweet in a coastal twang, shows her forte for her versatility in dialects. Subbaraju did well and looked menacing enough but his background and reason why his sister Jhanvi leaves the village to the city hasn't been established well and gets lost in the rivalry between Bhagwan and Kulkarni.
Pawan Kalyan's role lacked intensity, he was shown more as a real power manager whose job is to solve conflicts, appease his boss, keep away enemies and trouble. The fact that he is leading a life just to show gratitude to his boss is clearly evident and he underplayed the heroic element till the finale when he had to choose his girl over his boss, but then he had already decided to kill him and was waiting only for a reason.
If this point works well with the fans the movie could do well, but that there is no personal enmity between Jai and rest of the people and he is in the killing job and you got to like him for that reason..then it is entirely your call. Panjaa is not a great film but not a bad one either. The action could please his fans but the lack of entertainment could work as a deterrent. The comedy song isn't great but the story and the visual effects made it watchable.
Like in the song, Paparayudu (Brahmanandam) tells Jai to change his movement, Pawan Kalyan did just that. From a love story this is a complete shift.
The director clearly establishes the point and gives reason why you should like Jai though he is into the shady business; He in the preludes states that it is wrong not to show gratitude and also equally incorrect to expect it. Bhagwan has a battery of loyal men but trouble brews when he expects this loyalty to extend to his son as well. This stems from the insecurity he has in the face of his son's unacceptable behavior and character.
Jackie plays an interesting role of a powerful man whose love for his son clouds his judgement and refuses to see the truth in the counsel of his people around. Sesh Adivi is Munna, Bhagwan's son who triggers and precipitates the conflict. In this film Jai is shown as looking at his watch consistently to accomplish his task within the deadline.
Director Vishnu Vardhan who makes his debut does a smart job of encapsulating the major part of the story in establishing it within the first hour of the film and uses the second part to resolving it. Vishnu's penchant for style is very visible in the entire story and chooses and makes all his villains look cool and good-looking, there is never an unpalatable face.
Just like Jai's fear for his past threatening to disturb him when he is in village looking at himself in the mirror, the director's insecurity also becomes blatant. He brings in Brahmanandam to kick off entertainment which is not needed at all and it doesn't work, looks forced. It's disgusting to see characters relieving themselves in the rest room and some comedy being woven around it. Jai talking aloud looking into the mirror has been tried and tested before in various films and it doesn't look convincing at all or gel with his character.
Jai removing his footwear and walking on the grass is metaphorical, Chotu's (Ali) killing is also not offbeat, a fresh idea of bringing him onto revealing Jai's whereabouts could have added value to the story. Jhanvi (Anjali Lavania) has a fabulous height and her relationship with Jai has been etched well. She including Sarah Jane Dias bring in a fresh look and perspective to the entire story, Sara has a dreamy look but half-sarees quite don't suit her. Both the girls looked comfy in their part.
Sesh's Karma changes for the good with this film and he is quite a revelation, another example why good-looking men can't survive in this industry as heroes they are cursed to be villains. Sesh's and Paruchuri Venkateswara Rao's scene evokes and heighten's sympathy and Jhansi is very sweet in a coastal twang, shows her forte for her versatility in dialects. Subbaraju did well and looked menacing enough but his background and reason why his sister Jhanvi leaves the village to the city hasn't been established well and gets lost in the rivalry between Bhagwan and Kulkarni.
Pawan Kalyan's role lacked intensity, he was shown more as a real power manager whose job is to solve conflicts, appease his boss, keep away enemies and trouble. The fact that he is leading a life just to show gratitude to his boss is clearly evident and he underplayed the heroic element till the finale when he had to choose his girl over his boss, but then he had already decided to kill him and was waiting only for a reason.
If this point works well with the fans the movie could do well, but that there is no personal enmity between Jai and rest of the people and he is in the killing job and you got to like him for that reason..then it is entirely your call. Panjaa is not a great film but not a bad one either. The action could please his fans but the lack of entertainment could work as a deterrent. The comedy song isn't great but the story and the visual effects made it watchable.
Like in the song, Paparayudu (Brahmanandam) tells Jai to change his movement, Pawan Kalyan did just that. From a love story this is a complete shift.
Ram Charan - Vamsi Paidipalli 'Yevadu' launched
Yevadu - A new film from Ram Charan in the combination of director Vamsi Paidipalli of Brindavanam and producer Dil Raju had its launch today (Dec 09, 2011) at 7am at Prasad Labs in Hyderabad. Megastar Chiranjeevi was the chief guest for murtham shot. Allu Arjun is playing a special role in the movie and Samantha is the heroine.
Ram Charan said he's excited with the script. "It gives new experience to audiences. I am looking forward to work with Allu Arjun. I am open for multi-starrer movies," he said.
Devi Sri Prasasd is scoring the music. Chota K Naidu is the cameraman.
Ram Charan said he's excited with the script. "It gives new experience to audiences. I am looking forward to work with Allu Arjun. I am open for multi-starrer movies," he said.
Devi Sri Prasasd is scoring the music. Chota K Naidu is the cameraman.
Naga Chaitanya, Samantha New Movie 'Autonagar Surya' Launched
As reported earlier, Naga Chaitnaya and Samantha are coming back together for Autonagar Surya. It was launched on Yesterday (October 6th) on the occasion of the Dasara. After 'Prasthanam', director Deva Katta is all set to direct Naga Chaitanya and Samantha for 'Auto Nagar Surya'.
Auto Nagar Surya film is an action movie set in the backdrop of trade unions in Vijayawada. This film is about a 'nobody' who grows into everybody's identity.
Miss India contest finalist Rakul Preet Singh has been roped to play second female lead role in this movie. Ashish Vidyarthi, Jaya Prakash Reddy, Jeeva will essay other prominent roles in the movie.
Sirivennela Seetharama Sastry is penning the lyrics, Anup Rubens is scoring the music, Dharmendra Kakarla is the editor and Srikanth Naroj is the cinematographer. The movie is being produced by K.Achi Reddy under the banner of Max India Productions while R.R.Movie Makers will present the film.
Autonagar Surya will hit the big-screens in the early summer of 2012.
Miss India contest finalist Rakul Preet Singh has been roped to play second female lead role in this movie. Ashish Vidyarthi, Jaya Prakash Reddy, Jeeva will essay other prominent roles in the movie.
Sirivennela Seetharama Sastry is penning the lyrics, Anup Rubens is scoring the music, Dharmendra Kakarla is the editor and Srikanth Naroj is the cinematographer. The movie is being produced by K.Achi Reddy under the banner of Max India Productions while R.R.Movie Makers will present the film.
Autonagar Surya will hit the big-screens in the early summer of 2012.
