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Archive for March, 2008

Nanda Loves Nanditha – Rude and crude

Posted by harino1 on March 21, 2008

The wrong message and wrong use of this powerful mass media is inexcusable – this is what every social concern human being in film media should understand. ‘Nanda love Nanditha’ is in the same direction it seems. Carelessly driven out sons should become the underworld dons the film passes the message rather stupidly. The focus made on the slum residents is also a wrong message. All those who live there have nefarious connections the film concludes. Where is the iota of responsibility? Showing deadly proceedings and mixing it with some songs and mother sentiments the film points to kill for existence of life in precarious conditions. There is no police at all in this film ‘Nanda love Nanditha’. All moves at the whims and fancies of the story and screenplay writer Ajaykumar. An MLA in the making is brutally attacked the police does not come. In busy roads the chase of two rival gang come across but there is no police. Why only this you would be astonished in the market places when hell breaks out the police do not come on scene.

The story line is wafer thin. Nanda a disheartened youngster sent out from the house works for underworld gang. He takes up a case to kill the contestant MLA for huge ransom. He is in a hideout. His fiancé is shocked with this terrible attack by Nanda. That is Nanditha who vacates the place where she is living because she has a similar case of her brother in the house. Nanda in extreme love with Nanditha runs from pillar to post to find her. Nanditha adhering to her mother agrees for marriage with widower. All is not well at the marriage hall. Nanda also comes to this place where the tragedy takes the life of Nanda and Nanditha.

What one can learn from this film? The subject is worn out. The lead actor is unbearable to watch on screen. The heroine is too young to play this role. There are two songs well captured and cinematography shows more pain than pleasures on the screen capturing the reality.

Yogish as hero should learn lot of lessons. He has made a wrong jump from a paltry role in ‘Dhuniya’ that has given him mileage. Shwetha has to join the acting classes. Avinash is wasted, Sureshchandra is a big bore.

We don’t compel you to watch this film.

Posted in Kanada | Tagged: | 1 Comment »

Varasdhara – Fine effort

Posted by harino1 on March 21, 2008

Debutant director Guru Deshpande has done a neat and tidy work although he is inspired from ‘God Father’ and ‘Sircar’ films. The concept of local underworld dons up against the terrorist is a timely thought in the wake of terrorism entering Karnataka state. The message that passes from this film is that the local dons working together in evaporating the terrorist attack is a point to be discussed even in the police department. The dons know the exact hideouts. With not just this point debutant Guru Deshpande attracts. He has a fine control over the screenplay, made the right selection of artists and presented the film in an intelligent style.

Shakthi Prasad (Ravi Belegere) although has nefarious background is strong enough to control any situation. He has the people power behind him. When he is hospitalized all community people pray. Some even dare to douse. Others do bhajan in front of the hospital. Why Shakthi Prasad is in the hospital? He has received a bullet hit to his chest when he strongly opposed the terrorism entering the city. He had convened a meeting of all underworld dons and took oath from them that the underworld would not sustain the state attacked by terrorists. Paying penalty for strengthening the power to eradicate terrorism Shakthi Prasad is taking treatment. His son Daksha (Sandeep) discarded his father for a mistaken identity arrives on the scene that further strengthens Shakthi Prasad. When terrorists strike Shakthi Prasad again in the hospital it is Daksha who handle the situation. When Shakthi Prasad comes back to home strict vigilance is not able to understand that there is a man inside waiting to kill Shakthi Prasad. At the right time Shakthi Prasad is killed by his right hand man. From here the war is waged by Daksha and his men in a brisk style. The hideout of terrorists is nothing but the house of Daksha fiancé. After a few ticklish moment three of four terrorists fix bomb to a mosque, temple and Vidhana Soudha. Daksha and his team finding right clues chase the terrorists in the mosque and unearth their further attacks.

Sandeep and Ashwini have great future ahead. In their debut both have done well, they look very good and understood the roles very well. Both are at ease in romantic moments. Ravi Belegere should have been used more on the screen. The trump card his dialogue is not in the punching styles. Suchindra Prasad playing terrorist role is a fine selection. Dattanna has given admirable support.

