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3915
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dbpedia
|
2
| 17
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https://www.newindianexpress.com/entertainment/review/2022/Apr/09/important-well-made-film-that-questions-the-system-2439705.html
|
en
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Important, well-made film that questions the system
|
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[
""
] | null |
[
"Navein Darshan"
] |
2022-04-09T00:00:00
|
Police brutality isn’t new to Tamil cinema. The tool that was once used to magnify the image of ‘super cops’ is now restricted to the hands of bad, ruthless ones.
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en
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/favicon.ico
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The New Indian Express
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https://www.newindianexpress.com/entertainment/review/2022/Apr/09/important-well-made-film-that-questions-the-system-2439705.html
|
Police brutality isn’t new to Tamil cinema. The tool that was once used to magnify the image of ‘super cops’ is now restricted to the hands of bad, ruthless ones. What turns the latter heartless? What feeds the animal in them? What makes them believe that brutality is the only way to go? The one common answer must be ‘System’. We have had films like Visaranai, which probes into the psyche of a cop and shows how the system turns the good ones into bad and the ugly. Taanakkaran goes a step further and questions the mindless and cruel practices that recruits undergo during the training, even before they don the khaki.
In the hands of an amateur director and writer Taanakkaran would have been a bland torture porn. But the details Tamizh adds to even the smallest of all characters, the brilliant staging and the tight screenplay elevate the film to being one of the most important films of the year. I particularly liked how the carrot and stick conditioning in the police department changes people over the years and how the life-threatening problems of the vulnerable recruits are seen as more and more trivial by the officers as their ranks ascend.
Though Taanakkaran talks about the miseries of police recruits, it doesn’t limit itself to being an emotional drama. In a way, it is equally a sports film, that encapsulates elements like leadership, strategy and comradery. But the sports part comes with a twist. It is not football or cricket, it is parading! Yes, you heard that right. I was a bit sceptical about the engagement factor in this competition initially. But the fantabulous frames of Madhesh Manickam, immaculate staging of Tamizh and Ghibran’s rousing music together create magic on-screen. The film would have been a treat to watch on the silver screen with a community of audience to cheer along with. But let’s just hope that the trading off of theatrical release is compensated by a wider international audience reach.
Taanakkaran is a rare film, where every actor has given their best throughout. The performances are terrific that any portion cut from the film can function as the acting showreel for the artists featuring in it. MS Bhaskar seems to have a penchant for saving his heroic moments for Vikram Prabhu films. While he got the theatre erupted with a just glimpse of an action episode in Arima Nambi, in Taanakkaran he gets a more elaborate and extended moment to win over the audience. Lal, who faced laththis on-screen the last time in Tamil with Karnan, does a role reversal and assaults people with it here.
Despite being given the most uni-dimensional character in the story, Lal effortlessly carries the role and I won’t be surprised if the amount of hate for his Easwaramurthy surpasses the audience’s love for Karnan’s Yama Raja. It was heartening to see a clean cop in a film that talks about the dirty side of the police department and it was refreshing to see an able actor like Bose Venkat playing the good guy for a change. Despite the limited space, he sells the role brilliantly and acts as a major pillar in making the climax work.
The main man Vikram Prabhu is in fantastic form and delivers a terrific comeback! Although his physically-gruelling scenes deserve huge applause it is his subtle expressions in the emotional scenes that leave a longer-lasting impact. The scene where he runs with a dying man on his shoulder and breaks down realising that he has lost him shows what Vikram is capable of, in the hands of the right director.
I liked how Vikram’s Arivazhagan finds his father in the good men he encounters in the force, I also liked the reason behind his drive to be a giver and performer. But I would have loved to know what he does apart from being the exemplary nallavan and why he chooses to appear for a PC entrance instead of a higher rank despite being over-qualified.
Taanakkaran also touches upon caste politics in the initial scenes and it almost feels like the brutality of Easwaramurthy is triggered by his caste pride. But we are not sure, as the film fails to explore more in that direction, despite having the stage set for it.
I am all for love blossoming in the most random circumstances, so I had no complaints about the PC (Anjali Nair)’s love angle with the smart and driven recruit Arivu. But Tamizh once again stops by just scratching the surface and there is hardly any closure to the love tale. Also, it would have been nice if Anjali’s Easwari, being the sole woman in the story, had got some agency or say in the proceedings, without being just a spectator of the cruelty in the recruitment school.
The life-threatening ED drill sessions in Taanakkaran are a metaphor for the police department or any other place that abuses the righteous ones. It is not about the first one who steps in, it is always about the last man standing, despite all obstacles, bruises and insults. Having a vulnerable, commoner as a protagonist braving against all odds instils hope. If a film succeeds in entertaining, educating and gives hope as a takeaway, what more can we ask for?
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http://celluloidcritic.blogspot.com/2012/12/neethane-en-ponvasantham-film-review.html
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en
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NEETHANE EN PONVASANTHAM FILM REVIEW
|
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[
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2012-12-16T21:30:00+08:00
|
NEETHANE EN PONVASANTHAM (2012) Director: Gautham Vasudev Menon Casts: Jiiva, Samantha, Santhanam Music: Ilayaraja Langua...
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en
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http://celluloidcritic.blogspot.com/favicon.ico
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http://celluloidcritic.blogspot.com/2012/12/neethane-en-ponvasantham-film-review.html
|
NEETHANE EN PONVASANTHAM (2012)
Director: Gautham Vasudev Menon
Casts: Jiiva, Samantha, Santhanam
Music: Ilayaraja
Language: Tamil
Genre: Romance
Life gets defined by the mind altering moments which occurs at the most unexpected circumstances in life.
Gautham Vasudev Menon continues to explore such moments in his distinctive style in Neethaane En Ponvasantham, where he refines the threads he already used in Vaaranam Aayiram and Vinnai Thaandi Varuvaaya. Neethane En Ponvasantham fits the bill perfectly as a so called ‘concluding’ part of the trilogy.
Synopsis
Gautham Menon experiments in a ‘moment’ driven story this time by surfacing through four chapters of Varun (Jiiva) and Nithya (Samantha), from the age of 8 to 23 years old. Childhood buddies, Varun and Nithya share an unconditional bond since school days. Even when tested by ego clashes and misunderstanding, destiny always brings them together at different stages of life. But what happens when Varun decides to put aside love for the backburner of his middle class family? Will their priorities and perspective towards life put an end to their dreamy love?
Story – Screenplay
Gautham Menon always has his own style of telling a story and Neethane En Ponvasantham is no exception. As soon as the film starts, he clearly conveys by introduction credits that this film will be the ‘moments’ of the life of Varun and Nithya. The main plot does not differ from the tried and tested formula to portray the misunderstandings, ego trips, high octane expectations and societal pressures present in the urban relationships.
However, what make the difference are the sharp dialogues, stylistic presentation and realistically designed characters.
Like VTV, Gautham does not have any antagonist in the film but lets the priorities and decisions of the lead characters to complicate the bond they share. At many instances, he lets Ilayaraja’s soulful music to move the plot rather than the scenes itself. As it travels through four chapters, it gives a sense of belief to the word, ‘destiny’ which is omitted by many. He brings in the nostalgic mood at all the four chapters by interweaving the right relatable situations such as inter-college cultural, childhood gender mockeries, cricket matches and tuition centre.
Even though the minute nostalgic details do forgive the snail pace of the film to a certain extent, it fails to salvage the lengthy scenes and mundane, repetitive break ups of the lead characters. Especially the pre-interval scene shot in just one top angle is thoroughly disappointing. It makes us wonder why Gautham decided to shoot it in a wide shot when that is the most emotionally defining scene of the film. The VTV hangover is evident through the confused character design of Nithya, not that it is wrong but it does get tiring after a while.
However, Gautham makes it up a little with a compelling climax.
In overall, if only the screenplay have been more crisp and edgy, Neethane En Ponvasantham could have repeated the magic of VTV.
Casting & Performance
Gautham always displays his actors like never before and he has done it here again. Jiiva lives as Varun at each chapter convincingly. Even though it is quite hard for us to see him in uniform, he brings out the high school playfulness gently at the scene where he describes Nithya as a third person. Especially at the climax, he collates his previous films’ experience and delivers with much maturity. Samantha undoubtedly carries her best performance till date in Tamil by shouldering a very complex character, much alike to Jessie in VTV. Her articulation, be it as the charmingly arrogant Nithya during the school days, a girl blinded by unconditional love or the matured contented expression she gives at the climax, she does it close to perfection. However, she does suffer when there is a need for her to display mixed emotions.
Even though the film travels in a serious note, Santhanam’s character lifts the engaging level of the film every time he appears. With his witty one liners and comic timing, he adds a different colour to a Gautham film. To glorify his current fan base, he even has an opening song and with the post interval he steals the show. Lastly the promising talent, Vidyulekha as Jenny, compliments Santhanam perfectly.
In overall, Neethaane En Ponvasantham might be a path breaking film for the actors personally.
Technicality
Ilayaraja, undoubtedly tops the list with his Godly musical touch at every scenes. His BGM’s timings are perfect, bringing the audience much more closer to the film at each stage. Even though the soundtracks have a strong sense of 80s and 90s feel, it never fails to compliment the scenes. Gautham, a self-confessed Ilayaraja fan have made his idol move his story. Cinematographers, MS Pabhu and Om Prakash have done a decent job by capturing each stages of life in different light gels and angles. Speaking about chapters, kudos to the art director Rajeevan, for bringing out each period of time so realistically.
On the other hand, editor Anthony falls in his lengthy editing trap once again which does garner the mockeries of the audience when the film starts to drag at the end.
Conclusively, Neethane En Ponvasantham even though has the poetic approach as Gautham Menon’s other films; it lacks that one killer scene (such as the central park scene in VTV) which might have pushed the film to a classic status. Instead, it is cramped with lengthy scenes and repetitive dialogues which diminish the novelty of the film. However, with Ilayaraja’s soulful music, realistically relatable scenes and dedicated performances, Neethane En Ponvasantham might end up as a favourite ‘date’ film.
Verdict: This could be your love story…
Rating : 3.5/5
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https://www.nowrunning.com/movie/9532/tamil/neethaane-en-ponvasantham/index.htm
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en
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Neethaane En Ponvasantham Tamil Movie
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2011-09-06T05:00:00+00:00
|
Neethaane En Ponvasantham is a 2012 Indian movie directed by Gautham Vasudev Menon starring Jiiva and Samantha Ruth Prabhu. The feature film is produced by Kumar and the music composed by Ilayaraja.
|
en
|
NOWRUNNING
|
https://www.nowrunning.com/movie/9532/tamil/neethaane-en-ponvasantham/index.htm
|
Gautham Menon’s Neethane En Ponvasantham is a romantic journey of two childhood friends Varun and Nithya played by Jiiva and Samantha. In an interview Jiiva said, “This movie can be the story of all. In fact I felt that most of the scenes were taken from my own life. My wife and I were childhood friends and later got into a serious relationship. Neethane En Ponvasantham is more or like the same.”
Neethane En Ponvasantham also has Santhanam, Anupama Kumar and Ravi Prakash in supporting roles. Isaignani Ilayaraja is composing the music for the film and MS Prabhu is helming the camera.
Gautham Menon’s Neethane En Ponvasantham is a romantic journey of two childhood friends Varun and Nithya played by Jiiva and Samantha. In an interview Jiiva said, “This movie can be the story of all. In fact I felt that most of the scenes were taken from my own life. My wife and I were childhood friends and later got into a serious relationship. Neethane En Ponvasantham is more or like the same.”
Neethane En Ponvasantham also has Santhanam, Anupama Kumar and Ravi Prakash in supporting roles. Isaignani Ilayaraja is composing the music for the film and MS Prabhu is helming the camera.
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3915
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dbpedia
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http://prabhudevabiodata.blogspot.com/p/prabhu-deva-as-director.html
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Prabhu Deva Biodata: Prabhu Deva As a Director , choreographer
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[
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Nuvvostanante Nenoddantana (English: If you said you wanted to come, Will I say no? ) is a 2005 Telugu , romance film , starring Sidhart...
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en
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http://prabhudevabiodata.blogspot.com/favicon.ico
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http://prabhudevabiodata.blogspot.com/p/prabhu-deva-as-director.html
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This section appears to be written like an advertisement. Please help improve it by rewriting promotional content from a neutral point of view and removing any inappropriate external links. (January 2014)
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3915
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dbpedia
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3
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https://www.moviecrow.com/telugu/top-100-movies
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en
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List of telugu Top 100 Movies
|
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Storyline: Life of a man who dedicates his whole life for music. More
Storyline: Sidhu wants to stand in his own ,while his father always wanted him to be perfect with his support h More
Storyline: Two people suffers from terminal illness falls in love with each other More
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Storyline: Truthful honest and confident love of arya ,twist and turns around love More
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Storyline: The film focused on the lives of 7 young characters. Each of them with a dilemma of their own. About More
Storyline: Venky eventually meet katrina and fall in love withouth knowing that she is princess ,he guard katr More
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Storyline: The bonding within families and relationships, and their values More
Storyline: Escaping story of hero who gets into trap due to two family feuds More
Storyline: Chanti falls in love with Suchitra,he wins over Vipra Narayana strong and powerfull person as well More
Storyline: Aditya winning the heart of his father with the law degree he earn. More
Storyline: A dad's love for his daughter and a family drama More
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Storyline: Race Gurram (English: Race horse) is a 2014 Telugu romantic action-adventure film directed by Surend More
Storyline: Jr.NTR as Bheem is from the tribal community, the English Governor orders to forcefully take an inno More
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Storyline: Chandu and his families drama to marry his love pooja. More
|
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https://www.bollywoodlife.com/reviews/neethaane-en-ponvasantham-movie-review-too-lengthy-but-watchable-171022/
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en
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NEETHAANE EN PONVASANTHAM movie review: Too lengthy, but watchable!
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2012-12-17T12:28:39+05:30
|
NEETHAANE EN PONVASANTHAM movie review: Too lengthy, but watchable! - Gautham Vasudev Menon's Neethaane En Ponvasantham released following a great deal of hype and after the film's music made waves. So, the question is whethe
|
en
|
Bollywood Life
|
https://www.bollywoodlife.com/reviews/neethaane-en-ponvasantham-movie-review-too-lengthy-but-watchable-171022/
|
Gautham Vasudev Menon's Neethaane En Ponvasantham released following a great deal of hype and after the film's music made waves. So, the question is whether NEP lives up to expectations and the answer would be yes - partly
NEP was promoted as a romantic tale with the tagline - This could be your love story and comes laced with eight tracks by maestro Ilaiyaraaja. In fact, apart from the lead actors - Jiiva and Samantha Ruth Prabhu - the music is one of the key elements of the film.
As the director promised, it is a love story handled in a novel manner. It explores four phases in the life of two individuals, who are intimate and also endure the usual pangs that a couple undergoes. Gautham, who is among the highly-rated filmmakers of Kollywood with a penchant for taking up love subjects, has got the best out of the lead pair with Santhanam playing a big part, as is often the case now. The romance between the hero and heroine with several cute moments thrown in forms the crux of NEP and whether their journey culminates in marriage keeps the audience's interest alive till the end.
The story: Varun (Jiiva) and Nithya (Samantha) know each other from childhood and share a love-hate relationship. The hero joins college and meets his girl during the culturals. They go steady for a while only to break up over silly issues and this is something that is repeated in every phase of their life, adding to the intrigue.
Ilaiyaraaja's background score and the songs, especially Saindhu, Saindhu and Yennodu Vaa Vaa.. are definite highlights of the film. Gautham is known for his slick love tales, but somehow he has let things drag in NEP. Maybe a quicker pace could have perked things up. He has brought to fore the emotions that couples go through and the Jiiva-Samantha duo deliver the nuances perfectly. Cinematography by M S Prabhu and Om Prakash adds value to NEP.
This is not a Gautham special as it was widely anticipated, but it's watchable,especially if you don't mind the length.
Stay tuned to BollywoodLife for the latest scoops and updates from Bollywood, Hollywood, South, TV and Web-Series.
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https://kids.kiddle.co/Samantha_Ruth_Prabhu
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en
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Samantha Ruth Prabhu facts for kids
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Learn Samantha Ruth Prabhu facts for kids
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https://kids.kiddle.co/Samantha_Ruth_Prabhu
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In this Indian name, the name Prabhu is a patronymic, and the person should be referred to by the given name, Samantha.
Samantha Ruth Prabhu (formerly Akkineni; born 28 April 1987) is an Indian actress who works primarily in Telugu and Tamil films. She is the recipient of several accolades, including four Filmfare Awards South.
After a brief stint as a model while pursuing a degree in commerce, Samantha made her acting debut in the Telugu romance film Ye Maaya Chesave (2010), winning the Filmfare Award for Best Female Debut – South. She became the second actress to win both the Filmfare Award for Best Actress – Tamil and Best Actress – Telugu in the same year, for her performances in the 2012 films Neethaane En Ponvasantham and Eega, respectively. Over the next few years, she played the leading lady in top-grossing androcentric films such as Dookudu (2011), Seethamma Vakitlo Sirimalle Chettu (2012), Attarintiki Daredi (2013), Kaththi (2014), Theri (2016), 24 (2016), Mersal (2017), and Rangasthalam (2018). Her performance in A Aa (2016) won Samantha her fourth Filmfare Award, and she gained further praise for her performances in Mahanati (2018), Super Deluxe (2019), and Majili (2019), and the Amazon Prime Video thriller series The Family Man (2021). The last of these earned her a Filmfare OTT Award. In 2023, she had two critical and commercial failures in Shaakuntalam and Kushi.
Samantha is the founder of a charitable trust Pratyusha Support.
Early life
Samantha was born on 28 April 1987, her father Joseph Prabhu is Telugu and mother Ninette Prabhu is Malayali. She was born and brought up in Chennai, Tamil Nadu, as the youngest child of the family, with two elder brothers Jonath and David. She can speak both Tamil and Telugu fluently. As a part of her education, Samantha was schooled at Holy Angels Anglo Indian Higher Secondary School and then completed a degree in commerce at Stella Maris College, Chennai. Towards the end of her undergraduate degree, she became involved in modelling, notably working with Naidu Hall, through which she was first spotted by filmmaker Ravi Varman.
Career
Debut, breakthrough and critical acclaim (2010–2012)
Samantha began her professional film career with Gautham Vasudev Menon's Telugu film, Ye Maaya Chesave (2010). The film, simultaneously made in Tamil as Vinnaithaandi Varuvaayaa (2010), was highly anticipated prior to release, primarily due to the first time collaboration between Gautham Menon and composer A. R. Rahman. The actress successfully auditioned and was signed up for the project in August 2009. The film was shot in India and the United States, and it was released on 26 February 2010. Post-release, she revealed that Menon played a "crucial part in moulding her as an actress", teaching her how to remain natural and comfortable in front of the screen, even if she had no dialogues in a scene. In the film, Samantha played the lead character Jessie, a Malayali Saint Thomas Christian girl living in Hyderabad, with whom the male protagonist, played by Naga Chaitanya, falls in love. Upon release of the film, Samantha received highly positive reviews for her portrayal, with the film itself garnering widespread critical acclaim. Critics at Sify praised Samantha as a "scene-stealer" and her beauty as "alluring", adding, "she was the girl to watch out for." Jeevi from Idlebrain.com, wrote that "Samantha's debut is one of the best heroine debuts in Telugu cinema" and noted that the "minute expressions she gave spoke volumes about her", whilst labelling the film as a "classic". Her performance in Ye Maaya Chesave earned her first nomination for the Filmfare Award for Best Actress – Telugu and won her the Filmfare Award for Best Female Debut – South and the Nandi Special Jury Award. Samantha appeared in a cameo role in the Tamil version of the film, portraying an assistant director who becomes an actress. Both the Telugu and the Tamil versions of the films proved to be major successes, propelling Samantha to stardom. She followed up her collaborations with Gautham Menon and A. R. Rahman by appearing in the music video for the World Classical Tamil Conference 2010 promotional song, Semmozhiyaana Thamizh Mozhiyaam, which Menon directed and Rahman composed.
Samantha's next release was the romantic drama, Baana Kaathadi (2010), opposite Adharvaa. The film was actually the third Tamil project signed by the actress, but its release preceded the first two that she was contracted for due to delays in their completion. Samantha portrayed a student of the National Institute of Fashion Technology (NIFT), the first such role in Tamil cinema. Her next release was Ravi Varman's Moscowin Kavery (2010), originally the first film she began work on. The shooting for the film began in August 2007, with Samantha, then briefly credited with the screen name Yasodha, joining the team later in the year. In an interview held in 2008, Ravi Varman mentioned that he had decided that Samantha would be the lead actress for his film within three minutes after viewing one of her commercial assignments. He went on to describe her as an actress with "intelligence" and "potential", whilst drawing comparisons with the noted actress, Revathi. However, due to Ravi Varman's prior commitments as cinematographer in other projects, the film languished in development hell, eventually releasing in August 2010. The film earned negative reviews from critics, though Samantha's performance was credited as one of the sole highlights that the film offered. In August 2008, while still completing her last three projects, Samantha also signed up to play the lead role of a modern girl in the Narain-starrer, Pookada Ravi, which was later shelved. Samantha then went on to feature in Vamsi Paidipally's Telugu film Brindaavanam (2010) in which she played a supporting role alongside NTR Jr and Kajal Aggarwal. Her performance as Indu was well-received despite having a shorter screen time, and the film became her second successful venture in Telugu.
Samantha featured in the big-budget Telugu film, Dookudu (2012) alongside Mahesh Babu, which became one of the most successful Telugu films of all time. The film received positive reviews, with a critic from The Times of India stating "Samantha looks beautiful and has done a great job, though her role as Prashanthi isn't too lengthy." She received her second nomination for the Filmfare Award for Best Actress – Telugu for her performance in the film. She also subsequently made guest appearances in two of Gautham Vasudev Menon's films, first in the psychological thriller film, Nadunisi Naaygal (2011) as a mental asylum inmate and then repeated her role from Vinnaithaandi Varuvaayaa in the Hindi version of the film, Ekk Deewana Tha (2012). Her popularity in Telugu films led to Nadunisi Naaygal was dubbed and released in Telugu as Eera Gulabeelu, with Samantha featured prominently on the film's posters, despite only having a guest appearance. During the period, Samantha had also been signed two big-budget projects in Tamil, Mani Ratnam's Kadal (2013) and Shankar's I (2015), but was forced to opt out from both films, since she was suffering from a skin disease and could not work for two months during mid-2012. Samantha next featured in S. S. Rajamouli's live action Telugu-Tamil bilingual project Eega (2012) alongside Nani and Sudeep, portraying a micro artist who runs a NGO and takes revenge for the murder of her lover. As the film featured a CGI-created housefly as the main character, Samantha noted that she had to use her imagination and act accordingly. She also revealed that many heavy lights were used for the shoot of the film and she subsequently suffered skin burns, calling the process "very stressful" but "satisfying". Titled Naan Ee (2012) in Tamil, the film opened to highly positive reviews and Samantha also won high critical acclaim for her performance. A critic from The Hindu noted "Samantha blooms in the role given to her," while Jeevi of Idlebrain.com wrote her "successful run continues as she portrays the role a bereaved lover with perfection". Sify.com also praised her performance in the film, citing her "subtle expressions of love, fear and anxiety work well for the film" and that she "looks beautiful and has performed her role with consummate ease". The film went on to become a major commercial success, grossing more than ₹ 1.25 billion, and went on to be dubbed in several foreign and Indian languages.
Samantha then worked on Gautham Vasudev Menon's a trilingual romantic drama film and played the leading female role of Nithya in the Tamil, Telugu, and Hindi versions of the film, shooting scenes simultaneously back-to-back with three different actors. The Tamil version, Neethaane En Ponvasantham (2012) featured her alongside Jiiva, while Yeto Vellipoyindhi Manasu (2012) paired her opposite Nani. A further Hindi version titled Assi Nabbe Poorey Sau with Aditya Roy Kapoor was simultaneously shot with the other two films and was "60%" completed, before Menon shelved the venture after his other Hindi film, Ekk Deewana Tha, had failed at the box office. The film spanned three periods in the life of a couple, focusing on their romantic relationship at school, college and in their late twenties. Samantha revealed that she knew Gautham would want to work with her again and immediately accepted the opportunity to portray the roles when she was offered the film. She felt that she "could relate to the attributes and the circumstances the character goes through" and described Nithya's character as "close to her." To make her performance as authentic as possible, Samantha chose to dub for herself in the Tamil version of the film. The Tamil and Telugu versions of the film opened in December 2012, earning polarizing reactions. Neethane En Ponvasantham earned mixed reviews and performed averagely at the box office, though Samantha received highly critical acclaim for her portrayal. The critic from The Hindu noted she "comes up with possibly the best performance by a female lead in Tamil cinema this year" and "her transformation from a gawky teenager to an adult, unable to overcome her ego, is outstanding". Meanwhile, IBN stated "Samantha's transformation from a school kid to an adult is a treat to watch," while Rediff.com noted she is "pretty, graceful, and does an excellent job of conveying the emotions of a girl in love, especially during the school sequence, while concluding she carries the film on her slender shoulders." The Telugu version, Yeto Vellipoyindhi Manasu, received positive reviews and did well commercially, while Samantha's performance again received high critical acclaim. The Hindu wrote she "goes a step further from her famous portrayal of Jessie (Ye Maaya Chesaave) and brings out the intricacy of her character well", while The Times of India wrote "Samantha has the author-backed role and she creams it." At the 60th Filmfare Awards South, she subsequently won the Best Actress awards for both the Tamil and Telugu film industries for her performances in Neethane En Ponvasantham and Eega. Samantha became the second-ever actress to achieve the feat after Revathi had secured both awards in 1993. 2012 became her most prolific award-winning year and she secured further accolades for Best Actress at the Vijay Awards, Santosham Film Awards and the CineMAA Awards.
Commercial success and establishment in big-budget films (2013–2018)
Although Samantha often portrayed strong character roles in her early films, post-2012, she has appeared increasingly in big-budget, hero-oriented films, which have comparatively smaller scope for actresses. Samantha next appeared in the Telugu multi-starrer film, Seethamma Vakitlo Sirimalle Chettu (2013) alongside Venkatesh and Mahesh Babu, which received positive reviews and was commercially successful. Though her role was comparatively minuscule to her co-stars, IBN Live noted it was "good to see Samantha shed her glamorous side and welcome performance-oriented roles, which she only handles with deftness and ease". The romantic comedy Jabardasth (2013) alongside Siddharth, in which she portrayed a wedding planner, became a commercial failure, though critics noted Samantha is "getting better by the day and it's a delight to watch her on screen". Samantha then starred alongside Pawan Kalyan in the family drama, Attarintiki Daredi (2013), which emerged as the highest-grossing Telugu film upon release. A critic from Rediff.com noted Samantha "exudes confidence even though she has limited screen time and nothing much to do", and her performance saw her win Best Actress recognition at the SIIMA Awards and the Santosham Film Awards, in addition to her fourth nomination for the Filmfare Award for Best Actress – Telugu. Her final release of 2013 was in the unsuccessful Telugu masala film Ramayya Vasthavayya, where she had a small role, with a critic noting "we have seen Samantha in better roles and better films."
The year 2014 saw Samantha appear in six films and make a return to the Tamil film industry. Her first release saw Samantha portray a dual role in the family drama film Manam (2014), where she featured alongside several members of the Akkineni film family. Featuring as a young mother and a college student in two different time eras, Samantha received positive reviews for her work, with the critic from Sify saying "she excels" and The Hindu's reviewer noting that she "emotes well and easily shifts between the roles." Her performance fetched Samantha her fifth nomination for the Filmfare Award for Best Actress – Telugu, while she won Best Actress (Critics) at the SIIMA Awards. Samantha subsequently featured alongside Naga Chaitanya again in the long-delayed Autonagar Surya (2014), before playing different minuscule roles in the Telugu action masala films Alludu Seenu (2014) and Rabhasa (2014). Critics lamented that she "signed up to be a glam doll" for the ventures. She has "previously shown us she is capable of doing much more, but of late, seems to be stuck with doing similar roles that require her to be an attractive prop." Samantha later revealed that she solely worked on Alludu Seenu as a favor to producer Bellamkonda Suresh, who had helped her delay the making of Jabardasth during her health problems.
Samantha worked simultaneously on two big-budget Tamil films in early 2014, working with industry-leading actors and directors. N. Lingusamy's gangster masala film Anjaan (2014) opposite Suriya, received negative reviews and performed poorly at the box office. Portraying a small role, critics panned her character in the film, stating Samantha "gamely performs the requisite crazy girl duties". Her other release, AR Murugadoss's action drama Kaththi (2014) opposite Vijay won predominantly positive reviews and became the most profitable Tamil film of 2014. Again, reviewers criticised her character stating "all she had to do in the film is smile and look pretty," while The Hindu remarked she played "an emoticon" and "that covers her contribution to the proceedings". She received her second nomination for the Filmfare Award for Best Actress – Tamil for her performance in Kaththi. She subsequently featured in the Telugu film S/O Satyamurthy with Allu Arjun, as a part of another hero-oriented film, though critics noted she "enacts her part with grace" and that she "plays her role well".
She then featured in her second dual role as a part of Vijay Milton's road film, 10 Endrathukulla (2015), where she appeared alongside Vikram. She sported a different rural look for the role and her performance won mixed reviews, with a critic noting "Samantha doesn't make much of an impact in the film except towards the end." Like Anjaan and Kaththi, critics lamented her role as a clumsy girl, with Sify.com stating "beyond a point Samantha's character is plainly annoying". Samantha subsequently won positive reviews for her role and performance in Velraj's Thanga Magan, where she featured opposite Dhanush. Portraying a homely role of a wife for the first time in Tamil films, the actress noted it would be the first of many such performance-oriented roles, as she looked to move away from being typecast in charming characters. A critic from Sify.com labelled her performance as "impressive", while DNA.com stated Samantha "has given a very subdued and mature performance sans drama". Likewise, a reviewer from Silverscreen, suggested that she "delivers a performance that stands head and shoulders above her work in previous films".
Samantha's first release of 2016 was in the Tamil romantic drama film Bangalore Naatkal, where she made a guest appearance and reprised Nithya Menen's minor role from the film's Malayalam original. She then portrayed the lead female role in Atlee's Theri, and featured alongside Vijay for the second time. Her performance received positive reviews, with a critic from DNA India stating "Samantha looks pretty as always" and that "she has done an incredible job in dubbing with a range of emotions in her numerous shades – doctor, lover, mother – and she shines". Likewise, Behindwoods.com stated that Theri "could be one of Samantha's best roles; she plays a doctor and has given out a soulful performance". The film went on to become of the most profitable Tamil films of all time, upon release, and ended a barren spell for the actress in Tamil cinema, by becoming her first commercially successful film in Tamil cinema since Kaththi (2014). Samantha then worked for a second time with director Vikram Kumar and Suriya in the critically-acclaimed fantasy film 24. Featuring as the love interest of the film's lead character, Samantha won praise from critics for her small role in the film, with Sify.com stating that the actress "does well in the comedy scenes." The film also performed well at the box office, with The Hindu stating she was "at the top of the film industry," following her back-to-back commercial successes. She received two nominations for the Filmfare Award for Best Actress – Tamil for her performances in Theri and 24 respectively.
Samantha also featured in three high-profile Telugu films during 2016; Although Srikanth Addala's family drama Brahmotsavam opposite Mahesh Babu was a box office failure, her role in Trivikram Srinivas's romantic comedy, A Aa alongside Nithiin, won her high critical acclaim and commercial success. Portraying Anasuya Ramalingam, a naive girl trying to escape from her mother's controlling behavior, Samantha received highly positive reviews for her character portrayal. A critic from The New Indian Express noted "A Aa undoubtedly is Samantha's film" and that "right from her first frame till the last, she delivers a stellar performance and shows what she can do if given ample screen time", adding that she was "a joy to watch". Likewise, a reviewer from The Hindu noted "Samantha, after a long time, gets enough screen time and scope to shine", stating "she's vulnerable as a 23-year-old reeling in her mother's shadow and can also play the high maintenance, stubborn girl with ease", while concluding "this is a role she can be proud of". Similarly Bollywoodlife.com noted her "earnest performance was the life and soul of the romantic comedy", while DNA India's critic cited that "Samantha and Nithiin's performances in this movie will be what people would rave about for days to come". The film also performed well at the box office, doing excellent business for a Telugu film released in the United States. Her performance fetched her several awards, including the Filmfare Award for Best Actress – Telugu, her second win in the category. She then featured in the commercially successful action film Janatha Garage directed by Koratala Siva, with a critic noting despite "a limited role, she gives a nice performance". She then portrayed the lead female role in Atlee's Mersal, and featured alongside Vijay for the third time and her performance received positive reviews and the film became one of the highest grossing Tamil films of 2017 and was a blockbuster at the box office. Mersal went on to join the coveted ₹200 crore club.
In 2018, she starred in Rangasthalam which went on to become one of the highest grossing Telugu films. The Tamil action thriller Irumbu Thirai in which she starred opposite Vishal and the Telugu biographical drama Mahanati were successful at the box-office and each had a run of 100 days at the box office. Her performances in Rangasthalam and Mahanati were highly praised, and she earned her seventh Best Actress – Telugu nomination for the former and her first Best Supporting Actress – Telugu nomination for the latter at the Filmfare Awards. Mridula R from The News Minute noted her critically acclaimed film U Turn as a curiosity-generating script that provides her with the ultimate screen presence since the story begins with her and she finds it ends, rather that not being shaking a leg in Anjaan, Brindavanam, Kaththi and Attarintiki Daredi or being glam doll or having out-of-scope performances overshadowed in Dookudu, S/O Satyamurthy, Brahmotsavam, Theri and Mersal.
Experimental roles and streaming projects (2019–present)
After acting in her first women-centric film U Turn, she is next starred in another women-centric film Oh! Baby released on 5 July 2019. The film is the remake of the 2014 South Korean film Miss Granny. It grossed ₹40 crores at the box office. A critic from Firstpost cited her performance to be her "career-best". Manoj Kumar R of The Indian Express felt that Samantha thrives in the role that reflects the possibilities of youth, the burden of old age, and the society's indifference to the desires and complaints of old people." She next starred in Majili alongside Naga Chaitanya, which marked their first collaboration after their marriage and their fourth collaboration overall after Ye Maaya Chesave, Manam, and Autonagar Surya. Her character was included in the list of strongest female roles of 2019 compiled by Auro Media House. Her performance received critical acclaim for her performance in Majili and several accolades for her performance in the two films. Samantha next played the character of Janaki Devi in the 2020 film Jaanu, which was a remake of 2018 Tamil film '96. The film received positive reviews with her performance receiving critical acclaim. In 2021, she performed her first dance number in the film, Pushpa: The Rise alongside Allu Arjun in the song "Oo Antava Oo Oo Antava".
Samantha made her television debut in 2020 by hosting a special episode of the Telugu-language reality television series Bigg Boss 4. She received praise for her work in the series. Later, in the same year she once again hosted a talk show Sam Jam that streamed on Aha.
In 2021, Samantha headlined the second season of Amazon Prime Video's Hindi spy thriller streaming television series The Family Man alongside Manoj Bajpayee, thus marking her debut in the digital content medium. She played the role of the main antagonist Raji, a rebel leader from the Liberation Tigers of Tamil Eelam. Her performance earned her widespread critical acclaim and won her the Filmfare OTT Award for Best Actress in a Drama Series.
Her first release of 2022 Kaathuvaakula Rendu Kaadhal received mixed reviews. Directed by Vignesh Shivan, she played the role Khatija alongside Nayanthara and Vijay Sethupathi.
In 2022, Samantha starred in the Hari–Harish directorial Telugu film Yashoda. In 2023, she appeared in mythological film Shaakuntalam, directed by Gunasekhar. The film was critical and commercial failure. She then appeared in Kushi opposite Vijay Deverakonda, which received mixed reviews from critics. The film also was a box office bomb.
In November 2021, she was cast in Chennai Story directed by Philip John and produced by Guru Films, marking her international debut. Samantha revealed, she is playing Priyanka Chopra’s character Nadia Sinh's mother in Citadel.
Personal life and off-screen work
Samantha suffered from an extended period of illness in 2012, which saw her having to opt out of big film projects and take a two-month break from acting. She suffered from an immunity disorder and then had a further setback after her body did not respond well to antibiotics. She began dating actor Naga Chaitanya in 2010 after appearing in the film Ye Maaya Chesave. The pair were engaged in a ceremony in Hyderabad on 29 January 2017. She got married in Goa as per traditional Hindu customs on 6 October 2017 and then by Christian customs on 7 October 2017, and became a member of the Akkineni family. She then started using her married name, Samantha Akkineni. On 31 July 2021, she removed her surname "Akkineni" from her social media handles which led to speculations of her separation with Naga Chaitanya. Later, on 2 October 2021, they announced their separation and eventual divorce.
On 28 September 2020, Samantha became the founder of the women's clothing brand Saaki World.
After June 2022, Samantha was suddenly inactive on social media which sparked several rumours about her health and there were rumours of her suffering from a relapse of a rare skin disorder. However, her team dismissed all rumours. On 29 October 2022, she announced that she was diagnosed with dermatomyositis. In August 2023, Samantha served as Chief Guest at the world's largest Indian Independence Day Parade in Manhattan, New York City.
Philanthropy
Samantha has actively been involved in philanthropic activities and donates her earnings from endorsements, product launches, and inauguration events to her charitable trust, Pratyusha Support, registered in 2012. She chose to begin the non-governmental organisation after being bed-ridden for 15 days during her documented illness in 2012 and wanted to give back to society. Samantha subsequently started the Pratyusha Support Foundation to provide medical support for women and children with the help of three doctor friends. She provided full financial support for the program. She held a fundraiser in August 2013 to raise awareness of her foundation, auctioning several of her items and memorabilia from films. A further initiative in 2014 saw the launch of a program to fulfill the wishes of children with life-threatening diseases; Samantha financed trips for children to fly on an airplane and travel to the Taj Mahal, and organized opportunities for children to meet their favorite film actors. Samantha has also been involved in spreading awareness of haemophilia, regularly taking part in events creating awareness of the disease.
Samantha agreed in January 2015 to pay a third of the hospital bills of one infant per week who required intensive care support at Andhra Hospitals through her charitable trust. Under the arrangement, Samantha agreed to contribute towards a third of the bills, while Andhra Hospitals would also pay a third of the bill, and the parents would pay the remaining third. In November 2015, Samantha entered into a further agreement with Andhra Hospitals to sponsor vaccination of all infants below six months for rotaviral infections free of cost. Later in the month, the actress took part in an organ donation pledge at Madhapur. During the 2015 Chennai floods, Samantha was situated in Hyderabad for the shoot of a film and helped mobilize the Mana Madras Kosam initiative organized by the Telugu film industry. Through the initiative, she participated in gathering relief materials at Ramanaidu Studios. She appealed to the Telugu-speaking public to help gather resources to send to Chennai. She later donated 30 lakh rupees for flood relief activities to take place in Pallavaram, the suburb in which the actress grew up. Samantha stood up for the cause of Handloom people of Telangana and Andhra Pradesh states by wearing them and making photoshoots for handloom made sarees and other items. In 2017, Samantha launched a business venture Tweave in partnership with the Telangana Government, which was a program to promote the handloom sector in Telangana.
Filmography
For more details, see Samantha Ruth Prabhu filmography
Accolades
Main article: List of awards and nominations received by Samantha Ruth Prabhu
Samantha is the recipient of several awards, including four Filmfare Awards South, one Filmfare OTT Award, two Andhra Pradesh State Nandi Awards, four South Indian International Movie Awards, and three CineMAA Awards.
See also
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Neethaane En Ponvasantham on Moviebuff.com
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Release Date: 14 Dec 2012. Neethaane En Ponvasantham is directed by Gautham Menon, and stars Jiiva and Samantha Ruth Prabhu.
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'Neethaane En Ponvasantham' is a youthful and emotionally charged drama of the complex and emotionally-charged journey, a pair of childhood sweethearts go through, as they grow up and mature into adults.
Varun and Nithya are childhood friends from the age of eight. They fight and break up when in school and in college too they repeat the rigmarole of falling in love and then breaking up over sensitive and emotionally charged issues.
Finally, they meet once again at 25. And once more history repeats itself till the inevitable happens all over again. Even when they both secretly seem to know that they can never get over each other, reality has a way of creating the most challenging obstacles. Will the lovers ever managed to settle their differences and seal their relationship in the bond of matrimony?
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Watch: 16 times Prabhu Deva blew us away with his dance genius
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His outlandish clothes, talent for mixing comedy with dance, incredible flexibility, and sensuality make every Prabhu Deva song unforgettable.
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https://www.thenewsminute.com/tamil-nadu/watch-16-times-prabhu-deva-blew-us-away-his-dance-genius-121978
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It's jelly, it's rubber, it's Prabhu Deva! It's April and everyone's sitting at home bored out of their skulls, thanks to the coronavirus pandemic. If we need a situation song to describe our condition, perhaps there's nothing like Prabhu Deva's 'April May-ile' from Idhayam. The rough translation of the first few lines of the song goes, "In the months of April and May, there is no greenery, everything is dried up. I don't like this city anymore, I don't like this world anymore… it's super boring! Do we really need this? Go away, man!"
Of course, Prabhu Deva and his friends from the 1991 movie were singing about the lack of college girls on the road during these summer months, but in our current situation, things are even worse. NOBODY is supposed to be on the roads.
An actor, director, producer, dancer and choreographer, Prabhu Deva turned 47 on April 3. But as far as his dancing goes, he's only gotten better with the years, if that was even possible.
