Criminals are not made but they are born says the theory of this film in a rather protracted style offering nothing to the society. ‘Jarasandha’ alias Krishnamurthy, Kitty (Vijay) is out of the way from the young age with his two friends. His intention is to create fear and live on one side. On the other side he wants to be obedient to mother and society – similar to two sides of the coin.
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‘Jarasandha’ typical to the Mahabharatha character who get sliced from Bheema is different here in modern day’s cinema. That epic Jarasandha has an end when Bheema on the instructions of lord Krishna throws the sliced pieces on opposite direction. This Jarasandha is having no end despite of bullets entering his body in encounter and battled and bruised by the opponent gangs.
Jarasandha finishing the underworld don JP who is ruling from Dubai earns the pivotal position but he has Naidu (Ranganaya Raghu) who fixes him with the police sitting in place of JP.
Jarasandha over pour the police and beaten badly he escapes police net to reach Dubai to make Don Naidu to the position of a dog. As the post interval dialogue says ‘I want to be the bad man of the world’ – the protagonist achieves it losing every kith and kin in life. The childhood dream of looking after mother well does not happen for the protagonist.
Jarasandha in the process of meeting his ends loses mother and his fiancée Samantha (Pranitha) before he goes to Dubai escaping from tight security in the hospital.
ANALYSIS:
Director Shashank has not offered nothing new in this film except by saying criminals are born and fear should be there in the society for consequences in store.
In the action films direction Shashank is a novice. There many Kannada films with much higher voltage on screen. The logic of this director who gave meaningful films like Moggina Manasu, Krishnan Love Story is missing in this film.
The intelligence of director Shashank is not there even in song placement leave alone the abundant violence he has forcibly added in this ‘Jarasandha’.
The dual mind like the two sides of the coin is not utilized for constructive purpose in this society. Director Shashank has not got the habit of his contents discussing with others. He felt it is an extremely good subject but on screen it is so pale in narration and objective of it.
Just not even one meeting and one phone call between the protagonist Krishnamurthy and Samantha, the director brings in the song Padhe Padhe Phoni Nalli Kata Kodthiya….where did the phone call came to hero from heroine in the previous scenes. This is the simple question director Shashank should have seriously discussed with him.
It is not quite OK in the first half because the protagonist remains completely unconnected to the cinema till fight out before interval. Till then it is a waste of time, money and energy the discerning audience would feel. The symptoms of how protagonist is connected and his target surface after the interval when he explains his past to his fiancé.
After a deadly encounter with mother and fiancé in the police vehicle the protagonist asks his mother to move fast as flight would get delay. This is utter nonsense.
Like in all action films of police and underworld nexus the director Shashank brings in mother and fiancée character in this film and makes it a big bore. At least in this way he could have been different. Such thoughts are as old as mountains.
The famous Mulki festival of Bappanadu is not properly connected to the cinema and nothing big happens in this portion on screen. It is only at a far of place the action breaks out prior to the interval.
This director who speaks volumes at the media meets we have to give films on standards of Telugu, Tamil and Hindi why did he bring in Telugu and Tamil languages often in his film? Some of the Rangayana Raghu dialogues in Telugu is difficult to understand.
PERFORMANCES:
Vijay fits the action film immaculately but there is nothing much of novelty for him. Blood oozing out from mouth and beaten black and blue he raises looking fresh to beat JP and his two men.
Pranitha is once again wasted. She is in song portions with colorful costumes. Roopa Deva is unfit. She is not able to pronounce words like ‘Disappoint’ properly (she says dispont). What is ‘Benne, Butter type – both are one and the same that comes from Roopa Devi mouth in one of the scenes.
Rangayana Raghu has spent time talking Telugu. The film releasing in Kannada Rajyotsava month is not liked by many. Sampath has the sound voice and nothing else is out from him. The same is the case with Dynamic star of yesteryears Devaraj.
TECHNICALITY:
The songs like Hale hubli bustand nalli the opening song for Vijay is peppy and so is Nee Neerig Baare channi. Yaradhur Halag Hogli…song is irresponsible one. The song by Upendra Padhe Pahde Phoni nalli….is not good and Avarivara jothe Seradhe…is melodious.