Rajesh Ramanath gives three lovely tunes that are superb visually from the cinematography of Mohan.

This is worth watching once.

Posted in Kanada | Tagged: | Leave a Comment »

Shalabam – It doesn’t have much to say about

Posted by harino1 on March 21, 2008

Salabham doesn’t belong to any genre. Not even to the genre which challenges the established genres. Perhaps it can be called, rather force-fit into, a “menofilm”, which never shaped up into one category at any circuit.

At the most it only has the steam that can be pressed into a thirty-minute short film. Without much to say, this old fashioned film doesn’t offer anything engrossing in all the ninety minutes. In fact, the film has labored to reach the ninety-minute mark with a couple of songs, which are totally unwanted.

The movie has a plot which is thinner than the wings of Salabham, a butterfly. It’s about the journey of a young girl into a delayed womanhood or puberty. The myths about late menstruation passed down by mothers, aunts, storytellers and community leaders from generations to generation, form the backdrop of the story.

In the movie, Meera, living with her single mother, suffers from developmental disorders. She finds it difficult to cope up with the delay in attaining womanhood. The friends of her age, incoming proposals for marriage and the neighbors… all aggravate her agony. She desires to be like others, desires to fly like a butterfly. But she can’t. She keeps all the menacing sorrows to herself, creating emotional turmoil.

The narrative makes it a point to keep the actual problem subdued; dragging the proceedings further and it takes some time to move forward in the first half. There is an attempt to keep this suspense alive, but this too falls flat. With nothing more to offer in the storyline in the later half, the viewers are left to wait until the girl attains puberty, for the film to sign off.

Maadambu in the screenplay couldn’t reach out to what was expected from such a film, with a rarest plot while director Suresh Palancherry shows his sparkles of directorial abilities in a few sequences. The other highlight of the film is the acting departments, majority consisting of relatively fresh faces who lived up to the demands of the characterizations. Remya Nambeeshan also fares better in the title role as Meera. Infact  it is her best on screen performance , till date. Another special applause must go to Deepankuran for the careful background scoring and to cinematographer M J Radhakrishnan who is sure to excel in any given conditions. It is really pathetic that such a talented cinematographer, who has proved himself in more than fifty films, is never offered one big film in which he can work with out any budgeting compromises.

In regular intervals, a song written and set to music by Kaithapram pops up, to fill the screen time. Altogether there are four songs in this ninety minute fare. With too many unnecessary songs and no single clear cut comments on the topic, the very purpose why this movie was made stands void. It cannot be a shame for the audience, not to be in the cinema halls to witness such outdated plot lines.

Posted in Malayalam | Tagged: | Leave a Comment »

Gopalapuranam – Gopalapuranam is jaded

Posted by harino1 on March 21, 2008

Old wine in old bottle. Tastes sour. Looks dull. Challenges patience. Gopalapuranam is just another movie to be listed for the mere sake of statistics. Nothing else.

With the release of Gopalapuram, the recent dismal fate of small banner Malayalam movies continues to frustrate moviegoers. This shabby non-entertainer falls into one of the early nineties formulae which churned out similar results a decade back.

“Gopalapuranam” tells, rather tries to tell, the story of Gopalakrishnan, the son of Gopalan Nair, who rears cows and sells milk for a living. Gopalan Nair, now in his sixties, finds it hard to continue with his job and calls for the assistance of Remanan, the president of milkmen association and the only friend of his son Gopalakrishnan. His son, doesn’t want to work that hard and is least interested on helping with the cow business. Always dreaming of easy money, by hook or crook, he has tried many ways all resulting in absurdities.

Gopalakrishnan finds his breakthrough as his only sister Nandini comes across a person named Vishnu with whom she gets married after a while. Vishnu, however is a gold smuggler who moves around in masquerades (as usual with every mukesh film of the nineties) and works under Mathew (Saikumar, predictably), his mentor.

Gopalakrishnan too joins smuggling business with Vishnu and proves himself as too good in that. But on an  occasion, the greed for making big amounts in one go ,makes him to do something that  disrupts all equations between the different gangs  in the business .Vishnu and Gopalakrishanan are now left in dire streets between gangs , who wants their gold and money back.

