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Tuesday, May 29, 2012

Thappana - Preview

Thappana has been scripted by M Sindhuraj whose last outing was for 'Elsamma enna aankutty' with laljose which was a clean entertainer and enjoyed good collections.

Mammootty is playing Samson a local petty thief, who is out from jail. On his journey back, he meets a girl named Mallika who is also a convict coming out of jail. He decided to help her on his way back and he lands in her village. From day one onwards he speaks for her and lands in continuous trouble.

Charmee plays the character of Mallika. This will be her third outing in Mlayalama after Kaattuchempakam and Aagathan. Murali Gopi is the baddie in the film.


View the original article here

Prithviraj as J.C Daniel in 'Celluloid'

'Celluloid', directed and scripted by Kamal, has Prithviraj and Samvritha Sunil in the lead. It tells the story of J.C.Daniel, who is apparently the father of the Malayalam film industry.

J.C.Daniel, who directed the first Malayalam silent movie 'Vigathakumaran', at the age of 28, never got any recognition for his work. So in this movie, Kamal depicts the ups and downs that J.C.Daniel had to face in his career.

Prithviraj will portray J.C.Daniel and Samvritha will play his wife Janet. A newcomer will depict the role of P.K.Rose who was the first heroine of Malayalam film industry. The film also stars Sreenivasan and Tiny Tom.


View the original article here

Arike - Review by Veeyen

'Arike' is a keenly observed portrait on the mechanics of falling in and out of love. In crafting this lovely film, Shyamaprasad keeps clatter and clang at bay, and instead takes delight in gently unraveling the ultimate oddity that has had men and women dancing to its tunes for ages - love, that at times seems so near, and at others, so far.

Anuradha (Mamta Mohandas) is looked upon as a 'lady of mystery' by Shanthanu (Dileep), who happens to be in love with her best friend Kalpana (Samvrutha Sunil). The reason behind Shanthanu's apprehension is the total disregard for love and men in general, that Anuradha harbors somewhere deep inside.

'Arike' is a simple film that endeavors to tackle one of the most obscure of human emotions. It is never in a rush to deliver its goods, nor does it draw on mind-boggling conversational pieces to drive a point. Amidst plenty of blushes and giggles that the two girl friends share, there lies the sort of a movie that is bound to remain wedged into your memory much longer that you expect it to be!

The men in Anuradha's life have often stunned her. She has been nurturing for long, the bitterness that a man, who could never keep his promise to her, had left in her heart. She is often oblivious to the male attention that her single status bestows on her, and when she occasionally realizes it, her hostility is aggravated even further. It's with disgust that she ignores the playful advances of a bunch of men at the beach. There is only resentment in her when a neighbor, who is in no way flirtatious, offers her a gift that she is quick to reject.

And yet, she admits being a woman who wants a man to fall desperately in love with her, so that she could then turn down his passionate appeals without another thought! This is a revelation that further throws light on the peculiar relationship that she shares with Anjan, a young boy who has an older woman fixation on her, and who has no intention to give up whatsoever. She doesn't abhor him surprisingly, and though often pitted against each other in emotional tussles, their daggers are seldom stained with blood.

It's funny really, because Anuradha who is seen more as an enigma by Shanthanu and the rest of the men around her is not as intricate as she is made out to be, while Kalpana, the seemingly transparent girl in a terrible hurry to get married, turns out to be a silk worm that has just about started building its cocoon. The fly that emerges out of it isn't one that we have seen, and as she flutters away spreading her new found wings, we can only look on in amazement.

I have seen this film twice already, fervently hoping that I would be able to focus more on the other two players who strive to pull this tale across on to two different tangents, and I should admit I have failed. Repeatedly, it's Anuradha who occupies the center stage of this love tale for me, and ironically, it's her occupying the fringes of it as well.

One of the best scenes in the film, would however belong to neither Shanthanu, nor Kalpana or Anuradha, but to Guruji (Madambu Kunjikkuttan) whose services are sought to make Kalpana give up her romantic aspirations. Mouthing some of the best one-liners in the film, the fire brand Guruji in no time makes her parents see sense, and validates that the title bestowed on him, is for once, appropriate.