Naga Chaitanya
Naga Chaitanya (Telugu: నాగ చైతన్య) is an Indian film actor who has appeared in Telugu films. He made his debut in the 2009 college film, Josh His second film, Gautham Menon's Ye Maaya Chesave became a commercial as well as critical success, with his portrayal of a love-torn film director winning him critical acclaim. His third film, 100 % Love released in 2011.
Naga Chaitanya was born on 23 November 1986 to actor Akkineni Nagarjuna and his first wife, Lakshmi. Naga Chaitanya's grandfather, Akkineni Nageswara Rao is one of the stalwarts of Telugu cinema. His maternal grandfather, D. Ramanaidu, is a famous producer in the film industry whilst his maternal uncle, Venkatesh is also one of Tollywood's biggest stars. Naga Chaitanya's cousins, Sumanth, Sushanth and Rana, are also film actors.[1]
Naga Chaitanya was born in Hyderabad, but moved to Chennai with his mother after his parents split. He received schooling at the PSBB School in Chennai, during which he often visited his father in Hyderabad. He played the guitar and drums occasionally for the PSBB school band. He was not originally interested in acting; he wanted to race cars and is still very good at it.[peacock term] However, his father convinced him otherwise and talked him into acting to keep the legacy going. He was then sent to an acting school in Mumbai, and subsequently to Hollywood Studios in California (USA) to learn dance and fights before he made his debut.[1]
[edit]
Career
Following in his family's footsteps, Naga Chaitanya's debut was widely anticipated. After several rumours regarding his debut, during the audio launch of his father's King, Chaitanya was introduced to the film world where his debut film was launched. Josh, directed by newcomer Vasu Varma and produced by Dil Raju, featured him alongside fellow debutant Karthika Nair, daughter of Radha, with his role drawing comparison with his father's character from Shiva. However upon release, the film fared averagely at the box office and received negative reviews from film critics, although Naga Chaitanya's performance secured him the Filmfare Best Male Debut Award for South Indian films.[1]
Prior to the release of his first film, he signed his second film with Indira Productions, which was to be directed by Gautham Menon and featured music by A. R. Rahman.[2] Ye Maaya Chesave released in February 2010 to unanimous positive reviews with the film being dubbed as a "classic" by reviewers, with comparisons drawn to his father's romantic film, Mani Ratnam's Geethanjali.[3] Critics also praised his on-screen chemistry with debutant actress Samantha, as the film went on to become a commercial success at the box-office.[4] This was the Telugu version of the Tamil film, Vinnaithaandi Varuvaaya. He also made a cameo appearance in the Tamil version.
His next movie was Sukumar's 100% Love with Tamannaah Bhatia has gained huge success in the box office and lead Naga Chaitanya into a top lead in Telugu film industry.His next movie Dhada with Kajal Aggarwal directed Ajay Bhuyan released in August with huge expectations was a colossal failure. Naga Chaitanya has already finished working in Ram Gopal Varma's Bejawada. This movie is scheduled to be released in last week of november. Naga Chaitanya is currently working on Deva Katta's Autonagar Surya. This movie stars Samantha who has already worked with Naga Chaitanya in Ye Maaya Chesave. Naga Chaitanya is one of the most popular actors in tollywood and is often referred to as the youngest male actor. [5]
[edit]
FilmographyYear Film Role Language Notes
2009 Josh Sathya Telugu Winner, Filmfare Best Male Debut
Winner, Nandi Award for Best Male Debut
Winner, CineMAA Award for Best Male Debut
2010 Vinnaithaandi Varuvaayaa Himself Tamil Guest appearance
Ye Maaya Chesave Karthik Telugu Nominated, Filmfare Award for Best Actor – Telugu
2011 100% Love Balu Telugu
Dhada Vishwa Telugu
Bejawada Shiva krishna Telugu Releasing on 1 Dec'11
2012 Autonagar Surya Surya Telugu Filming
Gouravam Telugu Filming
Naga Chaitanya was born on 23 November 1986 to actor Akkineni Nagarjuna and his first wife, Lakshmi. Naga Chaitanya's grandfather, Akkineni Nageswara Rao is one of the stalwarts of Telugu cinema. His maternal grandfather, D. Ramanaidu, is a famous producer in the film industry whilst his maternal uncle, Venkatesh is also one of Tollywood's biggest stars. Naga Chaitanya's cousins, Sumanth, Sushanth and Rana, are also film actors.[1]
Naga Chaitanya was born in Hyderabad, but moved to Chennai with his mother after his parents split. He received schooling at the PSBB School in Chennai, during which he often visited his father in Hyderabad. He played the guitar and drums occasionally for the PSBB school band. He was not originally interested in acting; he wanted to race cars and is still very good at it.[peacock term] However, his father convinced him otherwise and talked him into acting to keep the legacy going. He was then sent to an acting school in Mumbai, and subsequently to Hollywood Studios in California (USA) to learn dance and fights before he made his debut.[1]
[edit]
Career
Following in his family's footsteps, Naga Chaitanya's debut was widely anticipated. After several rumours regarding his debut, during the audio launch of his father's King, Chaitanya was introduced to the film world where his debut film was launched. Josh, directed by newcomer Vasu Varma and produced by Dil Raju, featured him alongside fellow debutant Karthika Nair, daughter of Radha, with his role drawing comparison with his father's character from Shiva. However upon release, the film fared averagely at the box office and received negative reviews from film critics, although Naga Chaitanya's performance secured him the Filmfare Best Male Debut Award for South Indian films.[1]
Prior to the release of his first film, he signed his second film with Indira Productions, which was to be directed by Gautham Menon and featured music by A. R. Rahman.[2] Ye Maaya Chesave released in February 2010 to unanimous positive reviews with the film being dubbed as a "classic" by reviewers, with comparisons drawn to his father's romantic film, Mani Ratnam's Geethanjali.[3] Critics also praised his on-screen chemistry with debutant actress Samantha, as the film went on to become a commercial success at the box-office.[4] This was the Telugu version of the Tamil film, Vinnaithaandi Varuvaaya. He also made a cameo appearance in the Tamil version.
His next movie was Sukumar's 100% Love with Tamannaah Bhatia has gained huge success in the box office and lead Naga Chaitanya into a top lead in Telugu film industry.His next movie Dhada with Kajal Aggarwal directed Ajay Bhuyan released in August with huge expectations was a colossal failure. Naga Chaitanya has already finished working in Ram Gopal Varma's Bejawada. This movie is scheduled to be released in last week of november. Naga Chaitanya is currently working on Deva Katta's Autonagar Surya. This movie stars Samantha who has already worked with Naga Chaitanya in Ye Maaya Chesave. Naga Chaitanya is one of the most popular actors in tollywood and is often referred to as the youngest male actor. [5]
[edit]
FilmographyYear Film Role Language Notes
2009 Josh Sathya Telugu Winner, Filmfare Best Male Debut
Winner, Nandi Award for Best Male Debut
Winner, CineMAA Award for Best Male Debut
2010 Vinnaithaandi Varuvaayaa Himself Tamil Guest appearance
Ye Maaya Chesave Karthik Telugu Nominated, Filmfare Award for Best Actor – Telugu
2011 100% Love Balu Telugu
Dhada Vishwa Telugu
Bejawada Shiva krishna Telugu Releasing on 1 Dec'11
2012 Autonagar Surya Surya Telugu Filming
Gouravam Telugu Filming
Ravi Teja's Idiot 2 to start from March
The much talked about film, combination of Ravi Teja and Puri Jagannath, 'IDIOT 2' will roll out from March 15, 2012.
