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Archive for June, 2008

Dasavatharam (Malayalam) – Kamal’s perfect ten

Posted by harino1 on June 18, 2008

One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan’s passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.

The eyes are considered the most effective tools in creating the right kind of attitude for any actor and Kamal Haasan is a master at that. There are many a time in the film when the audience would have to force themselves to believe that it is the same actor who is the good guy as well as the bad guy.

The expressive and determined eyes of the priest, the mushy and yet funny countenance of Balaram Naidu, the hilarious CBI officer and the peaceful martial artist eyes of the Japanese character have all shaped up to fit into any acting text book. Hats off to Kamal Haasan on the acting front!!

Based loosely on Chaos theory, the narration of the film promises a lot of excitement and as the story unfolds, somewhere down the line there are a few missing links that have been forcefully stitched together. Govind, the bio-scientist in the United States of America has been wronged by his boss who has intentions of selling his invention to wrong hands. The determined scientist doesn’t give up. He sneaks it away and after a few accidents the invention lands in India. The hunt and race against time especially with Fletcher, the ex-CIA baddie sniffing at his neck with murderous intent culminates into Govind meeting an irrationally sentimental and at times sweet Andal (Asin). The baddie with sizzling Mallika Sherawat for company proceeds along the vulnerable Indian security system and shows up at the right places at the right time.

The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.

When it comes to action and stunt scenes, ‘Dasavatharam’ is head and shoulders above most Indian films. The music element in the film is passable with some breathtaking re-recording bits in patches.

Cinematography has been simply awesome. The heavy compositing and trick shots have not dampened Ravi Varman’s innate talent at creating the right kind of mood the film depicts.

‘Dasavatharam’s’ review can never be complete without talking about the makeup part. Apart from the desired result one can guess the kind of effort and hard work Kamal Haasan would have had to go through just to get them on and that too on a daily basis. Makeup has been good overall except for a few shots that show off a kind of plastic look.

Computer Generated Imagery plays a huge role in the film. When the same actor plays seven feet plus youth and an old woman who is barely five feet, one can imagine the kind of intensive scaling and image manipulation by the CG team. Recreation of the 2004 Tsunami is impressive and the action part weaves the intensity of the story.

The direction has been apt sticking to the script in the true sense of the term. K. S. Ravikumar known for his simple style of narration has not been himself with ‘Dasavatharam’, but has shown sparks of ingenuity.

Kamal Haasan has stuck to his favorite subject of the ‘no God’ debate in this film too and has glorified himself probably for the first time on screen with a dialogue directed at him as being the ‘Ulaga Nayagan’.

With Kamal Haasan playing ten roles, all other actors have been completely overshadowed.

This is a movie that has highlighted a highly talented and passionate actor in his entire splendor. At the end of the film one tends to ask….has Kamal Haasan been so spectacular that he has overshadowed the script and story this time?

Posted in Malayalam | Leave a Comment »

Mere Baap Pehle Aap – The ‘Priyan’ formula works again!

Posted by harino1 on June 18, 2008

Whenever a Priyadarshan film comes around there’s always some good amount of laughter that’s guaranteed with the likes of Paresh Rawal , Rajpal Yadav and much more. When it comes to Priyan it doesn’t really matter whether it’s a ‘Kumar’ or ‘Khanna’ rather it’s the name ‘Akshay(e)’ that matters.

Synopsis…..

Janaradhan [Paresh Rawal] has spent his life bringing up his two kids, Chirag [Manoj Joshi] and Gaurav [Akshaye Khanna]. Now when the duo has grown up, Gaurav takes up the responsibility of his father. They both manage the household chores and their business to the best of their abilities. Though he is the younger son, he treats his father like his son. Gaurav shouts, threatens, fights, even locks up his father occasionally so that his prankster-friend Madhav [Om Puri], who is desperate to get married, does not spoil him.