Arjun Janya has done a good job and Shekar Chandru in his camera has given best work.
Director Shashank has not concentrated on the dialogues and his sinking knowledge of scenes and songs are very poor.
Last but not the Least – Spending Rs.6 crores of the producers, this director should have his seventh sense also working.
SENSELESS ACTION – Score – 2/5
Cast: Vijay, Pranitha, Rangayana Raghu, Sampath, Roopa Devi, Swayamvara Chandru, Chetan, Chetan Chandra, Naveen Padiyal, JK and others.
Music: Arjun Janya
Producers: Gangadhar and Basavaraj
Cinematography: Shekar Chandru
Story, Screenplay, Dialogues, Direction: Shashank.
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Poraali was my most anticipated movie of the year. I’ve been an admirer of the Sasikumar-Samuthirakani duo’s work right from their breakthrough, Subramaniapuram. Naadodigal was a very good follow-up. What made me want to see Porali so much was the experience of being blown away by the highly underappreciated Easan. The trailer of Porali was great. Cinematographer S.R.Kathiir’s artistic touch reinforced by Sundar C Babu’s theme music and Sasikumar’s eminent self-righteousness sold this as a scathing attack on… well, something. The trailers of the duo’s films have always been free of dialogue. You just see events unfold. It only makes the movie more inviting.
When most of the scenes of the trailer and the theme music are used up within the first fifteen minutes, you begin to doubt the trailer’s intentions. And you realize that is not just the misleading trailer that bothers you but that it’s the intentions of two brutally honest film-makers. This is not epic. This is not serious. This is not much of a battle either. This is a comedy. A slap-stick comedy followed by an obscure plot. Silly gags such as getting whacked in the groin and Sasikumar almost kissing an old lady summon a few chuckles. Come to think of it, you laugh only because you think this is a serious film. None of the jokes are original or smart. The characters are just a random bunch of people. They have no identity and differ from each other only by their looks. No one digs deep, be it in front of the camera or behind. Sasikumar, here, is the cool guy who keeps everything under control and takes care of everyone else’s problems. It is a pity though that he had to wipe sputum off the mouth of his friend to establish the character’s earthiness. Relationships shared between the characters are, for want of a better word, fake. Poraali is completely absent of the verisimilitude seen in their previous films. The opening dance sets the tone for the film, that this movie is set in a small world with insignificant, uninteresting people who do things that you might find funny.
When the movie begins to take itself seriously, it does so with distinctly melodramatic tracks and speeches about living life, all of which are pitched at the audience. Sasikumar’s feelings for the Sri Lankan government are also brought to light when he expresses distaste for Ceylon paratha. Porali talks the talk; when time comes for the walk it escapes into pointless violence. At the film’s core is a misguided sense of idealism. What the film is trying to say is- Problems will come. They always will. You have to stay back and fight even if the probability of winning is null. It’s better to die a warrior than live as an escapist. Sasikumar seemed more convinced at the beginning when he said “Be content with the life you have.”
The movie is not a sum of its parts. The skewed screenplay has a disconnected structure and most scenes are completely out of place. Sundar C Babu’s music is of little use to the film. ‘Yaar Ivan’ and ‘Shambo Shiva Shambo’ bear a striking resemblance to each other. The theme music, however, might just be the best I’ve heard this year. Sadly, it’s used excessively in a film with no theme. They were probably thinking: “Okay, we have something good. Now let’s make the most of it. We’ve got to keep the audience glued to their seat.” Sasikumar flaunts his acting prowess by getting his bloodshot eyes to tear slowly and so does everyone else whenever the movie attempts to win your heart. Porali pales in comparison to Samudhirakani’s earlier venture, Naadodigal. This is a just masala. Both filmmakers have dumbed themselves down to the level of the average audience. Why? My guess is, to show prospective producers that they can tend to the wants of the common man too- the kind who has no association with meaningful cinema. All I can do now is hope that it was a bad dream and considering how vague the experience was, it very well might have been.