Perhaps I have never walked out of a cinema hall as impressed by an actor's performance as I have after 'Arike' and as much as I have known what a fabulous performer Mamta Mohandas could be, the film and this remarkable actor still had in store so many surprises for me. There are a million instances in 'Arike' that would have you gaping in amazement at the non-methodical and charmingly spontaneous manner in which Mamta gives life to Anuradha. 'Arike' could easily brag of an achingly dazzling performance from the actor, which should undoubtedly be her career best as yet.

Dileep and Samvrutha Sunil are extremely comfortable playing their respective roles, and the supporting actors give it their best as well. Chitra Iyer is a revelation, and there are a few scenes in the film that spring to life, thanks to her vivaciousness. I also don't remember having seen Vineeth in as appropriate a role as the one in this film. He is incredibly good in a cameo.

Azhagappan's no-nonsense, straight to the point frames capture the multiple tones of this romance admirably well. Ouseppachan's music is a soothing additive even in moments of emotional turbulence, and Sohel Sanwari's sync sound recording lends a delightfully realistic feel to the proceedings!

'Arike' tells a perfectly executed short story that is delivered with clarity and clout by a film maker, determined to keep us consistently engaged. The narrative simplicity of this character driven romance is not that commonplace, which is why, 'Arike' qualifies for an exhilarating watch!


View the original article here

Kunthapura - Preview

Through Kunthapura the viewers are being into the Indian world of 20s, immerses them in a battle between good and evil, and carries them on to the barricades during the uprising of 1928 with a realism that is unsurpassed film making.Within our dramatic story are themes that capture the intellect and the emotions: crime and punishment.

In simple words it's the story of a village in British Mysore fighting against the Archaeological Survey of India. The ASI discovers kunthapura as the Summer Retreat of Hoysala Dynasty and wants the villagers to move away from the village for good, so that they can go on with their excavations. The village fights against it. The fight against ASI eventually ends up in what is known as the fight against the British, yet another unreported event in history. This film was conceived in 1999. So after a long 10 year time, the movie is almost over.The film is expected to be out in July , 2012. Biyon, Charuhasan, Jubil Raj, Master Mishal, Priya lal, Cauvery Rajkumar and the others did very well.


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Thiruvambady Thampan - Review by Veeyen

Even with the best of stars, technicians and resources, some moribund scripts simply refuse to spring to life. 'Thiruvambadi Thamban' starts off with plenty of sentiments, has a dab on comedy for a while, tries its hand on romance and finally decides to deliver some action, leaving the viewer exasperated.

On the way back to Kerala from the Gajamela at Sonepur, Thiruvambadi Thamban (Jayaram) rubs shoulders with Shaktivel (Kishore) in Tamil Nadu, without realizing that the man is an unquestioned ruler of the place. In no time, Shaktivel and his men set out in search of Thamban and his gang, who flee to Kerala.

The lack of a proper story line is evident right at the start of the film that pretty much wastes an entire first hour saying nothing. You have an elaborate build up surrounding a Christian family that has for years been supplying elephants for temple processions. And the father-son duo that we have seen in a million films already, whose major feature would be that they get drunk together is right here.

And then we are told of a Brahmin girl whom Thamban has fallen in love with, and it takes a while before he gets married to her. And you wonder where all this is headed. It almost appears disoriented and episodic until half way through, when it changes gear all on a sudden and gives us a hint that a thriller is on its way!

Was surprised to see a kind of a heroine back in Malayalam films after a while; the kind that I thought had disappeared for good. I mean the kind of female lead who is around for a couple of scenes in the first half, and then disappears with out a trace. Here she serves an extra special purpose though; of being at the telephone with hubby hollering out instructions at the other end, including the one as to when she should hang up.

Talking about telephones reminds me of something. The usual procedure when you ring somebody up would be to wait for the person to say a 'Hello' (at least) before you start blurting out your grievances or whatever. In this film, there are at least two people who start yapping into their phones without even bothering to think who their listeners are, and they end up making revelations to the wrong persons! Both these conversations happen at the most crucial junctures as well.

Jayaram is quite at ease playing the role that he has been asked to essay in the film. But it's Kishore who steals the limelight right from under his nose. With his steely stare and twisted eyebrows, the man is undoubtedly the best thing about 'Thiruvambady Thamban'. The film also makes you really miss Jagathy Sreekumar, who unfortunately doesn't sound quite right in the film.