The son of dance master Mugur Sundar, his first on screen appearance was in the 'Panivizhum Iravu' song from Mouna Ragam (1986), directed by Mani Ratnam. Looking at the fluid movements of the male lead dancer, you may think it's Prabhu Deva but that's John Babu who also went on to become a choreographer. Prabhu Deva was only a boy at the time of the shoot. He appears briefly around 2:24 minutes here, dressed as a boy playing a flute.
He made several such one song appearances, notably in the 'Chikku Bukku Rayile' song from Gentleman (1993), in which he danced with Gauthami at a railway station. It had music by AR Rahman, who'd stormed into national fame with Roja just a year ago.
His first film as the lead was Indhu in 1994, directed by Pavithran. Clearly inspired by pop star Michael Jackson, Prabhu Deva's moves stunned the audience and made the film a big hit. Here he is, dancing with Khushbu, who was by then all the rage in the Tamil film industry, having delivered blockbusters with superstars Rajinikanth and Kamal Haasan.
The 'Aye Kutti Munnala' song from the same film would today be (rightly) categorised as sexual harassment, but in those days, it passed for 'wooing'. Dancing with birds and an outlandish 'fusion' costume, Prabhu Deva proved that he wasn't just about flexibility. He was a damn good entertainer who could mix up comedy with his moves.
In the same year came the sensational Kadhalan, directed by Shankar. There couldn't have been a better on screen marriage for the senses. Rahman's pulsating music and Prabhu Deva's scintillating moves came together to uplift a mostly mediocre love story. The album, also released in Telugu and Hindi, became a phenomenon, as did Prabhu Deva's dance.
It's hard to pick a favourite from this film and 'Muqabla' obviously features right on top of Prabhu Deva's greatest hits ever. So does the unique 'Pettai Rap' which still prompts '90s kids to respond with "Evaavvo?" when someone says "Stop it!".
These songs may have made older people in those days scratch their heads and wonder what on earth the lyrics meant and perhaps remember Illaiyarajaa or MS Viswanathan with nostalgia, but young people were dazzled with what was on offer. They couldn't get enough of the music and dance from the film. 'Urvasi Urvasi', with Prabhu Deva dancing on a glass bus, became nothing short of an anthem for the youth. The 'Take it easy policy' song has hilarious if politically incorrect lyrics and Prabhu Deva's expressions and body language made it unforgettable.
As he romanced Kajol in the film, playing the role of Cupid who inadvertently falls in love with the woman he's supposed to set up for someone else, Prabhu Deva was all angst and yearning, but not without his humour. Whether it's the energetic 'Ooh la la' or the funny 'Strawberry Kanne' (a fruit that wasn't even so common back then in Tamil Nadu instantly became a familiar household name), Prabhu Deva was a delight to watch.
'Yeppa Yeppa Aiyappa' from Ezhayin Sirippil (2000) and of course, 'Kaasumela' from Kadhala Kadhala (1998) in which he danced with Kamal Haasan are two other songs which deserve to be on the Prabhu Deva favourites list. It's rare to see a duet with two male actors but that's exactly what the second song was, with Prabhu Deva and Kamal sharing a crackling chemistry on screen and matching every step.
Prabhu Deva became such a legend that even the queen of dance, Madhuri Dixit, confessed that she'd been nervous to dance with him in Pukar (2000). But there's no trace of any discomfort in either of the dancers in the famous 'Kay Sera Sera', with both proving themselves yet again.
Prabhu Deva's films – the ones he's acted in, directed or choreographed – aren't really great when it comes to the content, but they have almost never failed to entertain. He brings in so much fun to the screen, throwing in disparate elements, creating drama out of the dance and disrupting what we're used to watching. The 'Vaada Mappilla' song from Villu, with Vijay, Nayanthara and Vadivelu, is a good example of this.
And how can we leave out 'Rowdy Baby' from Maari 2? The movie itself made little impact but the song became a tsunami, breaking several records. It was the most streamed Indian video of 2019 and the seventh globally. One cannot take credit away from the actors Sai Pallavi and Dhanush or music director Yuvan Shankar Raja, but the choreography was one of the biggest reasons for the song to click. It has Prabhu Deva's stamp all over it – entertainment, entertainment and more entertainment.
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Samantha Ruth Prabhu
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2024-07-29T22:27:06+00:00
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Samantha Ruth Prabhu (formerly Akkineni; born 28 April 1987) is an Indian actress who has established a career in Telugu and Tamil film industries.
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https://hindi-dubbing.fandom.com/wiki/Samantha_Ruth_Prabhu
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Original Year Release Film title Title of dubbed version Original Language Dubbed version language Role Dubbing artist Dub Year Release Notes 2010 Brindaavanam The Super Khiladi Telugu Hindi Indu Pooja Punjabi 2012 Remade in Kannada as Brindavana (2013) (Hindi dub titled Ghayal: The Power Man) and in Bengali as Khoka 420 (2013) (Hindi dub titled Mere Ustad 420) with Samantha's role reprised by Milana Nagaraj and Nusrat Jahan respectively. Brundavanam Awadhi Sabina Mausam 2021 2011 Dookudu The Real Tiger Telugu Hindi Prashanthi
(voice in original version dubbed by Chinmayi) Swapnil Kumari 2012 2012 Eega Makkhi Telugu Hindi Bindu
(voice in original version dubbed by Chinmayi) Sravana Bhargavi 2012 Neethaane En Ponvasantham Inteha Pyar Ki Tamil Hindi Nithya Vasudevan Aranya Kaur 2021 2013 Seethamma Vakitlo Sirimalle Chettu Sabse Badhkar Hum 2 Telugu Hindi Geetha
(voice in original version dubbed by Chinmayi) Aranya Kaur 2015 Attarintiki Daredi Daringbaaz Telugu Hindi Sashi
(voice in original version dubbed by Chinmayi) Pallavi Jadhav 2013 Remade in Kannada as Ranna (2015) with Samantha's role reprised by Rachita Ram. Ramayya Vasthavayya Mar Mitenge 2 Telugu Hindi Akarsha
(voice in original version dubbed by Chinmayi) Aranya Kaur 2015 Ramayya Vasthavaiya Hindustani Unknown 2022 2014 Manam Dayaalu Telugu Hindi Krishnaveni and Priya
(voice in original version dubbed by Chinmayi) Aranya Kaur 2018 Autonagar Surya Telugu Hindi Sirisha Unknown Unknown Alludu Seenu Mahabali Telugu Hindi Anjali
(voice in original version dubbed by Chinmayi) Unknown Unknown Anjaan Khatarnak Khiladi 2 Tamil Hindi Jeeva (Jiya in Hindi version)
(voice in original version dubbed by M.M. Manasi) Aranya Kaur 2016 Rabhasa The Super Khiladi 2 Telugu Hindi Indu Aranya Kaur 2016 Kaththi Khaki Aur Khiladi Tamil Hindi Ankitha
(voice in original version dubbed by Raveena Ravi) Unknown 2017 Remade in Telugu as Khaidi No. 150 (2017) with Samantha's role reprised by Kajal Aggarwal. 2015 S/O Satyamurthy Son of Satyamurthy Telugu Hindi Sameera / Subbalakshmi
(voice in original version dubbed by Chinmayi) Aranya Kaur 2016 10 Endrathukulla 10 Ka Dum Tamil Hindi Shakeela and Gadgi Moi Aranya Kaur 2015 Thanga Magan Paap Ki Kamai Tamil Hindi Yamuna Unknown 2019 2016 Theri Tamil Hindi Mithra (Smita in Hindi version) Shagufta Baig 2017 24 Time Story Tamil Hindi Sathyabhama “Sathya"
(voice in original version dubbed by Chinmayi) Unknown 2016 Brahmotsavam The Real Tiger 2 Telugu Hindi Unnamed NRI
(voice in original version dubbed by Chinmayi) Unknown 2016 A Aa Telugu Hindi Anasuya Ramalingam Unknown 2018 Janatha Garage Janta Garage Telugu Hindi Bujji (Diya in Hindi version)
(voice in original version dubbed by Chinmayi) Aranya Kaur 2017 2017 Raju Gari Gadhi 2 Shiva - The Super Hero 3 Telugu Hindi Amrutha
(voice in original version dubbed by Chinmayi) Unknown 2018 Remake of Malayalam film Pretham (2016) (Hindi dub titled Rajmahal Returns). Mersal Tamil Hindi Tara
(voice in original version dubbed by Iswarya Bhaskar) Aranya Kaur 2022 2018 Rangasthalam Telugu Hindi Rama Lakshmi TBA 2023 Mahanati Telugu Hindi Madhuravani Nandini Sharma 2021 Irumbu Thirai The Return of Abhimanyu Tamil Hindi Dr. Rathi Devi
(voice in original version dubbed by Chinmayi) Aranya Kaur 2019 U Turn Telugu Hindi Rachana Aranya Kaur 2019 Hindustani 2023 2019 Majili Telugu Hindi Sravani
(voice in original version dubbed by Chinmayi) Sabina Mausam 2020 Remade in Marathi as Ved (2022) with Samantha's role reprised by Genelia D'Souza.
|
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https://www.cinejosh.com/news/1/110442/yeto-vellipoyindhi-manasu-re-releasing-in-theatres-on-august-2.html
|
en
|
Yeto Vellipoyindhi Manasu Re-Releasing In Theatres On August 2
|
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[
"yeto vellipoyindhi manasu"
] | null |
[
"Ram P"
] |
2024-07-24T15:05:00
|
Yeto Vellipoyindhi Manasu: Yeto Vellipoyindhi Manasu Re-Releasing In Theatres On August 2
|
en
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https://www.cinejosh.com/favicon.ico
|
cinejosh.com
|
https://www.cinejosh.com/news/1/110442/yeto-vellipoyindhi-manasu-re-releasing-in-theatres-on-august-2.html
|
The 2012 romantic drama, Yeto Vellipoyindhi Manasu, starring Nani and Samantha, is set to re-release in theaters on August 2, joining the ongoing trend of re-releases. Directed by Gautham Vasudev Menon, the cult film was originally released in 2012 and will hit theaters again under the banner of Lakshmi Narasimha Movies. This re-release offers a new opportunity for new audiences to experience the film's captivating storyline and memorable performances.
Yeto Vellipoyindhi Manasu holds a special place in Gautham Vasudev Menon's filmography as his third Telugu film. The movie was simultaneously shot in Tamil, titled Neethaane En Ponvasantham, with Jiiva playing the male lead. The film's music, composed by Iliayaraaja, remains a highlight, making it the only Gautham Vasudev Menon film with his music direction. The cinematography by MS Prabhu added to the film's visual appeal.
Advertisement
The movie marked the second collaboration between Nani and Samantha, who had previously worked together in SS Rajamouli's Eega (2012). As the re-release approaches, fans are eagerly awaiting the chance to re-watch Yeto Vellipoyindhi Manasu on the big screen once again. Meanwhile, Gautham Vasudev Menon's upcoming action film, Dhruva Natachathiram, starring Vikram, awaits release despite being complete due to financial constraints.
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https://en.wikipedia.org/wiki/Nuvvostanante_Nenoddantana
|
en
|
Nuvvostanante Nenoddantana
|
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2006-06-21T20:18:06+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Nuvvostanante_Nenoddantana
|
2005 Indian film
Nuvvostanante NenoddantanaDirected byPrabhu DevaScreenplay byM. S. RajuStory byVeeru Potla Dialogue byParuchuri brothersProduced byM. S. RajuStarringCinematographyVenuEdited byK. V. Krishna ReddyMusic byDevi Sri Prasad
Production
company
Distributed bySumanth Arts
Release date
Running time
161 minutesCountryIndiaLanguageTelugu
Nuvvostanante Nenoddantana (pronounced [nuvːostaːnaṇʈeː neːnodːaṇʈaːnaː]; transl. If you wish to come, would I refuse?) is a 2005 Indian Telugu-language romantic comedy film[1] directed by Prabhu Deva in his directorial debut and produced by M. S. Raju under Sumanth Art Productions who gave the screenplay as well.[2] The film stars Srihari, Siddharth, and Trisha. The music is composed by Devi Sri Prasad with cinematography by Venu.
Veeru Potla wrote the story that is inspired from the 1989 Hindi film Maine Pyar Kiya,[3][4] where an affluent boy travels to the village of his girlfriend against their parent's wishes to prove his love. The film's title was inspired by the song of the same name from Varsham (2004), sung by K. S. Chithra.
The film won nine Filmfare Awards South (including Best Film) and five Nandi Awards. The film was remade in nine other languages—the highest for any Indian film.[1][5] The film also has the distinction of receiving most Filmfare awards by any South Indian film.[6]
Plot
[edit]
Siri (Trisha) is a traditional, simple, rural girl from Andhra Pradesh who is brought up by her only older brother Sivaramakrishna (Srihari). Twenty years prior, their rich father from a nearby town married another woman and kicked the rest of Siri's family, humiliating them on the way. Their mother dies leaving toddler Siri in the care of 13-year-old Sivaramakrishna. With help of relatives, her grave is built on the small land which the siblings inherited, but the Zamindar Muddu Krishnaiah tells them that it is his land, since their mother had not repaid a loan from the man. Sivaramakrishna begs Muddu Krishnaiah and asks for an extension promising to work day and night to pay off the loan, as long as they don't tear down his mother's grave. Muddu Krishnaiah agrees upon security from the local station master. Slowly, Sivaramakrishna turns the tables using his handwork and becomes a rich enough farmer, and Siri grows up to complete engineering in a nearby town. One day, Lalitha, Siri's best friend from school time comes to their house to invite Siri to their house as she is getting married. Sivaramakrishna agrees to send Siri a week ahead of the marriage. Santosh(Siddharth), Lalitha's cousin, a rich city boy born to millionaire parents Janaki and Prakash and brought up in London, also arrives on the same day with his mother.
Slowly, Santosh and Siri fall in love, but Janaki does not bear it as Siri is a poor girl, and thus does not meet their standards. Santosh is also to be married to Janaki's brother Srinivasa Rao's business partner's (JP) daughter’s Dolly. When Sivaramakrishna arrives at the wedding, Janaki humiliates him as well as Siri. Both are thrown of the house after Janaki accuses them of trying to entice and trap Santosh. When Santosh learns of this, he goes to Siri's house and pleads to her brother to accept him. Sivaramakrishna gives him a chance, just like he was given a chance by Krishnaiah when he was a child. Santosh is tasked to take care of the cows, clean up after them, and grow more crops than Sivaramakrishna by the end of the season; if he does not, Santosh shall leave the village forever and never see Siri again. Krishnaiah is not happy as he wanted his son to marry Siri. With them, Dolly, and her father trying to get Santosh to lose the competition, Santosh has to work hard for his love, eating red chillies and rice every day, even though he can't bear it. In spite of many antics from Krishnaiah's and Dolly's side, Santosh eventually proves his love for Siri to Sivaramakrishna and succeeds in growing more grain. However, Krishnaiah and JP kidnap Siri and then try to force her to marry his son. A fight takes place in which Santosh kills Krishnaiah‘s son while Sivaramakrishna violently defeats Santosh's uncle's business partner and Krishnaiah. After realizing that Santosh and Siri should be together, Sivaramakrishna takes the blame for the murder and spends five years in prison.
Sivaramakrishna is released from prison after five years and Janaki accepts Siri as her daughter-in-law. Finally Siri and Santosh get married, in everyone's presence.
Cast
[edit]
As per the film's end credits:[7]
Srihari as Sivarama Krishna, Siri's elder brother
Siddharth as Santosh, Janaki and Prakash's son
Trisha as Siri, Sivarama Krishna's sister and Santosh's love interest
Veda as Lalitha "Lalli", Siri's best friend and Santosh's cousin
Prakash Raj as Prakash, Santosh's father
Santhoshi as Gowri
Geetha as Janaki Prakash, Santosh's mother
Sunil as Banda
Tanikella Bharani as Kantepudi Srinivasa Rao
Nanditha Jennifer as Dolly
Jaya Prakash Reddy as JP, Srinivasa Rao's business partner and Dolly's father
Paruchuri Venkateswara Rao as Station Master
Chandra Mohan as Chandram, Jailor
Narsing Yadav as Narasimha
Ajay as Lalli's blackmailer
Dharmavarapu Subramanyam as Udayagiri Subbarao
Narra Venkateswara Rao as Muddu Krishnaiyya
Raghu Babu as Tempo Rao
Sana as Lalli's mother
Gundu Hanumantha Rao as a priest
Pavala Syamala as the grandmother
Abhishek as Muddu Krishnaiyya's Son
Master Nandu as young Sivarama Krishna
Prabhu Deva as the bullock cart driver in the song "Paripoke Pitta" (special appearance)
M. S. Raju in a special appearance
Production
[edit]
M. S. Raju brought in Prabhu Deva, who choreographed the song "Nuvvostanante" in his production Varsham, to direct the film although Deva was hesitant to direct a film.[8] Raju initially wanted to name the film O Prema Nuvvostanante Nenoddantana, but decided against it because the title was relatively long.[9] Siddharth was cast after Raju liked his performance in Boys (2003) and wanted to cast someone who was underexposed in the industry.[10]
Soundtrack
[edit]
Nuvvostanante NenoddantanaSoundtrack album by Released21 December 2004Recorded2004GenreFilm soundtrackLength32:31LanguageTeluguLabelAditya MusicProducerDevi Sri PrasadDevi Sri Prasad chronology
Naa Alludu
(2004) Nuvvostanante Nenoddantana
(2004) Thirupaachi
(2005)
The soundtrack features eight songs composed by Devi Sri Prasad.[11] The soundtrack featured a remixed version of the song "Prema Kosamai Volalo" sung by Ghantasala for the 1951 film Pathala Bhairavi. This version was sung by Jr. Ghantasala. All lyrics were penned by Sirivennela Seetharama Sastry.
Release
[edit]
The film was released with 90 prints on 14 January 2005; more prints were added later to meet the public demand.[12] It was one of the biggest hits of 2005 in Telugu cinema. The film ran for 50 days in 79 centres[13] and 100 days in 35 centres, becoming a blockbuster in Telugu cinema.[14] After the film's success, Siddharth shifted his focus to Telugu films.[15]
Reception
[edit]
Sify which rated the film 3/5, stated that, "Nuvvostanante Nenoddantana a real treat and a joy to watch on screen." The reviewer praising performances of the cast, wrote: "Although the characters are built on obvious cliches, the charming performance of artists bring these seemingly archetypes to life".[16] Idlebrain.com rated 4/5 and opined, "Screenplay provided by MS Raju is gripping. He made sure that there is no dull moment throughout the film. Direction by Prabhudeva is really good."[17]
Accolades
[edit]
The Movie has won many awards at various categories in different Award Events.
Award[a] Date of ceremony[b] Category Recipient(s) Result Ref. Filmfare Awards South 9 September 2006 Best Film – Telugu Nuvvostanante Nenoddantana – Sumanth Art Productions Won [18]
[19] Best Director – Telugu Prabhu Deva Nominated Best Choreography Won Best Actor – Telugu Siddharth Won Best Actress – Telugu Trisha Won Best Supporting Actor – Telugu Srihari Won Best Supporting Actress – Telugu Archana Shastry Nominated Best Comedian – Telugu Sunil Nominated Best Music Director – Telugu Devi Sri Prasad Won Best Background Score – Telugu Won Best Lyricist – Telugu Sirivennela Seetharama Sastry – (for "Ghal Ghal (Akasam Thakela)") Won Sirivennela Seetharama Sastry – (for "Chandrulo Unde") Nominated Best Male Playback Singer – Telugu Shankar Mahadevan – (for "Chandrulo Unde") Won S. P. Balasubrahmanyam – (for "Ghal Ghal (Akasam Thakela)") Nominated Tippu – (for "Something Something") Nominated Nandi Awards 2006 Akkineni Award for Best Home-viewing Feature Film Nuvvostanante Nenoddantana – Sumanth Art Productions Won [20]
[21] Best Actress Trisha Won Best Supporting Actor Srihari Won Best Female Comedian Santhoshi Won Best Art Director Vivek Won Santosham Film Awards 6 August 2006 Best Music Director Devi Sri Prasad Won
Remakes
[edit]
This film was highly successful and was remade in nine languages, the highest number of remakes for an Indian film in other languages.[1][5]
Kannada as Neenello Naanalle (2006)
Tamil as Unakkum Enakkum (2006)
Bengali as I Love You (2007)
Manipuri as Ningol Thajaba (2007)
Odia as Suna Chadhei Mo Rupa Chadhei (2009)
Punjabi as Tera Mera Ki Rishta (2009)[22]
Bengali (Bangladesh) as Nissash Amar Tumi (2010)
Nepali as The Flash Back: Farkera Herda (2010)
Hindi as Ramaiya Vastavaiya (2013)
Notes
[edit]
References
[edit]
Nuvvostanante Nenoddantana at IMDb
|
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https://www.thehindu.com/features/cinema/shot-cuts-samantha-out-of-kadal/article3500935.ece
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en
|
Shot Cuts: Samantha out of ‘Kadal'
|
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"Tamil cinema"
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"K. R. MANIGANDAN"
] |
2012-06-07T12:08:05+00:00
|
Cinema News:Shot Cuts: Samantha out of ‘Kadal'
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/features/cinema/shot-cuts-samantha-out-of-kadal/article3500935.ece
|
Looks like actor Samantha is facing a problem of plenty and that seems to have cost her her dream project. Samantha is said to have opted out of director Mani Ratnam's next project “Kadal”. According a source in the unit, “It is still not clear as to whySamantha who was excited about working with Mani Ratnam has chosen to opt out of the project. Since she is doing several big projects in Tamil and Telugu, she may be facing problems with dates. Some of the films she is part of are S. S. Rajamouli's “Naan Ee”, Gautham Menon's “Neethane En Pon Vasantham”, “Seethamma Vaakitlo Sirimalle Chettu” and an untitled project with Nandini Reddy in which Siddharth plays the lead. “Kadal” is one of the most eagerly awaited films of the year and a considerable portion of it has already been completed. The next big question is who replace Samantha? May be Karthika's sister?
True to the spirit
Agreed, on-screen humour makes for great entertainment. But nothing can match humour in real life, especially on film sets. Says Kamalakannan, director of “Madhubaana Kadai”, a teetotaller who has made a film on liquor shops, “We had erected a huge set of a liquor shop at Erode. It was so realistic that one day we found a couple of men not associated with the unit happily enjoying a drink on the sets. They were so drunk that we could not make them understand that we were only shooting and that it was not a bar. As repeated attempts to evict them failed, we continued shooting, with the men continuing to drink.” This was not all. “On another occasion, cops walked into the set saying a complaint had been lodged against us for opening a liquor shop but refusing to serve liquor. There was nothing that we could do but smile.”
Friend indeed!
Director Venkat Prabhu known to be a fun-loving person is also someone who is ever ready to help his friends. When his assistant Pa Ranjith, who just turned director, insisted that Prabhu watch his first film, “Attakathi”, he agreed. However, a thoughtful Prabhu also invited his friend and producer Gnanavel Raja to accompany him for the screening. Rajaliked the film so much that he has now bought the rights for the film's release. One of the biggest challenges that a first-time director faces is selling his film and now, it looks like Prabhu has solved that problem for Ranjith.
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https://www.themoviedb.org/person/120945-m-s-prabhu%3Flanguage%3Den-US
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M. S. Prabhu
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"Trailers",
"Teasers",
"Credits",
"Cast"
] | null |
[] | null |
M. S. Prabhu is known as an Director of Photography, Actor, Additional Director of Photography und Cinematography. Some of his work includes Ayan, Chachi 420, Kaappaan, Sura, Neethaane En Ponvasantham, Ekk Deewana Tha, Yeto Vellipoyindhi Manasu und Ramanaa.
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/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
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The Movie Database
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https://www.themoviedb.org/person/120945-m-s-prabhu
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https://www.timesnownews.com/entertainment-news/tamil/prabhu-deva-to-act-in-film-with-a-r-rahmans-music-after-25-years-article-108713075
|
en
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Prabhu Deva To Act In Film With A R Rahman's Music after 25 Years
|
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"actor",
"A R Rahman",
"Tamil film",
"25 years",
"Tamil News - Times Now"
] | null |
[
"TN Entertainment Desk"
] |
2024-03-22T19:07:21+05:30
|
After almost 25 years, well known choreographer, actor and director Prabhu Deva is to again act in a film that will have music by the Mozart of Madras A R Rahman., Tamil News - Times Now
|
en
|
https://www.timesnownews.com/tnnassets/images/icons/favicon.ico
|
Times Now
|
https://www.timesnownews.com/entertainment-news/tamil/prabhu-deva-to-act-in-film-with-a-r-rahmans-music-after-25-years-article-108713075
|
Swara Bhasker REACTS To Hema Committee Report, SLAMS 'Patriarchal' Silence: Findings Are Heartbreaking And Familiar
When Kabir Khan's Bajrangi Bhaijaan And Phantom Released In Same Year, But Had Different Tone On India-Pakistan
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https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vikram-prabhus-taanakkaran-trailer-is-here-official-release-date-announced/articleshow/90562549.cms
|
en
|
Vikram Prabhu's 'Taanakkaran' trailer is here!; official release date announced
|
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[
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"vetrimaaran",
"tamizh",
"Taanakkaran",
"ponniyin selvan",
"jai bhim",
"ghibran",
"anjali nair"
] | null |
[
"etimes.in"
] |
2022-03-31T14:00:00+05:30
|
Vikram Prabhu will be seen in his next film titled âTaanakkaranâ. The film is directed by debutant Tamizh, who was an associate of director Vetrimaara
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vikram-prabhus-taanakkaran-trailer-is-here-official-release-date-announced/articleshow/90562549.cms
|
10 reasons to add curry patta to your dal
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Lifestyle
Srishti Jain's unmissable looks for Monisha in Kumkum Bhagya
tv
|
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| 1
|
https://www.thehindu.com/features/cinema/neethane-en-ponvasantham/article3901066.ece
|
en
|
Neethane en ponvasantham
|
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[
"Tamil cinema",
"Audio release",
"Ilayaraja"
] | null |
[
"S. R. Ashok Kumar"
] |
2012-09-15T12:11:57+00:00
|
Cinema News:Neethane en ponvasantham
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/features/cinema/neethane-en-ponvasantham/article3901066.ece
|
What it is about…
R. S. Infotainment’s Neethane En Ponvasantham had a grand audio launch wherein music director Ilaiyaraja recreated his musical magic for the benefit of his fans and the Tamil film fraternity. The film, produced by S. Elred Kumar and R. Jayaraman, has been written and directed by Gautham Vasudev Menon. The others involved in the project are M.S. Prabhu (camera), Anthony (editing) and Rajeevan (art). The first CD was released by director K. Balachander and received by actor Suriya in the presence of directors Barathiraaja, Balu Mahendra, P. Vasu, R.V. Udhayakumar, R. Sundarrajan, Suresh Krishna and R.K. Selvamani. It is a love story with a difference.
Music highlights
This album shows that maestro Ilaiyaraja has not lost his mesmerising effect despite the 900-odd films he has scored the music for. There are eight songs in the album and ‘Kaatrai Konjam,’ sung by Karthik, is the best. ‘Saayndhu Saayndhu’ in the voices of Yuvan Shankar Raja and Ramya NSK is another beautiful number. Sunidhi Chauhan scores with the melody ‘Mudhal Murai.’ ‘Vaanam Mella,’ sung by Ilaiyaraja and Bela Shende, will keep ringing in your ears. ‘Pudikale Maamu’ is an interesting number by Suraj Jagan and Karthik. The other good songs in the album are ‘Yennnodu Vaa Vaa,’ sung by Karthik, ‘Pengal Yenral’ by Yuvan Shankar Raja, and ‘Sattru Munbu’ by Ramya NSK.
What they say…
Producers S. Elred Kumar and R. Jayaraman: We all grew up listening to Ilaiyaraaja’s music. When Gautham Menon, known for love stories, joins hands with the maestro, we know what to expect. We went to London with Ilaiyaraja to record the music. For the first time, the music for the entire film was recorded live.
Director Gautham Vasudev Menon: It is a musical love story, tracing the course of love in different ages, at 14, 18, 23 and 35. Both Jiiva and Samantha have done a wonderful job. We have woven comedy into the story, hence you will find actor Santhanam in a major portion of the film.
Hero Jiiva: I am happy to have worked with some of the best-known directors of Tamil cinema. I was on cloud nine when I got the offer from Gautham. And it was an icing on the cake when I heard maestro Ilaiyaraaja would be scoring the music. The film has shaped up well.
|
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https://www.ranker.com/list/top-south-indian-actors-of-today/ranker-film
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The 50+ Best South Indian Actors, Ranked
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[
"Ranker Film"
] |
2012-02-24T00:00:00
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Over 93K filmgoers have voted on the 50+ Best South Indian Actors, Ranked. Current Top 3: Allu Arjun, Mahesh Babu, Prabhas
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/top-south-indian-actors-of-today/ranker-film
|
Exuberant talent and unrivaled acting prowess make the South Indian film industry a treat to behold. This compilation of the best South Indian actors honors those adept in making us feel a gamut of emotions with their powerful performances. This list was created to showcase the actors' diverse talents and their immense contributions to South Indian cinema - be it Tollywood, Kollywood, Mollywood, or Sandalwood. Rankings on this list are powered by the fans, reflecting not just critical acclaim but also popular appeal.
Examples of some of these master performers include the likes of Kamal Hassan, a versatile actor known for his intense character portrayals across multiple languages. Rajinikanth, branded as the superstar of Kollywood, is admired for his unique style and thrilling screen presence. Mohanlal, an actor par excellence from Mollywood, is renowned for his profound performances and the effortless ease with which he slips into distinct characters. Chiranjeevi, a notable Tollywood actor, has a fanbase that swears by his potent dialogue delivery and impressive dance maneuvers. Sudeep, a big name in the Kannada Film Industry, has been enthralling audiences with his magnetic onscreen charisma. Dhanush, a multitalented performer from Tamil cinema, is loved for his ability to deliver hit movies across genres deftly.
Each of these famous actors brings something unique to the South Indian film industry, their raw talent and undeniable charisma distinguishes them from their contemporaries. Now, it's your turn to make a choice. We urge you to play a part in the crowd ranking of the best South Indian actors. Cast your votes to celebrate these thespians of southern cinema, who with their exceptionable talent have carved a niche for themselves. The act of voting not just signifies your fondness for the actor, but it is a testament to their immense talent and reflects the love showered upon them by enthusiasts of South Indian cinema. Let's acknowledge these heroes for keeping us hooked to our screens, scene after scene.
|
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3915
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dbpedia
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0
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https://www.imdb.com/title/tt2342227/reviews
|
en
|
Neethaane En Ponvasantham (2012)
|
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Neethaane En Ponvasantham (2012) on IMDb: Movies, TV, Celebs, and more...
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IMDb
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https://www.imdb.com/title/tt2342227/reviews
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3915
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dbpedia
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https://madaboutmoviez.in/2012/12/page/5/
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en
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December 2012 – Page 5 – mad about moviez.in
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2012-12-12T23:14:15+05:30
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9 posts published by Anand, Sethumadhavan, ADMIN, and ghiadevang during December 2012
|
en
|
https://secure.gravatar.com/blavatar/3f6ff8bd24a59904db0577d0b621ec3347526151c28a62730d87a3e99a019e08?s=32
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mad about moviez.in
| null |
Monthly Archives: December 2012
Neethane En Ponvasantham Movie Review- Wasted Opportunity
Produced by Photon Kathaas and RS Infotainment, directed by Gautham Vasudev Menon, Neethane En Ponvasantham is a love story (or as the director cleverly puts it across – moments from Varun-Nithya’s love story). With excellent acting, fantastic music, pleasing-on-the-eye cinematography, Neethane En Ponvasantham is a great case study of sum being lesser than the parts. Continue reading “Neethane En Ponvasantham Movie Review- Wasted Opportunity”
12 Interesting Facts About the 12/12/12 Man-Rajinikanth
This post is dedicated to the one and only Superstar Rajinikanth who celebrates his 62nd birthday today ( 12/12/12 ). So how about looking at 12 interesting details about the person on this occasion? If you are an ardent Rajini fan then I guess you should be aware of most of these facts.So here we go- Continue reading “12 Interesting Facts About the 12/12/12 Man-Rajinikanth”
Annayum Rasoolum-Sneak Peek
Like a lot of his contemporaries, cinematographer Rajeev Ravi also recently decided to turn director and it was no surprise considering the body of work he has done over the years both in Malayalam and Hindi Cinema. So now his directorial debut film Annayum Rasoolum is almost due for release. Earlier this year Rajeev Ravi’s work as DOP was seen in Ivan Megharoopan ( Malayalam ) and Gangs of Wasseypur- 1 & 2. Continue reading “Annayum Rasoolum-Sneak Peek”
Man of Steel-Trailer
After unleashing the teaser of Man of Steel in July, Warner Bros has finally released a longer trailer of the film a short while ago. Directed by Zack Synder ( 300, Watchmen ) and produced by Christopher Nolan along with Emma Thomas, Charles Roven and Deborah Snyder, Man of Steel has Henry Cavill as Superman and the rest of the star cast includes Amy Adams, Michael Shannon, Russel Crowe, Ayelet Zurer, Laurence Fishburne, Kevin Costner, Diane Lane etc.Continue reading “Man of Steel-Trailer”
Producing "Do Dooni Chaar"
Picture this: In the cubbyholes of Lajpat Nagar, Delhi, a family of 4 is rejoicing. They have just received Rs. 7,200 as Income Tax refund. The mother wants a new fridge, the son wants a Dish TV connection and the daughter wants an iPod. The father? Well, he just wants peace! As they fight it out to see who wins the battle of what the family will ultimately buy, comes a phone call.Continue reading “Producing "Do Dooni Chaar"”
Kanna Laddu Thinna Aasaiya-Trailer
Santhanam is one of the foremost comedians in Tamil Cinema these days and enjoys the support of both the audience and trade. He turns producer for the first time with Kanna Laddu Thinna Aasaiya ( KLTA from here on ), a mad comedy caper. The film produced along with the veteran Rama Narayanan has been directed by K.S.Manikandan and has music by Thaman.S. Continue reading “Kanna Laddu Thinna Aasaiya-Trailer”
Khiladi 786 Movie Review : True to the Template
Khiladi 786
Director: Ashish R Mohan
Rating: **
In Bollywood, similar movies often come in rashes. The current trend seems to be fixated on over-the-top actioners. Ever since a few of them have done well commercially, our sensibilities have been chronically assaulted by actors who have spent more time in the gym than at rehearsals.Continue reading “Khiladi 786 Movie Review : True to the Template”
Trailer of Manoj Night Shyamalan's After Earth
M.Night Shyamalan has been having a bad run of late with his recent films like Lady in the Water, The Happening and The Last Airbender not doing well and also being trashed by critics. But all that seems to be a thing of the past now if we are to go by the trailer of his forthcoming film- After Earth. Starring Will Smith and his son Jaden Smith in the lead, After Earth is a futuristic science fiction thriller.Continue reading “Trailer of Manoj Night Shyamalan's After Earth”
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3915
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dbpedia
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1
| 22
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http://www.indiaglitz.com/neethane-en-ponvasantham-telugu-movie-review-13896
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en
|
Neethane En Ponvasantham review. Neethane En Ponvasantham Telugu movie review, story, rating
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2012-12-14T00:00:00+00:00
|
Neethaane En Ponvasantham, a name which has become exceedingly popular in a lot of households in Tamil Nadu released today to packed houses
|
IndiaGlitz.com
|
https://www.indiaglitz.com/neethane-en-ponvasantham-telugu-movie-review-13896
|
Neethaane En Ponvasantham, a name which has become exceedingly popular in a lot of households in Tamil Nadu released today to packed houses. We've heard Illayaraja's score for the album and fell in love with it and then got around to seeing the trailer and started making guesses. But, now that's the film is finally here, we are going to find how green the grass is actually on the other side.
Gautham Menon has slowly carved himself into the romance niche. Some fans have even started to call him "the king of romance". His last outing with a similar film, in VTV, got fabulous response from the masses. In Neethaane En Ponvasantham, it can be clearly seen that he sets him ambitions high and target an ever larger group of youth including the really-young to the married who look back to pleasant stories in their past. Despite all the constraints, he continues to be earnest in his movies, and doesn't give in to masala at any point of time. But truth be told, NEP is perhaps the most different Gautham Menon movie we have seen and his leading to this release day is quite staggering and unique if you take a close look.
In all fairness, Neethaane En Ponvasantham's greatest strength would be the way it connects with fans. It has the little success formulas we have seen in Gautham's movies in the past - a narrative lead actor, an emotional actress and some mind- blowing music. This time around, he weaves his story a little differently and takes us through three different life stages of (Raghu)varan and Nithya's life. The little details lead to you towards your fond memories, and make you smile at least a few times one way or the other. The romance doesn't take the backseat in any way and is always the focal point, may it be ego clashes, dialogues that melt a bit too much, or the story background.
To be the star of a Gautham film requires a lot of talent, for the director demands a ton of skills whenever he comes up with an idea. Jiiva, fits into the shoe this time around and does well. The actor, accompanied by some music, some typical dialogues and a comedy sidekick comes of as cute to the female fans and doesn't overdo his bits to push male counterparts to boredom.
Samantha on the other hand is a textbook heroine whose character confuses the hell out of herself, and her fans. The thing is, that's good news for the viewers who find pleasure in spotting resemblance in their own lives. For a change, Nithya gets a lot more screentime than actual heroines and her individual shots need to be credited to Gautham once again. The additional sketching to her role adds weight to the role.
Through Santhanam, the director mocks the very scenes he wrote and the characters he developed, giving a sense of unexpected satisfaction. His usual brilliance and timing gives something new to Gautham's films, a sense of youth that we didn't see much till now, matched only by the cult role of Ganesh in VTV. His character fits into the puzzle appearing now and then, ensuring that the fighting couple taking the forward don't have enough time to sink the ship.
Illayaraja's music have won hearts already, to put it safely. But for those of you who are looking forward to the music videos, you better lower your expectations now. Gautham's practicality kicks in, and there are literally no dream sequences for the songs. That's good and bad, for at the cost of sticking to the storyline, his videos wouldn't mean too much when watched separately. They in fact, have too much going on for a song to divert you from the usual music. And sadly, you cannot completely enjoy either the maestro's tunes or Gautham's detailing when put together.
Another very different aspect of the movie is the cinematography, aptly helped by the art direction. One always expects a bunch of close up shots with romance, but M.S.Prabhu and Om Prakash's camera does well to capture emotions even when it's far away. In few scenes, Gautham actually have the actors proceeding for long durations without breaks and impresses even without cameras closing in on their faces. Also, they team does a good job of making the most of what's available, having no exotic locations or eye-catching action to show off their skills.
Although the entire package appears to be very appealing, a few aspects of Gautham's story telling have been left to hang. The hit and miss love affair is known to all, but a few things appear monotonous as the movie proceeds. Songs appear in tandem and follow each other way to quickly. The impressive BGMs stand out well, but change too quickly in the latter half of the film and look absurd.
Right at the very end, after so many places where the audience cheered in joy, a few occasions without logic, and some unconvincing dialogues stand out rather glaringly and deny the movie a happy ending. But, despite all the odds, viewers will have a lot of talking points about the film and can have long chats about shots that helped them draw bridges to real-life. Overall, it hits many bells with the youth to be successful.
Rating - 3/5 - For the cast, the detailing and another earnest storyline
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https://www.ottplay.com/news/17-years-of-venkat-prabhu-if-you-are-fan-of-the-director-here-are-some-of-his-must-watches/ef9b77d6cb195
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en
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17 years of Venkat Prabhu: Films of the director you cannot miss watching on OTT
|
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"Venkat Prabhu",
"goat",
"venkat prabhu films",
"Saroja-2008",
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[
"Anusha Sundar",
"Youtube"
] |
2024-04-27T15:38:07+05:30
|
Director Venkat Prabhu is responsible for several hit films over his 17-year-long career. We list some of his movies that you must watch on OTT right
|
en
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/favicon_32x32.ico
|
OTTPlay
|
https://www.ottplay.com/news/17-years-of-venkat-prabhu-if-you-are-fan-of-the-director-here-are-some-of-his-must-watches/ef9b77d6cb195
|
It’s been 17 years since director Venkat Prabhu made his directorial debut with Chennai 600028. The film not only went on to become a cult sports comedy Tamil film but also helped the director make a mark for himself through his unique and quirky storytelling style. Many of his films, which feature a regular ensemble cast, are funny and have interesting narratives. As he is currently working with Vijay in GOAT, we have listed 5 Venkat Prabhu films that you can stream on OTT right now.
Venkat Prabhu films to watch on OTT
Mankatha – SunNXT
Mankatha is headlined by Ajith Kumar and went on to become a commercial success that used the stardom of the actor to the fullest. Venkat Prabhu experimented with Ajith Kumar’s character and even brought out his negative shades. Mankatha is about a suspended cop who meets a group of boys and whips up a plan to steal Rs 500 crore owned by a gangster. The film also stars Trisha, Arjun, Lakshmi Rai, Anjali, Vaibhav and others.
Also read: 17 years of Chennai 600028: Here is where you can stream Venkat Prabhu’s sports comedy drama
Chennai 600028 – SunNXT
Chennai 600028 marked the directorial debut of Venkat Prabhu and is one of the first few films to portray street cricket. The film is about two rival cricket teams who face off in local tournaments. The sports comedy film explores the themes of friendship, romance, and sportsmanship and has ample portions of comedy that evoke laughs. The film stars Jai, Shiva, Premgi, Aravind Akash and others.
Also read: The GOAT director, Venkat Prabhu, to also star in the movie? Details about his character are here..