Madhav and Janaradhan, who are always in search of a bride for Madhav, forever land up in trouble and every time Gaurav has to bail them out and face the embarrassment.Gaurav starts getting prank calls from a girl who turns out to be his old college friend Shikha [Genelia D’Souza]. Shikha is staying with her guardian Anuradha [Shobhana], who happens to be Janardhan’s first love.

Gaurav and Shikha notice changes in Janaradhan and Anuradha’s behaviors when they come face to face after many years. They come to know about their past. Now Gaurav wants his father to get married to his lost love. Of course, the path is not so smooth, there are obstacles.

Mere Baap Pehle Aap is a complete time pass venture. Priyadarshan is very clear that he isn’t out to become a Madhur Bhandarkar or Amole Gupte and take away accolades. Priyan establishes his connect with the masses and is no doubt the good luck charm for all his producers.

Mere Baap Pehle Aap takes off as a complete laugh riot. The sequences and flow of events are so well executed. No one does such sequences better than Priyan. His characterization is simply splendid. For those who have had a sensation that Paresh Rawal is overdoing his comedy bit, watch this flick.

Priyan just didn’t want to rely on comedy to run this flick but ropes in drama too. The drawback comes in here as he fails to sustain the length of the film which goes over 2hrs 30 mins. Except for the last 20 mins or so, the movie is tightly held and bound by Priyan’s style and brilliance.

Cinematography by Piyush Shah is a delight with the splendid locales of Goa, Kerala etc. The movie requires a little trimming.

Music by Vidyasagar blends well with the film. The ‘Ishq Subhanallah’ and ‘Maine Hawa’ are tracks out to become hits provided they are promoted well.

On the acting front, Akshaye Khanna fits the bill and excels with his expressions, dialogues and body language.

Genelia does well primarily with her expressions. She’s one heroine who is set to go places. No one besides Priyan could have given her such a meaty role.

Om Puri comes in as a revelation with comedy. The actor makes you giggle nonstop. Watch the interaction between him and Genelia at a mall. It’s hilarious. He is no doubt the best in this flick.

Paresh Rawal too excels with comedy and this time doesn’t look or sound repetitive. The sequences involving him and Archana Puran Singh are splendid. Do watch out for the combination of Om Puri and Paresh Rawal.

Rajapal Yadav surprisingly is barely there. Manoj Joshi is ok. Shobana impresses. Archana Puran Singh does well with her bit as the cop.

Mere Baap Phele Aap is the right mix for the family. It’s sure to make you either giggle or laugh for most portions. Priyadarshan proves it once again that he holds stron

Posted in Hindi | Tagged: | 1 Comment »

Summer 2007 – A complete downer!

Posted by harino1 on June 18, 2008

Within weeks of his first release, Sikandar’s next releases without much hype. This time around there isn’t the Sanjay Gupta back up, but under the Atul productions banner directed by Suhail Tatari. The film also includes Gul Panag, Arjan Bajwa, Uvika, Alekh Sangal, Ashutosh Rana and Sachin Khedekar.

Synopsis….

The story begins with a group of students from a medical college. These brats from rich backgrounds establish a group called Studds headed by Rahul(Sikandar) and enter the world of college politics.

In an attempt to escape from the election campaign the Studds take off on their village posting for a month assuming it to be yet another picnic. Soon they are encountered by the bitter realities of India as they are caught within the whirlpool of extreme poverty and farmer suicides. The village is in pits and the hospital where the group has to work is in ruins.

A series of events follow..a change of heart..trial by fire… so on.

Suhail Tatari definitely has a message to put across and a noble one. But somewhere down the line things start to loosen up terribly. The story and screenplay by Bijesh Jayarajan is extremely weak and lacks focus. One wonders what the movie really is about. The entire first half is covered by crass jokes and the college brat lifestyle with a lot revolving around college politics.