I was just hoping that this one would be about elephants, but no such luck. If it were, watching those big tuskers in action could have been better entertainment, I'm sure. Sigh!


View the original article here

Lakshmi Vilasam Renuka Makan Raghuraman - Review by Veeyen

'Renuka Makan Raghuraman' is a dreadfully hollow film that perhaps never had any intention to be this mind-numbing. The script that hopes to dwell on something real important, leaves the message unexplored and eventually buries it under a whole heap of nonsense.

Renuka (Urvasi) who happens to be a senior engineer at the PWD department finds her life torn apart when her husband (Ashokan) is murdered. A series of murders soon follow, and Renuka realizes with a shudder that her husband's assailants are being wiped off the face of the earth, one by one.

Urvasi is the only performer in this film that would prompt you to stay put for a couple of hours that would otherwise make you sit on a needle bed. And by the analogy, I certainly don't intend to put across any kind of excitement or tension, but merely the sheer agony of having pins sticking up your back.

What do you think of a film that has a birthday song in it, in which the Commissioner of Police (Bheeman Raghu) and the Principal of a school (Kanakalatha) all shaking their legs together and doing a jig on the dance floor? It pretty much sums up the affairs around here.

The torture is so overwhelming that you feel you wont be able to take in any more of this anguish, when along comes a climax that has been shot in a court room that looks like an stretched out kennel. Its surprising however, that they managed to squeeze in a dozen or more actors into the room and the effects predictably are disastrous.

The film has valid statement to make on a very pertinent subject; that of juvenile delinquency. The plot ways that it adopts to put it across are unbelievably infantile. There wouldn't be any spoilers in this review, since anyone who is ten minutes into the film could very well throw their dart straight on to the culprit's chest.

Urvasi as Renuka is as good as ever. As for the rest of the cast, I wouldn't want to say a word. Or perhaps I should, since there are instances aplenty of real bad acting that would make you flinch. I wouldn't even dare critiquing the filmic techniques that have been adopted for this piece.

You could perhaps accept that a small boy could be out there, blood thirsty for revenge. He might devise the most heinous of crime plans as well. But that doesn't give you reason enough to make him land on his feet like Superman, raising a cloud of smoke and dust, causing the villain to look at him all petrified.

If that's the case, it's a glorification of the criminal, taking the focus totally away from the crime and the cause of it. Sad, but true!


View the original article here

I failed in my first attempt, not my father: Fahad

Thiruvananthapuram, May 6 (IANS) Fahad Fazil, the latest heartthrob in the Malayalam film industry, has played down his disastrous debut despite being launched by his illustrious father Fazil in 2001, saying the failure was his and not that of his father.

"Please don't blame my father for my failure because it was my mistake and I came into acting without any preparation," said Fahad who returned with a bang in his second outing.

He was in the city to promote his new film," Diamond Necklace", directed by maverick film maker Lal Jose.

It was Fazil, a hugely successful director, who launched and moulded the careers of many stars like Mohanlal, Sobhana and numerous others in the 1980s and 1990s.

But strangely, when the master director launched his son Fahad in 2001 in'Kaiyethum Doorath', it failed miserably and many thought it was the end of Fahad's career.

Fahad went into hibernation, pursued his studies and returned in 2009 to act in "Kerala Cafe".

In 2011, he made his presence felt in an offbeat film "Chappa Kurishu" and since then there was no looking back for the actor.

Two films that worked for Fahad include "22 Female Kottayam" and "Diamond Necklace"

"I do not know any other job than what I am doing now and unlike my first time, am prepared. I initially wished to be behind the scenes in the industry , but am enjoying my acting. I also wish to direct a film," said Fahad.

He also added that for the industry to go ahead, it should be the writers and directors who should be the face of the film industry.

Echoing the young actors thoughts was director Lal Jose who said that the present films that are doing good business are the ones that can be termed as 'new generation films' with actors like Fahad.

"Change is always welcome and you wait and see in another three years time there are going to be lot more changes and only the fittest would survive here. Very soon the Malayalam film industry will return to its lost glory as was seen in the 80s," said Jose, who along with his friends launched the lJ Films, a brand new production house and his latest film was the first one to be produced by this new venture.