Based on a story by Shornur Vijayan, the plot moves around with little surprises. Moreover a rather interesting premise is wasted by a treatment that is outdated and the direction is too old-fashioned and gives you a feel like watching television soap. If it could have been little more polished with interesting scenes, the film might have managed to make average collections.

The movie definitely tries to put in a message for the obsessively ambitious youth, but you know, straining through all the 130 minutes to read a quote book is too exhausting.

Mukesh as Vishnu, Rajan P. Dev as Gopalan Nair and Saikumar as Mathew are in their usual selves. Remana debuting into Mollywood as gopalakrishnan finds it hard to hold the movie together .With his unnatural acting manoeuvres, many a scene fell flat and melodramatic.

The only saving graces of the movie are Indrans as the broker Sultan Abdul Khader and Salim Kumar as Remanan who manages to bring about a few chuckles in between.

The songs by Yunesio are also average. Cinematography by Pramod monalisa and other technical aspects are not much to talk about. All in all, this movie doesn’t allow a rewarding viewing.

Posted in Malayalam | Tagged: | Leave a Comment »

Vaitheeswaran – Dealing with an eternal question

Posted by harino1 on March 21, 2008

What kind of movie is Vaitheeswaran? Is it a movie revolving around a young man, who is a reincarnation of a small boy, who died 30 years back? Or, is it a movie revolving around a young man, who operates using his brain and muscles to settle scores with the baddies?

In other words, the movie revolves around an eternal question on the happenings in the world: Does everything happen according to fate or is it human endeavor that causes everything?

Well, the answer depends through whose eyes you view the movie. If you look through Mani Sankaran’s eyes, you would conclude that the movie is all about fate. If you look through Dr. Bala’s angle, you would end up concluding that everything is done through human endeavor.

Director Vidyadharan has tried to give a different colour to the usual tussle between an individual and a powerful politician by bringing in reincarnation theory. Nevertheless, he hasn’t fully relied upon the theory to make the proceedings move ahead. He has deftly created a two-layered script that operates along the parallel lines of divinity and logic.

The first scene itself tells you the storyline. Saravanan, a small boy is killed by Dhanasekaran (Sayaji Shinde), a politician without any trace of the murder. Mani Sankaran, an astrologer, who is well versed in ‘Nadi Josyam’, finds that the boy would be reborn and avenge his death. He tells the mother that though her boy died according to his fate, he would soon take rebirth and meet her after thirty years.

He asks her to stay inside the temple and pray to God for 30 years to meet her son. The mother sincerely follows his instructions.

Cut. Dr. Bala (Sarathkumar), a psychiatrist, gets into trouble when he wants to help his police friend (good looking) Riaz Khan and his girlfriend (Suja), who fall victims of Dhanasekaran, who commits a murder. Though he is not able to save them from the clutches of Dhanasekaran, he is determined to expose the rotten politician.

Mani Sankaran and Saravanan’s mother are waiting for the day of Saravanan’s arrival. Bala, along with his girlfriend Rupa (glamourous Meghna Naidu), a VJ in a private channel, are planning to punish the politician. The turn of events bring both Bala and Dhanasekaran to the village where Saravanan’s mother has been invoking the almighty for 30 years. The battle ends up with the hero coming out with triumph.

The interesting aspect of the film is the script that operates in two layers. Everything happens according to the predictions of Mani Sankaran’s Nadi Josyam. At the same time each and every incident can be perceived as normal development happening according to the plans of the human beings. The way logical and divine dimensions operate as parallel lines make the proceedings interesting. When you think some development as unbelievable, the script promptly comes out with a logical explanation for the same.

The problem with the script is that it is too predictable to be exciting. While the director has conceived some unexpected turns in the narrative (the incidents happening after Sarath meeting the mother), the major portion of the twists and turns are predictable. Moreover, the characterization of the politician is too clichéd to provide any interest.

Director Vidyadharan, however, has to be commended for his guts to avoid the mandatory duet song(s) post interval. He has concentrated on the narrative without deviating from the plot by inserting songs.