The sequel to 2002's super hit Idiot has Ileana as the lead actress opposite Ravi Teja this time. Earlier, she had paired with the actor in Khatarnak and Kick. BVSN Prasad is set to produce this movie under Sri Venkateswara Cine Chitra banner.
Along with direction, the dialogues, story and screenplay will be handled by Puri Jagannadh. The director is the one who made a star out of Ravi Teja with 'Itlu Sravani Subrahmanyam' and 'Idiot'. There is huge craze for this film among all quarters.
According to the sources, Ravi Teja is currently busy working for Gunasekhar's Nippu. Puri is busy wrapping up the shooting of his next release 'The Business Man' with Mahesh Babu
The sequel to 2002's super hit Idiot has Ileana as the lead actress opposite Ravi Teja this time. Earlier, she had paired with the actor in Khatarnak and Kick. BVSN Prasad is set to produce this movie under Sri Venkateswara Cine Chitra banner.
Along with direction, the dialogues, story and screenplay will be handled by Puri Jagannadh. The director is the one who made a star out of Ravi Teja with 'Itlu Sravani Subrahmanyam' and 'Idiot'. There is huge craze for this film among all quarters.
According to the sources, Ravi Teja is currently busy working for Gunasekhar's Nippu. Puri is busy wrapping up the shooting of his next release 'The Business Man' with Mahesh Babu
Hyderabad theaters list for 'Panja'
Power Star Pawan Kalyan film releasing on 9th December. First list of Panja release in Nijam theatres and Siri Media in Nijam Area, Distribution Company have paid a Whopping Amount of 14 Crores to bag the rights.
Panja movie will release in sixty plus theatres in Hyderabad and two hundred plus in Nijam, Sky High expectations on this film it is going to record in all areas.
According to Sources, Stylish Action Entertainer film by Power Star pawan does a role of mafia don under kolkata back drop. Sarah Jane Dias and Anjali Lavania are lead female role, directed by Vishnuvardhan and music is composed by Yuvan Shankar Raja
Panja movie will release in sixty plus theatres in Hyderabad and two hundred plus in Nijam, Sky High expectations on this film it is going to record in all areas.
According to Sources, Stylish Action Entertainer film by Power Star pawan does a role of mafia don under kolkata back drop. Sarah Jane Dias and Anjali Lavania are lead female role, directed by Vishnuvardhan and music is composed by Yuvan Shankar Raja
Prabhas' Varadhi shooting begins
The shooting of the much awaited film 'Varadhi' began with rebel star Prabhas playing the hero in this movie. The shooting took place in Ap Police Academy with a few scenes on Prabhas. The introduction scene was extensively shot on the first day of shoot.
Anushka and Richa Gangopadhyaya play the female lead roles in this movie. It is directed by Koratala Siva and produced jointly by Vamsi Krishna Reddy and Pramod Uppalapati.
According to the sources, Prabhas is currently busy working for 'Rebel', directed by Raghava Lawrence, that is expected to release for summer 2012. Prabhas and Raghava Lawrence are on a high following the success of their latest movies and there are huge expections of this combination.
Anushka and Richa Gangopadhyaya play the female lead roles in this movie. It is directed by Koratala Siva and produced jointly by Vamsi Krishna Reddy and Pramod Uppalapati.
According to the sources, Prabhas is currently busy working for 'Rebel', directed by Raghava Lawrence, that is expected to release for summer 2012. Prabhas and Raghava Lawrence are on a high following the success of their latest movies and there are huge expections of this combination.
Prabhas, Anushka’s Varadhi Movie Details
Young Rebel Star Prabhas has started work on a new film with Koratala Shiva and the film has tentatively been titled ‘Vaaradhi’.
The shooting of this movie started yesterday and a few scenes were filmed in the Andhra Pradesh Police Academy in Hyderabad.
The movie will be a complete commercial entertainer and Anushka will be romancing Prabhas along with Richa Gangopadhyay.
Pramod Uppalapati and Vamsi Krishna Reddy are jointly producing this movie on U.V.Creations banner. Koratala Shiva, who is a successful script writer, is making his debut as a director with this
movie.Prabhas is also working for ‘Rebel’ in the direction of Lawrence.
The shooting of this movie started yesterday and a few scenes were filmed in the Andhra Pradesh Police Academy in Hyderabad.
The movie will be a complete commercial entertainer and Anushka will be romancing Prabhas along with Richa Gangopadhyay.
Pramod Uppalapati and Vamsi Krishna Reddy are jointly producing this movie on U.V.Creations banner. Koratala Shiva, who is a successful script writer, is making his debut as a director with this
movie.Prabhas is also working for ‘Rebel’ in the direction of Lawrence.
Prabhas New Movie with Rajamouli News Details
S S Rajamouli announced his next film with Prabhas. hero Prabhas, Rajamouli, veteran director K Raghavendra Rao met the media at Cinemax in Hyderabad and announced the project. The film is to be produced on RK Films banner belongs to K Raghavendra Rao.
Rajamouli’s next film after Eega is going to have Prabhas doing main role. This film will be produced on Arka Mediaworks that produced class films like Maryada Ramanna and Vedam in the past. K Raghavendra Rao presents it. Art director is Ravinder. MM Keeravani composes music. The unit has arranged a press meet today
"I made debut with Student No.1 which was produced by RK Films. Once again I am doing film for this banner. So it is like home coming to me," Rajamouli said.
Rajamouli also said he is roaring to go to make a big film. "I planned to make a big-budgeted movie after completing Maryada Ramanna but suddenly I am drawn into 'Eega'. So I am happy to announce that I would be doing this big-budgeted movie once I wrap off the shoot of 'Eega'. Pre-visualization work for this fantasy film is already on and we would go to the sets from September," he added.
Prabhas said, “My father and K Ragahvendra Rao were good friends. K Raghavendra Rao directed Bobbili Brahmanna in our banner. I feel lucky to work in Raghavendra Rao’s banner. Rajamouli narrated me this subject around 2 years back. I might not get such a movie in the future. I am going to put all my efforts for this movie.”