View the original article here

Monday, May 28, 2012

Arike - Discussions

'Arike' is a keenly observed portrait on the mechanics of falling in and out of love. In crafting this lovely film, Shyamaprasad keeps clatter and clang at bay, and instead takes delight in gently unraveling the ultimate oddity that has had men and women dancing to its tunes for ages - love, that at times seems so near, and at others, so far.

Anuradha (Mamta Mohandas) is looked upon as a 'lady of mystery' by Shanthanu (Dileep), who happens to be in love with her best friend Kalpana (Samvrutha Sunil). The reason behind Shanthanu's apprehension is the total disregard for love and men in general, that Anuradha harbors somewhere deep inside.

'Arike' is a simple film that endeavors to tackle one of the most obscure of human emotions. It is never in a rush to deliver its goods, nor does it draw on mind-boggling conversational pieces to drive a point. Amidst plenty of blushes and giggles that the two girl friends share, there lies the sort of a movie that is bound to remain wedged into your memory much longer that you expect it to be!

The men in Anuradha's life have often stunned her. She has been nurturing for long, the bitterness that a man, who could never keep his promise to her, had left in her heart. She is often oblivious to the male attention that her single status bestows on her, and when she occasionally realizes it, her hostility is aggravated even further. It's with disgust that she ignores the playful advances of a bunch of men at the beach. There is only resentment in her when a neighbor, who is in no way flirtatious, offers her a gift that she is quick to reject.

And yet, she admits being a woman who wants a man to fall desperately in love with her, so that she could then turn down his passionate appeals without another thought! This is a revelation that further throws light on the peculiar relationship that she shares with Anjan, a young boy who has an older woman fixation on her, and who has no intention to give up whatsoever. She doesn't abhor him surprisingly, and though often pitted against each other in emotional tussles, their daggers are seldom stained with blood.

It's funny really, because Anuradha who is seen more as an enigma by Shanthanu and the rest of the men around her is not as intricate as she is made out to be, while Kalpana, the seemingly transparent girl in a terrible hurry to get married, turns out to be a silk worm that has just about started building its cocoon. The fly that emerges out of it isn't one that we have seen, and as she flutters away spreading her new found wings, we can only look on in amazement.

I have seen this film twice already, fervently hoping that I would be able to focus more on the other two players who strive to pull this tale across on to two different tangents, and I should admit I have failed. Repeatedly, it's Anuradha who occupies the center stage of this love tale for me, and ironically, it's her occupying the fringes of it as well.

One of the best scenes in the film, would however belong to neither Shanthanu, nor Kalpana or Anuradha, but to Guruji (Madambu Kunjikkuttan) whose services are sought to make Kalpana give up her romantic aspirations. Mouthing some of the best one-liners in the film, the fire brand Guruji in no time makes her parents see sense, and validates that the title bestowed on him, is for once, appropriate.

Perhaps I have never walked out of a cinema hall as impressed by an actor's performance as I have after 'Arike' and as much as I have known what a fabulous performer Mamta Mohandas could be, the film and this remarkable actor still had in store so many surprises for me. There are a million instances in 'Arike' that would have you gaping in amazement at the non-methodical and charmingly spontaneous manner in which Mamta gives life to Anuradha. 'Arike' could easily brag of an achingly dazzling performance from the actor, which should undoubtedly be her career best as yet.

Dileep and Samvrutha Sunil are extremely comfortable playing their respective roles, and the supporting actors give it their best as well. Chitra Iyer is a revelation, and there are a few scenes in the film that spring to life, thanks to her vivaciousness. I also don't remember having seen Vineeth in as appropriate a role as the one in this film. He is incredibly good in a cameo.

Azhagappan's no-nonsense, straight to the point frames capture the multiple tones of this romance admirably well. Ouseppachan's music is a soothing additive even in moments of emotional turbulence, and Sohel Sanwari's sync sound recording lends a delightfully realistic feel to the proceedings!

'Arike' tells a perfectly executed short story that is delivered with clarity and clout by a film maker, determined to keep us consistently engaged. The narrative simplicity of this character driven romance is not that commonplace, which is why, 'Arike' qualifies for an exhilarating watch!


View the original article here

Revathy happy with Hindi, southern cinema amalgamation

Actress Revathy is delighted to see how various southern films are being remade in Hindi and vice-versa.