Suhail’s treatment also isn’t fine with the idea of creating yet another sort of youth revolution alike ‘Rang De Basanti’ but falls flat. The prime reason is the dragging series of events towards the last 20 mins with the entrance of cops , firing , Sikandar’s surrender etc and so on.

The cinematography isn’t great, the film requires much editing.

Music by Gourav Dasgupta isn’t great. The tracks are just an attempt of trying to sound cool. The ‘I just wanna fly ‘track has some really sleazy objectionable lines. The songs are just too many and hamper the flow of events.

The so called item number by Neetu Chandra was totally uncalled for.

Sikandar fails to impress and doesn’t really act but simply carries the attitude and style. The film totally revolves around Sikandar and he needs more flicks to prove himself.

Gul Panag excels with her bit .She plays her character with ease. Arjan Bajwa , Alekh Sangal and Uvika have been offered meaty roles but none make a mark.

Ashutosh Rana , Vikram Gokhale and Prosshant Narayan (wonder what’s with his name change) emerge as the finest performers.

Summer 2007, comes across with not much to offer with a plot that leads nowhere. Looks like Summer will also face a tough time with the monsoons that breaks through the summer heat with its outpour.

Posted in Hindi | Tagged: | Leave a Comment »

Sarkar Raj – Ramu returns to bollywood!

Posted by harino1 on June 13, 2008

After a disastrous ‘Ramgopal Varma Ki Aag’, many producers, directors and movie buffs have actually ruled out RamgopaL Varma; the man behind hits like ‘Shiva’, ‘Company’, ‘Bhoot’ and much more. ‘Sarkar’ being one of his finest piece comes across with its sequel this weekend-‘Sarkar Raj’.

Lots of pressure seems to be riding on Ramu this week as a lot lies with the success of this film.

Synopsis….

When Anita [Aishwarya Rai Bachchan], CEO of Sheppard Power Plant, an international company, brings a power plant proposal to set up in rural Maharashtra before the Nagres, insightful Shankar [Abhishek Bachchan] is quick to realize the benefits the power plant can bring to the people.

After convincing Sarkar [Amitabh Bachchan], who is against it for various reasons, Shankar undertakes a journey along with Anita to the villages of Maharashtra to mobilize support from the masses.

However, things are not what they seem to be and Shankar’s dream project gradually becomes a political minefield. The evil forces, mightier than ever, mushroom and gang up to bring down the regime of Sarkar and obliterate Shankar’s name from the political horizon.

To begin, Ramgopal Varma makes it very clear with the sequel that film making runs right through his veins and a series of flops can’t stop his creative fluids. The style Ramu maintains is topnotch and you are drawn are into the film with the camera movements and gripping background score.

The drawback in the film comes across post interval as the writing by Prashant Pandey falls short. Post interval the movie becomes more of a series of dialogues with not much movement in the flow of events. No doubt Prashant Pandey excels at writing a plot that indeed has a very much localized maharashtrian feel covering the political scenario but somewhere falls short.

On the acting front, Amitabh Bachchan is no doubt the finest amongst all characters in the film. Amitabh carries the charisma and he personifies the word ‘power’.

Abhishek Bachchan too excels with his character and seems to be highly inspired by Al Pacino’s character of Michael Corleone from ‘The Godfather’.

Aishwariya Rai Bachchan has been offered a very meaty and chunky role and is often seen with Abhishek in this sequel unlike Katrina in ‘Sarkar’. She does impress with her dialogues and body language.

What impresses even more is the set of character artists who are terrific and just apt be it- Ravi Kale, Dilip Prabhawalkar, Sayaji Shinde and Supriya Pathak. Tanisha is ok.

The cinematography by Amit Roy is splendid. The film relies heavily on one point lighting and it’s the cinematography that makes the characters look larger than life and gives them their desired power.

The music by Bappi-Tutul is worthy of mention. The brothers have worked really hard in creating the ‘Govinda Govinda’ chant which has become synonymous with the ‘Sarkar’ series. This time around, the chant comes across with a difference but retains its authenticity.