Performance wise, Sarath has done a neat job in a role that doesn’t have much of heroism. He scores in intense scenes and excels in action sequences.
However, there is no big challenge in his role and hence the impact of the role too is limited.

Meghna Naidu, who flaunts her body without inhibitions, sizzles in the beach song. She is competent in the role of a VJ and a girlfriend of the protagonist.
Though she comes through out the movie, she doesn’t get much scope to act.

Sayaji Shinde is competent in a routine role while Mano Bala as his assistant scores high points through his sharp and satirical comments. Vijayakumar, Riaz Khan, and Suja have done their respective parts well.

The music by Srikanth Deva is effective in terms of background score. The title song is melodious and there is not much to write about other songs. Cinematography by S. Saravanan and M.V. Panneer Selvam is pleasing to the eyes while Raja Mohamed’s editing is crisp.

Overall, the movie’s two layered script is interesting but it lacks the element of excitement, as the proceedings are rather predictable.

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Black & White – Subash Ghai underdelivers

Posted by harino1 on March 9, 2008

After a huge gap and with several other directors making films under the prestigious Mukta Arts banner, Subash Ghai returns to direction with Black and White. Subash Ghai, popularly called ‘Showman’ of bollywood for his larger than life images and films of immense magnitude be it a Taal , Kisna or Yaadein; returns this time around with a much smaller film. Smaller in terms of its magnitude, budget and primarily because the film marks the debut of Anurag Sinha who plays the protagonist.

Subash Ghai goes ahead by exploring something new under his belt and steps into the world of terrorism and its harmful effects. Ghai releases this film under the Mukta Searchlight Films.

The film revolves around Numair Qazi [Anurag Sinha], who introduces himself as a victim of communal riots in Gujarat to the people around him. But the truth is that he is a suicide bomber commissioned by a Muslim fundamentalist group to detonate a bomb near Red Fort on 15th August.  

In comes Rajan Mathur [Anil Kapoor] a Professor in Urdu literature. He resides in Chandni Chowk with his activist wife Roma [Shifaali Shah].

Numair somehow manages to take shelter in the Professor’s house and wins the trust and fondness of the couple. While helping Numair to get an entry pass for 15th August celebrations at Red Fort, Professor Mathur introduces him to the warm and loving people of Chandni Chowk.

Amidst all the tension, he is caught in an emotional dilemma whether to go ahead with his mission. Despite his deep-rooted fundamentalist beliefs, he sees this as one of the most colorful and loving areas. So what happens next? Will he go ahead with his mission or has there been a change in Numair’s views?

Black and White makes an attempt to look into the psyche of a Muslim fanatic and tries to justify why the so called terrorists think the way they do. But at some point or the other the film fails to leave that impact.

Subash Ghai attempts a genre or theme that has never before been explored by him and thus the film tends to loosen up and give way. Ghai’s direction is not top notch unlike several other flicks that have made Ghai the ‘Showman’ he is. The screenplay of the film is loose and so are the characterizations.

Certain characters in the film seem so wasted, for example the girl falling in love with Numair very much the love at first sight style that too across the terrace of two buildings. In fact the love angle shown is just a waste adding to the film’s length. These characters could have definitely been avoided considering the fact that these characters including the bunch of Sahelis( girl friends) lack the believability factor.

Even the characterization of Numair sometimes seems so dry. We do understand that Mr.Ghai wanted to give him a cold blooded , stoned hearted look but throughout the film , he carries the same expressions with the same tone of voice. Even in scenes where we expect the emotions to outpour, Numair stands firm and robust. The scene where Roma is shot dead by Numair’s collegues , here too Numair just stands there looking at the dead body from the door side and doesn’t emote a bit or even take few steps towards the body lying in the center of the room.  Considering the fact that Roma calls Numair her brother and was very dear to him; his emotionless depiction is not justified. We can argue that towards the end Numair shoots the culprits behind the murder but even at that point the cold bloodedness look doesn’t explain whether it was revenge for his Hindu sister or the laws of Islam that forbids the murder of the innocent that provoked him to do so.