Maanaadu – SonyLIV
Maanaadu is a sci-fi political thriller featuring Silambarasan in the lead role. The film stars the actor as NRI Abdul Khaliq, who returns to India for his friend’s wedding. However, in a bizarre turn of events, he gets stuck in a time loop and has to stop the assassination of the chief minister of the state. The film was a commercial success upon its release and also stars SJ Suryah, Kalyani Priyadarshan and others.
Goa – SunNXT
Goa is a buddy comedy film starring Jai, Premgi, Vaibhav, Sneha, Pia Bajpai and others. The film revolves around three rural youngsters who travel to Goa to get fresh experiences and escape their native. There, they get accustomed to a new and free lifestyle as they fall in love with different women. Goa is also one of the early Tamil films to progressively show homosexuality.
Saroja – Prime Video
Saroja is a crime comedy film starring Shiva, Vaibhav, Premji, SP Charan, Vega Tamotia, Jayaram, Prakash Raj, Sampath Raj, Nikita Thukral, Bose Venkat and Kajal Aggarwal, among others. The film is about four young men who travel to Hyderabad from Chennai to watch a match but as they take a diversion, they see themselves asked for help by a schoolgirl who is kidnapped.
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https://www.wikiwand.com/en/Yeto_Vellipoyindhi_Manasu
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Yeto Vellipoyindhi Manasu
|
[
"https://upload.wikimedia.org/wikipedia/en/e/ee/Yeto_Vellipoyindhi_Manasu.jpg"
] |
[] |
[] |
[
""
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[] | null |
Yeto Vellipoyindhi Manasu is a 2012 Indian Telugu-language musical romance film co written, co produced and directed by Gautham Vasudev Menon. It stars Nani and Samantha. The film features score and soundtrack composed by Ilaiyaraaja and cinematography by M. S. Prabhu. It was simultaneously shot in Tamil as Neethaane En Ponvasantham with Jiiva replacing Nani. The film received five Nandi Awards.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Yeto_Vellipoyindhi_Manasu
|
2012 Indian film / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Yeto Vellipoyindhi Manasu?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
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https://www.clevescene.com/cleveland/neethaane-en-ponvasantham/Film%3Foid%3D3112536
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en
|
Cleveland Scene
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"Culture",
"Restaurants",
"Concerts",
"Events",
"Things to Do in Cleveland"
] | null |
[] | null |
Cleveland Scene is your free source for Cleveland and Northeast Ohio news, arts and culture coverage, restaurant reviews, music, things to do, photos, and more.
|
en
|
/favicon.ico
|
Cleveland Scene
|
https://www.clevescene.com/
|
Here Are the Three Finalists in the Contest to Design a New Flag for the City of Cleveland
CLE Flag, the civic group behind the effort, narrowed down more than 570 submissions with a public vote now underway to find the winner
CLE Flag, a civic project launched earlier this year to select a new, and as of yet unofficial, flag for the city of Cleveland that better channels its modern ethos, today unveiled three finalist designs that are now open to a public vote. A ten-member committee, with the assistance of graphic designers, spent the last month whittling down more than 570 submissions to a final batch which will now be rated by Clevelanders alongside the current flag...
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https://www.wikiwand.com/en/Samantha_Ruth_Prabhu
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en
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Samantha Ruth Prabhu
|
[
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[] |
[] |
[
""
] | null |
[] | null |
Samantha Ruth Prabhu is an Indian actress who works primarily in Telugu and Tamil films. She is the recipient of several accolades, including two Nandi Awards, four Filmfare Awards South, six SIIMA Awards and a Tamil Nadu State Film Award.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Samantha_Ruth_Prabhu
|
Samantha Ruth Prabhu (formerly Akkineni; born 28 April 1987) is an Indian actress who works primarily in Telugu and Tamil films.[2][3] She is the recipient of several accolades, including two Nandi Awards, four Filmfare Awards South, six SIIMA Awards and a Tamil Nadu State Film Award.
In this Indian name, the name Prabhu is a patronymic, and the person should be referred to by the given name, Samantha.
Quick Facts Born, Other names ...
Close
After a brief stint as a model while pursuing a degree in commerce, Samantha made her acting debut in the Telugu romance film Ye Maaya Chesave (2010), winning the Filmfare Award for Best Female Debut – South. She became the second actress to win both the Filmfare Award for Best Actress – Tamil and Best Actress – Telugu in the same year, for her performances in the 2012 films Neethaane En Ponvasantham and Eega, respectively. Over the next few years, she played the leading lady in top-grossing androcentric films such as Dookudu (2011), Seethamma Vakitlo Sirimalle Chettu (2012), Attarintiki Daredi (2013), Kaththi (2014), Theri (2016), 24 (2016), Mersal (2017), and Rangasthalam (2018). Her performance in A Aa (2016) won Samantha her fourth Filmfare Award, and she gained further praise for her performances in Mahanati (2018), Super Deluxe (2019), and Majili (2019), and the Amazon Prime Video thriller series The Family Man (2021). The last of these earned her a Filmfare OTT Award. In 2023, she had two critical and commercial failures in Shaakuntalam and Kushi.[4][5]
Samantha is the founder of a charitable trust Pratyusha Support.
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https://www.tiktok.com/discover/film-trisha-kumar
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Make Your Day
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https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/samantha-on-her-role-in-neethaane-enn-ponvasantham/articleshow/13393170.cms
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Samantha on her role in Neethaane Enn Ponvasantham
|
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[] |
[] |
[
"Samantha",
"Gautham Menon"
] | null |
[
"Times Of India"
] |
2012-05-22T17:47:00+05:30
|
Actress Samantha to have once again teamed up with Gautham Menon for his next film Neethaane En Ponvasantham reveals her role in the movie.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/samantha-on-her-role-in-neethaane-enn-ponvasantham/articleshow/13393170.cms
|
10 desi stuffed vegetables that taste like magic
Food
In pics: Indhu Chowdharyâs stunning looks in lehenga
tv
â13 post-dinner activities that help in weight lossâ
Lifestyle
8 types of co-workers at the workplace
Lifestyle
|
|||||
3915
|
dbpedia
|
2
| 6
|
https://www.ranker.com/list/prabhu-ganesan-movies-and-films-and-filmography/ranker-film
|
en
|
The 70+ Best Prabhu Ganesan Movies
|
https://imgix.ranker.com/list_img_v2/4745/104745/original/prabhu-ganesan-movies-and-films-and-filmography-u3
|
https://imgix.ranker.com/list_img_v2/4745/104745/original/prabhu-ganesan-movies-and-films-and-filmography-u3
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[] |
[] |
[
""
] | null |
[
"Ranker Film"
] |
2009-11-24T00:00:00
|
Over 500 filmgoers have voted on the 70+ Best Prabhu Ganesan Movies. Current Top 3: Chandramukhi, Arangetra Vaelai, Agni Natchathiram
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/prabhu-ganesan-movies-and-films-and-filmography/ranker-film
|
List of the best Prabhu Ganesan movies, ranked best to worst with movie trailers when available. Prabhu Ganesan's highest grossing movies have received a lot of accolades over the years, earning millions upon millions around the world. The order of these top Prabhu Ganesan movies is decided by how many votes they receive, so only highly rated Prabhu Ganesan movies will be at the top of the list. Prabhu Ganesan has been in a lot of films, so people often debate each other over what the greatest Prabhu Ganesan movie of all time is. If you and a friend are arguing about this then use this list of the most entertaining Prabhu Ganesan films to end the squabble once and for all.
If you think the best Prabhu Ganesan role isn't at the top, then upvote it so it has the chance to become number one. The greatest Prabhu Ganesan performances didn't necessarily come from the best movies, but in most cases they go hand in hand.
Items here include everything from Shakti to Chinna Mapillai.
"This list answers the questions, "What are the best Prabhu Ganesan movies?" and "What are the greatest Prabhu Ganesan roles of all time?"
|
||
3915
|
dbpedia
|
1
| 59
|
http://hdtrailer.weebly.com/nee-thane-en-ponvasantham.html
|
en
|
Nee thane yen Ponvasantham
|
http://hdtrailer.weebly.com/uploads/9/1/5/3/9153720/6667765.jpg?155
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http://hdtrailer.weebly.com/uploads/9/1/5/3/9153720/6667765.jpg?155
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[
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"nee thane yen ponvasantham",
"jeeva",
"jiiva",
"samantha",
"official Trailer",
"Nee thane yen ponvasantham official trailer"
] | null |
[] | null |
Nee thane yen ponvasantham new official trailer
|
en
|
HD Trailer
|
http://hdtrailer.weebly.com/nee-thane-en-ponvasantham.html
|
Neethaane En Ponvasantham
Neethaane En Ponvasantham (Tamil: நீ தானே என் பொன்வசந்தம்; English: You Are My Golden Spring) is a forthcoming Tamil romance film written and directed by Gautham Menon, featuring Jiiva and Samantha in the lead roles.The venture is jointly produced by Menon's Photon Kathaas and RS Infotainment and will have cinematography by M. S. Prabhu. The film's score and soundtrack are being composed by Ilaiyaraaja. The film, which is being simultaneously shot in Telugu and Hindi, is scheduled to be released in Summer 2012.
|
|||
3915
|
dbpedia
|
0
| 49
|
https://www.ranker.com/list/10-best-romantic-flicks-of-tamil-cinema/vaisha2011
|
en
|
The Top Tamil Love Stories of All Time
|
https://imgix.ranker.com/list_img_v2/16335/496335/original/tamil-top-10-love-story-of-all-time-u1
|
https://imgix.ranker.com/list_img_v2/16335/496335/original/tamil-top-10-love-story-of-all-time-u1
|
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[] |
[] |
[
""
] | null |
[
"vaisha2011"
] |
2012-02-26T00:00:00
|
List of The Top Tamil Love Stories of All Time, ranked by the combined opinions of 2075 people as of August 2024. Add your votes to this ultimate ranking.
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/10-best-romantic-flicks-of-tamil-cinema/vaisha2011
|
Sillunu Oru Kaadhal is a 2006 Tamil romance film directed by N. Krishna. It starred Suriya, Jyothika and Bhumika Chawla in pivotal roles, while Shriya Sharma, Sukanya, Vadivelu and Santhanam played other pivotal roles. The film's score and soundtrack were composed by A. R. Rahman, with lyrics by the Indian poet Vaali; while cinematography for the film was handled by R. D. Rajasekhar and editing was handled by Anthony. The film was released on 8 September 2006, three days before the marriage of Suriya and Jyothika.It grossed around 33.4 crore at box office.The film was an "Average hit" in spite of a decent opening.
Mouna Ragam is a 1986 Indian Tamil romantic drama film written and directed by Mani Ratnam, and produced by G. Venkateswaran. The film narrates the life of Divya Chandramouli, who is robbed of her carefree existence when she reluctantly marries Chandrakumar. Divya does not wish for a married life due to her grief over her former lover, Manohar, being shot to death. The rest of the story follows Divya's inner conflict between holding on to her past or coming to terms with the present and uniting with Chandrakumar. Mouna Ragam's development began when Ratnam wrote a short story titled Divya, while he was making his debut film Pallavi Anu Pallavi. As the script developed he renamed it. He did not plan to film until he finished writing the story, but he could not start actual production on it until after his fourth film, Idaya Kovil, was released. Mouna Ragam was mostly filmed in Chennai; additional filming took place in Delhi and Agra. The soundtrack album and background score were composed by Ilaiyaraaja, cinematography was handled by P. C. Sreeram, and the art director was Thotta Tharani. The length of the film was 3,987 metres.
Vinnaithaandi Varuvaayaa is a 2010 Tamil romantic drama film directed and written by Gautham Vasudev Menon, featuring Silambarasan and Trisha Krishnan in the lead roles. The film, distributed by Udhayanidhi Stalin, features a successful soundtrack composed by A. R. Rahman, cinematography by Manoj Paramahamsa and editing by Anthony Gonsalves. The story was simultaneously shot and released by Gautham in Telugu as Ye Maaya Chesave, starring Naga Chaitanya and Samantha Ruth Prabhu, however, with a different cast and climax. Launched by a wave of publicity posters with no details about the cast and crew, Vinnaithaandi Varuvaayaa began its initial run in February 2009. Shooting continued through 2009, with the film garnering significant media interest, through schedules in Malta and the United States. Before release, it became the first Tamil project to have a music soundtrack premiere outside of India, with a successful launch at the British Academy of Film and Television Arts in London. Vinnaithaandi Varuvaayaa explores the complicated relationship between a Hindu Tamil assistant director, Karthik, and a Syrian Christian Malayali girl, Jessie Thekekuttu.
|
||
3915
|
dbpedia
|
1
| 6
|
https://baradwajrangan.wordpress.com/2012/12/17/neethane-en-ponvasantham-3455434576-7835/
|
en
|
“Neethane En Ponvasantham”… The loving daylights
|
http://i.imgur.com/QCnja.jpg
|
http://i.imgur.com/QCnja.jpg
|
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[
""
] | null |
[] |
2012-12-17T00:00:00
|
A title card, at the beginning of Gautham Vasudev Menon’s Neethane En Ponvasantham, tells us that we are going to be shown “moments from Varun and Nithya’s love story” – the couple is played by Jiiva and Samantha – but that’s a little misleading, and it’s hardly a USP. Every love story, on screen or off,…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Baradwaj Rangan
|
https://baradwajrangan.wordpress.com/2012/12/17/neethane-en-ponvasantham-3455434576-7835/
|
A title card, at the beginning of Gautham Vasudev Menon’s Neethane En Ponvasantham, tells us that we are going to be shown “moments from Varun and Nithya’s love story” – the couple is played by Jiiva and Samantha – but that’s a little misleading, and it’s hardly a USP. Every love story, on screen or off, is but a distillation of key moments, the highlights – the first meeting, or the fight by the beach. Menon’s film has these moments, of course, but the USP of this film is that it’s about why, exactly, these moments come about. The title card should have said “the acutely observed, minutely deconstructed, obsessively detailed, leisurely laid-out reasons for these moments from Varun and Nithya’s love story.” With Vinnai Thaandi Varuvaaya (which is gamely spoofed here) and now this film, Menon has liberated the love story – as Imtiaz Ali has done in Bollywood – from simply hewing to the trajectory between boy-meets-girl and and-they-lived-happily-ever-after. The director is no longer the friendly family physician, ensuring that the heart will go on. He is, instead, a pathologist, inspecting this infection called love for symptoms and malign manifestations. It’s not for the faint of heart.
The film begins pleasantly enough, when Varun and his friend Prakash (Santhanam, whose comedy, though funny, is a wee bit off in terms of tone) entering college. We see the “Welcome Freshers” sign, and, later, we are shown snatches from an inter-college festival – girls in ethnic-print skirts executing amateurish steps (which look inspired by film choreography) to a beat-heavy “north Indian number,” and Varun singing Neethane en ponvasantham (from Ninaivellam Nithya) in a palpably unpolished voice (the director’s). These moments are cut like vignettes (like everything else in the movie) – we zoom in and zoom out at points chosen by the director, without necessarily segueing smoothly from one scene to the next – and they ring true. And unlike, say, Alaipaayuthey (which is referenced here, inside a theatre), where the hero sets eyes on an unknown heroine and is struck by emotion, the hero and heroine here already have a history. At the college fest, Varun and Nithya walk up to each other and we slip into a flashback.
This is the first time we sense the awkwardness between them, the push-pull nature of their relationship, and this flashback shows us why. We visit Varun and Nithya as children, when he inflicts on her the first of many (real and imagined) slights. Then we sight them in Class X, at a tuition centre, him with faint fuzz on his upper lip, her with bangs. (Both Jiiva and Samantha are completely convincing as adolescents.) It’s a long flashback, a long foundation to a falling-in-love – and Menon employs Ilayaraja’s Vaanam mella over a long time. We hear a stanza and cut to a conversation or an incident and then the next part of the song follows. While this flashback clues us, conclusively, to the kind of storytelling we’re in for – heavily conversational, and dipping into the psychological (Nithya goes on to study psychology, and her theory about “core personality” is finally proved both right and wrong) – it also hints that, despite being promised “an Isaignani Ilayaraja musical,” this film may not be a musical after all.
For now, though, it’s fascinating to learn about Varun and Nithya, partly because they are like us – at least the “us” whose growing-up years revolved around PSBB and WCC – and looking at them stumble through life, some of us may feel we finally know where we went wrong, what we could have done to make things right with friends and family and loved ones. The bright light of realisation, for the most part, falls upon us through hindsight, and in Varun and Nithya we see at least a semblance of our own selves from the past. These are vividly etched characters and they are marked by their imperfections. With Nithya, for instance, we get the sense that she takes Varun for granted. She loves him, sure, but from her position of privilege, she seems either unaware or content not to be aware of his life beyond her. She wants to affix herself to all aspects of his life. (“I too will join IIM coaching class. “I too will come with you to Kozhikode.”) And we wonder if she’s ever going to give him his own space, to find himself.
And there’s a streak of selfishness in them. When he says he’s leaving for Kozhikode and tells her not to make him her all, she bursts out that she chose him over her friends, and now he’s abandoning her. (Or maybe this achiever in school is just resentful of the fact that now he’s the one who has it all figured out, regarding life and love and career, while she’s left with no certainties but her love for him.) Later, he too blames her unfairly when he says he joined her upscale school to be with her, adding that his middle-class father had to fork out all that extra money – he conveniently ignores the reality that he, not she, was responsible for this extra burden on his father. This equal-opportunity blame-game – “look at all the sacrifices I made for you; one, two, three, four…” – that makes insufferable martyrs of men and women in love is beautifully brought out in Neethane En Ponvasantham. I don’t recall, offhand, too many films that get so down-and-dirty with love, which is almost always treated as something exalting and ennobling, purer than pure.
Varun’s father is not on screen all that much, but he registers as a fully formed character. He’s a schoolteacher, and when learns that his oldest son, Harish, has finally landed a job, he jokes about wanting plane tickets to Singapore. That’s the height of his ambition, to take his wife to Singapore, on a plane, and beneath the humour we see the sacrifices this man has had to make for his three sons. We see why Varun has a constant chip on his shoulder about his background, what it must have meant to him in school when he boasted to Nithya that he was going to Yercaud for the holidays and she replied, after a pause, that she was off to Australia. In one of the film’s most touching scenes, towards the end, he sees her by an unfamiliar car and asks if it’s new. She says no, it’s her sister’s. And then, only then, does he point to the car behind and say that it’s his, that he’s finally arrived. (You can hear him think, in that instant, “Holy crap, I’ve finally come to a place in life where I can park my own vehicle in front of this ancient, paint-peeled apartment complex, and she’s already moved on to another car!”)
And yet, these class issues are not thrown at us, and they’re not treated as magnets for melodrama. Varun, in the first flush of love, qualmlessly accepts from Nithya rides in her car, a cell phone, an expensive shirt. We don’t see him, as we might in another movie, hesitate to take these gifts, a neon-lit thought bubble hovering over his head alerting us to his “issues.” Later, Harish falls for a girl and takes his family to meet hers, and they return home insulted about their grinding middle-classness – and instead of being shown this scene (with its potential for juicy drama, instantly capable of extracting tears of sympathy from us for Varun and his family), we get the quiet aftermath. In a lovely stretch, we see how the members of this family care about each other, how they take things in their stride, and – most importantly – why Varun finally decides to do something about this class issue. Even later, when his father’s dream of a foreign trip, on a plane, is fulfilled, we don’t see the man in tears, clutching an airline ticket with trembling hands. We are just told, in passing, that the man’s in Melbourne.
And in this dramatically detached – at least to the extent that a mainstream Tamil film can let itself be – universe, some of the song sequences feel like miscalculations. Mudhal murai is too heavy a number for the situation, a ton of bricks dropping on us out of nowhere. Kaatrai konjam, which sounds lovely as an audio-only experience, is shot as if a sailor were returning to his beloved after months out at sea, whereas Varun, here, is meeting Nithya after years, and after no communication whatsoever. Where’s the tentativeness, the misgivings whether so headstrong a woman will welcome him back into her life? And when she doesn’t – no surprise there – he decides to clown around in a bus, singing Ennodu vaa vaa. This kind of giving-the-audience-a-bathroom-break song picturisation belongs in the kind of movie where Varun’s father would break down upon receiving that ticket to Melbourne. Given Varun’s sensitivity and given that Nithya, upon seeing him again, has crumbled to pieces, how does this tomfoolery fit in? And Pengal endraal, a rant against women, feels reductive and redundant in a film whose every emotion is already being expressed in words. But Sattru munbu fits in beautifully. The song is intense, and the scene over which it plays comes to us as a shock. (A woman in the theatre I saw the film in exclaimed, “Oh my God.”)
Menon’s ear for good music hasn’t always been backed by a knack for appropriate song picturisation, and in a film like this, so nuanced and dialogue-heavy, these lapses make themselves extremely conspicuous. Neethane En Ponvasantham is the kind of film that will likely be dismissed by those who say: “But why do you have to talk about everything? Why do you have to analyse every little feeling so much?” But that is the film’s uniqueness. Like Cameron Crowe or Imtiaz Ali, Menon is a sensitive male who believes in shaping thoughts and feelings into words, many words, and then analysing them with a microscope. This film is essentially about its conversations, and the songs keep cutting in. But these conversations are marvelously alive and acute, and they stay with us long after the film ends – the way Nithya makes Varun squirm, early on, or when she asks him, later, if she’s just a check box that he needs to fill out to complete his life; or in his case, when he tells her that had he taken her with him to Kozhikode, she wouldn’t be doing what she’s doing today, leaving her bristling at the implication that he’s responsible for the way her life has turned out.
These conversations stand out not just for what they reveal about these characters but also in how they are worded. Even a simple line of Nithya’s – “Can we meet… ippo?” – is freighted with regret about the past, fear about the future. (That pause is everything.) If you’re the ruthlessly practical sort, you may say, “Oh, but why didn’t he explain things to her during their fight on the terrace? Surely she would have seen sense and they would have stayed together.” But we don’t always do the right things, the most sensible things, and it becomes worse when the situation is loaded with his class issues and her clinginess, which he has to shake free from if he’s to become his own person. A lot things fall into place in retrospect, whether the minor bits like the shot of Varun playing cricket as a child coming to inform an intense conversation he has with Nithya much later, or the major ones like what happened to his job when he took off, apparently on a lark, to visit Nithya and stay near her.
For all the talk, Varun and Nithya hold back important things, and the film is also about how being in love is a little different from trusting someone enough to bare yourself completely. After mountains of misunderstanding, Nithya asks Varun, very simply, why he never spoke to her about his family. These aren’t the kind of shades we usually see in our love stories – and again, this scene is presented with minimum fuss; he doesn’t respond with a “Chha, if only…” speech. That’s why the ending feels odd, a little misogynistic even. For a film that has apportioned blame to both parties for the state of their relationship, it feels strange that she’s the one left asking for forgiveness, as if he had nothing to do with anything. We are made to recall that each time they broke up, it was on her suggestion, but the truth is that she suggested breaking up because of the things he did. Perhaps, whatever the kind of film, the heroine has to bow before the hero. There are times we wonder what the film would have been like without Tamil-cinema compromises, but Menon does much that’s right here, taking off where Vinnai Thaandi Varuvaaya left off and continuing to explore the prickly fascination between men and women. By the end, Varun is so exhausted that he cannot even summon up the energy to express the extent of his feelings for Nithya. “I hate you,” he says flatly, as if asking for directions to the mall. Of course, he doesn’t really hate her. He just wishes he could go on without constantly getting burned by her. The film should have been called Neethane En Poison Ivy.
Copyright ©2012 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
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https://www.republicworld.com/entertainment/telugu-cinema/anushka-shetty-vikram-prabhu-s-next-with-director-krish-gets-a-title
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en
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Anushka Shetty, Vikram Prabhu's Next With Director Krish Gets A Title
|
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2024-02-16T17:29:28+05:30
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Anushka Shetty has commenced filming for her next with director Krish maintaining a low profile for their project. The film has reportedly locked in on a title.
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../../favicon.ico
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Republic World
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https://www.republicworld.com/entertainment/telugu-cinema/anushka-shetty-vikram-prabhu-s-next-with-director-krish-gets-a-title
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en
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A fan's view, Neethaane En Ponvasantham, Gautham Vasudev Menon
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Neethane En Ponvasantham!!! Truly for Class A audience only... Lots of people have already criticized the film... There were some logical misses throughout the film and déjà vu sensations in several portions of the film... But... GVM and Ilaiyara
| null |
Neethane En Ponvasantham!!!
Truly for Class A audience only...
Lots of people have already criticized the film...
There were some logical misses throughout the film and déjà vu sensations in several portions of the film...
But... GVM and Ilaiyaraja duo will make you forget it and make you nod your head for Neethane En Ponvasantham,
Awesome Film!!
Worth every single penny...
You will feel the way Gautham emphasizes romance through fights for sure if you watch it once again...
Best romantic movie...
Definitely BETTER than VTV!!
Raja Sir has nothing else to prove in the field of music. His stride in music is already known to all and his entry in film music is definitely a remarkable moment in Indian Film Era. In NEP, he makes us feel that Mozart and Beethoven are still living with his orchestration. Songs like Pudikala Maamu, Pengal Yendral and Saaynthu Saaynthu make us feel that the songs are composed by a genius who is in his early 20s...
I am so sure that you will fall in love with Nithya Vasudevan and I forgot that Samantha played the heroine of the film. Hats off to Gautham Vasudev Menon to make this magic happen!!
It is a real good role for Jiiva where he had to share enough space with Santhanam and allow Samantha to overplay him...
It is an excellent film and I can find the positive reviews about the film in Social Networking sites are winning over the negative reviews...
GVM has really made me feel the travel between 1990 - 2007 without mentioning the year anywhere. It is not so easy to screenplay a 3rd person's script for the first time. But he has proved it with his usual slow pace...
Neethane En Ponvasantham - A Masterpiece by Gautham Vasudev Menon...
Note: Please don't watch this film just once!! It will addict you to watch again and again after the second time!!
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https://www.rediff.com/movies/report/review-arima-nambi-is-engaging/20140704.htm
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Review: Arima Nambi is engaging
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2014-07-04T10:25:34+05:30
|
A skilfully written plot, deft direction and excellent camera work make director Anand Shankar's Arima Nambi a highly engaging, action-packed thriller.
|
en
|
Rediff
|
https://www.rediff.com/movies/report/review-arima-nambi-is-engaging/20140704.htm
|
A skilfully written plot, deft direction and excellent camera work make director Anand Shankar’s Arima Nambi a highly engaging, action-packed thriller, writes S Saraswathi.
Director Anand Shankar, a former associate of A R Murugadoss, makes his debut with an impressive action thriller, Arima Nambi.
The film is produced by Kalaipuli S Thanu and features Vikram Prabhu and Priya Anand in the lead.
The story revolves around the strange events surrounding the mysterious abduction of the protagonist Arjun Krishna’s (Vikram Prabhu) girlfriend, Anamika (Priya Anand).
Arjun and Anamika become acquainted at a high end pub and the sparks fly instantly. They are deeply attracted to each other, but are at the getting-to-know-each-other phase when she is mysteriously abducted.
Arjun sees two armed and dangerous looking men whisking her off in a speeding car. Though he attempts to save her, he fails.
He approaches the police, but on investigation there is absolutely no evidence of the abduction. The police dismiss his complaints and are convinced he is simply a drunk talking nonsense.
Though thoroughly confused and helpless initially, Arjun finds help in Arumugam (M S Baskar), an honest police constable who believes in him.
But things get complicated. Arumugam gets killed and Arjun realises it is not just some local bad guys, but the police as well as a minister who are involved.
How he rescues his girlfriend and uncovers the murky truth forms the rest of the story.
The film starts off well, maintaining a brisk pace and building up the suspense. But post interval, the pace slackens. Suspense takes a back seat before once again getting back on track.
There are a number of exciting chase scenes in extremely crowded neighbourhoods and shopping malls.
Several scenes shot at night are a credit to cinematographer R D Rajashekhar. He keeps us engaged with his excellent camera work.
The ace drummer, Sivamani, who has over 35 years experience in the music industry, makes his debut as music composer in the film.
There is nothing remarkable about the songs, but Sivamani is definitely in his element with the background music, which keeps up with the tempo of the narration and helps to build up the suspense and excitement.
This is Vikram Prabhu’s third film after the megahit Kumki and Ivan Veramathiri, which failed at the box office.
He is suited to the role, which requires him to be serious for most part. Action sequences seem to be his forte, but he does seem a tad awkward with romance.
Priya Anand has a glamorous new avatar in the film. She is portrayed as a party animal wearing short skimpy dresses and does full justice to her role.
Yog Japee, who played the Inspector in Soodhu Kavvum, appears in the second half, but has little to do. Neither has Arjunan as Vikram Prabhu's friend, as there is no scope for comedy.
Modern gadgets and their use in investigation is highlighted along with our extremely vulnerable situation due to social networking sites that make our private life a wide open book, accessible to all.
A skilfully written plot, deft direction and excellent camera work make director Anand Shankar’s Arima Nambi a highly engaging, action-packed thriller.
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https://milliblog.com/2012/09/01/neethaane-en-ponvasantham-music-review-tamil-ilayaraja/
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Neethaane En Ponvasantham (Music review), Tamil – Ilayaraja – Milliblog!
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https://milliblog.com/2012/09/01/neethaane-en-ponvasantham-music-review-tamil-ilayaraja/
|
Saayndhu saayndhu is the soundtrack’s mesmerizing opener, straddling delightful interludes (that 2nd interlude!) and scintillating guitars! Yuvan tries his best to be the song’s weakest link, and one does wonder what another proficient singer like Karthik could have done to this charming tune! Kaatrai konjam is breezy, with orchestration that evokes, in one instant, the entire 80s in slow motion, at least for the older generation listeners. Sunidhi Chauhan gets one of the best songs of the soundtrack – Mudhal murai. She gets everything right – her accent, pronunciation… and Raja gives her a fabulously memorable hook to almost forget the older tune of the words, Neethaane en ponvasantham!
Vaanam mella opens in the best tradition of Raja’s love for grand orchestral music and the man’s aged, but extraordinarily cozy vocals mingle smoothly with Bela Shende’s, to create sheer magic. Pudikale maamu updates the composer’s numerous vintage We-Don’t-Need-No-Education tunes to gen-next style, barring that Veedhi pathaadhey breakout session by Karthik, the much-necessary ‘dhristi’ of the soundtrack. Much of Pengal yendral‘s emotional high and angst is delivered by Raja’s music and not Yuvan’s vocals, while Ramya rules over Sattru munbu‘s sprawling, imaginative tune even as Raja adorns it with the best piece of orchestral backgrounds in the entire soundtrack.
But if the soundtrack belongs to one song, it is Yennodu vaa vaa – the official knee-buster of the year, since it can easily make anyone go weak in the knees. Karthik’s pitch-perfect rendition and Raja’s majestic music across every part of the song – the backgrounds, the tune of the anupallavi… everything just works so beautifully! Neethaane En Ponvasandham is finally that soundtrack which overlaps Raja’s mind-bogglingly proficient earlier form over the best of his current form and resides in an enviable twilight zone. This is every Raja fan’s wet dream.
Keywords: Neethaane en ponvasandham, needhaane en ponvasantham, NEPV, NEP, Ilayaraja, 300, #300
Note: This is the 4th ever 300 worder on Milliblog – in 7 years, since 2005. The earlier ones included Delhi 6, Roja (yes!) and Rockstar. There is a special joy in giving a 300 worder to Raja, however!
Comments
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Cinema Chaat
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[
""
] | null |
[
"Heather Wilson"
] |
2012-03-11T12:44:55+11:00
|
Posts about M.S. Prabhu written by Heather Wilson
|
en
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https://s1.wp.com/i/favicon.ico
|
Cinema Chaat
|
https://cinemachaat.com/tag/m-s-prabhu/
|
It took me a couple of films before I started to appreciate Suriya but after Pithamagan and Vaaranam Aayirami, I began to understand why so many people raved about him. The lovely Dolce recommended this film in a comment and after watching I am indeed a complete Suriya convert! Although the film is standard masala action fare with a paper-thin storyline, what makes it stand out are excellent performances from the lead actors and good well-rounded characterisations. In particular the scene-stealing Jagan Ayan is a surprise bonus in his role as a friend to Suriya’s character Deva.
The story follows a bad guys vs. good guys format although the good guys are smugglers and not exactly on the side of law and order. Suriya is Deva, an MSc graduate in computer engineering who works as a smuggler for his deceased father’s friend Dass (Prabhu). Despite his criminal activities, Dass has principles and refuses to smuggle drugs, preferring to deal in pirate DVD’s and diamonds. Now these seem to be at opposite ends of the smuggling scale to me, and I can’t imagine anyone being involved in both, but it’s not the most glaringly hard to swallow plot point, so it’s probably best not to dwell on it.
Dass is at the top of his game and apparently ranks as the number one smuggler in Chennai, a fact which does not go down well with his rival Kamalesh (Akashdeep Saigal). Kamalesh is a fairly pathetic villain, who has plenty of ambition but not much else going for him. Rather incongruously for a wannabe tough guy, he has very long hair, which he tosses back at every available opportunity and looks more like an aspiring supermodel than gangster. As far as criminal activities go he’s inept and bungling and, since Kamalesh looks like someone who wouldn’t manage to get an extra bottle of wine through customs let alone diamonds, his attempts to be top smuggler appear to be doomed to failure.
Chitti (Jagan Ayan) turns up as a hopeful member of the gang and after he does Dass a favour, is accepted into the group. He rapidly becomes an indispensable part of the team and Deva’s best friend, and the two have some excellent chemistry together. Jagan Ayan is brilliant as Chitti and I love the way his character is well developed and detailed for a non-hero role. Chitti has many shades of grey and this, along with the fact that his motivation is simply to make more money and enjoy life, makes him a more realistic character than expected from his first appearance.
Although Chitti’s character provides most of the comedy in the film, he does have a more serious part to play in the proceedings later and is just as good in the more dramatic moments. There isn’t a separate comedy track thankfully, and all of the comedy is integrated well into the main story. Deva also gets his fair share and this song features a number of ‘disguises’ worn by Deva – many of which are actually characters from his previous films. While I think he disproves the stereotype of heroes in drag and actually makes a passable woman, the long shaggy hair here is a definite no!
The other full time member of the group is Dilli (Karunas) who has a minor, but still vital, role to play and acts mainly as a driver for the others. There are a few other gang members who come and go, but the secret of Dass’s success seems to be in keeping his operation small and well hidden behind the front of a garbage disposal company. However in spite of all his precautions, the gang is continually raided by the police and Dass begins to suspect that one of the group is selling them out to Kamalesh.
The diamonds storyline means that the action shifts to ‘The Congo’ in Africa although the filming apparently took place in Tanzania and Namibia. It does make a change from various European locations at any rate and director K. V. Anand seems to have involved quite a few locals to good effect. Although all of the film is very well shot, this section in particular features some excellent cinematography from M. S Prabhu. It also includes possibly the best chase sequence I’ve seen in a Tamil film so far. After Deva collects the diamonds via an inexplicably convoluted system of torn banknotes and secret codes, they are stolen from his hotel room. He chases after the thief who has a very large circle of friends available who keep passing the diamonds to each other and keep Deva always just one step behind. The chase has a number of parkour-inspired sequences and is cleverly directed by South African stunt co-ordinator Franz Spilhaus to look fast, slick and very convincing.
After all the action, time for some romance. Chitti has a sister, Yamuna (Tamanna) and everyone seems just as baffled as I was that they are actually siblings.
They look nothing alike, and the difference is mentioned quite a few times in Yamuna’s introduction. However Yamuna does appear to have rather good taste in men, considering that her room has a number of Shah Rukh Khan pictures on the wall (I approve!) and of course she falls in love with Deva. She’s not a shrinking violet either and is quite happy to pounce on Deva at every available opportunity. And really, who can blame her!
The love story is fairly straight forward without any major obstacles although Chitti has some of the best lines as he teases his sister and friend about their relationship. Suriya and Tamanna make a sweet and reasonably credible couple even if they fall in love rather quickly and the romance only makes fleeting appearances in the second half of the film. Tamanna looks beautiful and her character has plenty of personality which she conveys by some excellent facial expressions. I really like Tamanna as an actress and she manages to be more than just the love interest, which is always an achievement in such a very hero-centric film.
Just before the interval the traitor in the gang is revealed and once the plot twist is exposed the rest of the film loses most of the suspense and tension and becomes just another action flick. At least until near the end, where everything picks up again until the rather OTT climax fight. The second half does tend to drag in parts and it’s not helped by the rather odd placement of the songs which mostly just disrupt the story. There is one terrible item song with Koena Mitra featuring a noticeable lack of dancing and dreadful lyrics which is used during a scene in a club and could very easily have been replaced with random dancing bodies for a more watchable effect. However a rather graphic depiction of the realities and consequences of becoming a drug mule is excellently done, and there are some great car chase sequences and explosions in the second half which almost make up for the meandering plot.
The film seems designed mainly to allow Suriya to show off his action hero persona and on that level it works well. He looks fit and capable and perfectly plays the action, romantic and comedy scenes, easily switching between the different moods and illustrating his versatility. The other characters are also well developed with both Chitti and Dass having plenty of input into the storyline and their presence also helps to define Deva’s character. Prabhas is excellent as Dass and injects a surprising amount of dignity into his role as a smuggler. The relationship between Dass and Deva is also nicely portrayed and there is genuine warmth between the characters. Renuka is good as Surya’s mother Kaveri and the other support actors all seem to fit well into their parts. Ponvannan also makes an appearance as Partiban, the harrassed Police officer in charge of customs at Chennai Airport who searches Deva on a fairly regular schedule. It’s really only Akashdeep Saigal who disappoints in both characterisation and dialogue.
Despite the unconvincing criminal Kamalesh, I really enjoy watching this film. There is plenty of action, good chemistry between Suriya and Tamanna, (although better between Suriya and Jagan) and the movie looks slick and polished. It just needs a snappier script and tighter story to make better use of the clever twists in the plot. Still well worth a watch if you are a Suriya fan or enjoy a mass action film which keeps the action coming. 3 ½ stars for the action, story and overall film but 5 stars for Suriya!
|
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| 68
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https://www.boxofficemojo.com/title/tt2342227/credits/
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en
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Neethaane En Ponvasantham
|
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https://m.media-amazon.com/images/G/01/boxofficemojo/v2/favicon._CB448965889_.ico
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Box Office Mojo
|
https://www.boxofficemojo.com/title/tt2342227/credits/
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3915
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0
| 65
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https://kreativekrooks.wordpress.com/2012/12/17/a-romantic-cliche-neethane-en-ponvasantham/
|
en
|
A Romantic Cliché – Neethane En PonVasantham
|
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[] |
2012-12-17T00:00:00
|
Writer: Reshma Ghatala / Gautham Menon Running Time: 154 min. Genre: Romance/Musical NOTABLE CAST: Samantha as Nithya Vasudevan Jiiva as Varun Krishnan Santhanam as Prakash A decade after his directorial debut with the heart warming blockbuster Minnale, which is still on the list of all time favourite rom-coms of Tamil Cinema, Gautham cannot…
|
en
|
https://s1.wp.com/i/favicon.ico
|
https://kreativekrooks.wordpress.com/2012/12/17/a-romantic-cliche-neethane-en-ponvasantham/
|
Writer: Reshma Ghatala / Gautham Menon
Running Time: 154 min.
Genre: Romance/Musical
NOTABLE CAST:
Samantha as Nithya Vasudevan
Jiiva as Varun Krishnan
Santhanam as Prakash
A decade after his directorial debut with the heart warming blockbuster Minnale, which is still on the list of all time favourite rom-coms of Tamil Cinema, Gautham cannot look down at his favourite genre, which is romance. Romance, as professed by the urban youth of our times. A learned in mechanics, he often explored the sensitivity of love within a glossy premise. Neethane En PonVasantham [You are my Golden Spring] – U, starts as an accomplishment of his endless bequeathing to this soul-searching populace.
Nithya and Varun, and their love-hate trysts beginning as neighbourhood Kids, adolescents at school, as confused at 20 and adults at 24 forms the bit by bit transcending screenplay that bears hardly few differences with films right from SJ Surya’s Kushi to Aishwarya’s ‘3’. Laced in girl-boy relationship, the film captures the break ups of Nithya and Varun at each phase of their life.
While both Jiiva and Samantha have taken due care to look their age, the later with her cuteness initially and sensuality later clinches the attention of the audience all-age-inclusive. But, it isn’t good enough to want us to bond them as badly as we wanted Rajesh and Reena in Minnale or Karthik and Jessie in VTV.
Cinema is an audio-visual medium and one’s dominance over other cannot be sensible without conviction. Music has always been an integral slice of Gautham’s outings; barring the lone experimental Nadunisi Naigal. No matter if it was a cop story as in Kakka Kakka or a semi-biographical Varanam Ayiram, his melodic encounters made our heartstrings hum with them. With the maestro in his company, Gautham is never short of the fillip, and the first half of the narration sandwiched between 4 songs is sure to go with the younger cine-goers. But narrating the lengthy family’s bonding and marriage discussion steals dear moments of the running time, only in vain.
Santhanam’s role initially light up the screens, but with lack of detail and predictable one-liners, he ends up with one of the dull portrayals in his recent times. A musical, by definition, 8 + 1 screen songs, Ilaiyaraja must have felt pointless of offering his background score, many of the scenes pass over without a sound.
A filmmaker resorts to single shot sequences, very consciously, to create a well-built tension, but Gautham’s idea of lengthy single shots from distance do not work perfectly here. He either applied them falsely or let himself be ill advised.