"It's one country. The issues and emotions are very much similar. The beauty about India is that it's so varied, the cultural differences, the language differences and the way people think. It is interesting for filmmakers to try and cater to that particular region in a different way," she told IANS.

"You have a pan-India audience, you have very regional audience and it's beautiful to see the way things are coming. It's like the world becoming smaller and boundaries are slowly getting wiped out," she added.


View the original article here

No. 66 Madhura Bus - Preview

The film will be directed by M A Nishad, who has given us films like 'Pakal', 'Nagaram', 'Aayudham', 'Vairam' and quite recently 'Best of Luck'. 'No.66 Madhura Bus' would be scripted by K V Anil, and has a stellar star cast that has such names as Pasupathy, Makarand Deshpande, Swetha Menon, Padmapriya Mallika and Urvasi in it.

And what's more; there is Thilakan, Jagathy, Jagadeesh, Ashokan, Kalpana, Seema G Nair Mahima and Kalinga Sasi, who would offer support to the leading cast. M Jayachandran would compose the musical score of the film and the lyrics will be penned by Vayalar Sharathchandra Verma & Rajiv Alunkal.


View the original article here

You cannot cheat today's audiences: Revathy

New Delhi, May 4 (IANS) Actress Revathy, who has wielded the megaphone for films like "Mitr: My Friend" and "Phir Milenge", feels it's difficult to deceive the audience with poor content even though their attention span has decreased over the years.

"Audience's attention span is very less these days; so you need to give them a lot in a short time. You need to do a lot, work a lot," Revathy, who was here to attend the National Awards ceremony, told IANS in an interview.

"People today are well aware because they watch a lot of world cinema. It is interesting that now you cannot cheat the audience, you need to work in detail. That is one part of it, especially the urban audience, but for the other audience you need to tell a good story that would touch their hearts," she added.

The actress, a well-known name in the southern film industry, made her debut with Tamil movie "Mann Vasanai" (1983) and went on to become a name to reckon with in her profession.

Eight years later she made her Bollywood debut opposite Salman Khan in "Love". Other Hindi films that she has been part of are "Ab Tak Chhappan", "Darna Mana Hai" and "Dil Jo Bhi Kahe".

In 2002, the actress donned the director's hat with "Mitr: My Friend" and her second directorial venture was 2004 movie "Phir Milenge", which dealt with the issue of HIV. Revathy feels there has always to be a purpose for a film.

"Even as an actor I was very choosy about the films. There has to be a purpose to the film," said the 45-year-old, who has won a National Award for the short film "Red Building Where The Sun Sets", which shows how fights between parents affect children.

"So I think, when I became a director, the idea was just the combinations of certain causes that I work with and films that I want to make," she added.

Revathy calls her transition from an actress to a director "very natural".

"As an actor you just do one part of it in the film. But as a filmmaker, starting from the idea to making a story, working on the entire thing and making it as a feature film was interesting. I tried it with short films in the beginning; after that I thought this is what I want to do," said the actress.

After being in the Indian film industry for almost three decades, the actress-filmmaker feels the industry has evolved with society.

"The Indian film industry has evolved exactly like the society around. Just like we have changed from writing diaries to short notes in computers, the same way the industry has evolved in storymaking, storytelling and the technicalities. It caters to people with different perspectives," said the three-time National Award winner.

"I think Indian cinema is fantastic, especially the regional cinema, while in Hindi cinema you have few glimpses of very good films," she added.


View the original article here

India doesn't make too many films for children: Revathy

New Delhi, May 2 (IANS) Actress Revathy, who has won a national award for her short film "Red Building Where The Sun Sets" that shows how fights between parents affect children, says there are films about children, but very little for them.

"India doesn't make too many films for children, we make it about children. But the Children's Film Society is trying to do their bit by approving scripts for children," Revathy told reporters Wednesday at The Park Hotel.

"Most of the best films 'for children' are from the Scandinavian countries, while most of the Asian countries make films 'about children'," she added.

The actress-filmmaker will receive her third national award Thursday after winning best supporting actress for "Thevar Magan" in 1992 and best feature film in English for "Mitr, My Friend" in 2002.

"I think it's interesting how I feel because I have won every 10 years. I am hoping next one is not in 2022, but a little earlier," joked the 45-year-old.

"I think it is a very special feeling. The best thing about these awards is that this is the only award which is awarded to Indian films all over the country.