Black and White does have its share of good moments and spellbinding scenes. The sequence where Shefali Shah enters into an argument with a local Muslim youth leader and the series of events that turn it into a communal argument with the dialogues followed by Anil Kapoor are impressive.

On the acting front, it is truly Anil Kapoor who is fantastic as the patriotic and just Professor. Anil carries the character with ease and is so impressive with his dialogues moving from a high pitch mentioned in the above sequence to a low pitch at the climax while observing the kids at the parade.

Shefali Shah is very good too and compliments Anil by portraying a realistic wife. Debutant Anurag Sinha does well for a debut but the film actually doesn’t offer much scope to see his versatility as  an actor. Guess we will have to wait till his next to see whether or not Anurag shifts from the angry young man to a true bollywood ‘Hero’.

The character portraying the poet is impressive and natural. New find Aditi fails to impress. Milind Gunaji impresses.

Cinematography by Somak Mukherjee is good. Music by Sukwinder Singh doesn’t have much scope in the film yet ‘jogi ayaa’ and ‘main chala’ are good compositions.

On the whole Ghai indeed tries something different but looses out with the screenplay that at times just drags the film along. Nevertheless, Anil Kapoor is worth watching and so is Anurag Sinha. Also with over two weeks since the release of Jodhaa-Akbar comes a film that hits the theatres in a dry week of college exams. So until Race on March21, Black and White fills the theatres.

Posted in Hindi | Tagged: | Leave a Comment »

Shivani – Lacks strength

Posted by harino1 on March 9, 2008

What are the qualities of a good commercial cinema? The director of this film Vishalraj has partially understood. In putting the things in right order he is not careful. He has made his screenplay look confused one on screen. He has taken good acting from artists and technical works too. But disorder in screenplay and missing links bothers the viewers.

The flash back technique he has deployed in the beginning of the cinema is the main disturbance. He does not come back to the original position from where he started.

Vijay is a darling of everyone in the colony. From leaving Shivani to the school he does all the petty work of his people in the colony. He is good at heart and on the insistence of his friends gives a place to Shivani who is very close and affectionate to him. But Shivani parents look for a different match. That happens to be freak and the life of Shivani is in doldrums after engagement. On the other the life of Vijay brother is in danger as he is attacked by the rival gang. Vijay helps his brother at the right time despite of disliking him for his rowdy activities. Around this time Vijay friends alert the elders of the secret love of Vijay to Shivani. That makes the way clear for Vijay who later becomes darling of Shivani.

Suraj is promising in his debut. He has to improve in his emotions and when he comes close to camera should be more alert. Shivani has the right role in her debut Kannada film. In close up shots she does not look beautiful. Avinash, Thulasi, Jogi Nagaraj and Dharma have lent good support.

Matte Matte Ninna nenapene sung by Sonu Nigam for Kaviraj lyrics, Kaddu Nodala… Muddu Madala…sung by Karthik for Harish Shringa lyrics are the melodious tunes of this film from James j Sakleshpur. There has been excellent cinematography especially for the songs that is done by James William.

First attempt of Vishalraj is partly tolerable.

Posted in Kanada | Tagged: | Leave a Comment »

Varasdhara – Fine effort

Posted by harino1 on March 9, 2008

Debutant director Guru Deshpande has done a neat and tidy work although he is inspired from ‘God Father’ and ‘Sircar’ films. The concept of local underworld dons up against the terrorist is a timely thought in the wake of terrorism entering Karnataka state. The message that passes from this film is that the local dons working together in evaporating the terrorist attack is a point to be discussed even in the police department. The dons know the exact hideouts. With not just this point debutant Guru Deshpande attracts. He has a fine control over the screenplay, made the right selection of artists and presented the film in an intelligent style.