PS: The rise in petrol prices is the only real depiction of anything in the film.
A tale of revenge, the story is set on the backdrop of Vijayawada and here is Kali (prabhu), a powerful rowdy who uses his muscle power for good cause. He is strongly supported by his henchman Vijay Krishna (mukul) but has a weak brother Shankar (abhimanyu) who is eyeing Kali’s chair. Vijay’s younger brother Siva (naga chaitanya) is a student and he is kept away from this violence. He also has a girlfriend Gitanjali (amala). One day, Kali gets killed and rumour is spread by Shankar that Vijay has done that. In no time, Vijay also gets killed and this enrages Siva. He decides to take revenge on Shankar and what happens from there forms the rest of the story.
The director has come up with a riveting storyline and while the presentation was strong, the narrative was gripping. The dialogues were strong at places. The script was well written and the screenplay was capturing. Background score was strong and three songs were impressive. Cinematography was top notch. Editing was crisp, especially during the second half. Costumes were natural and trendy while the art department was appealing. Naga Chaitanya has proved that he can carry rough and tough roles with ease. Amala Paul was awesome both in looks and performance department. Abhimanyu Singh was evil enough. Prabhu was elegant, Mukul Dev was good, Ajay was apt, Brahmi and M S Narayana were not upto the mark, Subhalekha Sudhakar was standard, Ashok Rao was neat, Anjana showed her oomph in item song. The others were adequate.
Though there was a lot of controversy surrounding the film, it must be said that there is no such thing in the film. While the first half takes off with good intensity and reaches a strong interval bang, the second half slows down a bit taking the routine path. But the execution of the action sequences was good. Technically, the film is well made and it has been packaged with good production values. At the box office, this will work with the masses and commercial audience so success looks strong.
Bharatstudent verdict: Violent and intense
Rating: 3.5/5
Banner: Shreya Productions
Cast: Naga Chaitanya, Amala Paul, Prabhu, Abhimanyu Singh, Mukul Dev, Kota, Subhalekha Sudhakar, Ajay, Brahmanandam, Ashok Rao, Ahuti Prasad, M S Narayana
Music: Pradeep Koneru, Vikram Negi, Bapi-Tutul, Amar Mohile
Cinematographer: S Bhupathy
Director: Vivek Krishna
Producers: Ram Gopal Varma, Kiran Koneru
Release date: 01/12/2011
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Appalaraju (sunil) is an aspiring director from Amalapuram and he lands in Hyderabad to make his dream come true. Fate gets him to Rocky (raghu babu) and his creative head Pushpanand (harshavardhan). Appalaraju prepares a script which is a tragedy movie and he manages to convince the hot heroine Kanishka (sakshi) to do the film. He is supported by four assistant directors and one among them is Krishna (swathi). Meanwhile, the hero is initially the superstar Babu garu (adarsh) who reportedly has an affair with Kanishka. But they have a fight and Kanishka ends up recommending the hero’s role to Babu garu’s rival KT (ajay). The story takes another twist with the arrival of don Sreesailam (brahmi). What happens to Appalaraju’s film from there forms the rest of the story….
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Banner : Shreya Productions
Cast : Sunil, Colours Swathi, Adarsh, Ajay, Raghu Babu, Harshavardhan, Kovai Sarala, Chalapathi Rao, Narsing Yadav, Krishna Bhagawan, Kota Srinivasa Rao, Tanikella Bharani, Brahmanandam, Ali, Sakshi Gulati, Tanu Roy, Suman Shetty, Raja Ravindra, Venu Madhav, Jayaprakash Reddy, Krishnudu, Kallu Chidambaram, Thameem, Ravi Teja, and Others
Music : Koti
Cinematography : Sudhakar Reddy Yakkanti
Editor : Bhanodaya
Producer: Koneru Kiran Kumar
Director: Ram Gopal Varma
Released Date: February 18, 2011
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If you are a Sikh, if you’re looking for sermons that re-establish your faith in Sikhism or Islam, if you want to know about the origin of Sikhism, their religious beliefs or even their ways of life, I Am Singh is a film for you!