With due credits to Gautham in structuring the narration and the milieu, like the transformation from independent dwellings to apartments, Ilaiyaraja’s unparallel orchestration and some brilliant voice rendering by musicians, Samantha’s stunning performances, NEP still falls short in the second half in dull slack and a much predictable clichéd climax.
Paradoxical, the decade old Minnale, still infuses freshness with its style and substance, but the two-day-old Neethane En Ponvasantham sounds monotonous already.
=====================================================================
NEP Verdict: As someone said, better luck next time to Gautham.
Overall Rating: 2.6/5
Original Script: 1/5
Credits: Reshma Ghatala / Gautham Menon
Technical Mastering: 2.5/5
Credits: Ilaiyaraja, M S Prabhu, Om Prakash, Antony
Foreground & Background Score: 3/5
Credits: laiyaraja
Casting & Performance: 3/5
Credits: Samantha, Jiiva, Santhanam
Publicity & Screening: 3.5/5
Credits: Photon Kathas, R S Infotainment
=====================================================================
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https://www.thenewsminute.com/flix/akshara-gowda-board-caarthick-raju-s-heroine-centric-film-115354
|
en
|
Akshara Gowda on board Caarthick Raju’s heroine-centric film
|
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[
"Entertainment"
] | null |
[
"Digital Native"
] |
2020-01-04T12:01:46+00:00
|
It is a bilingual that will be released in Tamil and Telugu.
|
en
|
/favicon.ico
|
The News Minute
|
https://www.thenewsminute.com/flix/akshara-gowda-board-caarthick-raju-s-heroine-centric-film-115354
|
Director Caarthick Raju had announced that his next would be a heroine-centric film and that Regina Cassandra will be playing the lead role. The film is in progress and we have an update about it. Sources in the know say that Akshara Gowda has been roped in to play the second lead in it. It is a bilingual that will be released in Tamil and Telugu. The shooting of this film will commence on January 10. Details about the rest of the star cast and crew will be out soon, we expect.
Regina currently has Kasada Thapara needing her attention besides a couple of other films. Venkat Prabhu is producing Kasada Thapara under his banner Black Ticket Company in association with Ravindran's Trident Arts. An interesting feature of this film is that six editors and six cinematographers have worked in it. Antony, Kasi Viswanathan, Praveen KL, Rooban, Vivek Harshan, and Raja Mohammed are responsible for the film’s editing while MS Prabhu, Vijay Milton, RD Rajasekhar, SR Kathir, Balasubramaniem and Sakthi Saravanan have handled the camera.
Akshara Gowda, on the other hand, has the Kannada movie Trivikrama directed by Sahana Murthy in her kitty. Trivikrama is bankrolled by Sommanna and Suresh under the banner Gowri Entertainers. Arjun Janya is on board to compose the tunes for Trivikrama with Nagendra Prasad penning the lyrics and Santhosh Rai Pathaje handling the camera. Veteran actor V Ravichandran’s son Vikram is playing the lead role in this flick, which will be his acting debut.
It may be noted that Akshara Gowda is not new to the Tamil and Telugu film industries as she was seen in cameo roles in the Vijay starrer Thuppaki and Ajith starrer Arrambam. Her debut in Tollywood was with the Nagarjuna starrer Manmadhudu 2.
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| 30
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https://www.filmcompanion.in/fc-lists/every-mani-ratnam-film-ranked
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en
|
Every Mani Ratnam Film, Ranked
|
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[
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[
"Baradwaj Rangan"
] |
2018-09-20T13:54:22+05:30
|
Every Mani Ratnam Film, Ranked
|
en
|
/favicon.ico
|
https://www.filmcompanion.in/fc-lists/every-mani-ratnam-film-ranked
|
To call Mani Ratnam a mainstream filmmaker is a bit redundant, because every (primarily) Tamil filmmaker is a mainstream filmmaker: Tamil cinema does not have an "art film" tradition, the way Malayalam or Bengali cinema has. But even within the mainstream, there are two ways to make a movie. One is to see what works with large numbers of moviegoers (a star, a type of story, a genre) and give them what they want. The gaze is predominantly outward. The second way is to find something that you find interesting, and then figure out how to tell that story in a way that might work with the audience. Here, the gaze is inward. "What I want to say" comes before "How to say it in a way that you might like."
The general consensus appears to be that, in the early years, Mani Ratnam was amazingly proficient at striking this balance. In his latter-day films, not so much. I think this is due to a couple of reasons. First, his earlier stories were simpler, the characters were more relatable, and the emotional connect was as instant as lightning. This is not the case in, say, Kadal or Kaatru Veliyidai, to take two of the filmmaker's most reviled recent films – the former is about God and Satan battling over a boy's soul, the latter is about a severely messed-up relationship. The people in these films are not the people next door. But the more important reason for this consensus – again, IMO – is that, post Iruvar, Mani Ratnam is a very different filmmaker. His storytelling has changed. Earlier, he relied on words and images to convey something. Now, he prefers images to words.
Take the scene in Kaatru Veliyidai where Leela tells Varun she is pregnant. Only, she doesn't "tell" him. She stands in front of a mirror (one of this filmmaker's favourite staging props) and asks if he senses any change in her. From behind, Varun, ever the cad (when they entered the room, he steered her first towards the bed), asks if he can touch her and sense the change. His hand traces her face, her neck – and then it slips below the frame, which continues to hold their faces. His hand goes over her breasts (she gasps), and then, when he reaches her stomach, she holds his hand there. She turns to him (away from the mirror) and says she's pregnant. He draws her into an embrace, so now it's just his face that's seen in the mirror. He begins to smile, and then he locks eyes with his eyes in the mirror. He sees his face, the self that he loathes. With Leela smiling in front of him, everything was fine. Now, it's just him, and the smile disappears. He cannot go through with this…
Not a word is said. The silence makes you think what he may be thinking. I wish the scene had lingered more on Varun's reaction upon catching sight of his face – but then, this has been a characteristic of Mani Ratnam's recent films. I suspect (running-time reasons, maybe?) they are edited to the bone, when a little fat wouldn't be out of place. (You want to hold on to some moments for a little longer.) Still, it's there – visuals instead of words, cinematic language instead of the language of books. And this doesn't reach across to a large number. (It's true all over the world. It's especially true in India, where we prefer a "warmer" way of storytelling, something that makes us feel at once, as opposed to something abstracted that we have to "read" and process a little to arrive at the feeling.)
I have my issues with Mani Ratnam's films. The colloquialisms, even the ways the characters speak, sound odd at times. The songs don't seem to fit anymore (though, thankfully, these days, the music videos show up only in the stories that can accommodate them, like O Kadhal Kanmani). And though I realise mainstream cinema needs its stars, I wish Mani Ratnam would sometimes work with a less-established presence. (Kaatru Veliyidai, I feel, would have benefited from a non-star, someone without an "image".) I wish he'd work more with other writers (he often says he has trouble finding writers with a matching wavelength). So on, and so forth.
But of this, I am convinced. There is no mainstream filmmaker in India who – for over 35 years – has pushed himself and his art the way Mani Ratnam does, with each new film an attempt to challenge the boundaries of mainstream cinema, test the tastes of the audience. Whether he succeeds or fails, he doesn't repeat himself (his signatures, maybe, but rarely his stories). The next project is always a new adventure – for him, for us. I, for one, do not belong to the camp that says "Oh, I wish Mani Ratnam went back to the days of Mouna Raagam." That would be too easy for him, today, and given how much he has evolved as a filmmaker, I doubt that would even interest him. I find, now, that the films I am easily able to categorise as "good" (say, Mouna Raagam) are less interesting or important to me than the ones (say, Kadal) that I wring my hands over, simultaneously fascinated and frustrated. On that note, here's a very personal ranking of this filmmaker's work. Read, discuss, argue.
These are interesting early works to various degrees – but mainly for completists. Unaru is a straightforward labour-issues story (shades of On the Waterfront), with future Iruvar-star Mohanlal. Idhaya Kovil is a tiresome love triangle, but there are glimpses of song-staging ambition (this is one of Ilayaraja's finest albums for Mani Ratnam). Vaanuyarndha solaiyile speaks of sky-high groves, and in the visuals, the humans – dwarfed, silhouetted – are overwhelmed by trees and dark skies. Pagal Nilavu, Mani Ratnam's first Tamil film, is the best of the bunch. It's about a man torn between loyalty to a thuggish village overlord and love for a cop's sister. It's the earliest instance of the good/bad divide that will rear its head in many future works.
The post-Thalapathi/pre-Iruvar phase (Roja, Thiruda Thiruda, Bombay) is easily my least favourite Mani Ratnam phase. It isn't that these are bad films, by any stretch of the imagination – but the whole, in each case, is less than the parts. The concept of Thiruda Thiruda is terrific (it's a comic-book caper, revolving around a truckload of freshly minted currency), but despite some crackling comedy, the film is never as fun as you'd imagine. The leaden cast (Prashanth, Heera, Anand) and the overwrought cinematography by PC Sreeram (though individual frames are certainly breathtaking, bringing to mind the studied artifice Vittorio Storaro brought to Francis Ford Coppola's One from the Heart) smother any sense of spontaneity. AR Rahman's thrilling score is what remains.
In my teens, I was captivated by this film's mischievous spirit, which imbues a tragic romance with a rom-com lightness never seen earlier. (Think Neer Kumizhi, but without the high-decibel melodrama.) PC Sreeram's widescreen cinematography is magnificent (though sadly lost on the small screen). But seen today, the "cute" one-upmanship games between the leads (Nagarjuna and Girija) haven't aged well, though the film does come into its own in the more serious second half. It's probably wrong to expect heft in an entertainer like this, but I keep looking for the darker shades found in O paapa lali (again, a marvellous soundtrack and score by Ilayaraja).
A solid effort, one that checks every box in the "good movie" checklist, from the performances (Madhubala as Roja, Arvind Swamy, and an affecting Pankaj Kapur) to the super-agile filmmaking (Santosh Sivan handled the cinematography) to the screenplay "touches" (the opening minutes bridge the proverbial Kashmir-Kanyakumari divide with breathtaking finesse) to the sound design to the groundbreaking music (AR Rahman's first-ever screen score, which ushered in a new era). And the way you react to the flag-burning scene (is it patriotism or jingoism?) remains a Rorschach test that reveals what kind of viewer you are. But the complex subject of terrorism (not to mention the complex character of a terrorist) is too simplified, too "mainstreamed." By the end, you're happy for Roja, but her journey never feels as imperilled as it must have been. The personal angle of a wife getting to know a husband works much better, thanks to sharp dialogue from Sujatha.
Compared to Roja, a more nuanced look at the aftermath of terrorism. This time, the north/south schism is replaced by the Hindu/Muslim divide, both within (the hero, played by Arvind Swamy, is Hindu; the heroine, played by Manisha Koirala, is Muslim) and without (a city reeling under the aftermath of Ayodhya, captured with newsreel-like urgency by Rajiv Menon). But as the story progresses from the personal to the political, there's the distinct (and uncharacteristic, for Mani Ratnam) whiff of a "message" – not the vulgar, propagandistic kind, but still insistent and very verbalised. At the end, we are left wondering whether the mainstream format is capable of tackling the sprawl, the mess, the frightfully open-ended nature of this kind of chaos.
The first half of this Ambani-based story plays like the movie equivalent of a picaresque novel, where the roguish, lower-class hero relies on his wits to survive (except that his "adventures" are in the world of business) – it's the textbook definition of intelligent, entertaining, mainstream cinema. Abhishek Bachchan's Guru is a sly charmer of a crook, and the vivid, vibrant Sujata (Aishwarya Rai) is a benchmark Mani Ratnam heroine, a product of her times who struggles to burst out of the confinement of her times. The second half struggles between deifying the protagonist and humanising him (it ends up doing a bit of both), but in rendering unabashed capitalism as an aspirational ideal, this may be the biopic of our times.
What's not to love about the courtship portions between Madhavan and Shalini? For the most part, this much-loved romance is driven by Mani Ratnam's deft touch in delineating relationships, AR Rahman's blockbuster score, and careful editing by Sreekar Prasad, who will go on to play a major role in shaping Mani Ratnam's ambitious latter-day projects. But I am not a fan of the post-interval melodrama. Shalini suspects Madhavan of having an affair because she sees him, from a distance, with another woman? I don't think so. (This plot point worked far more convincingly in Anjali.) But had the film dug deeper, become more abrasive, it may have ended up with the fate of Kaatru Veliyidai, instead of becoming one of the director's biggest hits.
Spielbergian shafts of light are used for Expressionistic means (accentuating the mystery of the child). An army of children becomes a self-appointed Greek chorus (sometimes adorably, sometimes annoyingly so, just like children in real life). And on the 70mm screen of Chennai's Anand theatre, you really got to see a child's (scary) POV of tubes running up her mother's arm. Coming on the heels of Geethanjali and Agni Natchathiram, Anjali was the last glimpse we got of Mani Ratnam as a kid excited by the prospect of the toy-box that was cinema. (This showy playfulness gradually gave way to more formal and understated design, and rightly so.) The film is a masterclass on how a director can expand the scope of a screenplay and deepen the simplest of stories.
I know. I know. Most of you are shaking your heads that this comes ahead of Alaipayuthey. (But then, you've already gone "WTF!" a few times by now, right?) But as lightweight as this romance is, I like the clean lines of the storytelling, the restraint, the lack of melodrama, and the lived-in textures of the lovely older couple. Where I feel let down is that Mani Ratnam did not explore the sexual aspect of the live-in relationship more (the film would have worked almost as well had Dulquer Salmaan and Nithya Menen been next-door neighbours in love) – but the charm quotient is off-the-charts, and AR Rahman's tingly score (not just the songs, the score) is cinema's answer to the potion of youth.
Mani Ratnam's first film is a gentle coming-of-age tale, with Vijay (Anil Kapoor) torn between girlfriend Madhu (Kiran Vairale) and the married Anu (Lakshmi), who's estranged from her unfaithful husband. The look is pure Balu Mahendra. He shot with his typical love for natural light, which is very much the antithesis of the carefully composed (and contrast-filled) lighting that would mark the first phase of Mani Ratnam's work, where the actors (like stage actors) would have to "hit their spots." But the feel is pure Mani Ratnam. Young, urban – very much a mix of the Indian and the Western. Anu may run back into her husband's arms, but Madhu takes off to the US to pursue an MS in Biochemistry. A boyfriend (even a conflicted one) is all very good, but dreams come first. And I love that Madhu wears cotton saris, not skirts or pants (which, in the cinema of the time, was a sign that the girl was "modern"). The modernity is not in her clothes. It's in her mind.
How will a Gen-Z kid see this Mani Ratnam film that was the first "Mani Ratnam™ film"? Will s/he get how quietly revolutionary it was back in the day, when Divya (Revathy) told Chandrakumar (Mohan) she was not ideal marriage material, that she had in her a bit of anger, ego, stubbornness? Will they see what it meant to get a wedding-night scene where the bride asks her mother, "Had a man wanted to have his way with me yesterday, would you have asked me to get into a room with him?" It's true that, after three decades, the film's charge has dissipated somewhat, but even today, it's refreshing to see a heroine (written by a man!) who isn't carrying a placard or putting herself in quotation marks, like some of K Balachander's women. Divya just wants to be, warts and all, and she becomes one of our most human heroines.
Mani Ratnam's idiosyncratic adaptation of the Ramayana – which works far better in Tamil than in Hindi — makes Ravana/Veera (Vikram) the protagonist and Rama/Dev (Prithviraj) the villain, with a spunky Sita/Ragini (Aishwarya Rai) torn between the two men. The film abandons a linear story in favour of flavourful highlights that simultaneously replay and reinterpret what we already know – and this abstracted, vignette-driven, image-oriented, post-Iruvar approach is what has come to appeal to some audiences (I raise my hand) while alienating others. How much emotional hand-holding should a director do? Intentionally or not, Mani Ratnam keeps asking this question through the choices he makes (especially in the editing, with that magnificent montage that opens the film). Raavanan/Ravan makes a fascinating double bill with Thalapathi (see below), if only to see two very different takes on epics, by two very different filmmakers.
Mani Ratnam's first collaboration with Santosh Sivan yields a breathtaking big-screen spectacle, an adaptation of a part of the Mahabharata with Rajinikanth as Surya, the Karna-equivalent. Never before in Tamil cinema had light been used so operatically – the sun is practically a supporting character, even when Surya isn't in the frame. When Deva (Mammootty) goes to Subbulakshmi's (Shobana) house to discuss her marriage with Surya, note the shot when her father brings up Surya's caste: in that instant, and only that instant, he's bathed in sunlight. The style is backed by a barrage of memorable staccato-style dialogue ("Un kooda vazhardha vida Deva kooda saagardhu mael") and great masala setups: mother versus son, brother versus brother. But most poignant of all, today, is the realisation that it was Mani Ratnam's last film with Ilayaraja.
As one of five people who love Mani Ratnam's sole stab at a Christian epic (written by Jeyamohan), let me clarify that it's far from perfect. The main problem – apart from the occasionally indecipherable dialogue (which is why the film plays better with subtitles) – is the heroine (a very green Thulasi), who's supposed to be the Beatrice leading the protagonist (Thomas, played by Gautam Karthik) out of his Inferno. The character takes too long to get there (the scene where she absolves Thomas of his sins is a beauty), and for a while, we are saddled with just a "heroine." Never have the songs seemed so out of place in a Mani Ratnam movie. But the spiritual battle between Father Sam (Arvind Swamy) and Bergmans (Arjun) is riveting, and ultimately, profoundly moving. The silent opening shot, with Sam fast-walking towards a sunlit cross, is among the best in a career studded with spectacular shots.
Wrongly marketed as some kind of love story during war (it is that, in a sense, but it really isn't), this is a severely dysfunctional drama with the size, scope, landscapes and infinite patience of a David Lean romance. The masochistic, madly-in-love Leela (Aditi Rao Hydari) is easy to warm up to, but Varun (Karthi) isn't – and the film's biggest problem is that it doesn't convince us about this cocky pilot's transformation into a penitent, and that he'd undertake that Odysseus-like trek back to his Penelope. (Somehow, Mani Ratnam's plot outlines keep reminding one of epics and myths.) But if you are game for a parts-far-greater-than-whole experience, the filmmaking (Ravi Varman is the cinematographer, and Sreekar Prasad's work is spectacular) more than makes up for the flaws. Some of the scene choreography has to be seen to be believed.
The last quarter goes a bit haywire, but until (and even) then, this explosively energetic film isn't just the story of three contrasting men (coded in three colours), but also of three contrasting kinds of love: a complicated romance with a difficult man; a casual, hormonal fling; and a relationship born of friendship and shared ideals. We also get three messages: the portion with hired killer Inba could be titled Crime Doesn't Pay; the life of the selfless activist is a Serve Your Society appeal, while the self-serving yuppie plays out a Redemption Is Always Possible scenario. Aaytha Ezhuthu/Yuva (I prefer the former) is a marvellous example of how to successfully fold messages and ideas into a broad mainstream entertainment.
The best film in Mani Ratnam's "terror trilogy" tackles an obsessive Amar (Shah Rukh Khan) following the mysterious Meghna (Manisha Koirala), not realising that she's a terrorist. (This time, it's about the troubles in the North East.) Why does Dil Se work so much better than Roja or Bombay? One reason is surely that Mani Ratnam's storytelling is looser, less weighed down by the what-next machinations of "plot." (The rambling Ladakh stretch where Meghna sheds her ideological baggage and just becomes Girl to Amar's Boy is a great example.) The film is a poster child for what Mani Ratnam brings to the table in his more "difficult" work. Is it a "perfect" film? No. But is it an interesting film? Despite its imperfections, are there things in here — visually, dialogues-wise, performance-wise, technique-wise, staging-wise, in relation to the filmmaker's earlier (or later) work? And are these things worth talking about? The answer is a resounding yes.
This story about half-brothers (Prabhu and Karthik) at loggerheads isn't just Mani Ratnam's best masala movie. It's one of the great masala movies, period. The only sore point (seen today, certainly not back then) may be Amala's too-chirpy loosu ponnu. And because style is the element that dates the quickest, maybe parts of PC Sreeram's flashy, MTV-era cinematography don't play as well now. (I could certainly live without the strobe effects at the end.) But everything else (including Ilayaraja's insanely brilliant music) has the fizz of a freshly opened bottle of soda. The screenplay is a perfectly tuned machine, firing off one conflict around one brother, and then matching it with a ricochet in a scene with the other brother – and the emotional moments are perfect counterpoints to all the fire and heat. Making (Karthik's girlfriend) Nirosha the product of a broken marriage is the kind of touch that transforms an archetype to a character in an instant. It may not be much, but how many masala-movie heroines, even today, come with baggage?
This Varadharaja Mudhaliar-by-way-of-Godfather epic became Mani Ratnam's calling card. He'd already made one "signature" movie in (his earlier film) Mouna Raagam, but this overnight leap in filmmaking was the last thing anyone expected. Tamil cinema had never seen such pure filmmaking earlier, where every aspect of cinema was (a) designed and (b) exploited to the fullest. (In the transformative sense, Nayakan is easily the most "important" Tamil film since Bharathiraja's 16 Vayadhinile.) One could also argue that never before had there been such a coming together of great, in-sync talent either – from Kamal Haasan's extraordinarily physical performance to PC Sreeram's startling, low-key lighting to Thotta Tharani's realistic sets to Ilayaraja's score, which has passed beyond legend and into the realms of myth. You have to have seen it in a theatre in 1987 to realise what a big deal the film was, what it meant, and how it changed people's perception of a director.
This drama about an adopted girl (Keerthana; Madhavan and Simran play her parents) who searches for her birth mother (Nandita Das) in Sri Lanka is the most emotionally resonant film from the post-Iruvar period. But even here, the abstractions pop up. (Among the surreal, dream-imagery props in the music video for Oru dheivam thandha poove, shot by Ravi K Chandran, are a skeletal boat harking back to the vessel at the film's beginning and an umbrella echoing the film's last shot.) The flashback featuring Madhavan and Simran contains some of the best relationship moments Mani Ratnam has written, but even the incidental scenes (say, the one where Madhavan drives over with Simran, his sister and brother-in-law to retrieve his runaway girl) have the snap of sharply observed, true-to-life talk. Had this film worked, it might have altered, at least a bit, what we take for granted as mainstream cinema.
This recreation of Tamil Nadu's past (both historic and cinematic) – based on MGR, Karunanidhi and Jayalalitha – is stunning in every respect, save one. Aishwarya Rai's performances (it's a double role) pale in the midst of Mohanlal and Prakash Raj. (She doesn't "look" right, either.) Santosh Sivan does staggering work, and there's not a scene where the screenplay isn't complemented by the camerawork. (It's not just about movement. The scene where the second Aishwarya Rai character dies is just a still camera looking on at a road slicked by rain.) The narration is fascinatingly elliptical, contained within the broad framework of "mainstream cinema" and yet bursting out of those borders. Opening with the briefest of prologues – some fifteen unexplained seconds of a little boy staring out of a train window – Iruvar is the film that changed Mani Ratnam as a storyteller. For the better? For worse? You decide.
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http://www.behindwoods.com/features/visitors-1/dec-12-03/neethane-en-ponvasantham-gautham-menon-15-12-12.html
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Neethane En Ponvasantham â A Big Question Mark â?â - Tamil Visitor Coloumn - Neethane En Ponvasantham
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Neethane En Ponvasantham â A Big Question Mark â?â Neethane En Ponvasantham Gautham Menon Jiiva Samantha Nani Santhanam Tamil Movie News Behindwoods.com
| null |
NEP has created much hype before the release with its first content of great maestro music director Ilayaraja share the movie space and most stylish director Gautham Vasudev Menon. I would like to share about good things first; dialogues are as usual awesome - ‘heights of intelligence’, then comes Santhanam’s comedy which made audience enjoy the film.
Most of the music portions are average and irrelevant to this urban style movie which spoils the essence of it, some of the music portions are average which could have been much better. I feel Jiiva & Samantha are not good choice of lead casting because they haven’t reached even 10% of ‘Surya Jyothika’ or ‘Simbhu Trisha’ of KK & VTV in terms of attitude, expressions, chemistry, dialogue delivery, acting etc.Story of the movie doesn't have any X factor it’s a mere reflection of modern high class lovers and so it is not engaging. Cinematography and Editing are good but more than this not required this kind of film. Screenplay could have been much better so that NEP would have won many hearts in theater.Overall NEP is just an average movie and it might have come up well if it hadn't created big hype.
Giri Yadav
giridharan.v003@gmail.com
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https://www.behindwoods.com/tamil-movies-slide-shows/movie-4/top-20-cinematographers/ms-prabhu.html
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Top 20 Cinematographers in Tamil
|
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[
"Santosh Sivan",
"Rajiv Menon",
"PC Sreeram",
"Nirav Shah",
"Ravi K Chandran",
"Rathnavelu",
"Ramji",
"Velraj",
"Manoj Paramahamsa",
"PS Vinod",
"MS Prabhu",
"V Manikandan",
"Ravi Varman",
"Senthil Kumar",
"R.D. Rajasekhar",
"Richard M Nathan",
"Madhi",
"Tirru",
"Balasubramaniam"
] | null |
[] | null |
MS Prabhu - Top 20 Cinematographers
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http://www.behindwoods.com/favicon.ico
| null |
It was Thomas Edison who first patented the kinetoscope in 1891 which included nearly all the essential features of the modern cine – camera. Four years later, the Lumiere brothers launched the cinematographe, wherein films were projected onto a big screen. And in this manner, modern cinema was born. Cinematography is the art of making films and it is the cinematographer’s job to bring the director’s vision to life. As an art form, cinematography has taken huge technological strides and making magic on the screen with the help of a camera has never been easier or more exciting. Our cinematographers have the distinction of being able to hold their own with the best from around the globe.
Let us take a look at the current top 20 cinematographers in Tamil.
Rankings based on :
1. Past projects.
2. Future projects.
3. Market value.
4. National acclaim.
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https://www.rediff.com/movies/report/south-review-needhane-en-ponvasantham-is-disappointing/20121214.htm
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Review: Needhane En Ponvasantham is disappointing
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[] |
[] |
[
"Nithya Vasudevan",
"Vinnaithaandi Varuvaaya",
"Jiiva",
"Needhane En Ponvasantham",
"Varun",
"Samantha",
"Needhane Endhan Ponvasantham",
"Gautham Menon",
"Gautam Vasudev Menon",
"Pavithra Srinivasan",
"Satru Munbu",
"Maestro Ilaiyaraja",
"RS Infotainments",
"Krishnan",
"Rajeevan",
"Antony"
] | null |
[
"Pavithra Srinivasan"
] |
2012-12-14T14:02:49+05:30
|
Pavithra Srinivasan feels that Tamil film Needhane En Ponvasantham isn't as good as director Gautham Menon's previous films.
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Rediff
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https://www.rediff.com/movies/report/south-review-needhane-en-ponvasantham-is-disappointing/20121214.htm
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https://www.msn.com/en-ae/entertainment/celebrity/samantha-ruth-prabhu-turns-30/ss-AAwtmkI%3Fli%3DBBqrPye
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en
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MSN
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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] | null |
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://vocal.media/journal/a-biography-of-sam
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A BIOGRAPHY OF SAM
|
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[
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[] | null |
SAMANTHA RUTH PRABHU
|
en
|
Journal
|
https://vocal.media/journal/a-biography-of-sam
|
Samantha Prabhu, popularly known as Samantha Akkineni, is an Indian actress who has made a name for herself in the South Indian film industry. Born on April 28, 1987, in Chennai, Tamil Nadu, Samantha grew up in a middle-class family and had a relatively normal childhood.
As a child, Samantha was interested in modeling and started her career as a model when she was just 18 years old. She quickly gained popularity and won several beauty pageants, including the Femina Miss India pageant in 2007.
Samantha's career took a new turn when she was offered a role in the Telugu film "Ye Maaya Chesave" in 2010. Her performance in the film was widely appreciated, and she quickly became a household name in the South Indian film industry.
She went on to act in several critically acclaimed and commercially successful films, including "Dookudu," "Eega," "Neethane En Ponvasantham," and "Theri."
Despite her success in the film industry, Samantha has had her fair share of challenges in life. She was diagnosed with a serious illness in 2012, which forced her to take a break from acting for several months. However, she fought back and made a strong comeback with several successful films.
Samantha is also known for her philanthropic work and is actively involved in various charitable causes. She is the co-founder of the Pratyusha Support Foundation, which provides medical support to women and children from underprivileged backgrounds.
SAMANTHA PERSONAL LIFE:
Samantha and Naga Chaitanya are one of the most popular celebrity couples in the South Indian film industry. The two first met on the sets of the film "Ye Maaya Chesave" in 2010, but they did not start dating until several years later.
In 2016, Samantha and Naga Chaitanya announced their engagement, and their fans were thrilled. The couple had a grand wedding ceremony in Goa in October 2017, which was attended by several top celebrities from the film industry.
Since getting married, Samantha and Naga Chaitanya have worked together in several films, including "Majili," "Manam," and "Rarandoi Veduka Chudham." Their on-screen chemistry is widely appreciated by fans, and they are considered one of the most loved couples in the industry.
Samantha and Naga Chaitanya on October 6, 2017. Their wedding was a grand affair, which took place in Goa, India, and was attended by their family, friends, and several celebrities from the South Indian film industry. The couple had a traditional Hindu wedding ceremony followed by a Christian wedding ceremony the next day. Their wedding was widely covered by the media and was one of the most talked-about celebrity weddings of the year.
SAMANTHA AWARDS:
Samantha Akkineni has won several awards and accolades throughout her career in the South Indian film industry. Some of the major awards won by her include:
1.Filmfare Award for Best Actress (Telugu) for the film "Eega" (2012)
2.Nandi Award for Best Actress for the film "Eega" (2012)
3.Filmfare Award for Best Actress (Tamil) for the film "Neethaane En Ponvasantham" (2012)
4.Vijay Award for Best Actress for the film "Kaththi" (2014)
5.Tamil Nadu State Film Award for Best Actress for the film "Theri" (2016)
6.Filmfare Critics Award for Best Actress (Telugu) for the film "Mahanati" (2018)
7.Zee Cine Award for Best Actress (Telugu) for the film "Oh! Baby" (2019)
8.SIIMA Award for Best Actress (Telugu) for the film "Jaanu" (2020)
In addition to these, Samantha has also been honored with several other awards and recognitions for her contributions to Indian cinema.
SAMANTHA'S WELFARE CONTRIBUTIONS FOR PEOPLE:
Samantha Akkineni has started her own charitable organization called the Pratyusha Support Foundation, which is focused on supporting women and children in need. The foundation works to empower women and children through education, healthcare, and other social welfare initiatives.
Some of the key projects undertaken by the Pratyusha Support Foundation include providing educational support to underprivileged children, providing healthcare and medical aid to women and children, and supporting women's entrepreneurship through training and mentorship programs.
The foundation also works towards creating awareness on issues such as mental health, hygiene, and sanitation, and has organized several campaigns and events to create awareness and sensitize the public.
Samantha is known for her philanthropic work and has been actively involved in several social causes. Her efforts through the Pratyusha Support Foundation have helped make a positive impact on the lives of many people in need.
|
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https://www.gadgets360.com/entertainment/new-tamil-movies
|
en
|
New Tamil Movies
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[] |
[
"new tamil movies",
"latest tamil movies",
"latest tamil films"
] | null |
[] |
2024-08-26T17:36:27+05:30
|
Tamil Movies: Find the list of Latest Tamil Movies of 2024 with trailers and ratings. Also find the details to watch on theaters and online on Netflix, Amazon Prime Video, Zee5, Disney+ Hotstar.
|
en
|
https://www.gadgets360.com/favicon.ico
|
Gadgets 360
|
https://www.gadgets360.com/entertainment/new-tamil-movies
|
Find here the complete list of new Tamil movies to watch. Whether you’re looking for latest Tamil movies online, or new Tamil movies released this week at the theatres, our collection of movies will serve you well.
For the latest titles and beyond, you can discover photos, songs, videos, reviews, and more of Tamil movies, and experience your favourite cinema in a 360-degree fashion.
|
||||
3915
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dbpedia
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0
| 90
|
https://www.indiaherald.com/Breaking/Read/994703184/Happy-birthday-Samantha-Film-Industry-career
|
en
|
Happy birthday Samantha!!! Film Industry career!!
|
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[] | null |
breaking : Happy birthday Samantha Film Industry career
Among the most well-liked actresses in the Indian cinema business is Samantha Ruth Prabhu
|
/favicon.ico?v=234
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indiaherald.com
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https://www.indiaherald.com/Breaking/Read/994703184/Happy-birthday-Samantha-Film-Industry-career
|
Among the most well-liked actresses in the indian cinema business is samantha Ruth Prabhu. On april 28, 1987, she was born in Chennai, India. Let's take a look at her legacy as she grew older by one year today. samantha began her professional life as a model, but her acting abilities were soon discovered, and in 2010 she received an invitation to appear in the Telugu film "Ye Maaya Chesave." samantha received much appreciation for her performance from both reviewers and viewers for the hugely successful film. She was awarded the Filmfare Award for Best Female Debut in south africa for her depiction of Jessie.
Samantha proceeded to act in more popular telugu and tamil films following her debut. "Dookudu," "Eega," "Neethane En Ponvasantham," "Theri," "Mersal," and "Rangasthalam" are a few of her well-known films. She has become well-known in the South indian cinema industry as one of the top actresses, having collaborated with some of the biggest names in the business. In addition to her acting career, samantha is well-known for her charitable endeavors. She has been actively working for the advancement of society and is connected to numerous NGOs and charities. She has also been affiliated with other animal welfare organizations and has been a vocal supporter of animal rights.
Actor naga chaitanya and samantha tied the knot in 2017, and since then, their partnership has been goal-oriented. However, personal problems forced them to call it quits. Samantha has set several trends for young ladies with her sophisticated and fashionable style. On social media, Samantha's admirers from all around the world are expressing their love and best wishes as she celebrates her 37th birthday today. The actress, who is renowned for having a genuine nature, has never stopped being appreciative of her supporters and lovers.
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https://en.wikipedia.org/wiki/M._S._Prabhu
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M. S. Prabhu
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2013-11-21T17:38:20+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/M._S._Prabhu
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This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous.
(Learn how and when to remove this message)
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dbpedia
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https://www.republicworld.com/entertainment/tamil-cinema/thalapathy-vijay-s-goat-stunt-director-spills-the-beans-about-how-the-film-is-shaping-up
|
en
|
Thalapathy Vijay's GOAT Stunt Director Spills The Beans About How The Film Is Shaping Up
|
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[
"Thalapathy Vijay",
"Thalapathy Vijay movies",
"Vijay",
"Thalapathy 68",
"GOAT",
"Greatest of All Time",
"Venkat Prabhu",
"GOAT controversy",
"Dhilip Subbarayan",
"Leo"
] | null |
[
"Republic Entertainment Desk",
"Republic World",
"www.facebook.com"
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2024-01-22T20:46:42+05:30
|
The Thalapathy Vijay starrer GOAT - Greatest of All Time, was tentatively titled Thalapathy 68. The film is being directed by Venkat Prabhu.
|
en
|
../../favicon.ico
|
Republic World
|
https://www.republicworld.com/entertainment/tamil-cinema/thalapathy-vijay-s-goat-stunt-director-spills-the-beans-about-how-the-film-is-shaping-up
| |||||
3915
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https://ex.shadowrun.fr/ayan_(film).html
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en
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Ayan (film)
|
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2008-03-25T01:45:06+00:00
|
en
|
https://en.wikipedia.org/wiki/Ayan_(film)
|
2009 film by K. V. Anand
Ayan
Official poster
Directed byK. V. AnandProduced byM. Saravanan
M. S. GuhanWritten bySubha (Dialogue)Screenplay by
K. V. Anand
Subha
Story by
K. V. Anand
Subha
StarringMusic byHarris JayarajCinematographyM. S. PrabhuEdited byAnthony Gonsalves
Production
company
Distributed by
Release date
3 April 2009 ( )
Running time
162 minutesCountryIndiaLanguageTamilBudget₹15 crore[2]Box office₹80 crore[2]
Ayan ( (help·info)) (English: Creator) is a 2009 Indian Tamil-language action film co-written and directed by K. V. Anand. The film, starring Suriya, Prabhu, Tamannaah, Akashdeep Saighal, Jagan, and Karunas, was produced by M. Saravanan and M. S. Guhan, distributed by Sun Pictures. The film score and soundtrack was composed by Harris Jayaraj, Edited by Anthony Gonsalvez, the film was filmed by M. S. Prabhu.[3]
The film's story revolves around Devaraj Velusamy, a youngster whose mother wants him to become a government official. He, on the other hand, works for a smuggling group run by Anthony Dass, who has been his mentor and has been looking after him since childhood. Conflict occurs when Deva's archrival, Kamalesh, opposes and tries to eliminate Dass from the smuggling business. Who wins in the conflict forms the climax of the story.
The film was launched in Chennai, while filming also took place in various locations out of India, including Namibia, Malaysia, Zanzibar and South Africa. It released on 3 April 2009 worldwide to positive reviews.[4][5] Ayan was declared as the solo blockbuster of the year in Tamil cinema,[6] collecting about ₹80 crore (US$11 million) worldwide.[2] It was also dubbed and released on 1 May 2009 in Telugu as Veedokkade, which was a box office success in Andhra Pradesh.[7][8][9] and also in Kerala.[2]
Plot[edit]
Devaraj Velusamy (Suriya) arrives at the Chennai International Airport after running an errand for Anthony Dass (Prabhu) of smuggling pre-release unlicensed movies on DVD. The two of them leave for their hideout and instruct Dilli (Karunas), a hearing-impaired assistant of Dass, to make copies of the DVD. Just when police crews arrive into their vicinity, Dass informs Deva and the rest to leave. Deva tells the others to leave while he quickly sets up the burning process. Deva also leaves the hideout just in time. However, the police officers arrive at the hideout, only to see the burning process of the DVDs complete. The police then seizes the DVDs and computers. The inspector, who was a friend of Dass, tells him that he can close the case if one of Dass's men agrees to the crime. Deva attempts to go, but another man, Chitti Babu (Jagan), who had no affiliation to the volunteers, takes the blame. Later, Chitti joins Dass's group and befriends Deva.
Dass is a diamond trafficker who smuggles diamonds from Africa. Deva's mother Kaveri (Renuka) does not appreciate his affairs with Dass, as she wants Deva, who holds a Master of Science degree, to have a government job. He occasionally visits home and her roadside grocery shop, only to get scoldings from his loving mother.
When Deva is invited to Chitti's house, he gets impatient and knocks on the door. As the door opens, Deva slips and falls on the bed, expecting to see Chitti but scaring his younger sister Yamuna (Tamannaah) instead. Just before he drives off, he curses himself for making such a stupid mistake. Yamuna catches this and accepts his apologies, then they slowly fall in love, and their relationship is accepted by Chitti.
Meanwhile, Kamalesh (Akashdeep Saighal), the arch-enemy and competitor in smuggling of Dass, slowly starts to try to foil Dass and his employees. A prank phone call from Chitti leads to a near-death experience for both Deva and Kaveri. Escaping alive and outraged, Deva goes and confronts Chitti, releasing his anger to the fullest extent. Chitti then reveals that he was Kamalesh's personal spy and that even though that their bosses were foes, he was happy to be a friend of Deva. Disgusted, he leaves, and Chitti to. At that moment, Yamuna arrives, hearing everything. Thus, this stir of events causes the interval of the movie.
After these events, Deva and Yamuna break up. In Malaysia, under circumstances, Chitti and Deva meet. Chitti, who was fed with drugs, falls prey to them and starts reacting. In a last attempt to rekindle their friendship, Deva attempts to save him. Chitti then explains that it was wrong of him to be a spy, but still admits that he was lucky to have Deva as a friend. He dies when Kamalesh's henchmen try to salvage the drugs by cutting him open. Heartbroken, Deva burns Chitti's body upon his request and returns to India.
When Deva arrives, Yamuna approaches him and asks the police officers to arrest him. However, she notices Chitti's phone, which he used to record a video before dying. Yamuna brings it out, which contains a recording of how Chitti died. She also sent the video to Dass. It is here that Deva did not kill Chitti but hid from Kamalesh's henchmen. Yamuna apologises to Deva, and the two come together again.
Later, circumstances force Deva to become a part of the security squad in the airport as he is accused by J. Parthiban IRS (Ponvannan), the Assistant Commissioner of the Income Tax Air Intelligence Unit of carrying drugs. He denies it, saying that the packet of drugs was given by a passenger's relative as she had forgotten it. The drugs are opened, and it is found that heroin is sealed in them. Deva then realises and explains that huge amount of drugs are being transported by distracting him with a small amount. The flight is delayed and all passengers are asked to take food from the canteen. There are a few who do not do so, and hence, their stomach is X-rayed, and a huge packet of heroin is found. Deva is then asked to help Parthiban and the customs for arresting Kamalesh.
Deva and Parthiban put a cab-like room outside Kamalesh's house, and with Yamuna's help, a transmitter is put in Kamalesh's study. Then, all his conversations with his clients are recorded. Kamalesh later finds out and attempts to kill them, which fails. He later finds out that idols made of heroin are compressed under high pressure to disguise their smell and properties. With this evidence, the income tax department comes to raid Kamalesh's house, but he acts quickly and removes everything. During a final attempt to arrest Kamalesh, the truth is forced out of his accountant, but Kamalesh kills him to avoid any witnesses. Later, Deva's house is almost burnt, and Dass is killed by Kamalesh, which infuriates Deva. Deva is then forced to go to Africa and confront Kamalesh.