"There are people who call certain awards as Indian when it is just Hindi film awards. We need to stop that. I feel this (national award) is the only Indian film award, where you get to watch best filmmakers from all over India. It is an award which everybody looks forward to and not being biased," she added.

"Red Building Where The Sun Sets", produced by Edumedia, has been awarded the Best Non-Feature film - Family Values.

Another Edumedia film that won the national award is Akshay Roy's "Finish Line". It has been awarded Best Non-Feature Film - Exploration/Adventure including Sports category. It stars Rajat Barmecha of "Udaan" fame and Manjot Singh of "Oye Lucky Lucky Oye" fame.


View the original article here

Manjadikuru - Review by Veeyen

It feels good to be back on a magical land that looks all green, where the water seems pristine and where the sunrays seep out of clouds unsullied by smoke. It feels good to draw in some fresh air and sleep in the stillness of the cold night. It feels good to clasp a few lucky red seeds inside your palm...to be in Kerala, a good twenty years back.

Anjaly Menon's 'Manjadikkuru' is a coming of age tale of a young boy named Vicky (Sidharath), whose life is transformed as he lands up from Dubai at his mother's ancestral house in Kerala, where his grandfather has just passed away. The funeral over, Vicky stays back at the place for the next couple of weeks, as his parents and the rest of the relatives who have gathered there, wait for his grandfather's will to be read out on the sixteenth day.

It's a retro journey for all of us, who had been there, who have seen how stunning this wonderful place was before it transformed gradually into a terrain that has been slowly, but surely losing out on its charm. There is always something delightful about that age that at least a few of us have had the opportunity to be a part of; an age when email and the internet might have sounded as remote a possibility as could be, an age before the influx of plastic, and an age where innocence and virtue reigned in abundance.

At a very obvious level however, the film tells the story of Roja (Vyjayanthi), a Tamil immigrant girl who works as a housemaid at Vicky's ancestral house. The endearing companionship that builds up between the two is expanded further when two of Vicky's cousins join in. Together, the four of them have a blast, even as their parents bustle around to perform the last rites of the man who is no more.

Death holds little significance for them, and as the body is carried away to the funeral ground, the four children gawk at the small procession curiously. The event isn't able to sustain their interest for long that within moments gets transferred to the ripe mangoes on a tree nearby. The idea isn't lost on them though, and when the tadpoles that they had mistaken for fingerlings are found dead, they make sure that the creatures have a proper burial, just as the grandfather had had.

What is most painful about the film is the realization that the lucky red seeds perhaps holds no significance for a new generation that is fed on video games and television sitcoms. There would be many a tiny finger that would never ever feel the shine and sparkle of the crimson beads.

'Manjadikkuru' has a bunch of amazing child artistes, all of whom have contributed appreciably to the allure of the film. It also has seasoned performers like Murali, Urvasi, Rahman, Bindu Panicker and Praveena giving it their best. Cinematography by Pietro Zuercher and the music by Ramesh Narayanan are top notch.

Anjaly Menon's 'Manjadikkuru' is an ode to the inherent innocence that once existed in us. Appealing equally to viewers of all ages, the flight of fancy that she offers to this incredible world that once was, is certainly not to be missed!


View the original article here

Hero - Discussions

Diphan's 'Hero' is visually quite elaborate, and dramatically it's as flat as could be. With no central conflict in sight, the film ends up a wobbling piece, with chunks dropping off it every now and then, predicting an imminent and inevitable topple down.

Dharmarajan (Thalaivasal Vijay), a former fight master requests director Adithyan (Anoop Menon) to let him work in his film, though it has been some time, since the action guru has been away from films. He brings in an efficient stuntman Tarzan Antony (Prithviraj), who with his daredevil stunts gets on the hero Premanand's (Srikanth) nerves, in no time. However, as every cloud that has a silver lining, there is Gauri Menon (Yami Gautham) around, the leading actress in the film, who has taken to fluttering her pretty eyelashes a bit too much whenever Tarzan is around.

There was another film titled 'Josettante Hero' that I had seen about a month back that talked of an arrogant superstar and a still photographer who was cast as his replacement. It's pretty much the same in 'Hero' except that you have a stunt man instead of the photographer taking up the actor role!