Rajamouli’s next film after Eega is going to have Prabhas doing main role. This film will be produced on Arka Mediaworks that produced class films like Maryada Ramanna and Vedam in the past. K Raghavendra Rao presents it. Art director is Ravinder. MM Keeravani composes music. The unit has arranged a press meet today
"I made debut with Student No.1 which was produced by RK Films. Once again I am doing film for this banner. So it is like home coming to me," Rajamouli said.
Rajamouli also said he is roaring to go to make a big film. "I planned to make a big-budgeted movie after completing Maryada Ramanna but suddenly I am drawn into 'Eega'. So I am happy to announce that I would be doing this big-budgeted movie once I wrap off the shoot of 'Eega'. Pre-visualization work for this fantasy film is already on and we would go to the sets from September," he added.
Prabhas said, “My father and K Ragahvendra Rao were good friends. K Raghavendra Rao directed Bobbili Brahmanna in our banner. I feel lucky to work in Raghavendra Rao’s banner. Rajamouli narrated me this subject around 2 years back. I might not get such a movie in the future. I am going to put all my efforts for this movie.”
Bodyguard`s audio tracks to be released in December
The audio of Venkatesh’s upcoming film Bodyguard will be launched on the eve of his birthday on December 13. Bellamkonda Suresh, who’s celebrating his birthday today, officially announced the date of audio release earlier today. Gopichand Malineni has directed the film which is an official remake of a Malayalam film of the same name.
The film has already been remade in Tamil and Hindi. Trisha is playing the lead role opposite Venkatesh for the third time in her career after Adavari Matalaku Ardhale Verule and Namo Venkatesha. S S Thaman has composed the music of this film which will hit the screens on January 12.
The film has already been remade in Tamil and Hindi. Trisha is playing the lead role opposite Venkatesh for the third time in her career after Adavari Matalaku Ardhale Verule and Namo Venkatesha. S S Thaman has composed the music of this film which will hit the screens on January 12.
The Dirty Picture Movie Review
The Dirty Picture is a smart strategy to bring in box-office collections by Ekta Kapoor as she knows people love to know the inside story of a film star or any film star. This isn't the story of Silk Smitha an item dancer from the South, it could be a bio pic of any artiste whose rags to riches background makes for a good escapist watch. The movie works only for two reasons, some spectacular dialogues and Vidya Balan's work. If you still notice that Vidya Balan doesn't sizzle or isn't attractive despite the trademark exposing, the reason is that she is just a dancer and not an actor; she is not meant to be beautiful, she is only used for titillation and setting the screen on fire.
The people from South who go to the movie expecting to see the drowsy, lusty eyes of Smitha or the husky voice, the thunderous thighs will be heavily disappointed. The reason for Smitha's brother raising an objection is completely justified. Not that the film is vulgar but simply because her name is used to promote the movie and any action whatsoever cannot be defended by the person around whom the movie is made as she is no more alive.
The Dirty Picture in short is about the dirty life, a label associated with the life of an item dancer or a vamp in movies, for the clothes they wear, for seducing the men and breaking the homes of people on screen; they are cursed to live with the stigma and cannot rise above the level of the role they are given. They are like the plastic that is used and discarded like the hero Suryakant (Naseeruddin Shah) mentions and so it could be Helen, it could be any other actor and for convenience she is Silk.
Reshma has a dying urge to act and when she is on an empty stomach and the choice is between buying food and a movie ticket she chooses the latter. With no acting or dancing experience she pounces on the opportunity given to her and uses her only assets, het oomph and figure to become famous. In this course of her journey from being a no body to a somebody she encounters various men and women in the film industry from small-time producers to egoistic top stars, to ideal and decent film directors and scheming cinematographers, there are film reporters who survive on scandals and live in an era where they can actually light up a cigarette and have a conversation with a film star.
There is a 'Santosham Awards' ceremony in which the dirty lady is given an award and a person remarks, "Award dhene wale isse bhi ghatiya hai." Reshma becomes Silk in no time and she finds peace in the big mansion she yearns and earns for herself but the emptiness begins to haunt her life when the stars go back to their wives after 'tuning' her innumberable times. Looks like the character has a heavy ego she never mentions her sorrow or desperation publicly and seeks a decent death instead when she finds no escape from the ignominy.
The Dirty picture is an imitation of life in the film industry..you have a star tucking in his tummy while being photographed, making love to the artiste in the car, a star gifting diamonds to her, the king-sized false egos that stars live with but what feels like a whiplash is when the time is over and a new person begins to replace the artiste, the insecurity and frustration, desperation sets in.
The last scene has Silk putting on make-up before killing herself..that signifies the false world they wish to live in..they want to remain beautiful to the world always. There are remarks at directors who have ethics, strong belief in themselves but are confined to being labeled as art film directors as producers seek films only for the first four rows audience. The disparity in film reviews and box-office collections are discussed but none of them fail to excite us as we have already seen Neninthe, Appalraju and some more small movies that focus in the inside matters of the industry.
The Dirty Picture could be a hit but all you see is Vidya Balan's weight and her sincerity that she put in her work, the dialogues. There is no fire, there is no emotion and the last nail in the coffin is the last line that is used with stark indifference and insensitivity that now she is dead, she could be ruffling hearts up in the sky. The only thing that keeps your ears ringing is the 'Ooh la la' song from Bappi Lahiri and the silly photos that were used as reference from Silk's life stuck up on the walls of her empty house.
The people from South who go to the movie expecting to see the drowsy, lusty eyes of Smitha or the husky voice, the thunderous thighs will be heavily disappointed. The reason for Smitha's brother raising an objection is completely justified. Not that the film is vulgar but simply because her name is used to promote the movie and any action whatsoever cannot be defended by the person around whom the movie is made as she is no more alive.
The Dirty Picture in short is about the dirty life, a label associated with the life of an item dancer or a vamp in movies, for the clothes they wear, for seducing the men and breaking the homes of people on screen; they are cursed to live with the stigma and cannot rise above the level of the role they are given. They are like the plastic that is used and discarded like the hero Suryakant (Naseeruddin Shah) mentions and so it could be Helen, it could be any other actor and for convenience she is Silk.
Reshma has a dying urge to act and when she is on an empty stomach and the choice is between buying food and a movie ticket she chooses the latter. With no acting or dancing experience she pounces on the opportunity given to her and uses her only assets, het oomph and figure to become famous. In this course of her journey from being a no body to a somebody she encounters various men and women in the film industry from small-time producers to egoistic top stars, to ideal and decent film directors and scheming cinematographers, there are film reporters who survive on scandals and live in an era where they can actually light up a cigarette and have a conversation with a film star.