When Deva returns to India, he is again inspected by the customs officer. Deva learns that it was his mother this time who exposed his smuggling mission. He has no choice but to surrender the diamonds, and so he does. Parthiban hands Deva to sign a form, which Deva hesitates. He then learns that is a government security job application form. Parthiban says that Deva's criminal mind is required for such a job in the customs. He then asks what had happened to Kamalesh, to which Deva replies that he had gone to the Congo to strike a business deal. Then, a flashback shows that when Kamalesh was returning from stealing the diamonds, his gang is killed by Deva, and he is pushed off the cliff.
The film ends on a happy note as Deva leaves the airport with his mother and Yamuna.
Cast[edit]
Production[edit]
Development[edit]
Three years after the release of his debut venture Kana Kandaen starring Srikanth and Gopika, cinematographer K. V. Anand expressed his desire to commence his second film as director. He and Subha discussed several plots and settled for "Ayan" because "it was not only different but had scope for entertainment".[10] It was later announced that Anand would be directing his next film, produced under the AVM Production banner, titled Ayan. The film was inaugurated at AVM Studios on 24 March 2008 with the presence of most of the unit members.[11] On the occasion, Anand announced the film's genre to be an action thriller interlaced with romance and comedy. He also suggested Ayan meant "outstanding", excellence" or can be the name for sun rays in five different languages. However, this was later doubted by a few critics, raising a point saying Ayan was not necessarily a Tamil language word. Despite the film's lyricist Vairamuthu's calls for the word to be a Tamil word, it was argued that Ayan was a nickname for the Hindu deity Lord Brahma. Since the word was then touted to be borrowed from the Sanskrit language, the film was prone to a title change, in light of Tamil Nadu's Entertainment Tax Exemption Act, which was passed in 2006.[12] A similar problem was faced by the producers of Aegan, which was also under production at the time. The controversy was later dropped. Ayan was announced to be predominantly set in various locations of both South Asia and Africa. It was made at a production cost of ₹ 200 million.[13]
Casting[edit]
K. V. Anand announced the film with both Suriya and Tamannaah to play the lead roles in the film.[14] Surya was initially expected to play the lead role in Anand's earlier film, but was not able to do so.[10][15] Anand expressed his thoughts during the film's inauguration that "Surya was apt for the title role" since the film's title meant "sun rays" and the name "Surya" refers to the sun. Ayan would also make Surya's second film with AVM Productions, after their previous partnership in Perazhagan. Furthermore, Surya had worked with Anand since Surya's debut in the 1997 film Nerukku Ner for which Anand was the film's photographer.[10][16] Surya's physique was key for his character, as he would be acting as a powerful and active youngster. During the film's launch, he announced that he would give the film his best, understanding the nature of the producers, who previously presented the big-budget film Sivaji. Tamanna, after starring in the Tamil films Kalloori (for which she was nominated for a Filmfare Award) and Padikathavan, was cast in Ayan. Prabhu was consecutively cast in Ayan in a pivotal role, as per his previous films, in which he played important supporting characters.[17] It was later announced that Anand would introduce a new actor to Tamil cinema in the film, who will be playing a negative role, which was later known to be Akashdeep Saighal, who predominantly works in Bollywood films.[18]
Apart from the film's cast, the film's crew consisted of Harris Jayaraj as the film composer along with Vairamuthu, Pa. Vijay and Na. Muthukumar as the lyricists. M. S. Prabhu was chosen as the film's cinematographer, who is a friend of Anand and worked with him under the guidance of P. C. Sriram.[19]
Filming[edit]
Nenje Nenje’ song was shot on the sand dunes of the Namib-Naukluft National Park, Dune 7 and Dead Vlei in Namibia, in freezing temperature. Songs were composed in Mauritius, where William Honk choreographed the car chase shots.[10] The stunt sequences were shot at Binny Mills with a huge set resembling an airport while another fight was shot at Cape Town, Africa.[20] The filming was also held at Kuala Lampur, Malaysia, Botswana, Zimbabwe and Zanzibar.[21][22]
Themes and influences[edit]
The film dealt with the concept of smuggling and custom officers. In order to prepare the script, Anand did a lot of research and is said to have spoken to a lot of custom officers to understand the modus operandi of smuggling.[23][24]
Soundtrack[edit]
The soundtrack album was composed by Harris Jayaraj. The Audio was launched on January 18, 2009.[25] The Times of India credited the popularity of the film to the popularity of songs. Critics were impressed with the album, with praise being dedicated to the entire soundtrack, most notably "Vizhi Moodi".[26] Due to the album's critical and commercial success Harris Jayaraj received his fifth Filmfare Award for Best Music Director, the Mirchi Award for Best Album of the Year and the Edison Award for Best Music Director.
AyanSoundtrack album by ReleasedJanuary 18, 2009Recorded2009GenreSoundtrackLength30:21LanguageTamilLabelAvm MuzikProducerHarris JayarajHarris Jayaraj chronology
Vaaranam Aayiram
(2008) Ayan
(2009) Aadhavan
(2009)
Track-List[27]No.TitleLyricsSinger(s)Length1."Pala Pala"Na. MuthukumarHariharan5:282."Nenje Nenje"VairamuthuHarish Raghavendra, Mahathi5:473."Honey Honey"Pa. VijaySayanora Philip, Devan Ekambaram5:224."Vizhi Moodi"Na. MuthukumarKarthik5:355."Oyaayiye Yaayiye"Pa. VijayBenny Dayal, Haricharan, Chinmayi5:386."Oh Super Nova"Na. MuthukumarKrish2:31Total length:30:21
VeedokkadeSoundtrack album by ReleasedMarch 10, 2009Recorded2009GenreSoundtrackLength30:31LanguageTelugu LabelAvm MuzikProducerHarris Jayaraj
All tracks are written by Bhuvanachandra.
Telugu Track-List[28]No.TitleSinger(s)Length1."Pela Pela"Hariharan5:242."Nene Nene Needhanne"Harish Raghavendra, Mahathi5:443."Honey Honey"Sayanora Philip, Devan Ekambaram5:214."Kallu Moosi Yochisthey"Karthik5:535."Oyaayiye Aayiye"Benny Dayal, Haricharan, Chinmayi5:386."Oh Super Nova"Krish2:31Total length:30:31
Release[edit]
The satellite rights of the film were secured by Sun TV. The film was given a "U/A" certificate by the Indian Censor Board. AVM Productions sold the film's distribution rights for Tamil Nadu to Sun Pictures for ₹ 200 million.[29]
Critical reception[edit]
Malathi Rangarajan of The Hindu wrote: "Ayan is Suriya’s show all the way. He bears the onus with a smile and the death defying stunts add to the robust image he aims to project".[30] Behindwoods wrote: "Ayan is fun. Just buy a huge bag of popcorn, a can of cola and have a blast! But do remember the first step about the logic".[31] Indiaglitz wrote: "Though the storyline is familiar and oft-seen in the past, the pacy narration and captivating visuals provide the necessary pep to the film".[32] [33]
Box-office[edit]
In Chennai alone, box office totals were reported as ₹74.3 (US$1.00) in theatrical revenue.[34] International distribution rights were sold to Ayngaran International. Ayan's revenue was US$1,046,027 in Malaysia[35] and £119,220 in the UK.[36] The film's Telugu version, Veedokkade, was sold to Hyderabad based producer, Bellamkonda Suresh.[37][38][39][40] [41][42] The final worldwide box office was around ₹65 crore (US$9.1 million).[2] The film ran over 100 days in Kerala box office.[2] the Telugu version Veedokkade ran over 100 Days in Andhra box office and ran over 201 days in Tamil Nadu.[2]
Awards[edit]
Ayan received the most nominations (12) in the Filmfare Awards South 2009 and in the 4th Annual Vijay Awards (18).
Award Category Nominee Result 2009 Filmfare Awards South Best Actor Suriya Nominated Best Director K.V. Anand Nominated Best Film Ayan Nominated Best Lyricist Na. Muthukumar
("Vizhi Moodi") Won Best Lyricist Vairamuthu
("Nenje Nenje") Nominated Best Male Playback Harish Raghavendra
("Nenje Nenje") Nominated Best Male Playback Karthik (singer)
("Vizhi Moodi") Nominated Best Music Director Harris Jayaraj Won Best Supporting Actor Prabhu Nominated Best Supporting Actor Jagan Nominated Best Supporting Actress Renuka Nominated Best Dance Choreographer Dinesh
("Pala Pala") Won 2009 Vijay Awards Best Actor Suriya Nominated Best Art Director Rajeevan Nominated Best Choreographer Dhinesh
("Pala Pala") Nominated Best Director K. V. Anand Nominated Favourite Director K. V. Anand Nominated Best Entertainer Suriya Won Favourite Hero Suriya Nominated Favourite Heroine Tamannaah Nominated Favourite Film AVM Productions Won Favourite Song Vizhi Mooodi Nominated Best Lyricist Vairamuthu
("Nenje Nenje") Nominated Best Male Playback Harish Raghavendra
("Nenje Nenje") Nominated Best VFX Compositor Srinivas Karthik Kotamraju
(EFX) Nominated Best Supporting Actor Jagan Nominated Best Comedian Jagan Nominated Best Stunt Director Kanal Kannan Nominated Best Costume Designer Nalini Sriram Nominated Icon of the Year Suriya Won 2009 Meera Isaiaruvi Tamil Music Awards Best Album of the Year Harris Jayaraj Won 2009 South Scope 2010 Awards Best Actor – Tamil Suriya Nominated Best Actress – Tamil Tamannaah Nominated Best Supporting Actor – Tamil Prabhu Won Best Comedian – Tamil Jagan Nominated Best Music Director – Tamil Harris Jayaraj Won Best Male Playback – Tamil Harish Raghavendra
(Nenje Nenje) Nominated Best Male Playback – Tamil Karthik
("Vizhi Moodi") Nominated Best Female Playback- Tamil Mahathi
("Nenje Nenje") Nominated Best Lyricist – Tamil Na. Muthukumar
("Vizhi Moodi") Won Best Cinematographer – Tamil M.S.Prabhu Nominated
References[edit]
[edit]
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https://www.msn.com/en-in/entertainment/southcinema/party-makers-reveal-the-reason-for-the-delay-of-venkat-prabhu-s-directorial/ar-AA1epMSP
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en
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://assets.msn.com/statics/icons/Microsoft_16_SVG.ico
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https://www.cinemaexpress.com/tamil/news/2024/May/18/weapon-trailer-vasanth-ravis-assassin-hunts-for-sathyarajs-superhuman-in-this-action-film
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en
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Weapon Trailer: Vasanth Ravi's assassin hunts for Sathyaraj's superhuman in this action film
|
[
"https://gumlet.assettype.com/cinemaexpress/2024-03/884fe13f-b7af-4e06-bf79-d78636e298df/NIE_logo21__1_.png",
"https://gumlet.assettype.com/cinemaexpress/2024-03/884fe13f-b7af-4e06-bf79-d78636e298df/NIE_logo21__1_.png"
] |
[] |
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[
"Weapon movie trailer",
"Weapon trailer",
"Sathyaraj's films",
"Vasanth Ravi's films"
] | null |
[
"CE Features"
] |
2024-05-18T00:00:00
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Weapon is the sophomore work of writer-director Guhan Seniappan
|
en
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/favicon.ico
|
Cinema Express
|
https://www.cinemaexpress.com/tamil/news/2024/May/18/weapon-trailer-vasanth-ravis-assassin-hunts-for-sathyarajs-superhuman-in-this-action-film
|
The makers of the Vasanth Ravi-Sathyaraj starrer Weapon released its official trailer the other day. The trailer gives a glimpse into the action-packed world of the film, where Vasanth Ravi is part of a gang of assassins on a mission to kill Sathyaraj’s character, whom they describe as a “gangster,” “ghost,” and “superhuman.” The trailer shows an airborne Sathyaraj striking a yoga pose and has other references to his character’s otherworldly powers. It also refers to terms like Swastik and Kali Yuga (the age of darkness).
Weapon is the sophomore work of writer-director Guhan Seniappan. It also stars Rajiv Menon, Mime Gopi, Tanya Hope, Rajeev Pillai, Kaniha, Yashika Aannand, Syed Subhan, Maya Krishnan, Benito Franklin, Gajaraj, Raghu Esakki, and Shiyas Kareem. The film also features esteemed film critic Bharadwaj Rangan in a cameo role.
MS Manzoor of Million Studio produced the film, whose locations include Chennai and its surrounding hill stations. It has cinematography by Prabhu Rhagav, editing by Nash, music by Ghibran, and stunts by Sudesh.
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https://constantscribbles.wordpress.com/2013/06/16/movie-review-neethanae-en-ponvasantham/
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en
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Movie Review – Neethanae En Ponvasantham
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[
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It was a few months back, the announcement of Maestro Ilayaraja as the music director of this movie made quite a stir. Then the trailer which got released was very impressive. The very first time I saw Samatha telling ‘naan gaali’ was when I was totally lost. I was a bit disheartened when the scene…
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constantscribbles
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https://constantscribbles.wordpress.com/2013/06/16/movie-review-neethanae-en-ponvasantham/
|
It was a few months back, the announcement of Maestro Ilayaraja as the music director of this movie made quite a stir. Then the trailer which got released was very impressive. The very first time I saw Samatha telling ‘naan gaali’ was when I was totally lost. I was a bit disheartened when the scene wasn’t given significant spacing. For the record after Simran during Manam virumbuthae unnai, minnal oru kodi period and Ash in Jeans I’ve never been this crazy about a heroine. Such a cutie pie she is. Then the director, Gautham Vasudev Menon. After this movie he became my third favorite Tamil film director. K. Balachander and Vasanth are the ones at the top of the list.
The film was breezy right from the titles. Gautham does what he’s good at. We see a neat and decent Jeeva first up getting all busy for college culturals and spots Samantha in the auditorium. Whether he felt the tingling in stomach or not I certainly felt it. I felt as if I’m seeing my girlfriend after a long time. Gautham is good at noticing certain unique expressions his heroines hold. Like how Simbu comments about Trisha’s walk in VTV. Jeeva here comments about Samantha’s smile, “Chinnatha oru sidela azaga…” That’s the way to make love stories. Fall in love with the characters.
The first stage of love starts in the flashback sequence. Ilayaraja is brilliant Vaanam Mela. The spacing of the song between their joys of love was stupendous. See the details that Gautham provides us. It’s known that in Gautham’s films love is fantasy, here too it is. At least the happy moments. And that’s how it is. When you are in the initial stage of love, getting to know each other, finding their interests matching with yours, it’s all dream world. Things slowly change only when you try to get on with the practicality of life. You can see the maturity in love in three stages. Ideally this movie would have been better with two intervals.
Samantha with her hair in front and those cute expressions looks every bit a school kid. A school kid whom every one of us would have loved to have fallen in love with. The entire schooling part was very well made. Girls talking about guys… guys talking about girls… How the words varies from cute to hot effortlessly. How Jeeva’s friend walks out when Jeeva talks to Samantha and Samantha’s friends stay with her when she talks with Jeeva. When Samantha says he’s cute, when she goes sits in his bench. Add to it the way she smiles innocently and jumps up and down while being happy. The break up after being head girl. Everything was pitch perfect. I couldn’t ask a director to showcase better puppy love. I didn’t want to use the word puppy love and degrade that part of the story but for the sake of better word I had to use it. At certain points of life certain things seem to be important. That’s how the first love stays. A phase to be cherished.
I’ve said that I hate Suriya. May be not. May be I’m envy him for impressing girls. For giving girls the wrong idea of how a guy should be. Similarly I’ve said that I hate Gautham. Now I find the statement absurd. He’s the guy who’s making films the way I’d have made. At least the love stories. His films are literal, even mine would have been. I’d have written a lot of dialogues for the characters. Silence in love is a killing. I wouldn’t have projected that on screen. Before Sunrise is my idea of love story. But for our culture where gender bias is given high priority here’s one director whom I could look up to know at least some part of girls point of view. When Jeeva says Ninaivellam Nithya in front of the whole crowd and makes Samantha blush. I was out of the world. It’s a situation which every guy would want to be part of. Call it filmy I don’t care. It was dreamy and that’s why I call love as fantasy.
They gradually proceed to the next stage of love, the college phase, it’s equally enchanting because the hormones haven’t settled yet. The placement of Sainthu Sainthu song was brilliant. The silence getting intruded by Yuvan’s voice gave me such an emphatic feeling. If the first break up was silly. This one is even sillier. Jeeva asks Samantha to do something in life instead of asking some time. It’s understandable. Before the movie I heard Gautham say that they break for simple reasons like his MBA. If I hadn’t known I’d have thought about it more retrospectively. The ploy of using a long shot and the camera rolling in and out was good to a certain extent but the leads not being matured artists we could see the restlessness on screen which makes us restless in turn.
Talking about the details we could see Jeeva crossing his legs while Samantha sits next to him in theatre and there is a scene in kitchen where he talks to his mother. The Kitchen looked as real as it could. Then his dad looks at him while Jeeva looks at Samantha going away during his reception. All were so brilliantly taken shots. Mostly out of focus but conveys the point. Also the way songs were handled was amazing. The mixing of two songs and mixing of scenes with songs. It felt like a true musical. I didn’t like the audio when it was released but songs were so well featured in movie.
The movie was similar to Vinnaithandi Varuvaya but the basic reason I could see people loving that and hating Neethanae En Ponvasantham is the BGM. I couldn’t hear any substantial BGM in Neethanae… except for the violin orchestra of the title song but in Vinnaithandi… the initial strum in guitar was enough to ignite the passion.
Most things went awry in second half. The marriage part was tad overdone. Was made cinematic and all but I loved the confusion in second half. The way these two fight. The park scene the day before the marriage etc. A few shots were made similar to his earlier movies, especially Vinnaithandi… The scene in staircase is the prime example of that. The quarrel between the two here was more real. They were just blabbering without knowing what they were saying. Gautham is not a good writer, he himself accepts it. It doesn’t make him great. But when someone writes well we’ve to give credit to him. I’d give credit to him especially for the pre interval quarrel scene. Even thought it was not acted well we get the essence through his writing.
I know in the end it looks like a fanboy review of Samantha. But seriously she being there as the apple of my eye how could I criticize the movie. Throughout the movie whenever Jeeva fights with her I hated him. I didn’t think even a single explanation Jeeva provided was apt. I didn’t have this feeling during Vinnaithandi Varuvaya. The balance was phenomenal there. But Neethanae En Ponvasantham seems to me a feminist movie. A feminist movie which I fell in love with.
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https://www.siasat.com/samantha-admits-to-making-mistakes-in-the-past-by-endorsing-unhealthy-brands-3052244/
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Samantha admits to making ‘mistakes in the past’ by endorsing unhealthy brands
|
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[
"Samantha Ruth Prabhu",
"Tollywood",
"Tollywood actress"
] | null |
[
"Indo-Asian News Service",
"www.facebook.com",
"iansnews.in"
] |
2024-06-28T13:19:21+05:30
|
Mumbai: Actress Samantha Ruth Prabhu in her podcast discussed the importance of eating healthy and avoiding certain types of foods and beverages. In the
|
en
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/wp-content/uploads/2020/05/cropped-the-siasat-daily-fav-logo-150x150.png
|
The Siasat Daily
|
https://www.siasat.com/samantha-admits-to-making-mistakes-in-the-past-by-endorsing-unhealthy-brands-3052244/
|
Mumbai: Actress Samantha Ruth Prabhu in her podcast discussed the importance of eating healthy and avoiding certain types of foods and beverages.
In the episode of ‘Take 20’, Samantha along with lifestyle and wellness expert Alkesh Sharotri discussed the importance of eating healthy. However, a comment by a user caught Samantha’s attention.
A viewer commented about Samantha promoting healthy foods on the podcast while endorsing unhealthy brands herself. However, the actress acknowledged the comment with honesty.
She said: “I have made mistakes in the past when I didn’t know any better, but I have stopped accepting many many endorsements. I believe in practising what I preach. God bless.”
Samantha, who had shared that she had been diagnosed with an autoimmune condition called Myositis in 2022, made her debut with the Telugu film ‘Ye Maaya Chesave’ in 2010. After which, she was seen in films such as ‘Neethaane En Ponvasantham’ and ‘Eega’.
She was then seen in films such as ‘Dookudu’, ‘Seethamma Vakitlo Sirimalle Chettu’, ‘Attarintiki Daredi’, ‘Kaththi’, ‘Theri’, ’24’, ‘Mersal’, ‘Rangasthalam’, ‘A Aa’ ‘Mahanati’, ‘Super Deluxe’, ‘Majili’, ‘Shakuntalam’ and ‘Kushi’. She made her series debut with ‘The Family Man’.
On the occasion of her birthday in April, Samantha announced her maiden Telugu film tentatively titled ‘Bangaram’ under her production banner Tralala Moving Pictures.
Samantha had shared a quirky motion poster and captioned: “Not everything has glitter to be golden… Starting soon.”
The upcoming film marks Samantha’s feature film debut as a producer. It will have the actress playing the lead protagonist. The film is expected to have a multilingual release. Other details about the film are still under wraps.
However, it is reported that the movie will make its way into the theatres in 2025.
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'Neethane En Ponvasantham' User Review
|
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[
"IndiaGlitz"
] |
2012-12-18T00:00:00+00:00
|
Gautham Vasudev Menon continues to explore such moments in his distinctive style in Neethaane En Ponvasantham, where he refines the threads he already used in Vaaranam Aayiram and Vinnai Thaandi Varuvaaya
|
IndiaGlitz.com
|
https://www.indiaglitz.com/neethane-en-ponvasantham-user-review-tamil-news-89251
|
The following article is by IndiaGlitz user Kannan Vijayakumar and it is not IndiaGlitz's take towards anyone or anything..
Life gets defined by the mind altering moments which occurs at the most unexpected circumstances in life.
Gautham Vasudev Menon continues to explore such moments in his distinctive style in Neethaane En Ponvasantham, where he refines the threads he already used in Vaaranam Aayiram and Vinnai Thaandi Varuvaaya. Neethane En Ponvasantham fits the bill perfectly as a so called Âconcluding part of the trilogy.
Synopsis
Gautham Menon experiments in a Âmoment driven story this time by surfacing through four chapters of Varun (Jiiva) and Nithya (Samantha), from the age of 8 to 23 years old. Childhood buddies, Varun and Nithya share an unconditional bond since school days. Even when tested by ego clashes and misunderstanding, destiny always brings them together at different stages of life. But what happens when Varun decides to put aside love for the backburner of his middle class family? Will their priorities and perspective towards life put an end to their dreamy love?
Story  Screenplay
Gautham Menon always has his own style of telling a story and Neethane En Ponvasantham is no exception. As soon as the film starts, he clearly conveys by introduction credits that this film will be the Âmoments of the life of Varun and Nithya. The main plot does not differ from the tried and tested formula to portray the misunderstandings, ego trips, high octane expectations and societal pressures present in the urban relationships. However, what make the difference are the sharp dialogues, stylistic presentation and realistically designed characters.
Like VTV, Gautham does not have any antagonist in the film but lets the priorities and decisions of the lead characters to complicate the bond they share. At many instances, he lets IlayarajaÂs soulful music to move the plot rather than the scenes itself. As it travels through four chapters, it gives a sense of belief to the word, Âdestiny which is omitted by many. He brings in the nostalgic mood at all the four chapters by interweaving the right relatable situations such as inter-college cultural, childhood gender mockeries, cricket matches and tuition centre.
Even though the minute nostalgic details do forgive the snail pace of the film to a certain extent, it fails to salvage the lengthy scenes and mundane, repetitive break ups of the lead characters. Especially the pre-interval scene shot in just one top angle is thoroughly disappointing. It makes us wonder why Gautham decided to shoot it in a wide shot when that is the most emotionally defining scene of the film. The VTV hangover is evident through the confused character design of Nithya, not that it is wrong but it does get tiring after a while.
However, Gautham makes it up a little with a compelling climax.
In overall, if only the screenplay have been more crisp and edgy, Neethane En Ponvasantham could have repeated the magic of VTV.
Casting & Performance
Gautham always displays his actors like never before and he has done it here again. Jiiva lives as Varun at each chapter convincingly. Even though it is quite hard for us to see him in uniform, he brings out the high school playfulness gently at the scene where he describes Nithya as a third person. Especially at the climax, he collates his previous films experience and delivers with much maturity. Samantha undoubtedly carries her best performance till date in Tamil by shouldering a very complex character, much alike to Jessie in VTV. Her articulation, be it as the charmingly arrogant Nithya during the school days, a girl blinded by unconditional love or the matured contented expression she gives at the climax, she does it close to perfection. However, she does suffer when there is a need for her to display mixed emotions.
Even though the film travels in a serious note, SanthanamÂs character lifts the engaging level of the film every time he appears. With his witty one liners and comic timing, he adds a different colour to a Gautham film. To glorify his current fan base, he even has an opening song and with the post interval he steals the show. Lastly the promising talent, Vidyulekha as Jenny, compliments Santhanam perfectly.
In overall, Neethaane En Ponvasantham might be a path breaking film for the actors personally.
Technicality
Ilayaraja, undoubtedly tops the list with his Godly musical touch at every scenes. His BGMÂs timings are perfect, bringing the audience much more closer to the film at each stage. Even though the soundtracks have a strong sense of 80s and 90s feel, it never fails to compliment the scenes. Gautham, a self-confessed Ilayaraja fan have made his idol move his story. Cinematographers, MS Pabhu and Om Prakash have done a decent job by capturing each stages of life in different light gels and angles. Speaking about chapters, kudos to the art director Rajeevan, for bringing out each period of time so realistically.
On the other hand, editor Anthony falls in his lengthy editing trap once again which does garner the mockeries of the audience when the film starts to drag at the end.
Bottomline
Conclusively, Neethane En Ponvasantham even though has the poetic approach as Gautham MenonÂs other films; it lacks that one killer scene (such as the central park scene in VTV) which might have pushed the film to a classic status. Instead, it is cramped with lengthy scenes and repetitive dialogues which diminish the novelty of the film. However, with IlayarajaÂs soulful music, realistically relatable scenes and dedicated performances, Neethane En Ponvasantham might end up as a favourite Âdate film.
|
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https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/samantha-as-nithya-vasudevan-in-nep/articleshow/13065131.cms
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en
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Samantha as Nithya Vasudevan in NEP
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[
"Times Of India"
] |
2012-05-09T15:38:00+05:30
|
Samantha is essaying the role as Nithya Vasudevan in her forthcoming bilingual film Neethane En Ponvasantham.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/samantha-as-nithya-vasudevan-in-nep/articleshow/13065131.cms
|
8 benefits of eating food in silver utensils
Lifestyle
'URI to 'Neerja': Top 10 Bollywood movies based on true stories
Entertainment
|
|||||
3915
|
dbpedia
|
2
| 26
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https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/is-vijay-playing-a-police-officer-in-venkat-prabhus-directorial-goat/articleshow/111312150.cms
|
en
|
Is Vijay playing a police officer in Venkat Prabhu's directorial 'GOAT'?
|
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[
"Yuvan Shankar Raja",
"Vijay",
"Venkat Prabhu",
"time travel",
"Sneha",
"police officer",
"Meenakshi Chaudhary",
"GOAT",
"film",
"father and son"
] | null |
[
"TOI Entertainment Desk"
] |
2024-06-27T15:28:00+05:30
|
In 'GOAT', Vijay plays a dual role, potentially as an Indian police officer, with Sneha as his counterpart. The film features a star-studded cast, inc
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/is-vijay-playing-a-police-officer-in-venkat-prabhus-directorial-goat/articleshow/111312150.cms
|
The TOI Entertainment Desk is a dynamic and dedicated team of journalists, working tirelessly to bring the pulse of the entertainment world straight to the readers of The Times of India. No red carpet goes unrolled, no stage goes dark - our team spans the globe, bringing you the latest scoops and insider insights from Bollywood to Hollywood, and every entertainment hotspot in between. We don't just report; we tell tales of stardom and stories untold. Whether it's the rise of a new sensation or the seasoned journey of an industry veteran, the TOI Entertainment Desk is your front-row seat to the fascinating narratives that shape the entertainment landscape. Beyond the breaking news, we present a celebration of culture. We explore the intersections of entertainment with society, politics, and everyday life.
|
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3915
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dbpedia
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2
| 30
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http://m.rediff.com/news/may/06film.htm
|
en
|
Rediff On The NeT: Kamal Hasan, Tabu, Gulzar bag national film awards
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Kamal Hasan, Tabu, Gulzar bag national film awards
The Bengali feature film Lal Darja by Buddhadeb Das Gupta won the award for the best film while Kamal Hasan and Tabu got the best actor and actress awards in the 44th national films awards announced in New Delhi on Tuesday.
Kamal Hasan got the award for his double-role in the Tamil film, Indian while Tabu bagged one for her role in the Hindi film Maachis.
Maachis, by Gulzar, also got the award for the best popular film providing wholesome entertainment while the Assamese film, Rag Birag by Bidyut Chakraborty got the Indira Gandhi award for best first film of a director.
Rag Birag which was the opening feature of the Indian panorama at the last International Film Festival of India in Thiruvananthapuram, also bagged the award for best cinematography (Mrinal Kanti Das) and editing (A Sreekar Prasad).
Mrinal Kanti Das also got an award for his cinematography in the Assamese film Adajya as well, while Indian got awards for art direction (Thotta Tharani) and special effects (Venki).
The short film, Sham's Vision by the Shahji N Karun was adjudged the best non-feature film while The Eve of the Serpent by S Theodore Bhaskaran on Tamil cinema was given the award for the best book on cinema. English film critic .M.K. Raghavendra Rao got the best film critic of 1996 award.
In the awards announced by T Subbarami Reddy, chairman of the feature film jury, Ahathian got the best director and screenplay awards for the Tamil film, Kaathal Kottai.
The Nargis Dutt award for national integration was awarded to the Malayalam film Kanakkinavu by Simi Malayil, while the Bengali Damu by Raja Sen bagged the best children's film award.
Another Bengali film, Latthi by Prabhat Roy got the award for the best film on family welfare while Hindi film Tamanna, directed by Mahesh Bhatt and produced by Pooja Bhatt got the award for the best film on other social issues.
Nana Patekar and the young Rajeshwari Sachdev got awards for the best supporting roles in the Hindi Agnisakshi and the Urdu Sardari Begum respectively.
Sardari Begum, directed by Shyam Benegal, also got the best Urdu film award. Kiron Kher, who played the lead in the film, shared the special jury award with Amol Palekar, maker of Daayra.
The awards for the best child actor and actress went to Master Kumar for his role in the Malayalam Desadanam and Kumari Kavya for the Telugu film Little Soldiers. Desadanam, directed by Jayaraj, also bagged awards for the best audiography (Krishnanunni) and best Malayalam film.
The Tamil Minsara Kanavu got awards for best music (A R Rahman), male singer (S P Balasubramaniyam), female singer (Chithra) and choreographer (Prabhu Deva).
M Dandapani gets an award for costume design in the Malayalam Kulam and Javed Akhtar got the award for the best lyrics in the film Saaz.
While a total of 77 entries were received in fourteen languages, no film got an award for highlighting environmental issues. No awards were given in as many as eight categories, primarily because of low quality.
The short film Sham's Vision also got an award for cinematographer Hari Nair. The story, about an Agra-based embroidery artist Shamsuddin, who has gone partially blind, was also part of the Indian panorama and was shown at the last IFFI in Thirvuananthapuram.
These are some of the other award-winners for regional films: Assamese -- Adajya by Santwana Bardolio; Bengali -- Sanghat by Pinaki Chaudhuri; Hindi -- Gudia by Goutam Ghose; Kannada -- America America by Nagathihalli Chandrashekar; Marathi -- Rao Saheb (Sanjay Surkar); Oriya -- Shunya Swaroopa (Himanshu Sekhar Khatua); Tamil -- Kaathal Kottai (Ahathian) and Telugu -- Ninne Pelladatha (Krishna Vamsi). There is a special mention for Dolon Roy in Sanghat and Bhagirathie in Adajya.
The award for the first non-feature film of a director went to the Hindi Yeh Woh Sahar to Nahin by Sudhakar Rao of the Film and Television Institute of India.
Four of the awarded non-feature films were in the Indian panorama. Apart from Sham's Vision, Hastir Kanya by Prabin Hazarika and Dhatujharwon a special jury award for Nilotpal Majumdar.
The English film Nauka Caritramu by Saroj Satyanarayan won two awards - for best arts/cultural film and the best editing (to A Sreekar Prasad).
The other award winners are: Silent Screams: A Village Chronicle in English by O K Johnny (for social issues): Films Division's Bhiwandi Tragedy by V Packiri Swamy (investigative), and the best animation film, The Lost Horizon (director and animator Arun Gongade).
Bhit by Gul Bahar Singh for Films Division got the family welfare award while Nihar R Samal won the best audiographer award for the film Tat Tvam Asi. Two films shared the best short fiction award -- Vidiyalai Nokki in Tamil by P Venkatesh and the Malayalam Atmeeyan by Nandkumar Kavil. While the Tamil film is from the Chennai Film and TV Institute, the Malayalam film is from the FTII, Pune.
The other members of the feature film jury were Basu Chatterji, Charu Hasan, Madhyu, Mike Pandey, Nirad Mahapatra, Raghav Menon, Jwngdao Bodosa. M S Sathyu, G Venkateshwaran, D Rama Naidu, Swapan Kumar Ghosh, Vijava Mullay, Sushma Shiromanee and Swaraj Lamba.
Other members of the non-feature jury were Swapan Sundari, Meera Dwan, Sukumaran Nair, and Punathil Kunhabdulla. The book jury had Pritiman Sarkar and V K Madhavan Kutty, besides the chairman. Veteran film-maker N S Thapa and film critic Khalid Mohammed chaired the non-feature and book juries respectively.
|
||||||||
3915
|
dbpedia
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3
| 9
|
https://www.imdb.com/list/ls567848542/
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en
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Tamil Actors
|
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Famous actors in Tamil
|
en
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IMDb
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https://www.imdb.com/list/ls567848542/
|
Suriya was born to actor Sivakumar and his wife Lakshmi in Chennai but brought up in Coimbatore. He is the eldest of three children; his younger brother is actor Karthi Sivakumar and he has a younger sister named Brindha Sivakumar. He attended PSBB School and St. Bede's School in Chennai and graduated from Loyola College with a Bachelor of Commerce degree.
Before his career in films, Suriya worked at a garment export factory for eight months. To avoid nepotism, he did not reveal himself to his boss as Sivakumar's son, but his boss ultimately learned the truth himself. He was initially offered the lead role by Director Vasanth in his film Aasai (1995), but he rejected the offer citing a lack of interest in an acting career. He later debuted in Vasanth's own 1997 film Nerrukku Ner, produced by Mani Ratnam when he was 22 years of age. The stage name Suriya was bestowed on him by Ratnam to avoid a clash of names with established actor Saravanan. Vijay, who would also go on to become a leading contemporary actor in Kollywood, co-starred with him in the film. This was followed by a series of roles in commercially unsuccessful films in the late 1990s. In 2001, he starred in Siddique's comedy film Friends, also co-starring Vijay, which became a super hit. His major break in acting came in the form of Nandha, which was directed by Bala. Playing the role of an ex-convict who is very attached to his mother, he received a Tamil Nadu State Film Award for Best Actor. His next venture was Vikraman's Unnai Ninaithu followed by Mounam Pesiyadhe directed by debutant Ameer Sultan, which became a hit film & a cult classic.
In 2003, he starred in Gautham Menon's Kaakha Kaakha, a film about the life of a police officer. The film opened to positive reviews and became a Blockbuster at the box office. Suriya also received an ITFA award for Best Actor for his role in the film. Next, his portrayal of a happy-go-lucky village crook with a comic touch in Bala's Pithamagan, along with Vikram, won him the Filmfare Award for Best Supporting Actor. In 2004, he played dual roles in Perazhagan, as an aggressive boxer and a handicapped phone booth keeper. Suriya's performance won positive reviews from critics. The film became a successful venture at the box office, and Suriya won his first Filmfare Award for Best Actor. The same year, he portrayed the role of a student leader in Mani Ratnam's political drama Ayitha Ezhuthu along with Madhavan and Siddarth which received highly critical acclaim and became a commercial success.
Suriya signed on to feature in the psychological thriller, Ghajini directed by A. R. Murugadoss in November 2004; he played the role of a patient suffering from short-term memory loss. Ghajini was released in late 2005 and became a Blockbuster and was the third highest-grossing film of that year in Tamil. Suriya's role was unanimously praised. Later he worked in Hari's action film Aaru and the film received a positive response at the box office.
Suriya's 2006 release was N. Krishna's Sillunu Oru Kaadhal. He acted opposite his wife Jyothika Saravanan in the film, which took a good opening but became an average grosser. In 2007, Suriya's solitary release was Vel, which became a hit at the box office. His next release was Vaaranam Aayiram, a collaboration with Gautham Menon, after the success of Kaakha Kaakha. Playing dual roles for the third time in his career, Suriya appeared as father and son, portraying scenes as a 16-year-old and as a 65-year-old. Suriya described the project as "unique" and "straight from the heart", describing the physical hardships he endured during the making. He lost weight and prepared a six-pack for the film through an eight-month fitness regime without steroids, with the movie being a trendsetter for other leading actors from South India. The film became commercially successful at the box office upon release and received positive reviews from film critics, with Suriya's performance being lauded. His portrayals also fetched him several notable awards, including the Filmfare Award for Best Actor, a Tamil Nadu State Film Award for Best Actor by the jury and the Vijay Award for Best Actor in 2008. The film also went on to receive a National Film Award for Best Feature Film in Tamil in 2008.
In 2009, Suriya's first release was K. V. Anand's action-thriller Ayan, which went on to become the highest-grossing Tamil film of the year. Upon release, the film won positive reviews and Suriya's performance was again acclaimed. He found himself nominated for leading awards and won the Vijay Award for Entertainer of the Year. The film's success saw Suriya emerge as the most profitable leading actor in Tamil films, following a hat trick of large commercial hits. Following Ayan, his next film, K. S. Ravikumar's action entertainer Aadhavan also achieved commercial success, while Suriya's depiction of a hitman was praised.
In 2010, he had his 25th release with Singam directed by Hari, in which he played the role of 'Durai Singam', a police officer from a small village going to work in the city. The film received positive reviews and became a huge commercial success. The film won Suriya the Vijay Award for Best Entertainer again and subsequently went on to become the second highest-grossing film of the year. He made his Bollywood debut in Ram Gopal Varma's two-part political drama Rakta Charitra in 2010 which was released to highly critical acclaim and became an average success. His only release in 2011 that featured him in a starring role was A. R. Murugadoss's science fiction thriller 7aum Arivu. Suriya played dual roles in the film, as a circus artist and as the Buddhist monk, Bodhidharma, who lived in the 6th century. The film met with mixed reception but was a commercial success. His only 2012 release was the K. V. Anand-directed film Maattrraan in which he played the role of conjoined twins, Vimalan and Akhilan. The film received mixed reviews, and, ended up being an average grosser while Suriya's performance was praised. In January 2012, Suriya was named as the official host of the new game show to be presented on STAR Vijay, Neengalum Vellalam Oru Kodi, the Tamil version of Who Wants to Be a Millionaire?, which began airing on 27 February 2012 and ended on 12 July.
His next film was Singam 2, a sequel to his 2010 film Singam, that released on 5 July 2013 to positive response from the public. The film received a huge opening, becoming the highest-grossing Tamil film of the year and emerged as one of the highest-grossing Tamil films of all time, collecting more than 100 crores worldwide. His next film Anjaan directed by N. Lingusamy was released on 15 August 2014 to negative reviews. The film had one of the biggest openings ever in Tamil Cinema and Suriya's best but became a below-average venture at the box office. His next release was Venkat Prabhu's film Masss, which was released to mixed reviews. His only film in 2016 was his home production 24 directed by Vikram Kumar which hit the screens on 6 May 2016. The film, based on the concept of time travel, featured Suriya in triple roles. The film met with unanimous critical acclaim, and became a commercial success, grossing more than 100 crores worldwide. Suriya's performance, especially the character 'Athreya' was much praised. His first release in 2017 was Singam 3, the sequel to his earlier films Singam & Singam 2. The film was released on 9 February 2017 to mostly positive reviews from the public. It had one of the biggest worldwide openings for a Tamil film, and Suriya's biggest yet, and eventually grossed 100 crores worldwide in just 6 days of its release. Suriya's next film in 2017 is with director Vignesh Shivan for Thaanaa Serndha Koottam. Thaana Serndha Kootam was released at the beginning of 2018. Followed by this, Suriya also did a Cameo in his brother, Karthi's film - "Kadaikutty Singham". In 2019, he partnered with Selvaraghavan for NGK - a political drama that received mixed reviews from the public and critics. His next release was Kaapaan, an action thriller, in which he shared the screen with Arya and Mohanlal. The movie was a commercial success and the final directorial venture of K.V. Anand before the filmmaker's demise on 30th April 2021.
2020 and 2021 marked the years Suriya worked on "Soorarai Pottru" and "Jai Bhim" with Sudha Kongara and T. J. Gnanavel respectively. Both these films were produced by his production banner 2D Entertainment. Soorarai Pottru was praised by the public, critics and film people. The movie went on to bag 5 awards at the 68th National Awards for Best Picture, Best Original Screenplay, Best Actor (Suriya), Best Actress and Best Original Score. Jai Bhim was lauded for its craftsmanship and the message it delivered to the society. In addition to bagging multiple awards, Jai Bhim which spoke about police brutality and bias towards Irular community, created a huge social impact. Jai Bhim was made available for screening at the 96th Academy Awards. In 2022, Suriya had his 1st theatrical release in 3 years with Etharkkum Thunindhavan collaborating with director Pandiraj. The film opened to mixed reviews and went on to be a success at the Box Office. The same year, he stepped into a new character called "Rolex" who appeared as a cameo in Vikram (2022) and this character became a fan favourite in no time. He also did a Cameo in R. Madhavan's, "Rocketry - The Nambi Effect"
Suriya is now working on Kanguva directed by Siva and is slated for release in 2024. Suriya has joined hands once again with Sudha Kongara and G V Prakash Kumar for his 43rd movie. The film team released a motion poster revealing only a part of the movie title.