Background score by Amar Mohile is very good and acts as a key in enhancing the dark feel of the film.

On the whole, ‘Sarkar Raj ‘may not be as impressive as ‘Sarkar’ primary due to a dip post interval ,but it is sure set to get Ramgopal Varma a lot of accolades from the very people who ruled him out. At the box- office, success awaits the producers.

Posted in Hindi | Tagged: | Leave a Comment »

Mere Baap Pehle Aap – The ‘Priyan’ formula works again!

Posted by harino1 on June 13, 2008

Whenever a Priyadarshan film comes around there’s always some good amount of laughter that’s guaranteed with the likes of Paresh Rawal , Rajpal Yadav and much more. When it comes to Priyan it doesn’t really matter whether it’s a ‘Kumar’ or ‘Khanna’ rather it’s the name ‘Akshay(e)’ that matters.

Synopsis…..

Janaradhan [Paresh Rawal] has spent his life bringing up his two kids, Chirag [Manoj Joshi] and Gaurav [Akshaye Khanna]. Now when the duo has grown up, Gaurav takes up the responsibility of his father. They both manage the household chores and their business to the best of their abilities. Though he is the younger son, he treats his father like his son. Gaurav shouts, threatens, fights, even locks up his father occasionally so that his prankster-friend Madhav [Om Puri], who is desperate to get married, does not spoil him.

Madhav and Janaradhan, who are always in search of a bride for Madhav, forever land up in trouble and every time Gaurav has to bail them out and face the embarrassment.Gaurav starts getting prank calls from a girl who turns out to be his old college friend Shikha [Genelia D’Souza]. Shikha is staying with her guardian Anuradha [Shobhana], who happens to be Janardhan’s first love.

Gaurav and Shikha notice changes in Janaradhan and Anuradha’s behaviors when they come face to face after many years. They come to know about their past. Now Gaurav wants his father to get married to his lost love. Of course, the path is not so smooth, there are obstacles.

Mere Baap Pehle Aap is a complete time pass venture. Priyadarshan is very clear that he isn’t out to become a Madhur Bhandarkar or Amole Gupte and take away accolades. Priyan establishes his connect with the masses and is no doubt the good luck charm for all his producers.

Mere Baap Pehle Aap takes off as a complete laugh riot. The sequences and flow of events are so well executed. No one does such sequences better than Priyan. His characterization is simply splendid. For those who have had a sensation that Paresh Rawal is overdoing his comedy bit, watch this flick.

Priyan just didn’t want to rely on comedy to run this flick but ropes in drama too. The drawback comes in here as he fails to sustain the length of the film which goes over 2hrs 30 mins. Except for the last 20 mins or so, the movie is tightly held and bound by Priyan’s style and brilliance.

Cinematography by Piyush Shah is a delight with the splendid locales of Goa, Kerala etc. The movie requires a little trimming.

Music by Vidyasagar blends well with the film. The ‘Ishq Subhanallah’ and ‘Maine Hawa’ are tracks out to become hits provided they are promoted well.

On the acting front, Akshaye Khanna fits the bill and excels with his expressions, dialogues and body language.

Genelia does well primarily with her expressions. She’s one heroine who is set to go places. No one besides Priyan could have given her such a meaty role.

Om Puri comes in as a revelation with comedy. The actor makes you giggle nonstop. Watch the interaction between him and Genelia at a mall. It’s hilarious. He is no doubt the best in this flick.

Paresh Rawal too excels with comedy and this time doesn’t look or sound repetitive. The sequences involving him and Archana Puran Singh are splendid. Do watch out for the combination of Om Puri and Paresh Rawal.

Rajapal Yadav surprisingly is barely there. Manoj Joshi is ok. Shobana impresses. Archana Puran Singh does well with her bit as the cop.