There is a 'Santosham Awards' ceremony in which the dirty lady is given an award and a person remarks, "Award dhene wale isse bhi ghatiya hai." Reshma becomes Silk in no time and she finds peace in the big mansion she yearns and earns for herself but the emptiness begins to haunt her life when the stars go back to their wives after 'tuning' her innumberable times. Looks like the character has a heavy ego she never mentions her sorrow or desperation publicly and seeks a decent death instead when she finds no escape from the ignominy.
The Dirty picture is an imitation of life in the film industry..you have a star tucking in his tummy while being photographed, making love to the artiste in the car, a star gifting diamonds to her, the king-sized false egos that stars live with but what feels like a whiplash is when the time is over and a new person begins to replace the artiste, the insecurity and frustration, desperation sets in.
The last scene has Silk putting on make-up before killing herself..that signifies the false world they wish to live in..they want to remain beautiful to the world always. There are remarks at directors who have ethics, strong belief in themselves but are confined to being labeled as art film directors as producers seek films only for the first four rows audience. The disparity in film reviews and box-office collections are discussed but none of them fail to excite us as we have already seen Neninthe, Appalraju and some more small movies that focus in the inside matters of the industry.
The Dirty Picture could be a hit but all you see is Vidya Balan's weight and her sincerity that she put in her work, the dialogues. There is no fire, there is no emotion and the last nail in the coffin is the last line that is used with stark indifference and insensitivity that now she is dead, she could be ruffling hearts up in the sky. The only thing that keeps your ears ringing is the 'Ooh la la' song from Bappi Lahiri and the silly photos that were used as reference from Silk's life stuck up on the walls of her empty house.
Sangharshana Movie Review
Tamil movies are fun to watch provided one is prepared to tolerate that avalanche of emotions and action that threaten to deluge at some point in the story. Samuthirakani begins his story interestingly, Sangharshana is fast-paced initially about two men who seek refuge at a friend's home and slowly invite the attention of all the neighbours. The intention of the filmmaker is very clear here, he shows his characters are devoid of malice, simple and good-hearted people who earn their morsel only through scruples.
Any person who is positive, loves and believes in the dignity of labour and doesn't lose the motivation to work will soon make a decent living and both friends played by Sasikumar and Allari Naresh prove it by banking on their intelligence and are on the threshold of settling down in life. The big turn in the story takes place here just when things appear rosy. The first half of the film shows the insight and sensitivity of society to struggling people but the later half the director brings in a serious plot; the history of both the friends unfold and they are shown as fleeing from a mental asylum to settling down in the city with the friend as ordinary people.
The story then on becomes heavy and an artistic indulgence and the movie becomes a spectacle for people who think. The film is obviously and clearly partial to Sasikumar though Allari Naresh holds his own, looks quite comfortable in fact surprisingly far more at home in Samuthirakani's direction. The rapport that both the actors share is carried on from their previous body of work Sambho Siva Sambho.
The character sketch by the director is so transparent that a few dialogues aren't needed at all; For instance Swathi is shown as an aggressive woman screaming and keeping men at bay and when the hero learns that she is an orphan he concludes the reason for her brash behavior as a defensive attitude. The strength of Sangharshana is the filmmaker's eye for detail and a meticulous narrative but it is doubtful if the Telugu audience will spend time watching and understanding human psyche in the latter part of the story.
Swathi is given the same child woman role again but it is a breather to see her minus the oiled hair and plaited look. Sasikumar brings in honesty to his role but the complexity after a point forces one to seek the exit door.
Any person who is positive, loves and believes in the dignity of labour and doesn't lose the motivation to work will soon make a decent living and both friends played by Sasikumar and Allari Naresh prove it by banking on their intelligence and are on the threshold of settling down in life. The big turn in the story takes place here just when things appear rosy. The first half of the film shows the insight and sensitivity of society to struggling people but the later half the director brings in a serious plot; the history of both the friends unfold and they are shown as fleeing from a mental asylum to settling down in the city with the friend as ordinary people.
The story then on becomes heavy and an artistic indulgence and the movie becomes a spectacle for people who think. The film is obviously and clearly partial to Sasikumar though Allari Naresh holds his own, looks quite comfortable in fact surprisingly far more at home in Samuthirakani's direction. The rapport that both the actors share is carried on from their previous body of work Sambho Siva Sambho.
The character sketch by the director is so transparent that a few dialogues aren't needed at all; For instance Swathi is shown as an aggressive woman screaming and keeping men at bay and when the hero learns that she is an orphan he concludes the reason for her brash behavior as a defensive attitude. The strength of Sangharshana is the filmmaker's eye for detail and a meticulous narrative but it is doubtful if the Telugu audience will spend time watching and understanding human psyche in the latter part of the story.
Swathi is given the same child woman role again but it is a breather to see her minus the oiled hair and plaited look. Sasikumar brings in honesty to his role but the complexity after a point forces one to seek the exit door.
Priyudu Movie Review
It is a complete mood swing for people who watch the violent Bezawada one day and the preachy and the mellowed love tale Priyudu on the other. Newcomer Shravan's focus is on the matters of the heart about two people who have diverse opinion on love; Karthik (Varun Sandesh) is a well-to-do youth who avoids love and romance like plague, thinks that it stifles his freedom and strips him off his individuality.
But when he bumps into Madhu Latha (Preetika) who falls for him and both their families give their immediate consent, Karthik doesn't reject the proposal lest his decision hurt his parents. The film would wind up fast if the couple decide to speak their mind to each other so we have the hero bringing in a suitor Vara Prasad (Randhir) attempting to impress Madhu Latha and from then on it's lengthy drama that centres around the trio, their understandings and misunderstandings.
The story gives out an outdated approach to narration and also the characters. The heroine is a modern Sati Savitri, the film should have been titled Priyuralu, who believes that her contentment stems from her partner's happiness. Knowing well enough that Karthik loves his freedom, she gives him enough breathing space, moves around with the third character in the story and makes the hero feel the pangs of love.
Just not the hero, even his father lacks a spine; when he can't see his son suffer, he advises him to go to the US of A. The hero gets hit twice, one in a ghastly bike accident and next the villain hits his head hard with a brick. The recovery time is very short but the real brick falls over him when the girl gets ready to marry Vara Prasad.
Taste, credibility in story goes missing as soon as the hero spits the chewing gum out of the window. He gets his mandatory and clichéd monologue in the climax to show his talent. The director overdoes and makes Kasi Viswanath look repulsive.
Varun Sandesh speaks better Telugu in Priyudu than any of his previous movies. Now that he uses his face more to express the emotions, he can move over to using the rest of the body as well. The layers of clothing, sometimes a full sleeves shirt doesn't cover the lanky physique.
Preetika looks achingly lonely as if the world comes to end just because a guy doesn't love her. This bleak perspective of the character is likely to put off contemporary women. Randhir does good work and Vennela Kishore's hilarity outshines that of Ali's.