Suriya is married to actress Jyothika, with whom he worked with in as many as seven films. The couple, after being together for several years, got married on 11 September 2006. They have two children, a daughter named Diya and a son named Dev.
In 2008, Suriya began the Agaram Foundation, working to help children who drop out of school early in Tamil Nadu. Suriya revealed that he was inspired to begin the movement as a result of his father's organisation, Sivakumar Educational Trust, which had been operating similar benefits on a smaller scale since the 1980s. With the Ministry of Education in Tamil Nadu, he created a short commercial video outlining child poverty, labour and lack of education, titled Herova? Zerova?. The film was written and produced by Suriya and also starred Vijay, Madhavan and Jyothika. Agaram sponsored 159 underprivileged students in 2010 for their higher education in various disciplines and has continued to provide free seats and accommodation for pupils. With the firm belief that the educated mind can not only eliminate social evils but also aid in the socio-economic upbringing of society, the Agaram Foundation works towards providing appropriate learning opportunities to the rural populace who do not otherwise have access to quality education. Through the foundation, he has also set up a platform for students to participate in workshops and improve communication skills, teamwork, goal setting and leadership.
Suriya and his family have also extended help towards the education of Sri Lankan Tamil children on behalf of the Sivakumar Charitable Trust. He is also an active participant in other humanitarian works such as the "Save The Tigers" campaign, which aids in the protection and preservation of Tigers in India, and "REACH", a non-profit that cures TB patients for free using supervised medication programs. The actor celebrates every birthday by doing charity work across Tamil Nadu.
Vishal Krishna Reddy, popularly known as Vishal, was born in Chennai, Tamil Nadu, India. He was born to G. K. Reddy, a granite businessman and Janaki Devi. Actor and producer Vikram Krishna is his brother.
Vishal was a student of Don Bosco Matriculation Higher Secondary School, Chennai. He completed a degree in Visual Communications at Loyola College, Chennai.
Vishal started his journey in the film industry as an assistant director to Arjun Sarja. His career took a new turn when one of the producers noticed him while working on the sets of Arjun Sarja's directorial venture Vedham (2001) and offered him an acting role.
To hone his acting skills and prepare for his debut, Vishal joined the Tamil theatre group Koothu-P-Pattarai.
Vishal began his acting career with A.R. Gandhi Krishna's directorial debut, Chellame (2004). His portrayal of Raghunandhan, an income tax officer, got positive reviews from critics.
He next played the lead role in Sandai Kozhi (2005), an action film directed by N. Linguswamy. He played the role of an engineering student standing up against a local gangster.
The film became a big hit at the box office and was screened for more than 200 days in Chennai. It marked the beginning of his evolution into an action hero.
Following a cameo appearance in Dishyum (2006), Vishal played the leading man in Thimiru (2006), an action entertainer made under the direction of Tarun Gopi. He received praise for his powerful acting in the movie as a student with a troubled past.
The film proved to be another big success at the box office. It went on to complete 100 days of screening at the theatres. Thimiru further established Vishal's image as an action hero in Tamil cinema.
In the same year, Karu Pazhaniappan's film Sivappathikaaram (2006) was released, which belonged to the political action genre. Vishal portrayed the character of an angry young man in the film who fights against the current political system due to its shortcomings.
Vishal was next seen in Karu Pazhaniappan, a family action drama directed by Hari that once again proved his potential as an action hero. The film completed 100 days in the theatres and gained considerable success at the box office.
Later that year, he played the lead role in Boopathy Pandian's action movie Malaikottai (2007), co-starring Priyamani. The film received mixed reviews.
His next releases included Sathyam (2008) and Thoranai (2009). He was the leading man in Theeradha Vilaiyattu Pillai (2010), which marked his first collaboration with director Thiru.
In Avan Ivan (2011), directed and written by Bala, Vishal ventured into the realm of dark comedy and portrayed a rural actor with a squint. His performance received significant acclaim, earning him the Special Jury Award at the 2012 Norway Tamil Film Festival Awards.
The following year, he was seen playing the lead role in films like Samar (2013) and Pattathu Yaanai (2013), both of which belonged to the action genre. Samar (2013) was Vishal's second collaboration with Thiru.
Pandiya Naadu (2013), an action drama released towards the end of the year, showcased the transformation of an average young man into an enraged one after his family was harmed. The film also marked Vishal's debut in production under his banner, Vishal Film Factory.
He bagged the SIIMA Award for Best Debutant Producer in 2014 for this film.
Following Pandiya Naadu, Vishal starred in Naan Sigappu Manithan (2014), a revenge action thriller in which he portrayed a character afflicted with narcolepsy, a rare neurological condition. This marked his third collaboration with Thiru. Vishal conducted extensive research by studying documentaries and literature to prepare for the role, which was well-received by critics.
For his next film, Pooja (2014), Vishal collaborated with Hari for a second time.
Over the years, Vishal continued to appear in a wide variety of films, such as Aambala (2015), Paayum Puli (2015), Kathakali (2016), Thupparivaalan (2017), Sandakozhi 2 (2018), Ayogya (2019), Chakra (2021), and Veerame Vaagai Soodum (2022), among others.
His last appearance was in Laththi (2022), an action thriller directed by A. Vinoth Kumar.
Vishal made his debut on TV in 2018 with the talk show "Sun Naam Oruvar" (2018), which he hosted on Sun TV.
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7 Samantha Ruth Prabhu Films You Need to Watch
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[
"Ravinder Kaur"
] |
2023-10-25T13:15:40+00:00
|
Samantha Ruth Prabhu's journey from model to actress is a testament to her industry evolution. Here are 7 must-watch films of hers.
|
en
|
/favicon.ico
|
DESIblitz
|
https://www.desiblitz.com/content/7-samantha-ruth-prabhu-films-you-need-to-watch
|
Indian cinema boasts a treasure trove of talented actors, and Samantha Ruth Prabhu is undoubtedly one of the brightest gems.
With her captivating beauty and exceptional acting skills, Samantha has carved a niche for herself in the film industry.
Her journey from a model to a prominent actress has been nothing short of remarkable, and her filmography is a testament to her versatility as an artist.
Join us as we explore seven must-watch films that showcase Samantha’s incredible talent and leave a lasting impression on viewers.
Ye Maaya Chesave (2010)
Samantha Ruth Prabhu made her acting debut in the Telugu film industry with Ye Maaya Chesave, directed by Gautham Menon.
The film not only marked her entry into the industry but also earned her critical acclaim.
Samantha’s portrayal of the spirited Jessie was heart-warming, making this romantic drama an unforgettable cinematic experience.
Samantha’s journey in the film industry went beyond her debut; it was also a significant personal milestone.
During the making of the film, she found love in the lead actor, Naga Chaitanya, and their relationship blossomed.
After seven years of courtship, Samantha and Naga took their love story to the next level, tying the knot in 2017.
The celebrity marriage, however, did not last long, and Samantha and Naga filed for divorce after four years in October 2021.
Neethaane En Ponvasantham (2012)
In Neethaane En Ponvasantham, Samantha Ruth Prabhu portrayed the character of Nithya Yelavarthy, a role that displayed her acting prowess and emotional depth.
The film, structured in an episodic format, follows the love story of Varun Krishnan, played by Jiiva, and Nithya.
Samantha’s Nithya is a charming young woman who shares a deep connection with Varun from their school days.
Samantha’s portrayal of Nithya is a standout performance in the film.
She convincingly embodies the various phases of her character’s life, from the innocence of adolescence to the complexity of adulthood.
Nithya is depicted as a compassionate individual, and Samantha infuses the character with a natural charm.
Her chemistry with Jiiva’s Varun is one of the film’s highlights, making their love story feel genuine.
Eega (2012)
Eega stands as a remarkable cinematic achievement, a fantasy drama helmed by the visionary director S. S. Rajamouli.
This film dared to explore uncharted territory and pushed the boundaries of Indian cinema, earning it the distinction of being truly ground-breaking.
At the heart of this innovative tale was Samantha Ruth Prabhu, whose character played a pivotal role in the film’s narrative.
Samantha’s exceptional portrayal brought her character to life with such authenticity that it garnered not only applause but also numerous accolades.
Her ability to immerse herself in this fantastical world and make the audience believe in the story’s premise was nothing short of mesmerising.
The success of Eega not only enthralled audiences but also established Samantha as an actress who fearlessly embraced unconventional roles.
Attarintiki Daredi (2013)
Attarintiki Daredi was not just a film; it was a cinematic phenomenon.
This family drama, featuring the charismatic duo of Samantha Ruth Prabhu and Pawan Kalyan, struck gold at the box office and captured the hearts of audiences across the Telugu-speaking world.
Samantha’s portrayal of Sunanda, a character who exuded warmth, was nothing short of heart-warming.
She brought this fun-loving and caring persona to life with a grace that resonated with viewers on a deep emotional level.
Her on-screen chemistry with Pawan Kalyan added an extra layer of charm to the film, making their on-screen family dynamics feel incredibly authentic.
Theri (2016)
Samantha Ruth Prabhu etched her name in the annals of the Tamil film industry with her remarkable performance in Theri, where she shared the screen with Vijay.
This action-packed entertainer was a turning point in Samantha’s career, demonstrating her incredible versatility as an actress.
The film offered a compelling platform for her to showcase her acting prowess in a genre that was quite different from her previous roles.
Samantha’s character, Mithra, a dedicated school teacher, added a significant layer of depth to the film’s narrative.
Her portrayal of Mithra was a testament to her ability to infuse authenticity into her characters, making them relatable and endearing to the audience.
Her chemistry with Vijay on-screen was palpable, elevating the emotional resonance of the movie.
A Aa (2016)
A Aa stands as a testament to Samantha Ruth Prabhu’s finesse as an actress, skillfully crafted under the direction of the talented Trivikram Srinivas.
In this cinematic gem, Samantha embraced the role of Anasuya Ramalingam with unparalleled charm and grace.
Trivikram Srinivas, known for his knack for creating compelling characters, provided Samantha with the perfect canvas to showcase her acting prowess.
As Anasuya, Samantha brought a unique blend of charisma and elegance to the screen, creating a character that resonated deeply with the audience.
Samantha’s portrayal of Anasuya Ramalingam was nothing short of magical.
Her performance captured the essence of the character flawlessly, making Anasuya not just a mere presence on screen but an individual with dreams and emotions.
Rangasthalam (2018)
Rangasthalam undeniably stands as a monumental success in Samantha Ruth Prabhu’s career, casting a lasting glow on her repertoire of roles.
Her characterisation of Rama Lakshmi, a fierce and independent village belle, resonated with audiences and critics alike, elevating her to new heights in the world of Indian cinema.
Within the cinematic tapestry of Rangasthalam, Samantha’s portrayal breathed life into the story, infusing it with a unique blend of strength, vulnerability, and authenticity.
Her every gesture, expression, and dialogue delivery seemed to embody the very essence of the character, making Rama Lakshmi a character to be remembered for generations.
Samantha Ruth Prabhu’s journey in the film industry is a testament to her talent, versatility, and dedication to her craft.
Her filmography is a delightful mix of heart-warming romances, intense dramas, and ground-breaking cinema.
Whether you’re a fan of Telugu, Tamil, or Indian cinema in general, watching these Samantha Ruth Prabhu films is a must.
Each film showcases her ability to breathe life into diverse characters, leaving a lasting impact on the audience.
So, grab some popcorn and start your Samantha Ruth Prabhu movie marathon; you won’t be disappointed.
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https://www.thehindu.com/features/cinema/neethane-en-ponvasantham/article3901066.ece
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en
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Neethane en ponvasantham
|
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[
"Tamil cinema",
"Audio release",
"Ilayaraja"
] | null |
[
"S. R. Ashok Kumar"
] |
2012-09-15T12:11:57+00:00
|
Cinema News:Neethane en ponvasantham
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/features/cinema/neethane-en-ponvasantham/article3901066.ece
|
What it is about…
R. S. Infotainment’s Neethane En Ponvasantham had a grand audio launch wherein music director Ilaiyaraja recreated his musical magic for the benefit of his fans and the Tamil film fraternity. The film, produced by S. Elred Kumar and R. Jayaraman, has been written and directed by Gautham Vasudev Menon. The others involved in the project are M.S. Prabhu (camera), Anthony (editing) and Rajeevan (art). The first CD was released by director K. Balachander and received by actor Suriya in the presence of directors Barathiraaja, Balu Mahendra, P. Vasu, R.V. Udhayakumar, R. Sundarrajan, Suresh Krishna and R.K. Selvamani. It is a love story with a difference.
Music highlights
This album shows that maestro Ilaiyaraja has not lost his mesmerising effect despite the 900-odd films he has scored the music for. There are eight songs in the album and ‘Kaatrai Konjam,’ sung by Karthik, is the best. ‘Saayndhu Saayndhu’ in the voices of Yuvan Shankar Raja and Ramya NSK is another beautiful number. Sunidhi Chauhan scores with the melody ‘Mudhal Murai.’ ‘Vaanam Mella,’ sung by Ilaiyaraja and Bela Shende, will keep ringing in your ears. ‘Pudikale Maamu’ is an interesting number by Suraj Jagan and Karthik. The other good songs in the album are ‘Yennnodu Vaa Vaa,’ sung by Karthik, ‘Pengal Yenral’ by Yuvan Shankar Raja, and ‘Sattru Munbu’ by Ramya NSK.
What they say…
Producers S. Elred Kumar and R. Jayaraman: We all grew up listening to Ilaiyaraaja’s music. When Gautham Menon, known for love stories, joins hands with the maestro, we know what to expect. We went to London with Ilaiyaraja to record the music. For the first time, the music for the entire film was recorded live.
Director Gautham Vasudev Menon: It is a musical love story, tracing the course of love in different ages, at 14, 18, 23 and 35. Both Jiiva and Samantha have done a wonderful job. We have woven comedy into the story, hence you will find actor Santhanam in a major portion of the film.
Hero Jiiva: I am happy to have worked with some of the best-known directors of Tamil cinema. I was on cloud nine when I got the offer from Gautham. And it was an icing on the cake when I heard maestro Ilaiyaraaja would be scoring the music. The film has shaped up well.
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http://thinkinggotloud.blogspot.com/2019/01/the-river-continues-to-flow-reflections.html
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Thinking Got Loud: The river continues to flow: Reflections on "Mahanadhi" 25 years after its release
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[
""
] | null |
[
"Ram Murali"
] | null |
It was 25 Januaries ago that one of the most important films in my life hit the theaters. Matters of taste are extremely subjective. B...
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Madras Streets: Neethane En PonVasantham
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[] |
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[
""
] | null |
[] | null |
After nearly a decade, bought a CD of Ilaiyaraja. This itself means lot to me. Music that grew up listening. Today I am on a different posi...
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http://madrasstreets.blogspot.com/favicon.ico
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Neethane Enthan Pon Vasantham.
|
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2012-10-22T12:29:01+03:00
|
Let's discuss this new album. Test. Just testing. Ada...testing.nggiren!!!
|
en
|
https://illiweb.com/fa/favicon/discussion.ico
|
ilayaraja.forumms.net
|
https://ilayaraja.forumms.net/t1-neethane-enthan-pon-vasantham
|
Admin Mon Oct 22, 2012 12:29 pm
Let's discuss this new album.
Re: Neethane Enthan Pon Vasantham.
Admin Mon Oct 22, 2012 12:29 pm
Test. Just testing. Ada...testing.nggiren!!!
Re: Neethane Enthan Pon Vasantham.
Admin Mon Oct 22, 2012 12:33 pm
Something I wrote:
http://grouchydays.blogspot.com/2012/09/when-ilayaraja-dusts-his-44.html
Decades after Clint Eastwood has done the last Dirty Harry movie, a reporter asked him what Harry would be doing now. Eastwood replied that he’d probably enjoying his retirement and probably fly-fishing. No more .44 Magnum, but a fishing rod. Sweet, though I feel the old man is chuckling to himself thinking of penile reference.
Then he did Gran Torino, where you’d swear that that is old Dirty Harry and he picked up a gun again (granted it was not the Smith & Wesson) and gave us a hell of a treat. And went with a bang, saying that that might be his last acting role.
The truth is, he was never away. He was involved in more interesting projects, having had long left making mainstream thrillers, leaving them to the younger generation.
When Ilayaraja unleashed his masterpiece album, Neethane Enthan Pon Vasantham (NEPV) film songs, I was reminded of Eastwood. While he was away doing interesting projects, I turned away and was involved in my own exploration of music (listening, not playing), only indulging in his 70s/80s.
The truth is, Ilayaraja never went away. I say this because the media and the Netizens are roaring that he’s back.
Apart from personal projects, he was also involved in other film industries, namely Malayalam, Telugu and getting better recognition that he should have long time ago in Hindi. True loyal fans were following. Once hardcore fan like me had basically lost interest in entire Tamizh film songs and was pursuing other musical stuff and occasionally we’d go “oh, was it?” when reviews of one of his latest outing comes out.
“We” here referring to those who abandoned him back in 90s, like this idiot writer. And the new album made my conscience hurt as hell.
A very rich, layered, complexly composed album boasting great sound and awesome use of guitars, this album is to be cherished for years and should be sent to space in case for possible Alien invasion, so that they will go back in peace listening to it.
Not that it is as great of his past works, but this is this is what would have happened to all the old songs if he had access to the resources and equipments (not that I want them to remastered, well, ….hmmm). For this, we need to thank Gautham Menon for taking the initiative of no expense spared and making Ilayaraja wear a goddam suit, finally.
The best part of the album is the use of guitars. If not mistaken, this would probably be the most use of guitar in an Ilayaraja album. And it has goddam heavy metal sound/guitar too! Hot damn. Who would have thought that the usually monotonous warbler Yuvan would be awesome!
As a great fan of Ilayaraja, I have a feeling that Gautham want Ilayaraja to not only to reach out to the younger generation, but also reconnect to old lost fans like this knucklehead owner of this blog site. Boy did he succeed or what.
Just like Eastwood picked up that gun and proved who’s the real badass in Gran Torino, Ilayaraja picked up his own .44 and showed who’s the real maestro.
Oh, metal fans, listen to Penkal Endral. If someone were to question me asking if Ilayaraja can do Teutonic thrash metal, I ‘d say, “you betcha!”.
Re: Neethane Enthan Pon Vasantham.
kv Tue Oct 23, 2012 7:19 pm
Grouchy, thanks for taking the initiative to start this!
(I don't need to nitpick right away, but can you please change the pink background to something more sober? )
Re: Neethane Enthan Pon Vasantham.
app_engine Tue Oct 23, 2012 8:36 pm
Great work, groucho!
Appreciate your initiative and I'll try to be as active as possible :-)
Re: Neethane Enthan Pon Vasantham.
V_S Tue Oct 23, 2012 8:40 pm
Dear app,
We are missing you so much. Great to hear from you. Thanks a lot!
Re: Neethane Enthan Pon Vasantham.
app_engine Tue Oct 23, 2012 9:08 pm
nanRi, V_Sji :-)
After being in a "boy color" blue forum for years, it feels different to be in a "pink" forum
I'll probably start my rAsA-rAsAththi (PS) thread here in a week or so and start writing :-)
Re: Neethane Enthan Pon Vasantham.
app_engine Tue Oct 23, 2012 11:37 pm
NEPV / YVM:
They keep telling it'll hit the screens "later this year" but there're not many days left in 2012...
<123telugu.com/mnews/samantha-wraps-up-talkie-part-of-yvm.html>
(It seems new members are not allowed to post external links for 7 days)
Re: Neethane Enthan Pon Vasantham.
plum Wed Oct 24, 2012 10:33 am
Excellent album. Upgraded to all time classic this week, in my books.
Wish there was more of the title song. It ends just when it reaches its peak. Sunidhi is outstanding - one of the only two reality show contestants ever to shine brightly brin Indian film music industry.
Re: Neethane Enthan Pon Vasantham.
Bala (Karthik) Wed Oct 24, 2012 4:46 pm
Ellarum inga dhaan irukkela? Magizhchi mmm, post-gala pannikitte irunga
Re: Neethane Enthan Pon Vasantham.
app_engine Wed Oct 24, 2012 9:49 pm
Samantha ammaNi wrote:
On Ilaiyaraaja's music... "Amazing to say the least every song is heart warming and the visuals of GVM complement them to give us all a treat."
As per Jeeva's blog:
jiiva.livejournal.com/69303.html
Re: Neethane Enthan Pon Vasantham.
sagi Thu Oct 25, 2012 5:52 pm
Kaatrai konjam while coming to work - What a delicious song. No wonder this is GPM's favorite out of all. Unbelievably imaginative. Wonder how did he even conceive this. So rich and wonderful. And he is not the kind who spends days on a single song trying various instruments rhythm patterns etc. to see what fits best and what's catchy - which is what other MDs invariably do.
But I am a little sad that the album has not caught on with the youth as much as I expected it to be. The movie becoming a hit is doubtful too which means the songs will be short lived among the general fublic. I don't think they deserve anything better. Their loss.
Re: Neethane Enthan Pon Vasantham.
app_engine Thu Oct 25, 2012 5:59 pm
என்னய்யா நடக்குது இங்க?
ஜீவா சொல்றாரு "என்னோடு வா வா" பாட்டுக்கு இப்போ தான் ஷூட்டிங் நடக்குதாமாம்...
Look at this link:
jiivafanpage.wordpress.com/2012/10/25/indiaglitz-winners-nep-shooting-spot/
Winner of the contest announced earlier by IndiaGlitz got a chance to be at the shooting spot of Neethaane En Ponvasantham recently.
The contest was conducted a week ago and lucky winners spent an entire day with the Neethaane En Ponvasantham team. They were excited to meet the team including the likes of Jiiva, Nani, Samantha and Director Gautham Menon. The winners even had an opportunity to have a brief chat with the stars and also had a chance to take photos with them. The shooting was being done for the song ‘Yennodu Va Va’ which has been popular among listeners. Check out the gallery of NEP contest winners.
And the blog has pictures as well
This throws an interesting possibility - of Gautam getting under pressure to re-shoot, after the tremendous response to the music. (IIRC, they showed some portions of the video of the 'ennOdu vA vA' song in the audio release concert...which was quite ordinary, Jeeva telling Santhanam about the song he heard in the corresponding Telungu film and some typical niRpu-nadappu kind of shots).
Re: Neethane Enthan Pon Vasantham.
app_engine Thu Oct 25, 2012 6:33 pm
Nerd wrote: The movie becoming a hit is doubtful too
:-)
I think Gautam fears the same and is possibly reworking. There were earlier rumors that it will be a Deepavali release (but then another set of rumors that "shot down" NEPV for Deepavali by thuppAkki).
Well, two some-what-biggies have already got released (thANdavam, mARRAn). Three more remain -thuppAkki, viswaroopam, kOchchadaiyAn- with which Gautam won't want to compete. Of these, thuppAkki is advertised to be for Deepavali. The other two are not very clear of coming out in 2012.
Obviously Gautam may have more insider info on Viswaroopam / kOchachadaiyAn (or 3D Sivaji) and has to be planning to release his movie accordingly and not fight with biggies...
Re: Neethane Enthan Pon Vasantham.
plum Thu Oct 25, 2012 10:01 pm
I think it is just another album for youththu. I agree with Nerd - youththu didnt take to it as much as it was hyped.
pOna vAram team outingla pOnOm. Teamla enakku aVlavA pidkkadha oru team lead(reporting to me) was asked to choose the songs to be played. That poNNu is relatively not youtthu. appO, enakku pudicha innoru team member(proper today's youththu thala fan) butted in and said "ivangaLA? ivangaLai vuttA andha NEPV songs pOttuduvAnga. #orEthe bore".
Ofcourse, officela "who is the ilyaraj"-nu maindain paNdradhAla (basically iyAm northindian in office) oNNum pEsa mudiyala.
But andha oru nodila, sila pala hierarchical changes mindla Odiruchu.
andha team lead pOnnukku : "enakku theriyAma unakkuLLa ipdi oNNu irundhirukku pArEn. #increment_at_Endofyear"
andha nalla theramasaali payyanukku: "mavanE, unakku oru nAL Appu irukkudi!"
Re: Neethane Enthan Pon Vasantham.
plum Thu Oct 25, 2012 10:03 pm
Meanwhile, in kuttichuvaru, veRRI IlayaanidhE!
idhai padiyunga modhalla
"Nerd, adhE!
The cd pack I bought also came with a bonus cd with the VA songs.
I listened to both a lot in the last few weeks.
aiyyam thiribaRa sollalaam: NEPV
padikkiRa padam pOdhaadhu dA
thiruvula iRangi padi dA "
- by erstwhile vaaranam aayiram poster bearer and Harris Jayaraj fan club chairman P_R
Re: Neethane Enthan Pon Vasantham.
app_engine Thu Oct 25, 2012 11:21 pm
plum wrote: officela "who is the ilyaraj"-nu maindain paNdradhAla
:rotfl:
Re: Neethane Enthan Pon Vasantham.
sagi Thu Oct 25, 2012 11:32 pm
Yeah, I was 100% sure NEPV will live up to P_R's expectations. In fact anybody who concentrates a little while listening to music.
Re: Neethane Enthan Pon Vasantham.
Admin Fri Oct 26, 2012 7:46 am
plum, your office story.
Re: Neethane Enthan Pon Vasantham.
app_engine Fri Oct 26, 2012 3:52 pm
இன்னும் எத்தனை தடவை ஷூட்டிங் முடிப்பாங்கன்னு தெரில...
Look at this news:
timesofindia.indiatimes.com/entertainment/regional/telugu/news-interviews/Gautham-Menons-YVM-wrapped-up/articleshow/16963017.cms
Gautham Menon's YVM wrapped up
Gautham Menon's romantic entertainer Yeto Vellipoyindi Manasu (YVM) has completed its entire shooting. The film is also nearing post production works and the director is planning to release the movie simultaneously in Telugu and Tamil either on November 30 or in the first week of December. Although these dates have been locked by the makers, an official announcement is awaited on the film's release.
The music of the film, composed by maestro Ilayaraja, received great response and couple of numbers have also topped the chartbusters. Yeto Vellipoyindi Manasu (Neethaane En Ponvasantham in Tamil) has Nani and Samantha playing the lead role while Jiiva will be seen in the Tamil version. M. S. Prabhu is the Cinematographer and Editing is handled by Anthony. The teasers have already generated good buzz and film buffs are eagerly waiting to see the lead pair's romantic journey on screen.
கவுண்டமணி in நான் பாடும் பாடல் climax:
"எப்படா கடா வெட்டுவீங்க?"
Re: Neethane Enthan Pon Vasantham.
kv Fri Oct 26, 2012 4:34 pm
Some weeks back a couple of 'senior' dudes sang pudikkala maamu on fooper finger. That's your 'musical quality and youth connect' certification, fellers!
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https://www.outlookindia.com/art-entertainment/olympic-fever-cinematic-fervour-seven-films-that-bare-all-about-the-olympics
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Olympic Fever, Cinematic Fervour: Seven Films That Bare All About The Olympics
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[
"movies on olympics",
"olympics 2024",
"paris olympics 2024",
"chariots of fire",
"bhaag milkha bhaag",
"munich movie",
"unbroken",
"i",
"tonya"
] | null |
[
"Apeksha Priyadarshini",
"Outlook Sports Desk"
] |
2024-08-01T15:00:53.014000+05:30
|
While several landmark sports films have the Olympics as the pivot of their premise, there are also films from other genres like historical dramas and war films, which are set with the Olympic games as their backdrop
|
en
|
/favicon.ico
|
Outlook India
|
https://www.outlookindia.com/art-entertainment/olympic-fever-cinematic-fervour-seven-films-that-bare-all-about-the-olympics
|
The Olympic Games have historically been a subject of fascination for filmmakers across the world for almost a century. This is not just because of the spectacular stories of sportspersons and their journeys to this internationally significant event, but also because of how politically charged these games have been, as global platforms for the voices of individuals and their communities. While several landmark sports films have the Olympics as the pivot of their premise, there are also films from other genres like historical dramas and war films, which are set with the Olympic games as their backdrop. The 2024 Olympic games are currently underway in Paris and many of the stories emerging from the event already sound like possible plots for grand cinematic renditions in the near future. Now is a great time to look back at some of the many interesting films around the Olympic games that have really turned this sporting event into a stage, where a multi-faceted history of the human race perpetually unfolds.
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https://dbpedia.org/page/Samantha_Ruth_Prabhu
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en
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About: Samantha Ruth Prabhu
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Samantha Ruth Prabhu (formerly: Samantha Akkineni; born 28 April 1987) is an Indian actress who mainly works in Telugu and Tamil film industries. She is a recipient of several awards, including four South Filmfare Awards, six South Indian International Movie Awards and two Andhra Pradesh State Nandi Awards. She has established herself as one of the leading actresses in Telugu and Tamil cinema. She is the founder of Pratyusha Support and Saaki World. Samantha married actor Naga Chaitanya in 2017, who announced their separation in October 2021.
|
DBpedia
|
http://dbpedia.org/resource/Samantha_Ruth_Prabhu
|
dbo:abstract
سامانثا أكينيني هي ممثلة هندية، ولدت في 28 أبريل 1987 بتشيناي في الهند. من الجوائز التي نالتها CineMAA Awards سنة 2012 وFilmfare Award for Best Female Debut – South وSantosham Best Actress Award وVijay Award for Best Actress . (ar)
Samantha Akkineni ( nacida el 28 de abril de 1987) es una actriz y modelo india . Ha establecido una carrera en industrias de película, y ha ganado varios premios que incluyen cuatro Filmfare Premios. Ha emergido como actriz principal en la industria cinematográfica del sur de la India. (es)
Samantha Ruth Prabhu, née le 28 avril 1987 à Chennai, en Inde, est une actrice indienne, également modèle. Elle a établi sa carrière dans les industries du cinéma télougou et tamoul, et est récipiendaire de quatre prix Filmfare Awards. (fr)
Samantha Ruth Prabhu (formerly: Samantha Akkineni; born 28 April 1987) is an Indian actress who mainly works in Telugu and Tamil film industries. She is a recipient of several awards, including four South Filmfare Awards, six South Indian International Movie Awards and two Andhra Pradesh State Nandi Awards. She has established herself as one of the leading actresses in Telugu and Tamil cinema. Samantha worked part-time on modeling assignments while pursuing a degree in commerce. She soon received offers for film roles and made her acting debut in Gautham Vasudev Menon's critically acclaimed Telugu romance film, Ye Maaya Chesave (2010), which fetched her the Filmfare Award for Best Debut Actress and a Nandi Award. Samantha then became the second actress ever to win both the Filmfare Award for Best Actress – Tamil and the Filmfare Award for Best Actress – Telugu in the same year, for her performances in the films Neethaane En Ponvasantham (2012) and Eega (2012). Since then, she has primarily opted to appear in the leading female role in hero-centric Telugu and Tamil films, earning box office success with films including Dookudu (2011), the family dramas Seethamma Vakitlo Sirimalle Chettu (2012) and Attarintiki Daredi (2013) and AR Murugadoss's Tamil action film, Kaththi (2014). Her work in the film A Aa (2016) also won positive reviews and won Samantha her fourth Filmfare Award, while her next films Theri (2016), 24 (2016), Mersal (2017), Rangasthalam (2018), and Mahanati (2018) also were commercially successful. She won further critical acclaim for her roles in 2019 releases, Super Deluxe, Majili, Oh! Baby and for her only 2020 film, Jaanu. She is the founder of Pratyusha Support and Saaki World. Samantha married actor Naga Chaitanya in 2017, who announced their separation in October 2021. (en)
Samantha Ruth Prabhu (kelahiran 28 April 1987) adalah seorang aktris film dan peragawati India, yang biasanya berkarya dalam industri film Telugu dan Tamil. Samantha dibesarkan di Chennai dan memulai kariernya sebagai peragawati pada akhir masa remajanya. Meskipun tampil pada karya Ravi Varman pada 2007, perilisan pertamanya yang mendapatkan sambutan dari para kritikus adalah film percintaan Telugu 2010, Ye Maaya Chesave yang disutradarai oleh Gautham Menon, yang membuatnya mendapatkan Penghargaan Filmfare untuk Debut Perempuan Terbaik – Selatan. Ia kemudian tampil pada beberapa film Telugu yang sukses secara komersial. Pada 2013, Samantha menjadi aktris kedua setelah Revathi yang memenangkan dan Penghargaan Filmfare untuk Aktris Telugu Terbaik pada tahun yang sama, masing-masing untuk film Neethaane En Ponvasantham dan Eega. Ia mendapatkan penghargaan SIIMA untuk Aktris Terbaik - Telugu untuk Attarintiki Daredi pada 2014. (in)
서맨사 아키네니(Samantha Akkineni, 1987년 4월 28일 ~ )는 인도의 배우, 모델이다. (ko)
Samantha Ruth Prabhu (Chennai, 28 april 1987) is een Indiaas actrice die voornamelijk in de Telugu,- en Tamil filmindustrie actief is. (nl)
Саманта Аккинени (англ. Samantha Akkineni, в девичестве Саманта Рут Прабху; род. 28 апреля 1987 года, Мадрас, Индия) — индийская актриса и модель, снимающаяся в фильмах на телугу и тамильском языке. Дебютировала в фильме «Как ты смогла меня очаровать?» 2010 года. Лауреат нескольких южно-индийских кинопремий, в том числе двух Filmfare Awards South за лучшую женскую роль в 2013 году. (ru)
Саманта Аккінені (англ. Samantha Akkineni, в дівоцтві Саманта Рут Прабгу; нар.. 28 квітня 1987 року, Мадрас, Індія) — індійська актриса і модель, знімається у фільмах на телугу і тамільською мовою. Дебютувала у фільмі «Як ти змогла мене зачарувати?» 2010 року. Лауреат декількох південно-індійських кінопремій, у тому числі двох Filmfare Awards South за найкращу жіночу роль у 2013 та 2017 роках. (uk)
rdfs:comment
سامانثا أكينيني هي ممثلة هندية، ولدت في 28 أبريل 1987 بتشيناي في الهند. من الجوائز التي نالتها CineMAA Awards سنة 2012 وFilmfare Award for Best Female Debut – South وSantosham Best Actress Award وVijay Award for Best Actress . (ar)
Samantha Akkineni ( nacida el 28 de abril de 1987) es una actriz y modelo india . Ha establecido una carrera en industrias de película, y ha ganado varios premios que incluyen cuatro Filmfare Premios. Ha emergido como actriz principal en la industria cinematográfica del sur de la India. (es)
Samantha Ruth Prabhu, née le 28 avril 1987 à Chennai, en Inde, est une actrice indienne, également modèle. Elle a établi sa carrière dans les industries du cinéma télougou et tamoul, et est récipiendaire de quatre prix Filmfare Awards. (fr)
서맨사 아키네니(Samantha Akkineni, 1987년 4월 28일 ~ )는 인도의 배우, 모델이다. (ko)
Samantha Ruth Prabhu (Chennai, 28 april 1987) is een Indiaas actrice die voornamelijk in de Telugu,- en Tamil filmindustrie actief is. (nl)
Саманта Аккинени (англ. Samantha Akkineni, в девичестве Саманта Рут Прабху; род. 28 апреля 1987 года, Мадрас, Индия) — индийская актриса и модель, снимающаяся в фильмах на телугу и тамильском языке. Дебютировала в фильме «Как ты смогла меня очаровать?» 2010 года. Лауреат нескольких южно-индийских кинопремий, в том числе двух Filmfare Awards South за лучшую женскую роль в 2013 году. (ru)
Саманта Аккінені (англ. Samantha Akkineni, в дівоцтві Саманта Рут Прабгу; нар.. 28 квітня 1987 року, Мадрас, Індія) — індійська актриса і модель, знімається у фільмах на телугу і тамільською мовою. Дебютувала у фільмі «Як ти змогла мене зачарувати?» 2010 року. Лауреат декількох південно-індійських кінопремій, у тому числі двох Filmfare Awards South за найкращу жіночу роль у 2013 та 2017 роках. (uk)
Samantha Ruth Prabhu (formerly: Samantha Akkineni; born 28 April 1987) is an Indian actress who mainly works in Telugu and Tamil film industries. She is a recipient of several awards, including four South Filmfare Awards, six South Indian International Movie Awards and two Andhra Pradesh State Nandi Awards. She has established herself as one of the leading actresses in Telugu and Tamil cinema. She is the founder of Pratyusha Support and Saaki World. Samantha married actor Naga Chaitanya in 2017, who announced their separation in October 2021. (en)
Samantha Ruth Prabhu (kelahiran 28 April 1987) adalah seorang aktris film dan peragawati India, yang biasanya berkarya dalam industri film Telugu dan Tamil. Samantha dibesarkan di Chennai dan memulai kariernya sebagai peragawati pada akhir masa remajanya. Meskipun tampil pada karya Ravi Varman pada 2007, perilisan pertamanya yang mendapatkan sambutan dari para kritikus adalah film percintaan Telugu 2010, Ye Maaya Chesave yang disutradarai oleh Gautham Menon, yang membuatnya mendapatkan Penghargaan Filmfare untuk Debut Perempuan Terbaik – Selatan. Ia kemudian tampil pada beberapa film Telugu yang sukses secara komersial. (in)
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https://www.indiatimes.com/entertainment/originals/maharaja-south-indian-and-bollywood-movies-with-best-climax-638301.html
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en
|
Can't get over the mind-blowing climax of Maharaja? 9 other films you should watch asap
|
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[
"Maharaja",
"Maharaja climax",
"Maharaja ending",
"Vijay Sethupathi",
"Anurag Kashyap",
"movies with best climax",
"plot twist",
"best climax",
"twisted ending",
"south indian movie",
"bollywood movies",
"top South Indian movies",
"best South Indian thriller movies",
"South Indian movies on OTT",
"maharaja ott release",
""
] | null |
[
"Garima Satija"
] |
2024-07-18T11:48:11+05:30
|
If you cannot get over the mind-blowing climax of Vijay Sethupathi starrer Maharaja, here are other South Indian as well as Bollywood films you should watch for unforgettable climax sequences.
|
en
|
/apple-touch-icon.png
|
Indiatimes
|
https://www.indiatimes.com/entertainment/originals/maharaja-south-indian-and-bollywood-movies-with-best-climax-638301.html
|
Vijay Sethupathi's 50th movie Maharaja has turned out to be a game-changer. Everyone who has watched the movie is raving about the film - from Anurag Kashyap's acting to Vijay Sethupathi's stellar performance, from the mind-blowing climax to the heavy emotional wallop. In case you missed watching the Nithilan Saminathan directorial in theatres, the emotional revenge drama is streaming on Netflix and is already dominating the charts on the platform. In case you also cannot get over the jaw-dropping climax of the movie, here are nine movies you should watch asap.
Can't get over Maharaja's climax? Watch these 9 films asap
1. Super Deluxe
The 2019 movie starring Vijay Sethupathi, Fahadh Faasil, Samantha Ruth Prabhu and Ramya Krishnan among others is about three interconnected plots that merge in the end. The climax sequence will definitely blow your mind.
2. Soodhu Kavvum
The black comedy crime comedy movie starring Vijay Sethupathi, Ashok Selvan and Bobby Simha, which is hailed as one of the best films of recent times. The plot of the movie revolves around a politician's son who gets kidnapped after planning his own kidnapping to extract money from his father. Problems arise when an insane cop is brought to handle the case.
3. Kurangu Bommai
The 2017 Tamil film starring Vidharth, Bharathiraja and Delna Davis is a story of a loyal worker and a boss who exploits him for wrong doings that lands him in trouble. It is said that the film had one of the best climaxes.
4. Iratta
One of the best Malayalam movies of 2023, Iratta is an emotional suspense filled thriller which stars Joju George in dual roles along with Anjali, Arya Arya Salim and Srikant Murali. The story revolves around twins, one of whom dies on duty. The investigation into the case leads to a lot of secrets including the real reason for his death.
Also Read: 5 reasons why Vijay Sethupathi & Anurag Kashyap's Maharaja on Netflix is blowing people's minds
5. Ratsasan
The movie starring Vishnu Vishal and Amala Paul is about a police officer who is looking for a mysterious killer who targets school girls and murders them brutally. The film was later remade in Hindi as Cuttputlli.
6. Andhadhun
This movie starring Ayushmann Khurrana and Radhika Apte will leave you scratching your head throughout and perhaps even after you watch the ending. Everyone has their own theories on how this murder mystery ends.
Also Read: From Maharaja to Mandakini, South OTT releases to watch this week on Prime Video, Netflix, Hotstar and other platforms
7. Drishyam
The film franchise which is set for a Hollywood remake is hailed as one of the best works in Indian cinema. Starring Mohanlal in the Malayalam version and Ajay Devgn in the Hindi film, the climax of the murder mystery is mind-blowing.
8. Ugly
Directed by Anurag Kashyap, the Indian thriller film starring Rahul Bhat, Ronit Roy, Girish Kulkarni and Siddhanth Kapoor among other investigates the case of a missing girl and sheds light on human greed. The ending is unpredictable.
Also Read: Maharaja OTT release: Here's when and where to watch Vijay Sethupathi and Anurag Kashyap's movie
9. Kahaani
One of the best films of Vidya Balan, Kahaani has so many twists and turns that you will never be able to unravel the climax of the movie. The story of film revolves around a woman who is looking for the traces of her husband who has gone missing. The film has one of the best climaxes ever.