Set against the backdrop of 9/11, I Am Singh revolves around a Sikh family that becomes a victim of hate crimes. Ranveer Singh (Gulzar Inder Chahal) is a budding entrepreneur in India who gets a frantic call one night, that his father is in hospital and his brother has been shot dead. He moves to US only to find out about the atrocities of the Whites on Sikhs and Muslims. Even the law and order doesn’t favour the turban headed Sikhs who get mistaken as Afghanis and Arabs. Ranveer initiates a fight for justice against such hate crimes with the help of others including Rizwan Haider (Rizwan Hyder), Amelia White (Brooke Johnston), Fateh Singh (Puneet Issar) and Amy Washington (Amy Rasimas).
Right from the word go, you are subjected to a trashy rehash of Puneet Issar’s earlier two films – Sohail Khan starrer I, Proud To Be Indian and Salman Khan starrer Garv. Scene after scene the situations are repeated, this time only to test your patience levels. The story is over abused with many films being made on racial attacks.
Non-violent approach to solve the hate crimes could well be used if it were for a better narrative and execution, but in I Am Singh it reduces to imperfect and faulty depiction. It becomes highly preachy with sudden glorification of Sikhism to an extent of having weird warrior dance performances intermittently.
The entire film is painfully loud challenging your decibel tolerance with actors yelling in your face, Punjabi folk songs with loud drum beats and Daler Mehendi songs piercing through your ear drums making for an excruciating 2 and a half hours.
Acting is very novice across the cast with an exceptional case of Puneet Issar who shows that he still has what it takes to deliver a strong performance.
Over all, I Am Singh tests your patience. With an overused plot and absolutely zilch efforts on execution, it’s best avoided.
Rating : 1/5 – Avoid it without a 2nd thought.
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The movie is set on the backdrop of the Mumbai slums and here is Municipality (shams patel) who escapes from the reformatory due to the paedophilic warden (alok nath). His life takes a turn when he comes across a two day baby abandoned on the street and about to be mauled by the street dog. However, he saves the baby and when he realizes that no one is there to take care of the baby, he decides to reunite the infant to its mother. From then on begins his journey and he encounters a head eunuch (jalees), a priest (barry john), a prostitute Laxmi (mukta) and others. Municipality finally manages to locate the baby’s mother but he is in for a rude shock. What happens after that forms the rest of the story…
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It’s Dirty but entertains! Ekta Kapoor has yet again hit bulls eye with an unconventional subject that is true and debatable. The film totally belongs to its lead protagonist Vidya Balan who once again proves that there is no one like her.
The film is a biopic on a C Grade actress of the South Indian actress Silk Smitha played by the very talented Vidya Balan. She has just one dream, to make it big in the industry and she could do anything for it. She gets whatever she wants but loses her identity of a small town girl. As Suryakant (Naseeruddin Shah) who plays a top actor of the 80’s era puts it in the film, she becomes the dark secret of the film world that cannot be acknowledged in daylight. The first half shows how she is the main reason films work and the second half shows the lows of her career.
Milan Luthria is a pro at showing the intricate details of a true life story. He did it in ‘Once Upon A time in Mumbaai’ and he does it again. I haven’t closely monitored Silk Smitha’s life but from what is said about her, Milan gets it right. The film transports you to the 80’s era successfully and how films were made those days and what worked. Sex sells, yes just the packaging changes. It is shown in a more sophisticated manner these days but it’s true, how much ever we may try to defend. The point is that the woman is shown sultry loses everything, but those who are showing her in that light and those who are watching it get away. The film makes you think.
Talking about the entertaining aspects of the film, it has it all. It has all the masala needed for a commercial potboiler and those who refrain from watching emotions will love the first half. Second half is more on the darker side and is not for people who like light comic flicks. It gives glimpses of Madhur Bhandarkar’s ‘Fashion’ as the latter was also about the ups and downs of a model’s career. But ‘The Dirty Picture’ hits the right nail and works big time.