But when he bumps into Madhu Latha (Preetika) who falls for him and both their families give their immediate consent, Karthik doesn't reject the proposal lest his decision hurt his parents. The film would wind up fast if the couple decide to speak their mind to each other so we have the hero bringing in a suitor Vara Prasad (Randhir) attempting to impress Madhu Latha and from then on it's lengthy drama that centres around the trio, their understandings and misunderstandings.
The story gives out an outdated approach to narration and also the characters. The heroine is a modern Sati Savitri, the film should have been titled Priyuralu, who believes that her contentment stems from her partner's happiness. Knowing well enough that Karthik loves his freedom, she gives him enough breathing space, moves around with the third character in the story and makes the hero feel the pangs of love.
Just not the hero, even his father lacks a spine; when he can't see his son suffer, he advises him to go to the US of A. The hero gets hit twice, one in a ghastly bike accident and next the villain hits his head hard with a brick. The recovery time is very short but the real brick falls over him when the girl gets ready to marry Vara Prasad.
Taste, credibility in story goes missing as soon as the hero spits the chewing gum out of the window. He gets his mandatory and clichéd monologue in the climax to show his talent. The director overdoes and makes Kasi Viswanath look repulsive.
Varun Sandesh speaks better Telugu in Priyudu than any of his previous movies. Now that he uses his face more to express the emotions, he can move over to using the rest of the body as well. The layers of clothing, sometimes a full sleeves shirt doesn't cover the lanky physique.
Preetika looks achingly lonely as if the world comes to end just because a guy doesn't love her. This bleak perspective of the character is likely to put off contemporary women. Randhir does good work and Vennela Kishore's hilarity outshines that of Ali's.
Bezawada Movie Review
You walk in expecting violence in Bezawada and you get only that. Now if you want freshness in killing like the one seen in Naa Peru Shiva, or some great dialogues or interesting characters you won't find any, even some of the artistes look alien may be small-time actors from Hindi movies or television serials and there is no connect.
Any attempt at an elevated gore, a simple message in the end or the Indrakeeladri Hills, the Prakasam Barrage in the backdrop as a prelude or the title song that is shamelessly suggestive of caste and personalities fails to give the script an extra edge. This is a story that is partly biopic and partly raised from fiction, it is about the dead and the dying and there is no philosophical or meaningful engagement of characters or narration.
Wonder why first-time directors work towards making an ardent and a faithful copy of their master's lifeless, pointless and trite stories that are inspired by real-life incidents intended to sensationalise or create shock value. If the same asinine films of faction politics with the same handling of script and narration is continued, then we should stop cribbing about the endless possibilities of dubbing films invading Telugu market.
We shouldn't complain about fabulous actors like Amala Paul doing a role that can be played by any other heroine, as they know they are required to just walk and reel of dialogues..a heroine in Telugu film will always be confined to a small place, they sign the films consciously as they know they will be paid well for that. If Naga Chaitanya's performance has to be judged and the previous film is a parameter for that purpose, then he is definitely better and will always be better as long as he carries a serious expression.
Poor Ahuti Prasad, he is just not himself playing a cop..he is stiff, unnatural and uncomfortable. The role given to Ashok Kumar or Kota is almost the same..all the actors lack fire (they all work with indifference and the lackadaisical attitude is evident like the ones on a government job) lack a connection between their own relationships, audience can easily predict the next dialogue like we do from Manmohan Desai movies.
People are advised to wait for a day or two to watch any film that comes from RGV camp; chances are that you could derive more entertainment on his micro-blogging site free of cost than spending precious time and money on the deranged stories. Bezawada is nothing but another product to fool the audience, reviewers have no choice but you do!
Any attempt at an elevated gore, a simple message in the end or the Indrakeeladri Hills, the Prakasam Barrage in the backdrop as a prelude or the title song that is shamelessly suggestive of caste and personalities fails to give the script an extra edge. This is a story that is partly biopic and partly raised from fiction, it is about the dead and the dying and there is no philosophical or meaningful engagement of characters or narration.
Wonder why first-time directors work towards making an ardent and a faithful copy of their master's lifeless, pointless and trite stories that are inspired by real-life incidents intended to sensationalise or create shock value. If the same asinine films of faction politics with the same handling of script and narration is continued, then we should stop cribbing about the endless possibilities of dubbing films invading Telugu market.
We shouldn't complain about fabulous actors like Amala Paul doing a role that can be played by any other heroine, as they know they are required to just walk and reel of dialogues..a heroine in Telugu film will always be confined to a small place, they sign the films consciously as they know they will be paid well for that. If Naga Chaitanya's performance has to be judged and the previous film is a parameter for that purpose, then he is definitely better and will always be better as long as he carries a serious expression.
Poor Ahuti Prasad, he is just not himself playing a cop..he is stiff, unnatural and uncomfortable. The role given to Ashok Kumar or Kota is almost the same..all the actors lack fire (they all work with indifference and the lackadaisical attitude is evident like the ones on a government job) lack a connection between their own relationships, audience can easily predict the next dialogue like we do from Manmohan Desai movies.
People are advised to wait for a day or two to watch any film that comes from RGV camp; chances are that you could derive more entertainment on his micro-blogging site free of cost than spending precious time and money on the deranged stories. Bezawada is nothing but another product to fool the audience, reviewers have no choice but you do!
Desi Boyz Movie Review
Desi Boyz is not over the top romance but just right to give you a good time and keeps you smiling. At one point dollops of sentiment threatens to deluge you but the story is right back with unexpected entries from a few characters that keeps the interest alive.
Nick (John Abraham) and Jerry (Akshay Kumar) share great comic chemistry in a story that essentially revolves around friendship. The director has packed quite a few messages other than friendship and wound up the film pretty well with food for thought. The unsuspecting audience will definitely raise eyebrows at the plot.
Two men sign up at an agency run by Sanjay Dutt which provides male escorts. Since Indian heroes are also revered for maintaining chastity, the duo decide to entertain women for money but without actually indulging in the act.
Jerry (Akshay Kumar) has nothing to lose except the custody of his nephew. If he doesn't get a job and pay the school fee the orphaned nephew will be taken away by a foster family, so he takes up the disgraceful job. Radhika (Deepika Padukone) is the upmarket high maintenance woman who dumps her boyfriend John Abraham when she discovers he is an escort.
Both the men lose the people who are precious to them and end up as losers. The next half of the film is about how they get a job, a life and their girlfriends but not without let the world know that they would escort women all over again for friendship.
For once Deepika is overshadowed by Chitrangada Singh but the former has her 2 minutes of fame proposing to John. Anupam Kher comes up with witty lines and there is court room comedy too to spice things up. Sanjay Dutt finally makes his presence felt and also is tailor made for the role.
The film is rightly rated A for the adulterous content but there isn't anything vulgar. Desi Boyz has good music, a nice cast..a cute film that makes for a good time pass.