Shakthi Prasad (Ravi Belegere) although has nefarious background is strong enough to control any situation. He has the people power behind him. When he is hospitalized all community people pray. Some even dare to douse. Others do bhajan in front of the hospital. Why Shakthi Prasad is in the hospital? He has received a bullet hit to his chest when he strongly opposed the terrorism entering the city. He had convened a meeting of all underworld dons and took oath from them that the underworld would not sustain the state attacked by terrorists. Paying penalty for strengthening the power to eradicate terrorism Shakthi Prasad is taking treatment. His son Daksha (Sandeep) discarded his father for a mistaken identity arrives on the scene that further strengthens Shakthi Prasad. When terrorists strike Shakthi Prasad again in the hospital it is Daksha who handle the situation. When Shakthi Prasad comes back to home strict vigilance is not able to understand that there is a man inside waiting to kill Shakthi Prasad. At the right time Shakthi Prasad is killed by his right hand man. From here the war is waged by Daksha and his men in a brisk style. The hideout of terrorists is nothing but the house of Daksha fiancé. After a few ticklish moment three of four terrorists fix bomb to a mosque, temple and Vidhana Soudha. Daksha and his team finding right clues chase the terrorists in the mosque and unearth their further attacks.

Sandeep and Ashwini have great future ahead. In their debut both have done well, they look very good and understood the roles very well. Both are at ease in romantic moments. Ravi Belegere should have been used more on the screen. The trump card his dialogue is not in the punching styles. Suchindra Prasad playing terrorist role is a fine selection. Dattanna has given admirable support.

Rajesh Ramanath gives three lovely tunes that are superb visually from the cinematography of Mohan.

This is worth watching once.

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Vellitherai – Genuine critique on the star centric culture

Posted by harino1 on March 9, 2008

‘Vellithirai’ takes a sharp and critical look at the way the male stars dominate the film world. It does it in a telling manner with satirical element. Thankfully, the movie hasn’t overlooked the reality element in its pursuit of providing an entertainer.

Director Viji and his team have lived up to the expectation in bringing out the Tamil adaptation of Mohanlal starrer Malayalam flick ‘Udhayananu Tharam’. The movie justifies the pre release hype by getting many things including execution and performances right.

‘Vellithirai’ is all about two friends who want to make it big in tinsel town. Saravanan (Prithviraj), a well-informed person in filmmaking wants to become a director. Kannaiya (Prakash Raj) on the other hand has a dream to become a big star without trying to develop the necessary qualities to become one. Saravanan is a genuine person, who believes in hard work and sincerity, while Kannaiya is ready to become a star at any cost.

Kannaiya, – with middle aged looks and hefty figure with a big tummy is obviously not a hero material – is determined to become one. He is roaming around the studios and tirelessly meeting the big weights of the industry for more than ten years. His philosophy is simple: once you start doing small roles, you will end up doing small roles all over your life. So he wants to become hero at any cost. He is ready to do anything.

Anything including cheating. He betrays his friend Saravanan by looting his script and gets a chance to act by using the finely written script. He becomes an actor and with a stunning victory in his debutant movie he soon becomes a star. Kannaiya becomes Dilipkanth. He appoints a manager (M.S. Bhaskar) even before his first release. He develops the negative traits of stardom sooner. He starts dictating terms.

Saravanan, on the other hand meets with series of failures. He marries the top heroine Mythily (Gopika) who loves him so much. Mythily, who is tortured by his brother Dinesh (Sampathraj) comes to his lover’s house and marries him. She gives up acting while Saravanan is struggling in his life. The failures continue and Mythily decides to part Saravanan to help him come up in his life.

Saravanan is deeply hurt and dejected. He loses faith in life. But he gets a chance to prove himself. A producer (Sarath Babu), who gave the lift to Kannaiya, sympathises his position and gives him a chance. There is one hiccup. He has to make the film featuring the star who sells. He has to cast Dilipkanth.

Saravanan accepts this condition, as he is craving for a chance. The development puts the genuine filmmaker and a superfluous star against each other. The filmmaker is not allowed by the star to do what he wants to do. The creator is being constantly hurt by the star. The battle intensifies and reaches a boiling point.

The rest of the movie tells you who has the last laugh. The brilliantly conceived and executed climax settles things in a convincing manner.

Director Viji has deftly adapted the original and has come out triumph in giving as an engaging movie with right mix of comedy, drama, sentiment, and last but not the least, reality. He has boldly taken the star centric culture to task. He has done this without hurting anyone, as he presents the whole thing in a tongue-n-cheek manner. The struggle of the aspirants in Kollywood is realistically portrayed. He has penned some sharp and meaningful dialogues that reveal the reality of the show world. Viji has come out with flying colours in his debutant venture as director. His execution of climax deserves special mention.