Also Read: From Kahaani To Merry Christmas, 11 Bollywood Movies With Biggest Plot Twists
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https://www.behindwoods.com/tamil-movies-slide-shows/movie-4/top-20-cinematographers/ms-prabhu.html
|
en
|
Top 20 Cinematographers in Tamil
|
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[
"Santosh Sivan",
"Rajiv Menon",
"PC Sreeram",
"Nirav Shah",
"Ravi K Chandran",
"Rathnavelu",
"Ramji",
"Velraj",
"Manoj Paramahamsa",
"PS Vinod",
"MS Prabhu",
"V Manikandan",
"Ravi Varman",
"Senthil Kumar",
"R.D. Rajasekhar",
"Richard M Nathan",
"Madhi",
"Tirru",
"Balasubramaniam"
] | null |
[] | null |
MS Prabhu - Top 20 Cinematographers
|
http://www.behindwoods.com/favicon.ico
| null |
It was Thomas Edison who first patented the kinetoscope in 1891 which included nearly all the essential features of the modern cine – camera. Four years later, the Lumiere brothers launched the cinematographe, wherein films were projected onto a big screen. And in this manner, modern cinema was born. Cinematography is the art of making films and it is the cinematographer’s job to bring the director’s vision to life. As an art form, cinematography has taken huge technological strides and making magic on the screen with the help of a camera has never been easier or more exciting. Our cinematographers have the distinction of being able to hold their own with the best from around the globe.
Let us take a look at the current top 20 cinematographers in Tamil.
Rankings based on :
1. Past projects.
2. Future projects.
3. Market value.
4. National acclaim.
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https://www.imdb.com/name/nm1179054/
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M.S. Prabhu
|
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[
"M.S. Prabhu"
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M.S. Prabhu. Cinematographer: Ayan. M.S. Prabhu is known for Ayan (2009), Ondhu Romantic Crime Kathe (2015) and Diesel.
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en
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IMDb
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https://www.imdb.com/name/nm1179054/
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https://www.jagranjosh.com/general-knowledge/ar-rahman-biography-1641449206-1
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en
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AR Rahman Biography: Birth, Age, Real Name, Family, Education, Career, Religion, Net Worth, Oscars, and More
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] | null |
[
"Arfa Javaid"
] |
2022-01-06T13:46:48+05:30
|
AR Rahman was born in Madras, Tamil Nadu, on 6 January 1967. And turned 55 years today, know about his birth, family, education, awards, religion, net worth, and more here.
|
en
|
Jagranjosh.com
|
https://www.jagranjosh.com/general-knowledge/ar-rahman-biography-1641449206-1
|
AR Rahman Biography: AR Rahman is an Indian composer, singer, songwriter, music producer, musician, multi-instrumentalist, and philanthropist. As the Mozart of Madras turned 55 today, we take a look at his life.
AR Rahman Biography
Birth 6 January 1967 Real Name AS Dileep Kumar Full Name Allah Rakha Rahman (A.R. Rahman) Age 55 years Religion Islam (converted from Hinduism in his early 20s) Family
Musician RK Shekhar (Father)
Kareema Begum (Mother, born as Kashturi)
Education
Padma Seshadri Bala Bhavan
Madras Christian College, Chennai
Madras Christian College Higher Secondary School
Trinity College of Music, Oxford University, UK
Wife Saira Banu Children
Khateeja Rahman (daughter)
Rahima Rahman (daughter)
A.R. Ameen (son)
Net Worth $24 million USD Awards
Padma Shri
Padma Bhushan
2 Oscars
National Awards
AR Rahman Biography: Birth, Age, Real Name, Family, and Education
AR Rahman was born as AS Dileep Kumar on 6 January 1967 in Madras, Tamil Nadu to musician RK Shekhar, and Kareema Begum (born as Kashturi). Rahman began learning piano at the age of four and assisted his father in the studio.
When Rahman was nine, his father passed away. Rahman who was then studying in Padma Seshadri Bala Bhavan started working to support his family. Furthermore, the family rented out his father's musical instruments to earn a living.
As Rahman was working hard to make the ends meet, he failed the exams. Mrs. YGP, the then principal of the school summoned his mother and told her to take him to the streets of Kodambakkam to beg and not to send him to the school anymore.
Post this incident, Rahman attended MCN for a year and then Madras Christian College Higher Secondary School. However, Rahman dropped out of school with the permission of his mother to pursue a career in music.
He later earned a scholarship from Trinity College London to the Trinity College of Music and graduated with a diploma in Western classical music from the music school in Madras.
Rahman is a practicing Muslim who converted from Hinduism in his 20s along with his family and changed his name to Allah Rakha Rahman (A.R. Rahman) from AS Dileep Kumar.
AR Rahman Wife and Children
AR Rahman married Saira Banu in 1995 and the couple gave birth to three children-- Khateeja Rahman (daughter), Rahima Rahman (daughter), and A.R. Ameen (son).
AR Rahman Religion
After the untimely death of his father, the family went through difficult times. AR Rahman who was a practicing Hindu converted to Islam in his 20s along with his family.
Sufism attracted the family and before the release of Rahman's first major project, Roja, the family converted to Islam. His mother Kareema Begum even insisted on changing Rahman's name in the film’s credits at the last minute and was very particular about it. She would’ve rather not had his name appear at all, than not have his new name appear on the credits.
A lot of people ask AR Rahman if they can become successful after converting to Islam but he prefers to keep quiet. He once said, "It’s not about converting to Islam, it’s about finding the spot and seeing whether it presses the button in you. The spiritual teachers, the Sufi teachers, taught me and my mom things that are very, very special. There are special things in every faith, and this is the one we chose. And we stand by it.”
AR Rahman Music Career
At the age of nine, AR Rahman accidentally played a tune on the piano when he was with his father in the studio, which was later developed by R.K. Shekhar into a complete song.
Initially, Rahman was trained under Master Dhanraj, and at the age of 11, he started playing the orchestra of M.K. Arjunan who was a Malayalam music composer and his father's close friend. Soon after this, he began working with several composers including M. S. Viswanathan, Vijaya Bhaskar, Ilaiyaraaja, Ramesh Naidu, Vijay Anand, Hamsalekha, and Raj–Koti.
Initially, AR Rahman composed scores for documentaries and jingles for TV ads and got the much-awaited break in 1992 when director Mani Ratnam approached him to compose the score and soundtrack for Roja, a Tamil film. He was later signed by Cinematographer Santosh Sivan for Yoddha, a Malayalam film.
The following year, AR Rahman won his first National Award for the best music director for Roja. He followed this with successful scores and songs for Tamil Cinema. Rahman later collaborated with director Bharathiraaja and successfully produced songs for Tamil rural folk-inspired films.
He attracted a Japanese audience with the Tamil film Muthu. His soundtracks started gaining recognition at the International level too as they were a combination of Western classical music, Carnatic and Tamil traditional and folk-music traditions, jazz, reggae, and rock music.
His soundtrack album for Minsaara Kanavu, the Chennai production, won him his second National Film Award for Best Music Direction and a South Filmfare Award for Best Music Direction in a Tamil film in 1997. He has won six South Filmfare Awards for Best Music Direction.
He went on working with Indian poets and lyricists such as Javed Akhtar, Gulzar, Vairamuthu, and Vaali, and has produced commercially successful soundtracks with directors Mani Ratnam and S. Shankar.
In 2005, AR Rahman expanded his Panchathan Record Inn studio, a recording and mixing studio that he started in his backyard in 1992. In 2006, he launched his own music label, KM Music.
He scored for the Mandarin-language film Warriors of Heaven and Earth in 2003, and co-scored with Shekhar Kapur for the British film, Elizabeth: The Golden Age, in 2007.
His first Hollywood film score was that for 2009 comedy, Couples Retreat. He won the BMI London Award for Best Score. The turning point in his life came when he composed music for the 2008 British film, Slumdog Millionaire, winning two Oscars. The songs "Jai Ho" and "O... Saya" from its soundtrack were an international hit.
By the end of 2012, Rahman's music for Mani Ratnam's Kadal topped the iTunes India chart for December.
His background scores are a combination of subtle orchestration and ambient sounds. Some of the films which fetched him an appreciation for background scores include Roja, Bombay, Iruvar, Minsara Kanavu, Dil Se.., Taal, Lagaan, The Legend of Bhagat Singh, Swades, Rang De Basanti, Bose: The Forgotten Hero, Guru, Jodhaa Akbar, Raavanan, Vinnaithaandi Varuvaayaa, Rockstar, Enthiran, Kadal, Kochadaiiyaan, and I.
A. R. Rahman received two Academy Awards for Slumdog Millionaire and two Academy Award nominations for 127 Hours. In 2018, Rahman received his third National Award for the background score of Mom.
AR Rahman Non-film Projects
Along with composing songs and scores for films and documentaries in various languages, Rahman has also been involved in non-film projects.
In 1997, on the occasion of India's 50th Independence Day, Rahman released his album Vande Mataram. It is Sony Music India's largest-selling non-film album to date.
In 1999, AR Rahman partnered with choreographers Shobana and Prabhu Deva and a Tamil film-dancing troupe to perform with Michael Jackson at his Michael Jackson and Friends concert in Munich, Germany.
In 2002, he composed the music for his first stage production, Bombay Dreams. The music was commissioned by Andrew Lloyd Webber.
Rahman also collaborated with the Finnish folk music band Värttinä for the Toronto production of The Lord of the Rings.
Since 2004, Rahman has performed before audiences in Singapore, Australia, Malaysia, Dubai, the United Kingdom, Canada, the United States, and India.
On 24 November 2009, AR Rahman performed at a White House state dinner arranged by US President Barack Obama during an official visit by the then Indian Prime Minister Manmohan Singh.
In 2010, he composed "Jai Jai Garvi Gujarat" on the 50th anniversary of the formation of Gujarat State. He also composed "Semmozhiyaana Thamizh Mozhiyaam" as part of the World Classical Tamil Conference 2010.
He even composed the theme song, Jiyo Utho Bado Jeeto, for the 2010 Commonwealth Games.
In 2012, Rahman composed a Punjabi song for the London Olympics opening ceremony, directed by Danny Boyle. The song was a part of a medley showcasing Indian influence in the UK.
The same year, he along with Shekhar Kapoor launched Qyuki, a networking site that is a platform for story writers to exchange their thoughts.
In 2017, he released a 19-minute orchestral composition The Flying Lotus. It features demonetization and includes Narendra Modi's speech.
The following year, he appeared as the host in the 5-episode series of Amazon Prime Video titled "Harmony". The same year, he launched India's first YouTube Original, ARRived. The series with 13 episodes aimed to find the best singing talent from across the country. Rahman is accompanied by Shaan, Vidya Vox, and Clinton Cerejo as the judges.
On 16 January 2019, Maruti Suzuki India Limited launched NEXA Music. 24 artists were picked and mentored by Rahman and Clinton Cerejo to create international music in India.
He collaborated with the Irish rock band to release a single, Ahimsa, in December 2019. The song was intended to celebrate the ethnic and spiritual diversity across India.
AR Rahman's Philanthropic Work
AR Rahman is involved in a number of charitable causes. We are listing some of them below:
He was the global ambassador of the Stop TB Partnership, a WHO project. In 2008, he opened the KM Music Conservatory with an audio-media education facility to train aspiring musicians in vocals, instruments, music technology, and sound design.
He founded Sunshine Orchestra with a vision to introduce India's first symphony orchestra where economically backward children can get free music education from the KM Music Conservatory.
In 2019, Rahman performed a Sufi Benefit Concert at the annual New York gala of Pratham, which focuses on imparting quality education to India's underprivileged children. It is one of the largest non-governmental organizations in India.
Biographies on AR Rahman
1- A. R. Rahman: The Spirit of Music by Nasreen Munni Kabir in 2011.
2- A. R. Rahman: The Musical Storm by Mathai Kamini in 2009.
AR Rahman Awards
AR Rahman has won several awards at the national and international levels. Some of them are listed below:
Awards by the Government of India
Year
Award
2000
Padma Shri
2010
Padma Bhushan
State Government Awards
Year
Award
Awarded By
Awarded For
1995
Kalaimamani
Government of Tamil Nadu
Awarded for contributions to music
2001
Awadh Samman
Government of Uttar Pradesh
Awarded for exceptional and meritorious contribution to music
2004
National Lata Mangeshkar Award
Government of Madhya Pradesh
Awarded for Contributions to music
Academy Awards or Oscars
Year
Film
Category
2009
Slumdog Millionaire
Best Original Score
Best Original Song (Shared with Gulzar for "Jai Ho")
BAFTA Awards
Year
Film
Category
2009
Slumdog Millionaire
Best Original Score
Golden Globe Awards
Year
Film
Category
2009
Slumdog Millionaire
Best Original Score
Grammy Awards
Year
Film
Category
2009
Slumdog Millionaire
Best Compilation Soundtrack Album for a Motion Picture, Television, or Other Visual Media
Best Song Written for a Motion Picture, Television, or Other Visual Media (For "Jai Ho")
World Soundtrack Awards
Year
Film
Category
2009
Slumdog Millionaire
Best Original Song Written Directly for a Film
2011
127 Hours
The Public Choice Award
2017
Viceroy's House
The Public Choice Award
National Film Awards
Year
Film
Category
1992
Roja
Best Music Direction
1996
Minsara Kanavu
2001
Lagaan
2002
Kannathil Muthamittal
2017
Kaatru Veliyidai
2017
Mom
Best Background Score
Tamil Nadu State Film Awards
Year
Film
Category
1992
Roja
Best Music Direction
1993
Gentleman
1994
Kadhalan
1996
Minsaara Kanavu
1999
Sangamam
2014
Kaaviya Thalaivan
Filmfare Awards
Soundtrack
Year
Film
Category
1996
Rangeela
Best Music Director
1999
Dil Se..
2000
Taal
2002
Lagaan
2003
Saathiya
2007
Rang de Basanti
2008
Guru
2009
Jaane Tu... Ya Jaane Na
2010
Delhi 6
2012
Rockstar
Background Score
Year
Film
Category
2003
The Legend of Bhagat Singh
Best Background Score
2005
Swades
2008
Guru
2009
Jodhaa Akbar
Special Awards
Year
Category
1995
Filmfare RD Burman Award for New Music Talent
Filmfare Awards South
Tamil
Year
Film
Category
1993
Roja
Best Music Director
1994
Gentleman
1995
Kadhalan
1996
Bombay
1997
Kadhal Desam
1998
Minsaara Kanavu
1999
Jeans
2000
Mudhalvan
2001
Alaipayuthey
2006
Sillunu Oru Kadhal
2007
Sivaji: The Boss
2011
Vinnaithaandi Varuvaayaa
2014
Kadal
2016
I
2017
Achcham Yenbadhu Madamaiyada
2018
Mersal
Telugu
Year
Film
Category
2011
Ye Maaya Chesave
Best Music Director
IIFA Awards
Best Music Director
Year
Film
2000
Taal
2002
Lagaan
2003
Saathiya
2007
Rang De Basanti
2008
Guru
2009
Jodhaa Akbar
2012
Rockstar
Best Background Score
Year
Film
2008
Guru
2009
Jodhaa Akbar
2012
Rockstar
Special Awards
Year
Category
2008
Outstanding Contribution by an Indian in International Cinema
2009
IIFA Music Director of the Decade
Honorary Doctorate
Year
Honoring body
2009
Anna University]
2009
Aligarh University
2009
Middlesex University
2014
Royal Conservatoire of Scotland
2014
Berklee College of Music
Also Read | Ratan Tata Biography: Birth, Age, Education, Family, Successor, Net Worth, Awards, Quotes, and More
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Citadel Honey Bunny Teaser: Samantha Ruth Prabhu And Varun Dhawan Go Undercover, Do Not Miss The Last Shot!
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[
"CITADEL HONEY BUNNY RELEASE DATE",
"SAMANTHA RUTH PRABHU",
"VARUN DHAWAN",
"CITADEL HONEY BUNNY SERIES",
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"CITADEL HONEY BUNNY TEASER: SAMANTHA AND VARUN GO UNDERCOVER",
"DO NOT MISS THE LAST SHOT!"
] | null |
[
"ETV Bharat"
] |
2024-08-01T16:13:37+05:30
|
The teaser of Citadel: Honey Bunny, featuring Samantha Ruth Prabhu and Varun Dhawan, has been released. Directed by Raj and DK, the series follows the duo's thrilling spy missions across the globe, showcasing various transformations and disguises, with a fresh rendition of the song Raat Baaki playing in the background.
|
en
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/favicon.ico
|
ETV Bharat News
|
https://www.etvbharat.com/en/!entertainment/citadel-honey-bunny-teaser-samantha-ruth-prabhu-and-varun-dhawan-go-undercover-do-not-miss-the-last-shot-enn24080104721
|
Hyderabad: The makers of the upcoming series Citadel: Honey Bunny, featuring Samantha Ruth Prabhu and Varun Dhawan, dropped its teaser and announced the release date on Thursday. The series, helmed by the director duo Raj and DK, centres around the spying escapades of its lead characters, played by Samantha and Varun, as they embark on a thrilling adventure across various global locations.
The teaser showcases the duo engaging in a series of transformations and disguises while carrying out their covert missions. A fresh version of the song Raat Baaki plays in the backdrop of the video as they confront their foes. The teaser also includes notable performances by Kay Kay Menon, Saqib Saleem, and Sikandar Kher, among other actors. Fans can look forward to the release of Citadel: Honey Bunny on November 7 this year.
Raj and Dk's directorial is a spin-off of the original Citadel series, featuring Priyanka Chopra and Richard Madden. Despite the extensive promotion led by its stars, the original series received poor reviews following its premiere and failed to captivate the desired audience. Nevertheless, it has managed to secure a green light for a second season.
The Russo Brothers, famed for their work on the Avengers movies, were involved in the making of the series. Previously, it was announced that Joe Russo would return to direct the second season. However, recent reports suggest that he, along with Anthony Russo, may shift their focus back to the Marvel Cinematic Universe for upcoming Avengers projects, raising the possibility of another director stepping in for Citadel.
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https://twitter.com/illusionistChay/status/1385488369510096896
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en
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x.com
|
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[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
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3915
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https://www.indiaglitz.com/kasada-dabara-six-music-directors-composers-venkat-prabhu-chimbu-deven-yuvan-shankar-raja--news-236782
|
en
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Six leading music directors for Venkat Prabhu's next
|
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"IndiaGlitz"
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2019-05-24T00:00:00+00:00
|
Venkat Prabhu's upcoming productional venture 'Kasada Tabara,' directed by Chimbu Deven, has garnered a lot of interest from people for the unique narration of its story with six portions, with each portion having different technicians.
|
IndiaGlitz.com
|
https://www.indiaglitz.com/kasada-dabara-six-music-directors-composers-venkat-prabhu-chimbu-deven-yuvan-shankar-raja-tamil-news-236782
|
Venkat Prabhu’s upcoming productional venture ‘Kasada Tabara,’ directed by Chimbu Deven, has garnered a lot of interest from people for the unique narration of its story with six portions, with each portion having different technicians.
Famous cinematographer PC Sreeram recently revealed the names of the six cinematographers - Vijay Milton, MS Prabhu, Balasubramaniem, SR Kathiir, RD Rajashekar, and Sakthi Saravanan, who will be working on the film. The names of the six editors - Anthony, Praveen KL, Vivek Harshan, Mu Kasi Viswanathan, Raja Mohammed, and Ruben, was announced ahead of that.
The much-awaited list of the six music directors who will be working on the multiple portions has just been released by legendary music director Gangai Amaren on Twitter. The six music composers are: Yuvan Shankar Raja, Santhosh Narayanan, Sam CS, Sean Roldan, Premgi, and Ghibran.
Reports suggest that the multi-starrer will most likely feature Harish Kalyan, Aravind Akash, Premgi Amaren, Mirchi Shiva, Jai, Janani Iyer, Vijayalakshmi and Venkat Prabhu in significant roles. Produced by Venkat Prabhu under the Black Ticket company, the shooting of the film is expected to begin by the end of July.
|
||||||
3915
|
dbpedia
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0
| 72
|
https://thebiodiary.com/home/biograph/entertainment-telugu-cinema-Samantha-Ruth-Prabhu--en
|
en
|
Samantha Prabhu
|
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[
"Samantha Prabhu",
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] | null |
[
"ViaNet Media",
"The BioDairy"
] |
2023-09-18T07:00:23+05:30
|
Samantha Ruth Prabhu is an Indian actress who primarily works in Telugu and Tamil films. She is the recipient of several accolades, including four Filmfare Awards South.
|
en
|
https://thebiodiary.com/home/biograph/entertainment-telugu-cinema-Samantha-Ruth-Prabhu--en
|
Debut, breakthrough and critical acclaim (2010–2012)
Samantha began her professional film career with Gautham Vasudev Menon's Telugu film, Ye Maaya Chesave (2010). The film, simultaneously made in Tamil as Vinnaithaandi Varuvaayaa (2010), was highly anticipated prior to release, primarily due to the first time collaboration between Gautham Menon and composer A. R. Rahman. The actress successfully auditioned and was signed up for the project in August 2009. The film was shot in India and the United States, and it was released on 26 February 2010. Post-release, she revealed that Menon played a "crucial part in moulding her as an actress", teaching her how to remain natural and comfortable in front of the screen, even if she had no dialogues in a scene. In the film, Samantha played the lead character Jessie, a Malayali Saint Thomas Christian girl living in Hyderabad, with whom the male protagonist, played by Naga Chaitanya, falls in love. Upon release of the film, Samantha received highly positive reviews for her portrayal, with the film itself garnering widespread critical acclaim. Critics at Sify praised Samantha as a "scene-stealer" and her beauty as "alluring", adding, "she was the girl to watch out for." Jeevi from Idlebrain.com, wrote that "Samantha's debut is one of the best heroine debuts in Telugu cinema" and noted that the "minute expressions she gave spoke volumes about her", whilst labelling the film as a "classic". Her performance in Ye Maaya Chesave earned her first nomination for the Filmfare Award for Best Actress – Telugu and won her the Filmfare Award for Best Female Debut – South and the Nandi Special Jury Award. Samantha appeared in a cameo role in the Tamil version of the film, portraying an assistant director who becomes an actress. Both the Telugu and the Tamil versions of the films proved to be major successes, propelling Samantha to stardom. She followed up her collaborations with Gautham Menon and A. R. Rahman by appearing in the music video for the World Classical Tamil Conference 2010 promotional song, Semmozhiyaana Thamizh Mozhiyaam, which Menon directed and Rahman composed.[citation needed]
Samantha's next release was the romantic drama, Baana Kaathadi (2010), opposite Adharvaa. The film was actually the third Tamil project signed by the actress, but its release preceded the first two that she was contracted for due to delays in their completion. Samantha portrayed a student of the National Institute of Fashion Technology (NIFT), the first such role in Tamil cinema. Her next release was Ravi Varman's Moscowin Kavery (2010), originally the first film she began work on. The shooting for the film began in August 2007, with Samantha, then briefly credited with the screen name Yasodha, joining the team later in the year. In an interview held in 2008, Ravi Varman mentioned that he had decided that Samantha would be the lead actress for his film within three minutes after viewing one of her commercial assignments. He went on to describe her as an actress with "intelligence" and "potential", whilst drawing comparisons with the noted actress, Revathi. However, due to Ravi Varman's prior commitments as cinematographer in other projects, the film languished in development hell, eventually releasing in August 2010. The film earned negative reviews from critics, though Samantha's performance was credited as one of the sole highlights that the film offered. In August 2008, while still completing her last three projects, Samantha also signed up to play the lead role of a modern girl in the Narain-starrer, Pookada Ravi, which was later shelved. Samantha then went on to feature in Vamsi Paidipally's Telugu film Brindaavanam (2010) in which she played a supporting role alongside NTR Jr and Kajal Aggarwal. Her performance as Indu was well-received despite having a shorter screen time, and the film became her second successful venture in Telugu.[citation needed]
Samantha featured in the big-budget Telugu film, Dookudu (2012) alongside Mahesh Babu, which became one of the most successful Telugu films of all time. The film received positive reviews, with a critic from The Times of India stating "Samantha looks beautiful and has done a great job, though her role as Prashanthi isn't too lengthy." She received her second nomination for the Filmfare Award for Best Actress – Telugu for her performance in the film. She also subsequently made guest appearances in two of Gautham Vasudev Menon's films, first in the psychological thriller film, Nadunisi Naaygal (2011) as a mental asylum inmate and then repeated her role from Vinnaithaandi Varuvaayaa in the Hindi version of the film, Ekk Deewana Tha (2012). Her popularity in Telugu films led to Nadunisi Naaygal was dubbed and released in Telugu as Eera Gulabeelu, with Samantha featured prominently on the film's posters, despite only having a guest appearance. During the period, Samantha had also been signed two big-budget projects in Tamil, Mani Ratnam's Kadal (2013) and Shankar's I (2015), but was forced to opt out from both films, since she was suffering from a skin disease and could not work for two months during mid-2012. Samantha next featured in S. S. Rajamouli's live action Telugu-Tamil bilingual project Eega (2012) alongside Nani and Sudeep, portraying a micro artist who runs a NGO and takes revenge for the murder of her lover. As the film featured a CGI-created housefly as the main character, Samantha noted that she had to use her imagination and act accordingly. She also revealed that many heavy lights were used for the shoot of the film and she subsequently suffered skin burns, calling the process "very stressful" but "satisfying". Titled Naan Ee (2012) in Tamil, the film opened to highly positive reviews and Samantha also won high critical acclaim for her performance. A critic from The Hindu noted "Samantha blooms in the role given to her," while Jeevi of Idlebrain.com wrote her "successful run continues as she protrays the role a bereaved lover with perfection". Sify.com also praised her performance in the film, citing her "subtle expressions of love, fear and anxiety work well for the film" and that she "looks beautiful and has performed her role with consummate ease". The film went on to become a major commercial success, grossing more than ₹ 1.25 billion, and went on to be dubbed in several foreign and Indian languages.
Samantha then worked on Gautham Vasudev Menon's a trilingual romantic drama film and played the leading female role of Nithya in the Tamil, Telugu, and Hindi versions of the film, shooting scenes simultaneously back-to-back with three different actors. The Tamil version, Neethaane En Ponvasantham (2012) featured her alongside Jiiva, while Yeto Vellipoyindhi Manasu (2012) paired her opposite Nani. A further Hindi version titled Assi Nabbe Poorey Sau with Aditya Roy Kapoor was simultaneously shot with the other two films and was "60%" completed, before Menon shelved the venture after his other Hindi film, Ekk Deewana Tha, had failed at the box office. The film spanned three periods in the life of a couple, focusing on their romantic relationship at school, college and in their late twenties. Samantha revealed that she knew Gautham would want to work with her again and immediately accepted the opportunity to portray the roles when she was offered the film. She felt that she "could relate to the attributes and the circumstances the character goes through" and described Nithya's character as "close to her." To make her performance as authentic as possible, Samantha chose to dub for herself in the Tamil version of the film. The Tamil and Telugu versions of the film opened in December 2012, earning polarizing reactions. Neethane En Ponvasantham earned mixed reviews and performed averagely at the box office, though Samantha received highly critical acclaim for her portrayal. The critic from The Hindu noted she "comes up with possibly the best performance by a female lead in Tamil cinema this year" and "her transformation from a gawky teenager to an adult, unable to overcome her ego, is outstanding". Meanwhile, IBN stated "Samantha's transformation from a school kid to an adult is a treat to watch," while Rediff.com noted she is "pretty, graceful, and does an excellent job of conveying the emotions of a girl in love, especially during the school sequence, while concluding she carries the film on her slender shoulders." The Telugu version, Yeto Vellipoyindhi Manasu, received positive reviews and did well commercially, while Samantha's performance again received high critical acclaim. The Hindu wrote she "goes a step further from her famous portrayal of Jessie (Ye Maaya Chesaave) and brings out the intricacy of her character well", while The Times of India wrote "Samantha has the author-backed role and she creams it." At the 60th Filmfare Awards South, she subsequently won the Best Actress awards for both the Tamil and Telugu film industries for her performances in Neethane En Ponvasantham and Eega. Samantha became the second-ever actress to achieve the feat after Revathi had secured both awards in 1993. 2012 became her most prolific award-winning year and she secured further accolades for Best Actress at the Vijay Awards, Santosham Film Awards and the CineMAA Awards.
Commercial success and establishment in big-budget films (2013–2018)
Although Samantha often portrayed strong character roles in her early films, post-2012, she has appeared increasingly in big-budget, hero-oriented films, which have comparatively smaller scope for actresses. Samantha next appeared in the Telugu multi-starrer film, Seethamma Vakitlo Sirimalle Chettu (2013) alongside Venkatesh and Mahesh Babu, which received positive reviews and was commercially successful. Though her role was comparatively minuscule to her co-stars, IBN Live noted it was "good to see Samantha shed her glamorous side and welcome performance-oriented roles, which she only handles with deftness and ease". The romantic comedy Jabardasth (2013) alongside Siddharth, in which she portrayed a wedding planner, became a commercial failure, though critics noted Samantha is "getting better by the day and it's a delight to watch her on screen". Samantha then starred alongside Pawan Kalyan in the family drama, Attarintiki Daredi (2013), which emerged as the highest-grossing Telugu film upon release. A critic from Rediff.com noted Samantha "exudes confidence even though she has limited screen time and nothing much to do", and her performance saw her win Best Actress recognition at the SIIMA Awards and the Santosham Film Awards, in addition to her fourth nomination for the Filmfare Award for Best Actress – Telugu. Her final release of 2013 was in the unsuccessful Telugu masala film Ramayya Vasthavayya, where she had a small role, with a critic noting "we have seen Samantha in better roles and better films."
The year 2014 saw Samantha appear in six films and make a return to the Tamil film industry. Her first release saw Samantha portray a dual role in the family drama film Manam (2014), where she featured alongside several members of the Akkineni film family. Featuring as a young mother and a college student in two different time eras, Samantha received positive reviews for her work, with the critic from Sify saying "she excels" and The Hindu's reviewer noting that she "emotes well and easily shifts between the roles." Her performance fetched Samantha her fifth nomination for the Filmfare Award for Best Actress – Telugu, while she won Best Actress (Critics) at the SIIMA Awards. Samantha subsequently featured alongside Naga Chaitanya again in the long-delayed Autonagar Surya (2014), before playing different minuscule roles in the Telugu action masala films Alludu Seenu (2014) and Rabhasa (2014). Critics lamented that she "signed up to be a glam doll" for the ventures. She has "previously shown us she is capable of doing much more, but of late, seems to be stuck with doing similar roles that require her to be an attractive prop." Samantha later revealed that she solely worked on Alludu Seenu as a favor to producer Bellamkonda Suresh, who had helped her delay the making of Jabardasth during her health problems.
Samantha worked simultaneously on two big-budget Tamil films in early 2014, working with industry-leading actors and directors. N. Lingusamy's gangster masala film Anjaan (2014) opposite Suriya, received negative reviews and performed poorly at the box office. Portraying a small role, critics panned her character in the film, stating Samantha "gamely performs the requisite crazy girl duties". Her other release, AR Murugadoss's action drama Kaththi (2014) opposite Vijay won predominantly positive reviews and became the most profitable Tamil film of 2014.[citation needed] Again, reviewers criticised her character stating "all she had to do in the film is smile and look pretty," while The Hindu remarked she played "an emoticon" and "that covers her contribution to the proceedings". She received her second nomination for the Filmfare Award for Best Actress – Tamil for her performance in Kaththi. She subsequently featured in the Telugu film S/O Satyamurthy with Allu Arjun, as a part of another hero-oriented film, though critics noted she "enacts her part with grace" and that she "plays her role well".
She then featured in her second dual role as a part of Vijay Milton's road film, 10 Endrathukulla (2015), where she appeared alongside Vikram. She sported a different rural look for the role and her performance won mixed reviews, with a critic noting "Samantha doesn't make much of an impact in the film except towards the end." Like Anjaan and Kaththi, critics lamented her role as a clumsy girl, with Sify.com stating "beyond a point Samantha's character is plainly annoying". Samantha subsequently won positive reviews for her role and performance in Velraj's Thanga Magan, where she featured opposite Dhanush. Portraying a homely role of a wife for the first time in Tamil films, the actress noted it would be the first of many such performance-oriented roles, as she looked to move away from being typecast in charming characters. A critic from Sify.com labelled her performance as "impressive", while DNA.com stated Samantha "has given a very subdued and mature performance sans drama". Likewise, a reviewer from Silverscreen, suggested that she "delivers a performance that stands head and shoulders above her work in previous films".
Samantha's first release of 2016 was in the Tamil romantic drama film Bangalore Naatkal, where she made a guest appearance and reprised Nithya Menen's minor role from the film's Malayalam original. She then portrayed the lead female role in Atlee's Theri, and featured alongside Vijay for the second time. Her performance received positive reviews, with a critic from DNA India stating "Samantha looks pretty as always" and that "she has done an incredible job in dubbing with a range of emotions in her numerous shades – doctor, lover, mother – and she shines". Likewise, Behindwoods.com stated that Theri "could be one of Samantha's best roles; she plays a doctor and has given out a soulful performance". The film went on to become of the most profitable Tamil films of all time, upon release, and ended a barren spell for the actress in Tamil cinema, by becoming her first commercially successful film in Tamil cinema since Kaththi (2014). Samantha then worked for a second time with director Vikram Kumar and Suriya in the critically-acclaimed fantasy film 24. Featuring as the love interest of the film's lead character, Samantha won praise from critics for her small role in the film, with Sify.com stating that the actress "does well in the comedy scenes." The film also performed well at the box office, with The Hindu stating she was "at the top of the film industry," following her back-to-back commercial successes. She received two nominations for the Filmfare Award for Best Actress – Tamil for her performances in Theri and 24 respectively.
Samantha also featured in three high-profile Telugu films during 2016; Although Srikanth Addala's family drama Brahmotsavam opposite Mahesh Babu was a box office failure, her role in Trivikram Srinivas's romantic comedy, A Aa alongside Nithiin, won her high critical acclaim and commercial success. Portraying Anasuya Ramalingam, a naive girl trying to escape from her mother's controlling behavior, Samantha received highly positive reviews for her character portrayal. A critic from The New Indian Express noted "A Aa undoubtedly is Samantha's film" and that "right from her first frame till the last, she delivers a stellar performance and shows what she can do if given ample screen time", adding that she was "a joy to watch". Likewise, a reviewer from The Hindu noted "Samantha, after a long time, gets enough screen time and scope to shine", stating "she's vulnerable as a 23-year-old reeling in her mother's shadow and can also play the high maintenance, stubborn girl with ease", while concluding "this is a role she can be proud of". Similarly Bollywoodlife.com noted her "earnest performance was the life and soul of the romantic comedy", while DNA India's critic cited that "Samantha and Nithiin's performances in this movie will be what people would rave about for days to come". The film also performed well at the box office, doing excellent business for a Telugu film released in the United States. Her performance fetched her several awards, including the Filmfare Award for Best Actress – Telugu, her second win in the category. She then featured in the commercially successful action film Janatha Garage directed by Koratala Siva, with a critic noting despite "a limited role, she gives a nice performance". She then portrayed the lead female role in Atlee's Mersal, and featured alongside Vijay for the third time and her performance received positive reviews and the film became one of the highest grossing Tamil films of 2017 and was a blockbuster at the box office. Mersal went on to join the coveted ₹200 crore club.
In 2018, she starred in Rangasthalam which went on to become an all-time blockbuster of Telugu cinema, only behind Baahubali 2: The Conclusion (2017) and Baahubali: The Beginning (2015). The Tamil action thriller Irumbu Thirai in which she starred opposite Vishal and the Telugu biographical drama Mahanati were successful at the box-office and each had a run of 100 days at the box office. Her performances in Rangasthalam and Mahanati were highly praised, and she earned her seventh Best Actress – Telugu nomination for the former and her first Best Supporting Actress – Telugu nomination for the latter at the Filmfare Awards. Mridula R from The News Minute noted her critically acclaimed film U Turn as a curiosity-generating script that provides her with the ultimate screen presence since the story begins with her and she finds it ends, rather that not being shaking a leg in Anjaan, Brindavanam, Kaththi and Attarintiki Daredi or being glam doll or having out-of-scope performances overshadowed in Dookudu, S/O Satyamurthy, Brahmotsavam, Theri and Mersal.
Experimental roles, accolades and recent work (2019–present)
After acting in her first women-centric film U Turn, she is next starred in another women-centric film Oh! Baby released on 5 July 2019. The film is the remake of the 2014 South Korean film Miss Granny. It grossed ₹40 crores at the box office. A critic from Firstpost cited her performance to be her "career-best". Manoj Kumar R of The Indian Express felt that Samantha thrives in the role that reflects the possibilities of youth, the burden of old age, and the society's indifference to the desires and complaints of old people." She next starred in Majili alongside Naga Chaitanya, which marked their first collaboration after their marriage and their fourth collaboration overall after Ye Maaya Chesave, Manam, and Autonagar Surya. Her character was included in the list of strongest female roles of 2019 compiled by Auro Media House. Her performance received critical acclaim for her performance in Majili and several accolades for her performance in the two films. Samantha next played the character of Janaki Devi in the 2020 film Jaanu, which was a remake of 2018 Tamil film '96. The film received positive reviews with her performance receiving critical acclaim. In 2021, she performed her first dance number in the film, Pushpa: The Rise alongside Allu Arjun in the song "Oo Antava Oo Oo Antava". Her first release of 2022 Kaathuvaakula Rendu Kaadhal received mixed reviews. Directed by Vignesh Shivan, she played the role Khatija alongside Nayanthara and Vijay Sethupathi.
In 2022, Samantha starred in the Hari–Harish directorial Telugu film Yashoda. In 2023, she appeared in mythological film Shaakuntalam, directed by Gunasekhar.
In November 2021, she was cast in Chennai Story directed by Philip John and produced by Guru Films, marking her international debut. She signed a film with debutant director, Shantaruban, produced by Dream Warrior Pictures. On 21 April 2022, she announced Kushi opposite Vijay Deverakonda set to be directed by Shiva Nirvana, thus marking her second collaboration with both of them. The film was launched in Hyderabad and is set in a Kashmir backdrop.
Samantha is to make her Hollywood debut with Chennai Story, The film is based on the novel 'The Arrangements of Love' by Timeri N Murari, which is being directed by BAFTA winner Philip John (Downton Abbey). Samantha revealed, she is playing Priyanka Chopra’s character Nadia Sinh's mother in Citadel.
Television
Samantha made her television debut in 2020 by hosting a special episode of the Telugu-language reality television series Bigg Boss 4. She received praise for her work in the series. Later, in the same year she once again hosted a talk show Sam Jam that streamed on Aha.
In 2021, Samantha headlined the second season of Amazon Prime Video's Hindi spy thriller streaming television series The Family Man alongside Manoj Bajpayee, thus marking her debut in the digital content medium. She played the role of the main antagonist Raji, a rebel leader from the Liberation Tigers of Tamil Eelam. Her performance earned her widespread critical acclaim and won her the Filmfare OTT Award for Best Actress in a Drama Series.
Personal life and off-screen work
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https://www.loyolacollege.edu/live/courses/films
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LIVE Loyola - Best College for Cinematography, Film Editing & Film Making course in India
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Loyola offers Diploma in Cinematography, Diploma in Film Editing & Diploma in Film Making courses in Chennai. Learn Film editing, Film Making & Cinematography from the Industry experts.
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https://www.facebook.com/OfficialD25VIP/videos/behind-the-scene-of-neethane-enthan-ponvasantham-serial-franka-pannuvom/255238429460840/
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en
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Behind the Scenes of Neethane Enthan Ponvasantham Serial Shoot 🎥🎬 #BehindTheScenes #NeethaneEnthanPonvasantham #BTS #Shootingvlog #NivashiniDivya...
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Behind the Scenes of Neethane Enthan Ponvasantham Serial Shoot 🎥🎬
#BehindTheScenes #NeethaneEnthanPonvasantham #BTS #Shootingvlog #NivashiniDivya...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://mirchi.in/stories/movies/rashmika-mandannas-rainbow-goes-on-floors/99202524
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en
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Rashmika Mandanna replaces Samantha Ruth Prabhu in 'Rainbow', movie goes on floors
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[
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] |
2023-04-03T17:37:53+05:30
|
Rashmika Mandanna and Dev Mohan starrer Rainbow commenced its production with a formal pooja on Monday and the shooting will kick off from April 7, 2023.
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https://mirchi.in/stories/movies/rashmika-mandannas-rainbow-goes-on-floors/99202524
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3915
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0
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https://alchetron.com/Neethaane-En-Ponvasantham
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en
|
Neethaane En Ponvasantham
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2014-01-18T08:30:48+00:00
|
Neethaane En Ponvasantham (English You Are My Golden Springtime) is a 2012 Indian Tamillanguage romance film co written, co produced and directed by Gautham Menon, featuring Jiiva and Samantha in the lead roles. The film is based on a story written by Reshma Ghatala, who produced the film alongsid
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en
|
/favicon.ico
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Alchetron.com
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https://alchetron.com/Neethaane-En-Ponvasantham
|
Plot
The film begins with Varun (Jiiva) gaining admission into an engineering college, with his best friend Prakash (Santhanam). He and his friends one day participate in a cultural programme, where Varun finds his childhood sweetheart Nithya (Samantha) participating in a dance show. He begins wooing her by singing on stage and later meets up with her and begins to reminisce their childhood. The film rewinds to their early days when both were aged eight, and shows the pair becoming friends after Varun had helped Nithya retrieve a book which had fallen while she had been playing. However, after a minor misunderstanding featuring Nithya's brother, she decides not to meet Varun and makes a vow to never talk with him. However, the pair then meet again in their tenth standard, aged 15. Nithya initially hesitates to talk with Varun, but sheds her inhibitions once Varun breaks the ice between them, and resumes her friendship with him. Nithya is elected as a pupil leader in school and is in constant interaction with Deepak, another pupil leader and her classmate, much to the dismay of Varun. As a result, they have another fallout.