Nick (John Abraham) and Jerry (Akshay Kumar) share great comic chemistry in a story that essentially revolves around friendship. The director has packed quite a few messages other than friendship and wound up the film pretty well with food for thought. The unsuspecting audience will definitely raise eyebrows at the plot.
Two men sign up at an agency run by Sanjay Dutt which provides male escorts. Since Indian heroes are also revered for maintaining chastity, the duo decide to entertain women for money but without actually indulging in the act.
Jerry (Akshay Kumar) has nothing to lose except the custody of his nephew. If he doesn't get a job and pay the school fee the orphaned nephew will be taken away by a foster family, so he takes up the disgraceful job. Radhika (Deepika Padukone) is the upmarket high maintenance woman who dumps her boyfriend John Abraham when she discovers he is an escort.
Both the men lose the people who are precious to them and end up as losers. The next half of the film is about how they get a job, a life and their girlfriends but not without let the world know that they would escort women all over again for friendship.
For once Deepika is overshadowed by Chitrangada Singh but the former has her 2 minutes of fame proposing to John. Anupam Kher comes up with witty lines and there is court room comedy too to spice things up. Sanjay Dutt finally makes his presence felt and also is tailor made for the role.
The film is rightly rated A for the adulterous content but there isn't anything vulgar. Desi Boyz has good music, a nice cast..a cute film that makes for a good time pass.
Solo Movie Review
Solo is a complete reflection of director Parasuram, the language, the locations, the people and the sense of humour. He has a simple point of the hero being born an orphan and being raised or brought up without someone whom he call his own. His only aim in his life is to marry a girl who has a large family behind her and when the search ends the girl's father seeks the same qualities in the prospective son-in-law.
The hero refuses to marry her without the family's approval because he craves for the love and the sense of belonging, the togetherness. The major flaw in the movie begins in the next half of the film when you don't agree or connect to the point of the hero making his presence felt physically at the girl's home, staying with them even while her wedding has been fixed and her groom, his family is at home.
Why would any person no matter for whatever reason would allow a boy friend in the house? The attempt here is to glorify the character of the hero, of his largesse and derive sympathy from his sacrifice but that doesn't happen. The director tries to justify this point through Sayaji Shinde's character but it isn't convincing.
Next is director Parasuram trusting Rohit to carry of comedy in his second film. The first film had Rohit doing a serious role, hardly smiling. When actors with decades of experience aren't able to get the right expression, how could the director expect a relative newcomer to pull of the comedy quotient? Rohit has shown variation, improved vastly in dances but he still needs to work hard and be flexible in his body language, expressions. Luckily and intelligently there are very few fights.
Srinivas Reddy is back in form, he and Ali steal the show and so does newcomer Swapnika who plays the heroine's friend. This film is completely hero-centric, so Nisha Agarwal doesn't get to do much. She was better and a natural in her first film, here she is a regular eye candy you get to see in many movies. Not that one sees a mirror image of Kajal in her because she is her sibling, it is the lack of weight in her role that the attention diverts to physical comparisons of the sisters.
There is a 'Solo' song like Ek Niranjan with lyrics almost duplicated, Prakash Raj and Jayasudha appear in clichéd roles. Parusuram is capable of much more better work, Solo struggles to show logic and suffers from cast who couldn't put up a competent show but luckily the comedians give you the money's worth and the character artistes fill up the gaps and prevents Rohit from crumbling solo.
The hero refuses to marry her without the family's approval because he craves for the love and the sense of belonging, the togetherness. The major flaw in the movie begins in the next half of the film when you don't agree or connect to the point of the hero making his presence felt physically at the girl's home, staying with them even while her wedding has been fixed and her groom, his family is at home.
Why would any person no matter for whatever reason would allow a boy friend in the house? The attempt here is to glorify the character of the hero, of his largesse and derive sympathy from his sacrifice but that doesn't happen. The director tries to justify this point through Sayaji Shinde's character but it isn't convincing.
Next is director Parasuram trusting Rohit to carry of comedy in his second film. The first film had Rohit doing a serious role, hardly smiling. When actors with decades of experience aren't able to get the right expression, how could the director expect a relative newcomer to pull of the comedy quotient? Rohit has shown variation, improved vastly in dances but he still needs to work hard and be flexible in his body language, expressions. Luckily and intelligently there are very few fights.
Srinivas Reddy is back in form, he and Ali steal the show and so does newcomer Swapnika who plays the heroine's friend. This film is completely hero-centric, so Nisha Agarwal doesn't get to do much. She was better and a natural in her first film, here she is a regular eye candy you get to see in many movies. Not that one sees a mirror image of Kajal in her because she is her sibling, it is the lack of weight in her role that the attention diverts to physical comparisons of the sisters.
There is a 'Solo' song like Ek Niranjan with lyrics almost duplicated, Prakash Raj and Jayasudha appear in clichéd roles. Parusuram is capable of much more better work, Solo struggles to show logic and suffers from cast who couldn't put up a competent show but luckily the comedians give you the money's worth and the character artistes fill up the gaps and prevents Rohit from crumbling solo.
Veedu Theda Movie Review
Whether people like it or not the fact is that there are no stories to excite audience these days so what the director does is take a cue from what worked for a recent film i.e., some comic episode and recycle it with a degree of difference to be spoken about or at least be noticed. Sad that a debut director like Chinni Krishna couldn't think of anything creative to tickle people. It is the same MS Narayana again who dresses up like various stars and makes a spoof on them; Khaleja and Puli might not have worked for the crew concerned but every third filmmaker is using the mannerisms of the hero and the songs as a pastiche.
The story is formulaic about the hero suffering from unrequited love; The girl has a strange reason not to accept his love..i.e., because she is orphaned. The rest of the story is how she has been orphaned and why certain goons are behind her blood. No clue to as why the hero is referred to as 'theda'; in fact Suman who appears for a brief while as the heroine's father makes more impact than the hero who overacts on certain occasions.
This is quite a big canvas for a first time director, a protégé of VV Vinayak. He concentrates on the story in the first half and crams all the comedians in the last part of the film and each of them comes up with a corny dialogue. Songs crop up for no rhyme or reason and on one occasion Nikhil as Katti Seenu describes Meghana (Pooja Bose) as a mango ripened in unseason (read as off season).
It is difficult to identify a young actor like Nikhil growing a stubble, shooting lewd lines, boozing and picking up a variety weapon to face goons who corner him. He's like a baby taking giant foot steps instead of crawling. Pooja Bose is pretty but she is confined to wearing one expression throughout the film. The first half is entirely boring and Ali is irritatingly silly.
Veedu Theda caters to the front benchers who are happy and content with the spoofs on Balakrishna, Pawan Kalyan, Mahesh Babu. There is an utterly shocking and a disgusting dialogue from Brahmanandam who plays Banana Baba. The movie clearly shows that the first time director was trying to play safe by not deviating from structure and technique that has been tried and tested.