Mere Baap Phele Aap is the right mix for the family. It’s sure to make you either giggle or laugh for most portions. Priyadarshan proves it once again that he holds stron

Posted in Hindi | Tagged: | Leave a Comment »

Dasavatharam (telugu) – Kamal’s performance and graphics dominate

Posted by harino1 on June 13, 2008

Once again it was proved that the writers, directors and producers of other language films, are a step ahead in putting innovative ideas on the screen. Instead of going for routine, commercial, faction-related, or love backdrop films, a novel story on bio-war was moulded on the screen in a different way. The gripping screenplay, the ebullient performance of Kamal Haasan in 10 different characters, which is in no way connected with each other and with a vast variation made ‘Dasavatharam’ a fantastic and marvellous piece on the celluloid.

A Telugu NRI scientist Govindu (Kamal Haasan) accidentally prepares a bacteria which has the capability of killing a living being in no time and at the same time, gets doubled immediately causing a vast danger not only to the entire mankind but also to all the living beings. In order to gain an upper hand among all, the US President, George Bush (Kamal Haasan), plans to use them for his wars and at the same time, an international mafia gang leader Fletcher  (Kamal Haasan) wants to grab it. In this process, the mafia woos the leader of the scientists with huge money. Learning this, Govindu decides to destroy the vial containing the virus somehow. While taking it away, it accidentally slips and goes through a courier to India. Govindu reaches India in search of the parcel and finally able to get it. However, the packet goes into the hands of Kamakshi (Kamal Haasan), an old woman, who was mentally-retarded. She drops the vial containing the virus in an idol of Lord Vishnu. Fletcher attacks Govindu and both these come under the surveillance of a police officer called Balaram Nadar (Kamal Hassan). Somehow, to escape from Fletcher, Govindu takes away the idol and Lakshmi (Asin) follows him. After traversing several miles, both of them become friends. In the process, the come across a Sikh pop singer Avatar (Kamal Haasan), Punyakoti (Kamal Haasan) and Karimulla (Kamal Haasan). Did Govindu was able to save the mankind from the spread of deadly virus? Did the US President or the mafia leader Fletcher were able to grab it? Whether Balaram Nadar could help Govindu from Fletcher? What is the role of a Japanese martial art fighter in the episode? In the beginning, the NRI scientist reveals the story of a 13th century AD in which there is a fight between the Vaishnavites and Shivites? What is the relation between that story and the present generation story? Answers to all these questions form part of the climax.

PERFORMANCE:

Kamal Haasan once again excelled in his performance. Especially, it was a record in the Indian film industry that an artiste playing 10 different roles on the screen. Moreover, all the 10 roles were distinct and have no connection with one another. Kamal Haasan portrayed the roles of a Hindu, Sikh, Muslim, Christian, Japanese, an old woman, a Dalit leader, a police officer, a terrorist, and a scientist. He showed fantastic ease in all the roles and the audiences could not identify Kamal Haasan in some of the roles. Hats Off to the make-up by the Hollywood technicians. Asin also played two roles, once a small role as Kamal Haasan’s wife in the flashback dated back to 13th century, and as a girl from a traditional Ayyangar family. The entire film was shot on Kamal Haasan alone and one can watch at least two to three characters played by him on the screen. Mallika Sherawat shook her legs in an item song and later played in a role with negative shades. Jayaprada, KR Vijaya and others did justice to their roles.

TECHNICAL:

Off the screen, there are three highlights and they are absolutely second to none. The first one is the make-up by Michael Westmore. It was a miracle and the normal audiences could not believe that almost all the characters in the film were played by Kamal Haasan. Second comes the cinematography

Posted in Telugu | Tagged: | Leave a Comment »

Dasavatharam (TAMIL) – Kamal’s performance and graphics dominate

Posted by harino1 on June 13, 2008

One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan’s passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.

The eyes are considered the most effective tools in creating the right kind of attitude for any actor and Kamal Haasan is a master at that. There are many a time in the film when the audience would have to force themselves to believe that it is the same actor who is the good guy as well as the bad guy.