There are a few problems in the tightly written script. The way Mythily gets rough treatment in her house looks clichéd. Her separation with Saravanan is not convincing. The writer (Viji) has taken too much liberty in portraying the sudden and miraculous growth of the star. While his critique on the star culture is sharp and reasonable, he has failed to look at the picture in total. There is a big silence about the other stars and other big weights in the field, who could make some impact on the way the new star behaves. Moreover, no star is assured of continuous success as our hero experiences. The field has its own checks and balances, which the director hasn’t bothered to portray.

While the movie could be appreciated and debated within the film world, one wonders what it offers to an ordinary film goer, who doesn’t care about the nuances of the tinsel town. However, you cannot help appreciating the efforts if you look at the film as a genuine attempt on looking in to a popular and powerful entertainment industry.

Prithviraj is flawless as an aspiring director. His character demands underplaying and he exactly does he same. He is able to express the anger and agony of being cheated with aplomb. The way he reacts to the betrayal stands out.

Prakash Raj steals the show with his colourful and powerful performance. The way his body language change as he becomes a star is remarkable. He has credibly depicted the various shades of the character with amazing ease. The versatile actor has once again proved his mettle as a powerful performer, who could carry the film on his shoulders.

Gopika looks pleasant and acts well. She provides some romantic relief and sentimental dimension to the fare.  Lakshmi Rai as a popular heroine is credible.

Sarath Babu looks fresh. His dignified handling of the character is an asset to the film. M.S. Baskar and Charlie are impressive while Sampathraj in a relatively weaker role leaves an impression. Trisha in a guest appearance is pleasing.

Young musician G.V. Prakash Kumar has done well in back ground score. The songs are hummable.

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Nagaram – Srikanth’s return to action

Posted by harino1 on March 9, 2008

It was much hyped as the makers and the main protagonist claimed it was a comeback of Srikant to hardcore action flicks once again. That was enough to create lots of enthusiasm among the audience to see what the film has on offer. It surely is an action flick and it surely sees Srikant doing more action than he has done in more than a decade. Then, there is an all important item song, a sincere cop, et al, which are the quintessential ingredients for such a film.

As for the actual story, it is about a bad guy called Right (Srikant), who is not exactly on the wrong side of law. Like in all such films, he is sole man with a golden heart among bad guys. So, he is sidekick and right-hand man of Saleem bhai. Everything goes well, till it is time for our hero to meet the sincere and tough cop Choudhary (Jagapati Babu). It is not long before the twosome strike a friendship. After some scenes of male bonding, it is time for our hero Mr Right to question the actions and methods of Saleem bhai.

This naturally leads to them turning foes from friends and suddenly Right finds himself in a tricky situation. Meanwhile, Choudhary is out and in comes a corrupt cop played by Mani. From here on, the film meanders towards a rather tame and expected ending.

Srikant may have wanted to do an action flick after a long time, but the choice of script does not justify his decision. Though it is an action film, director Srinivas fails to either excite or thrill the masses with interesting plot and surprise twists. The film falls into the ‘we-have-seen-it-all-before’ genre and that leaves you asking for more.

Kaveri Jha, who debuts with the film is used more for body show and has little to do apart from dancing around in skimpy clothes. As for Manisha Koirala, we wonder why the director chose to cast her. She is good, but a younger item girl would have worked much better.

The main flaw is Chakri’s music, which unfortunately, is average. Though there is a specially choreographed song by Krishna Vamsi, it does not really help the film. However, since the focus is on action, fight choreographers Ram Laxman try some new stunts, but they too fail to infuse life into the drab script.

All in all, it is a film that does not deliver as much as it promised. However, if you are intrigued to see how Srikant has pulled off an action film after a long time, then do check it out.

Cast: Srikant, Jagapati Babu, Kaveri Jha, Manisha Koirala, among others

Posted in Telugu | Tagged: | Leave a Comment »