The story is formulaic about the hero suffering from unrequited love; The girl has a strange reason not to accept his love..i.e., because she is orphaned. The rest of the story is how she has been orphaned and why certain goons are behind her blood. No clue to as why the hero is referred to as 'theda'; in fact Suman who appears for a brief while as the heroine's father makes more impact than the hero who overacts on certain occasions.
This is quite a big canvas for a first time director, a protégé of VV Vinayak. He concentrates on the story in the first half and crams all the comedians in the last part of the film and each of them comes up with a corny dialogue. Songs crop up for no rhyme or reason and on one occasion Nikhil as Katti Seenu describes Meghana (Pooja Bose) as a mango ripened in unseason (read as off season).
It is difficult to identify a young actor like Nikhil growing a stubble, shooting lewd lines, boozing and picking up a variety weapon to face goons who corner him. He's like a baby taking giant foot steps instead of crawling. Pooja Bose is pretty but she is confined to wearing one expression throughout the film. The first half is entirely boring and Ali is irritatingly silly.
Veedu Theda caters to the front benchers who are happy and content with the spoofs on Balakrishna, Pawan Kalyan, Mahesh Babu. There is an utterly shocking and a disgusting dialogue from Brahmanandam who plays Banana Baba. The movie clearly shows that the first time director was trying to play safe by not deviating from structure and technique that has been tried and tested.
Sri Rama Rajyam Movie Review
Mythological stories have an inbuilt significance, an appeal and passes through the test of time. Any epic that is retold innumerable times whether it is on television or on big screen or even in a book format engages people for it's invaluable information, knowledge and becomes the doctrine that guides us in the society, it is the gospel, it is the ultimate truth.
When Lava Kusa was released it had a magnetic impact on the public, there was no categorisation such as the mass or class. From the abandoning of Sita in the forests to the verbal duel between Lakshman and his nephews to the agonising dissapearance of Sita as the earth breaks into two halves, everything captured and involved people's involvement. Children waited with bated breath as snake shaped arrows clashed and brought out showers, fire and the works. Every person would leave the theatre teary-eyed with fulfillment, the people saw the Gods in the artistes, the intensity, the expression was so moving.
To make Lava Kusa these days, something that has already been watched so many times needs a lot of thinking and courage. First it is the idea, the willingness to embark on such a huge venture in the face of commercial viability, and completing it with perfect casting and technical input and the indomitable spirit of the producer in the face of emotional upheavels and finally releasing it in the theatres is nothing short of divinity. We cannot recollect anyone else currently in the role of Ram who enjoys a star status and commands an opening.
Like the orignal, Ram's role was limited and ditto here too. The focus, the story revolves around the emotional aspect of the relationship between the husband and wife..the turmoil of the separation, the king and his subjects, sibling relationship, the importance of a sage as a philosopher and a guide, mother and a daughter and what not but the major part. Each relationship, each dialogue and an argument has a justification, an answer to all doubts.
Sri Rama Rajyam is the hero, the people involved in the making and those who have acted in should thank their stars for getting such a beautiful opportunity to be a part of it. Bapu's venture is made with language simple enough for a common man to understand, the film is best enjoyed without comparisons. Two characters that stand out are Sita and Valmiki, the director has etched both the charcters beautifully without undermining the importance or stripping the value of the remaining characters.
ANR as Valmiki breathes life into his role, brings in dignity through his character..he explains the meaning of Ramayan in an utterly simplified version, the difference between astras and shastras, becomes a father figure to Sita and a guardian to her children. Sita has become synonymous with suffering, self-respect/pride and her role essayed by Nayanthara is brilliant.
Ilayaraja is an undeniable asset. Balakrishna's work is limited like in the original, none could have replaced him like mentioned earlier but if this movie had come to him ten years earlier it would have made a difference to his career. Make-up is supposed to enhance an appearance but here it really didn't. The kids all of them have been very comfortable with the camera and their sense of humour in the second half i.e., during the final scenes came alive.
Sri Rama Rajyam doesn't give any extrordianry feel..it's not necessary either but with a fabulous screenplay and a very identifiable literature, songs, Bapu-Ramana have come quiet close to making a very good film given the resources and time. A welcome break this one from the commercial madness!
When Lava Kusa was released it had a magnetic impact on the public, there was no categorisation such as the mass or class. From the abandoning of Sita in the forests to the verbal duel between Lakshman and his nephews to the agonising dissapearance of Sita as the earth breaks into two halves, everything captured and involved people's involvement. Children waited with bated breath as snake shaped arrows clashed and brought out showers, fire and the works. Every person would leave the theatre teary-eyed with fulfillment, the people saw the Gods in the artistes, the intensity, the expression was so moving.
To make Lava Kusa these days, something that has already been watched so many times needs a lot of thinking and courage. First it is the idea, the willingness to embark on such a huge venture in the face of commercial viability, and completing it with perfect casting and technical input and the indomitable spirit of the producer in the face of emotional upheavels and finally releasing it in the theatres is nothing short of divinity. We cannot recollect anyone else currently in the role of Ram who enjoys a star status and commands an opening.
Like the orignal, Ram's role was limited and ditto here too. The focus, the story revolves around the emotional aspect of the relationship between the husband and wife..the turmoil of the separation, the king and his subjects, sibling relationship, the importance of a sage as a philosopher and a guide, mother and a daughter and what not but the major part. Each relationship, each dialogue and an argument has a justification, an answer to all doubts.
Sri Rama Rajyam is the hero, the people involved in the making and those who have acted in should thank their stars for getting such a beautiful opportunity to be a part of it. Bapu's venture is made with language simple enough for a common man to understand, the film is best enjoyed without comparisons. Two characters that stand out are Sita and Valmiki, the director has etched both the charcters beautifully without undermining the importance or stripping the value of the remaining characters.
ANR as Valmiki breathes life into his role, brings in dignity through his character..he explains the meaning of Ramayan in an utterly simplified version, the difference between astras and shastras, becomes a father figure to Sita and a guardian to her children. Sita has become synonymous with suffering, self-respect/pride and her role essayed by Nayanthara is brilliant.
Ilayaraja is an undeniable asset. Balakrishna's work is limited like in the original, none could have replaced him like mentioned earlier but if this movie had come to him ten years earlier it would have made a difference to his career. Make-up is supposed to enhance an appearance but here it really didn't. The kids all of them have been very comfortable with the camera and their sense of humour in the second half i.e., during the final scenes came alive.
Sri Rama Rajyam doesn't give any extrordianry feel..it's not necessary either but with a fabulous screenplay and a very identifiable literature, songs, Bapu-Ramana have come quiet close to making a very good film given the resources and time. A welcome break this one from the commercial madness!
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