What is most interesting is that Anoop Menon had played the photographer-turned-actor in the former film, and in 'Hero' he does the role of the director. And Nandu, who had done the role of the director in the former film, does the role of an associate director in 'Hero'!

Adityan is heard making fun of Premanand, that he should be careful while walking before the camera for the slow motion scenes, lest he tripped and fell. And 'Hero' probably is a film that suffers from a surplus of slow motion scenes, which is probably one of the reasons why it runs so long. I guess it could probably be a good twenty minutes shorter if people were walking faster in it!

Probably to bring in a further contrast between the underling stunt man and the haughty hero, Adityan also tells us that Premanand cannot act or fight for life. He is too scared of action scenes and requires a dupe for every scene that demands even a bit of an adventure. The question is why does it take Tarzan Antony around ten minutes of the climactic sequence to bring such a weak-willed man to book? Why is it that Premanand known for his cold feet, transforms into a ninja all on a sudden?

Adithyan heaves a sigh of relief, when 'Hero' Tarzan Antony's debut film emerges a hit. The reason, he sighs, is that Gauri could peacefully tie the knot with him, now that he is a Hero, and not a stunt man. The romantics among you could shudder thinking of what would have happened had this film offer not come Tarzan's way.

Prithvi is the hero of the film, no doubt, and he looks stunning. He does manage to carry the silly script and plenty of associated twaddle on his strapping shoulders and if it weren't for him, 'Hero' would have ended up a zero in no time. For once, those punches that make them land a mile away look believable. Well, at least in parts. Yami Gautham is remarkably good too, in the tiny role that she does.

Aww... and those fireworks at the beginning when a big bad guy who had run in to bash up Tarzan lands on a parachute outside as if hit by a thunderbolt... well, that's passe! Really! Heroes, believe me, are a different kind these days.


View the original article here

Sunday, May 27, 2012

Hero - Review by Veeyen

Diphan's 'Hero' is visually quite elaborate, and dramatically it's as flat as could be. With no central conflict in sight, the film ends up a wobbling piece, with chunks dropping off it every now and then, predicting an imminent and inevitable topple down.

Dharmarajan (Thalaivasal Vijay), a former fight master requests director Adithyan (Anoop Menon) to let him work in his film, though it has been some time, since the action guru has been away from films. He brings in an efficient stuntman Tarzan Antony (Prithviraj), who with his daredevil stunts gets on the hero Premanand's (Srikanth) nerves, in no time. However, as every cloud that has a silver lining, there is Gauri Menon (Yami Gautham) around, the leading actress in the film, who has taken to fluttering her pretty eyelashes a bit too much whenever Tarzan is around.

There was another film titled 'Josettante Hero' that I had seen about a month back that talked of an arrogant superstar and a still photographer who was cast as his replacement. It's pretty much the same in 'Hero' except that you have a stunt man instead of the photographer taking up the actor role!

What is most interesting is that Anoop Menon had played the photographer-turned-actor in the former film, and in 'Hero' he does the role of the director. And Nandu, who had done the role of the director in the former film, does the role of an associate director in 'Hero'!

Adityan is heard making fun of Premanand, that he should be careful while walking before the camera for the slow motion scenes, lest he tripped and fell. And 'Hero' probably is a film that suffers from a surplus of slow motion scenes, which is probably one of the reasons why it runs so long. I guess it could probably be a good twenty minutes shorter if people were walking faster in it!

Probably to bring in a further contrast between the underling stunt man and the haughty hero, Adityan also tells us that Premanand cannot act or fight for life. He is too scared of action scenes and requires a dupe for every scene that demands even a bit of an adventure. The question is why does it take Tarzan Antony around ten minutes of the climactic sequence to bring such a weak-willed man to book? Why is it that Premanand known for his cold feet, transforms into a ninja all on a sudden?

Adithyan heaves a sigh of relief, when 'Hero' Tarzan Antony's debut film emerges a hit. The reason, he sighs, is that Gauri could peacefully tie the knot with him, now that he is a Hero, and not a stunt man. The romantics among you could shudder thinking of what would have happened had this film offer not come Tarzan's way.

Prithvi is the hero of the film, no doubt, and he looks stunning. He does manage to carry the silly script and plenty of associated twaddle on his strapping shoulders and if it weren't for him, 'Hero' would have ended up a zero in no time. For once, those punches that make them land a mile away look believable. Well, at least in parts. Yami Gautham is remarkably good too, in the tiny role that she does.