Vidya Balan, enough said!! The name is synonym to abundance of talent. The gets into the nerve of the character and forgets that she is Vidya, she is Silk in the film and makes you believe that. She has put on 12 kgs for the film and is shown bulky but manages to look good, apart from a few scenes where here tummy is focused more on. Tusshar Kapoor plays a writer who is in love with Silk. He does a decent job. Emraan Hashmi has a mystic charm to him. He entertains with his dialogue delivery and is refreshing to see him in a different role than seen before. Naseeruddin Shah is a gem. He is par-a-class. The rest of the supporting cast is aptly cast.
Direction is a total thumbs up. Background score totally apt. Music is a blend of the 80’s with Bappi Lahiri’s ‘Ooh La La’ already a chartbuster while ‘Ishq Sufiana’ is in sync with the on-going trend. Milan manages to recreate the 80’s era and it’s refreshing to see for the younger generation who haven’t witnessed the actual. Cinematography is good. Dialogue and its delivery is a major plus. All the dialogues are worth lauding.
Plus Points: Performances, Dialogues, Music
Minus Points: overdose of emotions in the second half
Final Word: Truly said in the film, A film works for three reasons, entertainment, entertainment and entertainment and ‘The Dirty Picture’ has loads of it.
The Dirty Picture Movie Rating: 4/5
Banner: Balaji, ATL Entertainment, Vertex
Cast: Vidya Balan, Naseeruddin Shah, Emraan Hashmi, Tusshar Kapoor,
Music: Vishal-Shekhar
Screenplay: Rajat Arora
Producer: Ekta Kapoor, Shobha Kapoor
Director: Milan Luthria
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A peek behind the silver screens is what I thought Jayaraj’s Nayika had on offer. How disappointing to find out then, that the yesteryear heroine and her life that the film dwells on isn’t really the stuff that makes an interesting reflective movie.
Gracy (Sharada) has seen better days as an actress who has had it all – be it fame, adulation or money – and now, old and lost, leads an illusory existence along with her makeup woman (KPAC Lalitha) and dance master (Jagathy Sreekumar). Aleena (Mamta Mohandas) finds potential documentary material in Gracy, and attempts to unravel her past that she had forgotten long back
Nayika is a terribly confused film, in that it wants to gobble down too many things at once. It would have perhaps been a better film, had it remained focused, and told us the story of an actress who has seem her prime, but unfortunately it isn’t satisfied with just that. Hence it goes ahead, and drags a murder mystery into the midst of it, leaving the entire film messed up.
Its not that there aren’t any links between the chief narrative and the sub plot, but this bond is fragile, that it seems ready to snap at any moment. Ever since Vaani (Sarayu) walks into the picture, the film that is already on all fours, topples down further, with no hopes whatsoever of getting on its feet ever again.
This doesn’t really mean that the first half of the film is without any flaws. In fact, the flaws far out number the merits in the former half as well. Too much of time is spent dwelling on Gracy’s muddled present, and her past is revealed to us in parts. Those of us who have been expecting an unveiling of an eventful tale are in for a disappointment, because Gracy’s story is half as interesting as many other showbiz stories that we have heard.
There is the obligatory bail at the beginning of the film, that the characters and events are fictitious and bear no resemblance whatsoever to persons living or dead. Why is it then that there are so many obvious references to people and events that we know? Jayaram plays an actor whom he has always mimicked to perfection. Anand, as this actor has been named in the film, is depicted as having a terminal illness, and is shown with a nose bleed that he attends to, during shoot breaks. Obviously another actor whom we have heard of, comes to mind. The war of the Studios is brought into the picture as well, and while one Studio has been named ‘Greenland’, it’s opponent is named ‘Vijaya’.
Performances are solid in the film, and Sharada infuses life and soul into the character that she portrays, incredibly. Padmapriya, who plays the actress’ younger self, matches up to the veteran and delivers a competent feat. And of course there is Jayaram, who brings in an extra warmth and grace to his portrayal of Anand.