The expressive and determined eyes of the priest, the mushy and yet funny countenance of Balaram Naidu, the hilarious CBI officer and the peaceful martial artist eyes of the Japanese character have all shaped up to fit into any acting text book. Hats off to Kamal Haasan on the acting front!!

Based loosely on Chaos theory, the narration of the film promises a lot of excitement and as the story unfolds, somewhere down the line there are a few missing links that have been forcefully stitched together. Govind, the bio-scientist in the United States of America has been wronged by his boss who has intentions of selling his invention to wrong hands. The determined scientist doesn’t give up. He sneaks it away and after a few accidents the invention lands in India. The hunt and race against time especially with Fletcher, the ex-CIA baddie sniffing at his neck with murderous intent culminates into Govind meeting an irrationally sentimental and at times sweet Andal (Asin). The baddie with sizzling Mallika Sherawat for company proceeds along the vulnerable Indian security system and shows up at the right places at the right time.

The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.

When it comes to action and stunt scenes, ‘Dasavatharam’ is head and shoulders above most Indian films. The music element in the film is passable with some breathtaking re-recording bits in patches.

Cinematography has been simply awesome. The heavy compositing and trick shots have not dampened Ravi Varman’s innate talent at creating the right kind of mood the film depicts.

‘Dasavatharam’s’ review can never be complete without talking about the makeup part. Apart from the desired result one can guess the kind of effort and hard work Kamal Haasan would have had to go through just to get them on and that too on a daily basis. Makeup has been good overall except for a few shots that show off a kind of plastic look.

Computer Generated Imagery plays a huge role in the film. When the same actor plays seven feet plus youth and an old woman who is barely five feet, one can imagine the kind of intensive scaling and image manipulation by the CG team. Recreation of the 2004 Tsunami is impressive and the action part weaves the intensity of the story.

The direction has been apt sticking to the script in the true sense of the term. K. S. Ravikumar known for his simple style of narration has not been himself with ‘Dasavatharam’, but has shown sparks of ingenuity.

Kamal Haasan has stuck to his favorite subject of the ‘no God’ debate in this film too and has glorified himself probably for the first time on screen with a dialogue directed at him as being the ‘Ulaga Nayagan’.

With Kamal Haasan playing

Posted in Tamil | Tagged: | Leave a Comment »

Dasavatharam (TAMIL)- Kamal’s perfect ten

Posted by harino1 on June 13, 2008

One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan’s passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.

The eyes are considered the most effective tools in creating the right kind of attitude for any actor and Kamal Haasan is a master at that. There are many a time in the film when the audience would have to force themselves to believe that it is the same actor who is the good guy as well as the bad guy.

The expressive and determined eyes of the priest, the mushy and yet funny countenance of Balaram Naidu, the hilarious CBI officer and the peaceful martial artist eyes of the Japanese character have all shaped up to fit into any acting text book. Hats off to Kamal Haasan on the acting front!!

Based loosely on Chaos theory, the narration of the film promises a lot of excitement and as the story unfolds, somewhere down the line there are a few missing links that have been forcefully stitched together. Govind, the bio-scientist in the United States of America has been wronged by his boss who has intentions of selling his invention to wrong hands. The determined scientist doesn’t give up. He sneaks it away and after a few accidents the invention lands in India. The hunt and race against time especially with Fletcher, the ex-CIA baddie sniffing at his neck with murderous intent culminates into Govind meeting an irrationally sentimental and at times sweet Andal (Asin). The baddie with sizzling Mallika Sherawat for company proceeds along the vulnerable Indian security system and shows up at the right places at the right time.

The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.

When it comes to action and stunt scenes, ‘Dasavatharam’ is head and shoulders above most Indian films. The music element in the film is passable with some breathtaking re-recording bits in patches.