Aww... and those fireworks at the beginning when a big bad guy who had run in to bash up Tarzan lands on a parachute outside as if hit by a thunderbolt... well, that's passe! Really! Heroes, believe me, are a different kind these days.


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Gruhanathan - Discussions

Did I tell you that I had been to a sentimental work out called 'Grihanathan' lately, that served little purpose other than remind me that this is yet another film that has been stocked up with plenty and plenty of overused formulae?

Vishwanathan Nair (Mukesh) is the general manager of a private firm, married happily to Anitha (Sonia Aggarwal). The couple has a child and all is hunky dory in their family life except for the disgruntled smirk that occupies Anitha's face, 24 x 7. The reason is Vishwanathan's extravagance that she simply cannot stand.

Having watched another film on the folly of wastefulness recently, ('Diamond Necklace' to be more precise), I should say that 'Grihanathan' seemed unpardonable a cinematic offence to me. And the grievances that I have to list out are more than one.

With so many women neighbors vying for his attention, we would expect Vishwanathan Nair to be a Casanova, which he is not. He looks his age, sports a paunch, and tries hard to be believable. I wonder if these are the criteria that make a man hot property, and only then GV (as he is affectionately called by his female fans) would fit the bill.

This film so much reminds you of the Rajasenan films that were made a good ten to fifteen years back, but some of which remain still enjoyable. When I say 'Grihanathan' reminds you of those films, I do not mean that this is a film that could be compared with it. It merely reminds you and makes you wish that you were watching one of those films instead.

House management, you see, isn't as easy as it seems. It takes a lot of courage to talk it out with the vegetable vendor, pay your bills and decide on which kinda fish you are going to have for lunch. It's a skill that requires mathematical precision, and keeping a notebook at hand might always be beneficial.

That's the kind of moral that I took home after 'Grihanathan'. I haven't been able to put all this into practice as yet, because the latter half of the film that portrays the fall of GV and the rise of Anitha, has still left me in shock. Absurd is something that we can put up with, but what if the writing doesn't even stop there?

Mukesh has no issues playing the title role. Sonia Aggarwal, they say, has been waiting for the perfect role to make her debut in Malayalam. Finally she does, and I didn't see her sweating it out; not with this performance anyhow. If at all there was someone who really moved mountains, it must have been Bhagyalekshmi whose voice is the best thing about Anitha!

Thus, 'Grihanathan' ends up being a woefully pedestrian effort, with a story that lacks plausibility and surprise. It isn't a really bad film, as in 'Bad', but unfortunately in these good cinema times, anything that doesn't offer something special, gets to be branded lifeless. And lifeless almost equals, bad.


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Friday, April 27, 2012

Manam Kothi Paravai, Tamil Movie, Trailor, Songs and Lyrics

Manam Kothi Paravai is an 2012 year tamil romantic comedy movie directed by Ezil, who is famous for the movie Thullatha Manamum Thullum, Manam Kothi Paravai features Siva Karthikeyan in the lead role and music for Manam Kothi Paravai is composed by D.Imman.

Manam Kothi Paravai Movie Details

Watch Manam Kothi Paravai HD Trailor Online


Directer Ezhil
Producers Ambeth Kumar,Ranjeev Menon,Ezhil
Writter Ezhil
Cast Sivakarthikeyan,Aathmiya
Music D. Imman
Cinematography Suraj Nallusamy
Editer Gopi
Studio Olympia Movies
Year 2012
Movie Language Tamil

Buy the Manam Kothi Paravai Audio CD Now

Be Loyal and Respect Privacy of the Tamil Cinema and Music Composers.
Buy the Audio CD of Manam Kothi Paravai Now

Manam Kothi Paravai HD Video Trailor Online




More Manam Kothi Paravai Songs, Lyrics and details can be found @ http://tamilsonglyricsintamil.blogspot.com/

Monday, January 2, 2012

Pranayam Malayalam Movie H.D Trailor watch online

Watch Pranayam Malayalam Movie Trailer online




Pranayam malayalam movie still

Pranayam Malayalam Movie

Modala Minchu Kannada TVHD Trailer online

Watch Modala Minchu HD Trailer online




Modala Minchu Kannada Movie Still

Modala Minchu

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