This might sound ironic, but the film looks and feels and bit too long for a life story that is far too slight. The attempts at pathos fall miserably short, and the emptiness of several of those scenes ensures that there is nothing new in ‘Nayika’, or for that matter nothing much either.
Rating : 2/5 – Nayika Just Fails to Impress – Courtesy : NowRunning
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There are those who like refinement in cinema, and many who trip just on the opposite. If you belong to the latter category, ‘Jack and Jill’ is a film hand-made for you. However, if you’re not, avoid the film like the plague. Brother-sister twins Jack and Jill (Adam Sandler both), can’t stand each other. Mostly it’s because Jill manages to get on the nerves of Jack. Hence, during one Thanksgiving when Jill comes and stays with Jack’s family all hell breaks loose till Jill unwittingly seduces Al Pacino, whom Jack needs to save his company.
In the film, Adam Sandler plays a double role. But he is so all over the place that it might seem that he is playing 10 different characters. Thus, if you are a big fan of Adam Sandler, even then you won’t be able to stand this film because Adam Sandler is as full of Adam Sandler in the movie as in this sentence.
Yes, the film has its funny moments. But there are so many gags and jokes stuffed one after the other that the good ones are lost in the melee of the bad ones. There’s not a moment’s respite or silence in the film as one dialogue follows another. By the end of it all, it is a mixed bag in your head.
The jokes and gags are unintentionally funny because they have been done so many times by so many films in the past that it is hilarious to see another film try it once again and fail so desperately.
It is as if the makers of the film knew that they were in possession of a bad film and so tried their best to fill every second of silence with some or the other noise to din out the lack of quality. It, however, worsens the film.
Even the delectable Al Pacino, playing himself, and cameos by many famous people, is unable to save this loud, crash and boorish film.
Indians will perhaps take particular insult to the character of an adopted Indian kid in the family who is always sticking things to his body with duct tape.
Even the wordplay, with words like ‘Prostitwin’ and ‘womb-mate’ (to describe a twin) does not particularly appeal and leaves you disappointed.
Rating : 1.5/5 – will definitely fall at the box-office – Courtesy : NowRunning
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The reason why the ‘Twilight’ series captured our imagination a few years ago was the originality of its idea and execution. Watching the penultimate film in the series, you will be stuck with a series of dejà vus. You won’t have to rake your head hard to figure out where you had seen bits and pieces of “The Breaking Dawn” for it literally takes inspiration from and shamelessly copies the execution of almost every single TV soap-opera and their Indian avatar – the saas-bahu sagas…
Isabella (Kristen Stewart) and Edward (Robert Pattinson) finally get married and Edward unwittingly gets Isabella pregnant. As the fetus grows rapidly, it threatens Bella’s life. But she is unwilling to abort the baby despite the urging of everyone around. Afraid of the half-human, half-vampire baby growing inside Bella, the wolves plan to kill her even as the Cullen family and Jacob (Taylor Lautner), fight to save her.
The only originality the film hold is in its combination of cliches of multiple genres. Thus you have an exotic woman in possession of an ancient wisdom (from the monster movie genre) calling Edward a monster. You have once again a jealous friend in Jacob who mouths cheesy lines (teenage romance genre) and you have a understanding and protective family speaking dialogues straight from soaps (family drama genre)…the list goes on.
It even begins with ‘the’ teenage cinematic marriage sequence of the millennium. As the jealous best fried Jacob runs off in anger, the couple is married in a dream marriage that even Prince Charles and Diana could not have dreamt of. This and the honeymoon is slow and long, but has enough oomph for girls with romance in their eyes to lap up.
There is no point commenting on the acting department which actually relies on the inability of its actors to act, and their abilities to look either pale and white, expressionless or perennially angry.
“The Breaking Dawn” is good only for the die-hard fans of the franchisee, or teenage girls with fairy tale romance lighting up their eyes or fans of Mills and Boons. Others beware of a headache.
Rating : 2.5/5 – Not so captive as the earlier versions – Courtesy : NowRunning
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