Cinematography has been simply awesome. The heavy compositing and trick shots have not dampened Ravi Varman’s innate talent at creating the right kind of mood the film depicts.

‘Dasavatharam’s’ review can never be complete without talking about the makeup part. Apart from the desired result one can guess the kind of effort and hard work Kamal Haasan would have had to go through just to get them on and that too on a daily basis. Makeup has been good overall except for a few shots that show off a kind of plastic look.

Computer Generated Imagery plays a huge role in the film. When the same actor plays seven feet plus youth and an old woman who is barely five feet, one can imagine the kind of intensive scaling and image manipulation by the CG team. Recreation of the 2004 Tsunami is impressive and the action part weaves the intensity of the story.

The direction has been apt sticking to the script in the true sense of the term. K. S. Ravikumar known for his simple style of narration has not been himself with ‘Dasavatharam’, but has shown sparks of ingenuity.

Kamal Haasan has stuck to his favorite subject of the ‘no God’ debate in this film too and has glorified himself probably for the first time on screen with a dialogue directed at him as being the ‘Ulaga Nayagan’.

With Kamal Haasan playing

Posted in Tamil | Tagged: | Leave a Comment »

Somberi – A message-oriented film with love in backdrop

Posted by harino1 on June 13, 2008

Ali, who entered the film industry as a child artiste, turned a comedian and made the audiences laugh heartily with his performance in various films. Noticing the spark in him, director SV Krishna Reddy gave him a chance and made him hero. He also had some hits like ‘Yama Leela’ to his credit as hero. However, he continued his career as comedian by playing hero at every opportune time. In the backdrop of many comedians turning heroes these days, Ali also got a chance to play hero again and the story is like a tailor-made for him. Writer Jonnavittula tested his hand as director through this movie with a good subject which aimed at giving a good message to the society that hard work will always pay and tells everyone that nobody should be sombre and lazy.

Sombabu (Ali) is a nonchalant boy who whiles away his time with friends. He does never bother to do some useful work though he is very intelligent and had the ability to do anything. Being a lazy boy, two village elders (Jayaprakash Reddy and Jeeva) grab his property like land and a mangrove and also eyes the land which remained with him. Once Rohini (Ruksha), the daughter of a builder (Dharmavarapu Subrahmanyam) goes to Srikakulam and Movva in Konaseema region for a project report on historical temples and sites. Sombabu falls in love with Rohini. In order to grab the remaining property from Sombabu’s parents, the village elders hatch a plan to drive away Sombabu from the village and implicate him in a temple theft case. At this juncture, Sombabu proposes to Rohini and the latter refuse him saying that he is a fit-for-nothing fellow and also a thief. Somehow, Sombabu gets acquitted and gets out of jail. When he was in the jail, he realises that he should work hard by shedding his laziness and prove himself. Incidentally, he gets a job in Rohini’s father’s office. How Sombabu proved that he is not just a useless fellow and how kind at heart he was? What kind of concern he had with his friends and well-wishers? How he was able to win the heart and love of Rohini farm part of the climax.

Ali performed excellently in his role. His character was etched well. The director was able to maintain good shades in his character, as a wayward boy and as a hard worker who realised his mistakes. He mixed good comedy in the character and elevated the real heroism in him during climax. Ruksha was a minus as a heroine. Being a novice, she failed to deliver any kind of performance. Though looked glamorous, she could not perform even in a couple of scenes which she was supposed to. Srinivasa Reddy and Duvvasi Mohan, played the sidekicks of the hero. Dharmavarapu Subrahmanyam did justice to his role by maintaining good dignity. Comedy by MS Narayana was good and hilarious. Tanikella Bharani, Jayaprakash Reddy, Jeeva, Benarjee and others are okay in their roles. Once again, Paruchuri Gopalakrishna appeared as a politician. His dialogues on political system were heart touching.

Behind the screen, Mano, who had a good experience as a singer, turned music director. However, he gave traditional and routine music but did not go for any experiments and fast beat songs. However, two songs in the film penned on social cause were good both in terms of lyrical value and their tuning was also good.

Camera work by MV Raghu is okay. He captured the skyscrapers and beauties in Dubai well. However, the picturisation of songs was routine with not much camera work.

Editing by GG Krishna Rao should have been a little crispier further. As far as the movement of the story, the writer turned director, being a novice failed to maintain good tempo and the movement of the story was not at a steady pace. Once the scenes move faster and at times turn dead slow.

The director failed to establish certain scenes like how a boss takes an attender to Dubai along with his daughter.

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Magic Lamp – Offers no magic

Posted by harino1 on June 13, 2008

Jayaram seems to be in a deep turmoil where he just can’t hope for a magical movie to give a fresh life to his career. His latest, to add to the list of non starters will be ‘Magic Lamp’, the movie which was waiting in the cans for the last seven years. And as expected, this identical individuals’ tale definitely give that depressing, silly air of the nineties. This logic-defying, light-hearted comedy (intended) movie seems to be caught in a time warp, which never ever will manage to entertain the viewers of the new millennium.

‘Magic Lamp’ also reminds us that nonsensical film like this, used to be made with unerring frequency in the early nineties, when audiences know exactly what to expect from them. The movie opens with Anupama (Meena), a rich and spoilt girl living in Bangalore, landing up on a photo of a young man, when she happens to drive by. On seeing the photo her two friends identifies the man as two different persons. Anupama who aspires to become an airhostess has just finished her interview and is waiting for her appointment letter. But her rich aristocratic family in Kerala is very much against the decision, as they consider the job below their status.

Having lost her parents at a very early stage, Anupama is take care by an aged grand father (Oduvil Unnikrishanan). Her two uncles always have an eye on her wealth, and they want their respective sons to marry her. The sons Mohana Krishnan (Baiju) a Veterinary doctor and Omana Kuttan (Kottayam Nazeer) an Ayurvedic doctor are also competing with each other for her attention. To escape from marriage she weaves stories, one after another, about her fictitious lover whom she had seen in the photo. Later with the help of Adv Lalan, another lover who is also after her, Anupama keeps unwanted marriage alliances at bay, by another cooked up story about herself as a victim who was molested by the same man at Goa! A search for ‘the man’ by different persons of the family leads to Sunny Kuruvila (Jayaram), a coach in a women’s College  about to be betrothed to Alphonsa (Rasika), to Dr. Nandakumar (Jayaram), married to Viji (Divya Unni) and to Chandrasenan,  a macho guy with the twirled up moustache  from Peruvannapuram. With this alleged relation with Anupama, each of their families faces unexpected problems.Now Chandrasensn who is toughest one among the three decides to unearth the real problem maker and the reality behind the stories which brings him face to face with Anupama.

Ranjith who is credited with the story has a done to death premise of brothers at war for wealth. The screenplay and dialogues also never rise above the ordinary. And as you watch the drama unfold on the screen, there is this feeling of deja vu in almost every scene, making you remember the likes of Rajasenan’s movies of the nineties.

The first half an hour is really a torture where the director has apparently forgot what quality comedy is all about and made a crass concoction abundantly supplied with plenty of uncomplimentary hints, double entendres and songs. Jayaram tries hard to give a different look and pattern of accents to each of the characters, while Jagathy runs all through the movie, enters every scene with his characteristic demeanor, as he used to be in the films of the nineties.Meena as Anupama is in his usual self, while Rasika and Divya Unni make eye candy appearances in a few scenes.

In delivering a below-par product, director Haridas appears confused throughout, dealing with the different characterizations of mismatched identities, all played of Jayaram. He also has also failed to extract the best out of his technicians. Music by Ouseppachan is average while more atrocious is its BG scores by S SP Venkatesh. The camera work by Vipin Mohan never rises above the pedestrian and the costumes and sets are tasteless and outdated. The unrealistic.

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