The film moves to their current meeting in the college. Both forget their past misgivings and become friends again. This time, they fall in love. During the vacations, Nithya leaves India and Varun is left for himself. Varun's elder brother Harish (Ravi Prakash) who works in a software company, wants to marry his colleague and confesses the same to his parents. His parents oblige by offering to meet with the girl's parents. However, his parents are humiliated. Varun, in the process of consoling them, realises that despite their embarrassment, his brother and parents care about him rather than themselves. He then decides to take his studies more seriously and begins preparing for CAT. Nithya comes back to India and sees Varun not spending enough time with her due to his busy schedule. Nithya too initially understands his situation. However, when she learns that Varun is going to IIM Kozhikode, she proposes to go with him. Varun rejects her demand, saying that he is going to stay in a hostel, as staying in a rented house will be too expensive for his family and that he won't be able to concentrate in his studies if she stays with him. This leads to a heated argument between the two and eventually ends in another break-up.
After graduating from IIM and landing a job, Varun goes about finding Nithya. Accompanied by Prakash and Jenny (Vidyullekha), he goes to Manapad, where Nithya is working as a school teacher at a tsunami relief camp. Nithya refuses to talk to him even after many attempts by Varun to start a conversation. When he finally gets her to talk, she rejects his advances, saying that she is happy with her current position. Varun, disgusted at her rejection, leaves the place. After a few months, Nithya invites Varun to her sister's marriage. At the same time, Varun also mentions that he is about to get married and it is then that Nithya realises the magnitude of the deepening rift between them. Shocked and surprised at this sudden development, Nithya realises that she couldn't fully understand Varun and breaks down before her sister. However, to the surprise of Varun, she attends his reception, which makes him think twice about his marriage. With his father's help, he realises that he cannot devote his love and heart to anyone other than Nithya. So he breaks his engagement with the consent of his father and goes to Nithya's home to win back her confidence. Nithya too apologizes to Varun about her past behavior and they both share a kiss. The film ends with a note being shown that they are happily married, ever quarreling with each other and loving each other.
Cast
Jiiva as Varun Krishnan
Samantha Ruth Prabhu as Nithya
Santhanam as Prakash
Vidyullekha Raman as Jenny
Ravi Prakash as Harish
Ravi Raghavendra as Varun's father
Anupama Kumar as Varun's mother
Sri Ranjani as Nithya's mother
Dhanya Balakrishna as Nithya's friend
Sahithya Jagannathan
Ashwathy Ravikumar as Radhika
Abhilash Babu as Deepak
Nani in a special appearance (Train passenger)
VTV Ganesh in a special appearance
Development
After agreeing terms with RS Infotainment to direct their next venture, Gautham Menon co-wrote a screenplay based on a story by Reshma Ghatala. The director then met Jiiva to discuss a potential collaboration in May 2011 for his next venture, which would begin following the completion of his current project Ekk Deewana Tha. Menon then cast Jiiva in the Tamil version of a bilingual film that he had originally planned to make featuring Ram and Samantha. Film editor Anthony, cinematographer Manoj Paramahamsa and composer A. R. Rahman were all touted to be a part of the film; however M. S. Prabhu replaced Paramahamsa and in December 2011 sources indicated that Rahman too would probably not work for this film, owing to his other commitments. Reports subsequently suggested that Harris Jayaraj may work with Menon again, but the composer dismissed those few days later. Menon clarified that he never announced any music director for the film and that he wanted to keep it as a surprise. In late January 2012, Ilaiyaraaja confirmed that he would be working with Gautham Menon.
A Telugu and a Hindi version, titled Yeto Vellipoyindhi Manasu and Assi Nabbe Poorey Sau, were also being simultaneously made, with Nani in the former and Aditya Roy Kapoor playing the lead role in the latter, while Samantha played the female lead in all versions. Initial suggestions indicated that the film was also set to be titled Nithya, after Samantha's character in the film, but this turned out to be untrue. The title was revealed through the first publicity posters to be Neethaane En Ponvasantham, inspired by a song from the 1982 film Ninaivellam Nithya. An official announcement was made by the producers of the film, RS Infotainment, that a photo shoot was planned in August and the film would also shoot portions across the United Kingdom. In order to prepare for his role, Jiiva had to lose weight for the film and had to undertake diet regimens and work out sessions to get in shape for the character. Furthermore, it was revealed that he would sport three different looks in the film as the film encompasses 15 years. Ravi Raghavendra and Anupama Kumar were added to the cast to play Jiiva's parents, while Santhanam was also chosen to play a college student in the film. Film historian Mohan Raman's daughter Vidyullekha Raman, a theatre artist, made her acting debut in this film as the female lead's friend.
Filming
The film had been set to begin the first schedule on 15 August 2011 but delays led to it only starting fortnight later. It eventually commenced the initial shoot from 29 August 2011 with a photo shoot held and publicity posters were released the following week. The team shot across Chennai in the first week of the first schedule, with scenes filmed at the cinema multiplex Mayajaal and at a coffee shop, Cafe Coffee Day, on the East Coast Road. Many scenes were shot in SSN College Of Engineering near Kelambakkam, a college in Chennai, where Jiiva's character was shown to be studying. The film was shot alongside the two other versions, with the film shooting the same scene thrice with the various casts. In late August 2012, important scenes were canned in Kalpakkam.
The Hindi remake of the film was temporarily stalled, following the box office failure of Ekk Deewana Tha and Menon noted he planned to observe the reception of the Tamil and Telugu versions and then probably go ahead with its remake in Hindi after completing pending projects. However, Gautham Menon insisted that only Aditya's dates had been a problem and that instead the team would go ahead with the Tamil and Telugu release while postponing the Hindi version. Although statements were released by Photon Kathaas suggesting the venture was set to resume, it has been indefinitely shelved.
Music
A. R. Rahman was initially signed in to compose music for the film. But due to his packed schedules, Rahman had to opt out of the project. Menon thus approached Ilaiyaraaja to compose music for the film. The soundtrack album consists of eight tracks, with lyrics penned by Na. Muthukumar, replacing Gautham Menon's usual associate lyricist Thamarai for the first time. 7 singers have lent their voices for the songs, including composer Ilaiyaraaja, Karthik, Raaja's son Yuvan Shankar Raja, N. S. Krishnan's grand daughter Ramya NSK, Suraj Jagan, Sunidhi Chauhan and Bela Shende. Touted as one of the most anticipated musicals of 2012 in Tamil cinema, Neethaane En Ponvasantham's soundtrack was released on 1 September 2012 at the Jawaharlal Nehru Indoor Stadium, Chennai in a grand event, during which the songs were performed live by the original artists along with the Anglo-Indian Music Productions orchestra and Hungarian session musicians who had also worked on the film's score.
Marketing
The first poster of Neethane En Ponvasantham depicting the lead pair was unveiled in early September 2011. On Valentine's Day 2012, a teaser trailer of 50 seconds featuring Samantha and Jiiva with an instrumental version of the song "Neethaane En Ponvasantham" playing in the background was released, claiming the film to be a Summer 2012 release. However, due to the lead actors' other commitments that shifted dates of filming, eventually release was re-scheduled to 4th quarter of 2012. On 1 September 2012, the official theatrical trailer of the film was released. The response to the theatrical trailer was highly positive, that it crossed 1.2 million views in two days of its release, breaking the record of the most ever viewed Tamil film trailer held earlier by Billa 2.
Release
The satellite rights of the film were sold to Jaya TV. The film was given a "U" certificate by the Indian Censor Board, without any cuts. The movie along with its Telugu version saw worldwide release on 14 December 2012.
Critical reception
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https://www.huffpost.com/archive/in/entry/vijaya-nirmala-telugu-actor-director-guinness-record-holder_in_5d14c2abe4b0e4556038c257
|
en
|
Vijaya Nirmala: From Wide-Eyed Bhargavikutty To Guinness Record Holder
|
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[
"malayalam cinema",
"Tamil cinema",
"telugu cinema"
] | null |
[
"Nikhila Henry"
] |
2019-06-27T14:46:53+00:00
|
Nirmala, who died on Thursday, started her career as a child actor and acted in over 200 movies.
|
en
|
/favicon.ico
|
HuffPost
|
https://www.huffpost.com/archive/in/entry/vijaya-nirmala-telugu-actor-director-guinness-record-holder_in_5d14c2abe4b0e4556038c257
|
When Malayalam music composer and singer MS Baburaj recommended a 20-year-old aspiring Telugu actress for a role in director A Vincent’s upcoming film, he was not sure that she could even bag a casting call. The year was 1964 and the film for which young actor G Vijaya Nirmala was being considered was the iconic Malayalam blockbuster Bhargavi Nilayam — scripted by legendary writer Vaikom Muhammed Basheer and starring Malayalam superstars Madhu and Prem Nazir. The music was directed by Baburaj.
All doubts were put to rest when Nirmala stood in front of the camera for her audition take. “Her wide eyes were captivating,” Vincent, who died in 2015, had told the production executive of Bhargavi Nilayam RS Prabhu.
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“We had auditioned four women, including Nirmala, for the role. Of them, Vincent felt she was the right fit for the part-real-part-mystic role of the spirit of Bhargavikutty, a young woman who wanted a writer to avenge her murder,” Prabhu told Huffpost India. On the very day she auditioned for the role, Nirmala was signed on for a remuneration of Rs 1,000 — about one tenth of what her male co-stars were getting. But the role gave her the first break. She went on to act in over 200 films produced in three film industries in south India — Kerala, Andhra Pradesh and Tamil Nadu.
For the latest news and more, follow HuffPost India on Twitter, Facebook, and subscribe to our newsletter.
Nirmala, who died on Thursday following a brief illness, directed 44 films to become the first female director to enter the Guinness book of world records in 2002 for this distinction.
Nirmala entered the industry as a child actor twelve years before Bhargavi Nilayam with the help of her aunt, Raavu Balasaraswati, who was a playback singer in both Tamil and Telugu films in the 1930s-50s. In Machcha Rekhai (1950), a Tamil film directed by the Telugu director P Pullaiah, Nirmala’s aunt bagged her a small role. Back then, like most child actors she was not too keen to act. “The film’s crew had to scold her to make her cry naturally for her first take. For the second take, when she could not laugh they offered her pooris which she liked. She smiled after the meal and the crew filmed that,” said A Prabhu, a Telugu film critic who had followed Nirmala’s film career for the past three decades. Though she was a reluctant eight-year-old child actor, Nirmala grew up nurturing the silver screen dream. She could chart her future course because her family of Guntur (Andhra Pradesh) origins was settled in Chennai. Her father Ram Mohan Rao was a sound engineer in Vani studios in the city.
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Married young (when she was 19-years-old) to Krishna Murthy, she kept scouting for roles in South film industries. “Her husband was a friend of music director Baburaj. That’s why Baburaj recommended her for the role in Bhargavi Nilayam,” said Malayalam film researcher Ravi Menon who had interviewed director A Vincent during the 50th anniversary celebrations of the film. Her next film in Malayalam, Kalyana Rathri, in which she starred with Prem Nazir again was the first A (adult) certified film in the Mollywood. While she did another Malayalam film Udyogastha in 1967 with Nazir, Nirmala also debuted in Telugu by starring in Rangula Ratnam in 1966. In the latter she starred with Telugu actor Chandra Mohan. In Saakshi, her fourth film as the lead, Nirmala starred with actor Krishna Ghattamaneni whom she later married. The duo acted together in 47 films during their career which spanned over five decades.
Directorial debut
Even though she was a star in the Telugu film industry, Nirmala always wanted a bigger role. According to film critics who followed her career, she was insightful when she tried to take up a directorial role. “Most female actors end their careers early. She chose to diversify her role to extend her lifespan in the industry,” A Prabhu said. The dream, however, did not come true till she met IV Sasi, the Malayalam film director, in early 1970s. Sasi, who was then an art director, and Shareef, a Malayalam script writer, were working together on the film Kalippava when they met Nirmala who played a role in the same film. The friendship led her to direct her first film, Kavitha in which Sasi was the art and associate director and Shareef was the script writer. “All three of them worked together in Kaattu Vithachavan, another Malayalam film later,” said Poovachal Khader, the music director of Nirmala’s Kavitha.
While those in Malayalam film industry maintain that Nirmala only shadowed Sasi in her directorial debut, Telugu film veterans have a different take. “She was a successful commercial film director. In the early 1980s she used to direct four films per year. That’s a distinction which male film directors in industry could rarely achieve,” A Prabhu said. While Nirmala did not direct any Malayalam film after Kavitha, she went on to direct 43 Telugu films. Most of her films were not self-produced — by the production company run by both her and husband Krishna. “Producers of Tamil Nadu and Andhra Pradesh trusted her to produce blockbusters,” Prabhu said. Nirmala, who directed her first Telugu film Meena in 1971, also has the distinction of directing big stars in the film industry including Tamil superstars Shivaji Ganeshan and Rajinikanth.
While most films directed by her were hits that raked in good revenues, Nirmala was also known to be a good businesswoman who made prescient investments. In the early 1990s she bought acres of land at Nanakramguda, a little known place on the outskirts of Hyderabad. By mid-2000s, the land prices in the area had soared because of the Information Technology boom. Her calculative investments could also have been directed by her family’ association with former Chief Minister of Andhra Pradesh N Chandrababu Naidu. While Krishna was a Congress MP from Eluru constituency in the 1980s, both he and Nirmala went on to support Telugu Desam Party when Naidu took over the reins from his NT Rama Rao, popularly known as NTR in both the film industry and politics. Nirmala contested on a TDP ticket during Naidu’s first term as Chief Minister. She, however, could not make a political debut. In recent times she was found to keep a distance from active politics.
Nirmala, is survived by her husband Krishna and her son Naresh Vijaya Krishna. Telugu superstar Mahesh Babu is her stepson.
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https://filmyfocus.com/celebs/m-s-prabhu
|
en
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M. S. Prabhu: Biography, Age, Movies, Family, Photos, Latest News
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[
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] | null |
[] | null |
M. S. Prabhu is an Indian cinematographer who works mainly in the Tamil film industry. He started his career as an assistant to P. C. Sreeram before starting
|
en
|
https://filmyfocus.com/wp-content/uploads/2022/08/ff_iconfinal.ico
|
Filmy Focus
|
https://filmyfocus.com/celebs/m-s-prabhu
|
Biography:
M. S. Prabhu is an Indian cinematographer who works mainly in the Tamil film industry. He started his career as an assistant to P. C. Sreeram before starting as an independent cinematographer.
MS Prabhu is also known as Prabhu, M. S. Prabhu is an Actor and Cinematographer from India. Born in Madurai, Tamil Nadu, India. So far MS Prabhu has worked in Kollywood, Tollywood, and Bollywood entertainment industries and his artwork has been released in Telugu, Tamil, and Hindi language movies.
M. S. Prabhu is a senior most artist of Indian film industry. He has gained popularity being the senior most cinematographer. He has lent his piece of work to various movies in different languages. He made his first venture marked in the year 1994. The talented cinematographer pursued assistantship with P. C. Sreeram for many years. When he was confident that he has gained enough knowledge and experience, he went on doing the work as independent.
The movies in which he has lent his work include Vietnam Colony, Thavamai Thavamirundhu, Ammuvagiya Naan, Yeto Vellipoyindhi Manasu, Nambiyar, Koodal Nagar, etc. he has also lent his work in some of the popular and big budget Bollywood movies such as Bulandi and Ekk Deewana Tha
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https://www.news18.com/news/movies/tamil-director-venkat-prabhu-releases-first-look-of-his-next-film-manmatha-leelai-4666469.html
|
en
|
Tamil Director Venkat Prabhu Releases First Look Of His Next Film Manmatha Leelai
|
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[] |
[
"ashok selvan",
"tamil film",
"venkat prabhu"
] | null |
[
"cco",
"Entertainment Bureau"
] |
2022-01-17T13:39:12+05:30
|
The adult comedy film is being made in Tamil and Telugu languages.
|
en
|
https://images.news18.com/static_news18/pix/ibnhome/news18/favicon.ico
|
News18
|
https://www.news18.com/news/movies/tamil-director-venkat-prabhu-releases-first-look-of-his-next-film-manmatha-leelai-4666469.html
|
Director Venkat Prabhu has released the first look of his next Tamil film Manmatha Leelai. The film starring Ashok Selvan in the lead role belongs to the adult comedy genre and it will have a generous dose of humour. The film is being shot in Tamil and Telugu languages. The film will feature actors Samyuktha Hegde, Smruti Venkat and Riya Suman in pivotal roles. Manmadaleela is the title of the Telugu version of the film which will revolve around an extra-marital affair.
Sharing the first look of the movie on Twitter, Venkat said that the film will offer a ‘fun quirky ride’ to the audience.
https://twitter.com/vp_offl/status/1482390389051256832
Actor Ashok Selvan has said that it is ‘a surreal moment’ for him to work with director Venkat.
https://twitter.com/AshokSelvan/status/1482393052727906305
The poster shared by makers suggests that actor Ashok will be seen playing two characters – one having a long beard and one with a small beard. The poster also contains lipstick, heart emojis, sandals and a rose flower.
Director Venkat said that Manmatha Leelai will show the story of two major incidents that happen in the life of a young man across two different time zones. “Beyond the fun, there will also be an element of thrill, in the sense whether the protagonist will get caught or not,” director Venkat was quoted as saying by ETimes.
Venkat shot Manmatha Leelai simultaneously while working on Maanaadu, which is still running in a few theatres even after 50 days of its release. The science-fiction thriller starring Silambarasan, SJ Suryah and Kalyani Priyadarshan was released in cinemas on November 25, 2021.
Manmatha Leelai’s background score and music has been composed by Premgi Amaren, brother of Venkat. The film will be released only in theatres though the official release date has not been announced yet.
|
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https://madaboutmoviez.in/2012/12/12/neethane-en-ponvasantham-movie-review-wasted-opportunity/
|
en
|
Neethane En Ponvasantham Movie Review- Wasted Opportunity
|
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] |
[] |
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[
""
] | null |
[] |
2012-12-12T00:00:00
|
Produced by Photon Kathaas and RS Infotainment, directed by Gautham Vasudev Menon, Neethane En Ponvasantham is a love story (or as the director cleverly puts it across - moments from Varun-Nithya's love story). With excellent acting, fantastic music, pleasing-on-the-eye cinematography, Neethane En Ponvasantham is a great case study of sum being lesser than the parts.…
|
en
|
https://secure.gravatar.com/blavatar/3f6ff8bd24a59904db0577d0b621ec3347526151c28a62730d87a3e99a019e08?s=32
|
mad about moviez.in
|
https://madaboutmoviez.in/2012/12/12/neethane-en-ponvasantham-movie-review-wasted-opportunity/
|
Produced by Photon Kathaas and RS Infotainment, directed by Gautham Vasudev Menon, Neethane En Ponvasantham is a love story (or as the director cleverly puts it across – moments from Varun-Nithya’s love story). With excellent acting, fantastic music, pleasing-on-the-eye cinematography, Neethane En Ponvasantham is a great case study of sum being lesser than the parts. The film starts off when Varun joins college and he meets Nithya in the college culturals. They share a history of love-hate relationship. First, they meet when they were kids and then when they were in school. Sparks fly when they meet during college and they are together for the next four years. The film tries to capture some interesting moments in their lives. Unfortunately, only some of the moments are engaging.
I am not a great fan of GVM’s Vinnaithaandi Varuvaayaa. It was not bad cinema, it wasn’t a plot oriented film but a character oriented film. But when the director tries the same technique again in NEP, he falls flat. Despite excellent acting bySamantha andJiiva, you really do not care as much for Varun and Nithya as you should have. Beyond a point their fights become irritating and you wonder why at all they should be together. The biggest drawback of NEP is the script focuses too much on the fights between Varun and Nithya and not so much on romantic moments. And you know the director has faltered when he packs off Nithya on a holiday to Edinburgh, and focuses on Varun and you immediately sit up with interest. The moment Nithya is back, the script sags again.
Just like in the Tamil film Khushi, a key scene happens on the rooftop just before the interval – the roof top acts as a character here (Varun-Nithya have had some real intimate moments in this rooftop), but the scene is absolutely ineffective due to the mishandling by the director. (The scene from Khushi in comparison is Citizen Kane – more on this a bit later). To give credit to the film, there are a few moments which are engaging. Nithya teaching Varun how to pronounce Edinburgh, the initial school scenes, the climax scene in the same rooftop, the family scenes which changes Varun from a boy to a man, and the first few moments in the college culturals are really entertaining. Incidentally, these are the portions when Varun and Nithya do not fight!
And GVM has done the biggest disservice to Ilayaraja by having improper situations for at least 3 songs. Mudhal Murai, Kaatrai konjam and Ennodu act as speed breakers. The songs are picturised with love and care but due to the situations in which they occur, you really do not get involved. But the balance 4 songs – Saindhu Saindhu, Sattru Munbu, Vaanam Mella and Pengal Endral – are good. Sattru Munbu is riveting in its picturisation in the climax, and the way Samantha emotes here clearly lifts the film to a different level. (Thengi pona Ore nadhiyena indru naanada – you can see it in her eyes – frankly I did not think she could act this well).
The climax is very good on its own, but when compared to the rest of the film, it is outstanding. And what works here are the moments where no one talks – and this is where Raja scores. What a BGM in the last few minutes. When you hear Raja’s BGM in the last few scenes, you immediately realize what is wrong with the film – through the film, some one or other keeps on talking, and there is just no scope for BGM. GVM – Is this how you write scenes? You should have learnt from a less sensitive director (perhaps more street smart) like S.J.Surya. Take the Khushi rooftop scene for example, Vijay and Jothika fight in the rooftop – they keep on arguing – the pitch of their tones keep on getting high – and then an airplane takes off nearby and interrupts their argument for a few moments – and it provides such a character to the scene.
And when Vijay says something he should not have said, the director immediately focuses on Jothika’s close up reaction. She is so hurt that Vijay immediately realizes the mistake he has done and his facial expression conveys that he is really sorry for what he had said. But she is now so hurt that she isn’t prepared to give him another chance – the director focuses on close ups and the music director gives a reasonable good BGM and then the scene becomes so very effective. GVM – You may well want to show that the rooftop is a character by opting for a long shot that covers the rooftop as well as Chennai skyline, but you can’t extend it to the whole scene. It reduces the experience to watching something like a stage play.
And you take a genius like Raja, who changed the way BGM was written in Indian Cinema, and offer him no scope at all? I mean, isn’t this suicide? Here is a composer, who had saved films like Idhayam before. And the moment you listen to the last couple of scenes, you know Raja could have saved Neethane En Ponvasantham, if the director thought about BGM when conceiving shot composition. But the current product is even beyond the Maestro. Wasted Opportunity.
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https://podcasters.spotify.com/pod/show/film-companion66/episodes/Yashoda-Movie-Review-by-Anupama-Chopra--Samantha-Ruth-Prabhu--Film-Companion-e27a1o0
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Film Companion by Anupama Chopra Reviews
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How much plot can you fit into one film? I don’t think that writer-director duo Hari Shankar and Harish Narayan paused to ask that question while making Yashoda starring Samantha Ruth Prabhu as a lead. Listen to Anupama Chopra's full review here.
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Spotify for Podcasters
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https://podcasters.spotify.com/pod/show/film-companion66/episodes/Yashoda-Movie-Review-by-Anupama-Chopra--Samantha-Ruth-Prabhu--Film-Companion-e27a1o0
|
Anupama Chopra, founder & editor of Film Companion, is a film critic, television anchor and book author. She has been writing about Bollywood since 1993. Her work has appeared in publications such as The New York Times, Hindustan Times, The Los Angeles Times and Vogue (India).
Here you can find all of her reviews for movies from across the globe.
"Bad Newz," a sequel to "Good Newzz," explores a complex pregnancy scenario where a woman is pregnant with twins from two different fathers. Featuring Vicky Kaushal, Tripti Dimri, and Ammy Virk, the film includes nostalgic music and glossy visuals. Does the gloss get into the way of sincere storytelling, or do we find ourselves in the midst of an earnest Bollywood Comedy?
#BadNewz #VickyKaushal #TriptiDimri #AmmyVirk
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"Kalki 2898 AD" is an ambitious film by Nag Ashwin, blending Indian mythology with Western sci-fi. The story, inspired by the Puranas and the Mahabharata, echoes classics like "Dune" and "Metropolis." While the visuals are stunning and the cast star-studded, the film's creativity and ambition shine through, offering a unique cinematic experience. We dissect the film in this video, and talk about what worked and what didn’t in the same.
#Kalki2898AD #Prabhas #AmitabhBachchan #DeepikaPadukone
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Munjya is a rakshas from Maharashtrian folklore, a malevolent spirit born from an incomplete ritual. In this horror-comedy, a boy's unrequited love and violent tendencies turn him into a Munjya, haunting his love interest. Directed by Aditya Sarpotdar, the film blends traditional horror with humor and social commentary, featuring Abhay Verma as the unlikely hero. Is this addition to the Stree-Bhediya universe worth the watch, or is another hit-and-miss in the horror-comedy genre?
#Munjya #Sharvari
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In this review, Anupama Chopra dissects “Srikanth," a biographical drama featuring the talents of Rajkummar Rao and Jyotika. She journeys through the film's portrayal of Srikanth Bolla's inspiring life, tracing his journey from adversity to triumph. Delve into the analysis of the missed and laudable narrative opportunities and character dynamics of the film, as she answers the one question - Is the film a profound and authentic depiction of Srikanth's remarkable journey? Find out in this review, and tell us what you thought about the film, in the comments below. #Srikanth #RajkummarRao #Jyotika
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"Manjummel Boys" is a deeply emotional tribute to friendship, inspired by a true incident. Director Chidambaram masterfully captures the bond of ordinary men facing extraordinary circumstances. The film's power transcends screen size, evoking gasps and tears even on a second viewing. Through poignant flashbacks and powerful visuals, it explores themes of courage and camaraderie, underscored by the timeless song "Kanmani Anbodu Kadhalan." In this review, we analyse the Soubin Shahir and Sreenath Bhasi starrer, and talk about the film in detIl. #ManjummelBoys #SoubinShahir #SreenathBhasi
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Discover the charming journey of Kavya and Anirudh in 'Do Aur Do Pyaar,' as they reignite their love after 12 years of marriage. This Hindi adaptation of 'The Lovers' explores the dynamics of relationships with humor and warmth. Vidya Balan and Pratik Gandhi shine in this relatable tale of rediscovery, where love, friendship, and intimacy take center stage. Does the film come together and prove be as fresh as the on-screen pairings, or does this become another slumber rom-com?
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"Maidaan" depicts the remarkable journey of Indian football coach Syed Abdul Rahim, who led the team to unprecedented success in the 1950s and 1960s. Director Amit Ravindranath Sharma captures the emotional intensity of Rahim's story, in a runtime that lasts around 3 hours. Ajay Devgn's portrayal of Rahim is marked by brooding intensity, complemented by Priyamani's nuanced performance as his wife. But does the film’s writing, and execution do justice to the story being told?
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Embark on a comprehensive exploration of 'Crew' with our detailed review! Delve into the captivating performances of Kriti Sanon, Kareena Kapoor Khan, and Tabu, while navigating through the twists and turns of this star-studded heist comedy. From dissecting the intricacies of the storyline to unraveling the impact of its writing, we offer a nuanced perspective on this chick flick.
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Ae Watan Mere Watan is a cinematic exploration of Usha Mehta's courageous journey during the Quit India Movement. Directed by Kannan Iyer, the film delves into the captivating story of the underground Congress Radio and its pivotal role in galvanizing the nation. However, despite its historical significance, is the film's narrative able to captivate audiences, and leave viewers longing for a deeper exploration of the characters and their struggles? Discover more about this tale of sacrifice and determination, in our review. Tell us what you thought about this review.
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Sidharth Malhotra shines as Arun Katyal, the head of a special task force named Yodha, in this adrenaline-pumping thriller. Directed by debutants Sagar Ambre and Pushkar Ojha, 'Yodha' blends broad-stroked storytelling with dialed-up desh bhakti, delivering an immersive cinematic first-half. Does it fly high and land well in time, though? Find out in our review.
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Experience the chilling depths of 'Shaitaan' where R. Madhavan, in a standout performance, portrays an intruder from hell. Unravel the dark narrative as Vanraj, a black magic connoisseur, inflicts unimaginable torment on a hapless family. Director Vikas Bahl explores the eerie atmosphere of a farmhouse, echoing classic horror tropes. As parental love clashes with supernatural horrors, 'Shaitaan' takes you on a rollercoaster of fear and suspense. Is the family able to replicate the terror we see in their eyes, to the one the audience feels while watching the same?
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Timothee Chalamet's Paul Atreides navigates a visually stunning universe on Arrakis, rich in spice and ripe for exploration. Director Denis Villeneuve's aversion to excessive dialogue pays off with mesmerizing visuals and an entrancing score by Hans Zimmer. However, the most good-looking films have the deepest fault lines. And to find out what they are, check out our review of Dune: Part Two; and let us know how you liked the film
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Laapataa Ladies, starring Nitanshi Goel and Pratibha Ranta - is a charming feminist tale set in 2001's fictional Nirmal Pradesh is a smile-inducing, tear-jerking ode to the strength and struggles of women, leaving you hopeful for their triumphant journey. Director Kiran Rao crafts a grounded fairy tale with sweetness and simplicity, using humour as a not-so-secret weapon. But does it live up to its expectations as a whole? Find out in our review, and tell us how you liked the film.
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Explore the world of coaching in Kota through 'All India Rank,' a film directed by Varun Grover. Set in the late 1990s, it follows Vivek's journey, blending the pressures of cracking IIT with the essence of life. Grover, a multi-faceted artist, infuses nostalgia and tenderness, making a plea for young minds to wander before finding their true path. Does Grover pass in his first attempt, though? Find out in our review, and tell us how you liked the film.
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Teri Baaton Mein Aisa Uljha Jiya directed by Amit Joshi, Aradhana Sah, starring Shahid Kapoor and Kriti Sanon explores the whimsical scenario of a man falling in love with a stunning robot named Sifra. Despite its potential for social commentary, satire, and comedy, the film's execution fluctuates between fun and flat moments. However do its shining moments really add up to being an unforgettable romantic comedy? Find out in our review.
Bhakshak, inspired by the 2020 Muzaffarpur Shelter Home case, addresses the horrifying issue of child abuse. The film follows Vaishali, a determined journalist played by Bhumi Pednekar, as she exposes sexual exploitation in a girl's shelter. While the film highlights societal challenges faced by women, is it able to land all its merits, and all in the right place?
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A film soaring on patriotism, Fighter starring Hrithik Roshan, Deepika Padukone, and Anil Kapoor tries hard to be an inspiring aerial actioner; but is the Pathaan and War Director Siddharth Anand able to replicate the same magic felt throughout his previous films, in this? Find out in this review.
Main Atal Hoon is a biopic of Atal Bihari Vajpayee, one of India's most formidable statesmen. The film begins with the Kargil War, with Vajpayee pushing back against Pakistan with force and determination. The film then zips through 60 years, documenting Vajpayee's rise and the way in which the political landscape and the country changed. The film features a stellar performance by Pankaj Tripathi, but does it hold one's attention? Find out in our review.
After a stellar 2023 for Indian Cinema, we at Film Companion are back with our top picks on a new day and in a new year. The year ahead seems to have a package of the both mass and class cinema, and we can’t wait to savour it all. From Hrithik Rohan in Fighter to Tabu in The Crew, in this video, Anupama Chopra lists her most anticipated films of year, hoping you’d do the same too, in the comments below.
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2023 has been a year filled with comebacks, surprises, and unanimously loved characters; all tied together with some stellar storytelling and direction. As the curtains close, we embark on a celebratory journey to unveil the top 5 Indian films that redefined cinematic excellence. In this video, Anupama Chopra lists her favourite movies of the year, and we hope you’d do the same in the comments below.
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In Sriram Raghavan's Merry Christmas - under the lights, two strangers, Maria and Albert, try to find solace in each other's lies and broken hearts. In this video Anupama Chopra reviews this Katrina Kaif and Vijay Sethupathi starrer, and suggests if you should watch this in a theatre near you, or not.
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Salaar starring Prabhas, Prithviraj Sukumaran, Shruti Haasan, and Meenakshi Chaudhary is unapologetically over-the-top, and yes, it can be confusing. It's the kind of film that would benefit from a 'KUNJI' – essentially, a guidebook for dummies. Will I return for part 2? Absolutely. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
The Archies presents a Zoya Akhtar-lite experience, offering a less rich and satisfying rendition of the themes that Zoya and her creative partner, Reema Kagti, have woven into their impressive careers. These themes include coming-of-age, class and cultural conflicts, the significance of inclusion and ambition, the power of storytelling, the transformative nature of art, and, consistently, the splendor of rebellion. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
When I interviewed Sandeep following the release of Kabir Singh, our conversation concluded with him stating that "if people thought this was a violent film, he would show them what a violent film actually is." Sandeep has indeed kept his promise. Animal showcases various forms of violence, including emotional, psychological, sexual, and physical. The film features Ranbir Kapoor, Bobby Deol, Rashmika Mandanna, and Anil Kapoor. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
Vicky Kaushal's acting talent shines as he effortlessly switches between diverse roles. Earlier, he successfully portrayed an average, clumsy man in Zara Hatke Zara Bachke. Now, he transforms into the formidable hero in his latest film, Sam Bahadur. Vicky embodies the character with light eyes, a distinct posture, and a powerful speaking style, marked by dramatic pauses. However, the film's writing limits his portrayal, focusing more on external traits and lacking depth in showing the character's internal complexities. #vickykaushal #sambahadur #moviereview Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
Director Soumendra Padhi, previously known for his notable work on the Netflix hit series Jamtara - Sabka Number Ayega and the National Award-winning film Budhia Singh - Born to Run, demonstrates his exceptional suitability for this film. His direction is especially commendable with the debutant cast, prominently featuring Alizeh. For those who haven't experienced Bad Genius, Farrey provides a captivating series of twists and turns. The film has been co-produced by Alizeh's parents, Alvira Khan Agnihotri and Atul Agnihotri, along with her superstar uncle Salman Khan.
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The first 20 minutes of Apurva are intense. Director Nikhil Nagesh Bhat plunges us into the world of four ruthless modern-day dakus in the Chambal. They're sadistic psychopaths who revel in violence, and when they kidnap a young girl, it's chilling to watch. It's so gripping that I almost didn't want to continue watching, and that's a compliment. #moviereview #filmcompanion #tarasutaria Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion
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Be aware that the law of diminishing returns applies to Tiger 3. It's the weakest installment in both the trilogy and the entire franchise. These films should function like a giant slot machine, consistently delivering dopamine hits at regular intervals, yet this one falls short. However, what does work effectively is the relationship between Tiger and Zoya, portrayed by Salman Khan and Katrina Kaif.
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Pippa has a scale. Some of the battle scenes, shot with vigour by DOP Priya Seth, who also did terrific work on Raja’s 2016 film Airlift, showcase her skill. Despite the roster of fine actors – Ishaan Khatter, Priyanshu Painyuli, and Mrunal Thakur – they aren’t able to fully breathe life into their characters, as they seem more like ideas on paper rather than fleshed-out people.
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In Ganapath: A Hero is Born, director Vikas Bahl introduces a new hero. For 10 years, Tiger Shroff has been famous in Bollywood for action, dance, and his fit body. But why can't directors find good stories for him? Many focus on his physical skills and forget to create strong characters and stories. Visit us at www.filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
Leo, co-written by Lokesh Kanagaraj, Rathna Kumar, and Deeraj Vaidy, is loosely inspired by David Cronenberg’s 2005 classic A History of Violence. The epithet Thalapathy usually precedes his name – it means leader or commander. However, Leo co-writer and director Lokesh Kanagaraj, who previously made Master with Vijay, aims to broaden the scope of mythic heroism in a mass movie.
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Vishal Bhardwaj's film, Khufiya, starring Tabu, Ali Fazal, and Wamiqa Gabbi, is inspired by the 2012 novel Escape to Nowhere by former intelligence officer Amar Bhushan. Loosely based on a true incident involving a missing suspected spy, the title Khufiya hints at both the mysterious world of espionage and the profound secrets harbored by its main characters, especially the women. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
Thank You for Coming, starring Bhumi Pednekar, Shehnaaz Gill, Dolly Singh, Kusha Kapila, and Shibani Bedi, carries a double meaning in its title. The film relies heavily on the unbridled energy, strong comic timing, and complete lack of vanity of its lead, Bhumi Pednekar. Thank You for Coming juggles many themes – it's not only about female pleasure but also touches upon acceptance, self-love, slut shaming, and the mixed messages that women often grow up with. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
What happens when a popular bhajan singer discovers that he might be Muslim by birth? That is the question posed by Vijay Krishna Acharya’s The Great Indian Family. The film stars Vicky Kaushal, Manushi Chhillar, Manoj Pahwa, and Kumud Mishra.
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Talents like Kareena Kapoor Khan, Jaideep Ahlawat, and Vijay Varma shine, yet Jaane Jaan falls short of its potential. Sujoy and DOP Avik Mukhopadhyay, known for Sardar Udham, brilliantly craft an atmospheric mood with rolling fog and stylized lighting. While close-up shots of the leads and Anirban Sengupta's suspenseful sound design stand out, the script and character depth lag behind.
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Jawan, featuring Shah Rukh Khan, Vijay Sethupathi, Nayanthara, Sanya Malhotra, Priyamani, Sunil Grover, and Sanjay Dutt, is a bold cinematic venture by blockbuster director Atlee. Embracing his 'More is More' mantra, Atlee's fifth film, Jawan, showcases heroic protagonists, themes of justice, intense action, grand song sequences, and his signature lavish scale. With plotlines so dense, they could inspire an entire series. Visit us at http://filmcompanion.in Have you subscribed to Film Companion yet? Join us here - http://bit.ly/FCsubscribe Follow Us On: https://www.facebook.com/filmcompanion https://www.twitter.com/filmcompanion http://instagram.com/filmcompanion
When you hear the word Ghoomer, you probably think of Deepika Padukone, resplendent in red, performing the traditional Rajasthani folk dance in Padmavat. But writer-director R. Balki’s new film refers to a bowling delivery that the one-armed Anina specializes in. Listen to the full review by Anupama Chopra.
Karan Johar's Rocky Aur Rani Kii Prem Kahaani is delicious eye-candy with a rebellious core. Despite the flabby portions, I exited with a smile, wishing that Rocky was real and wanting to give my family a japphi. There can be no downside to that.
You can also watch the review here, only on Reviews & More by Film Companion.
Twice in Bawaal, featuring Varun Dhawan and Janhvi Kapoor, Varun, who plays a Lucknow school teacher named Ajay, tells other characters, "The idea is a bit revolutionary, please listen with an open mind." I suspect he's a stand-in for director Nitesh Tiwari instructing his viewers. Because this film, based on a story by Ashwiny Iyer Tiwari and written by Nitesh, Piyush Gupta, Nikhil Mehrotra, and Shreyas Jain, definitely requires an open mind. Warning: this review includes spoilers.
At 61, Tom Cruise is so determined to make us happy that he’s willing to risk his life for it. And here’s the thing – he delivers. Mission: Impossible - Dead Reckoning Part 1, the seventh instalment in the Mission Impossible series, is a dazzling, consistently pleasurable ride. To know more about the film, listen to the full review by Anupama Chopra.
Neeyat starring Vidya Balan with an ensemble cast including Ram Kapoor, Rahul Bose, Dipannita Sharma, Shashank Arora, Shahana Goswami, Neeraj Kabi and Amrita Puri is a film brimming with possibilities. The end twist, though far-fetched, is wicked. And the set-up for a sequel is even more delicious. I can’t wait to see what these characters do next. The problem is the material before we get to this point. It’s an undercooked slog. To know more about the film, watch the full movie review by Anupama Chopra on Reviews and More by Film Companion.
Tarla’s story is fascinating because this stratospheric culinary stardom wasn’t planned. To know more about the movie, watch the full review by Anupama Chopra on Reviews and More by Film Companion. It stars Huma Qureshi, Sharib Hashmi, and Purnendu Bhattacharya.
To get to the meat and emotion of Satyaprem ki Katha starring Kartik Aaryan and Kiara Advani, you have to plow through a first half brimming with sparkly dance sequences, jokes that don’t land, and that stereotypical portrayal of the Gujarati community that Hindi cinema dishes out often. To know more about the film, listen to the full review by Anupama Chopra here.
The second edition of the Lust Stories anthology isn’t, strictly speaking, just about lust. To know more about the anthology, listen to the full review by Anupama Chopra here.
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Adoor Gopalakrishnan is India's most acclaimed contemporary filmmaker. Born in 1941 in Kerala, a state in south India, he belongs to a family with strong links to the performing arts, especially Kathakali, a highly-stylised form of dance drama. From the age of eight Adoor began acting for the stage, later producing and directing over twenty plays, several written by him. He is the author of two books on the theatre as well as a book on the cinema, "The World of Cinema", for which he won a national award in 1983. In 1962 Adoor enrolled in the Film and Television Institute in Pune and graduated in 1965 with a diploma in Scriptwriting and Direction. The same year he founded the Chitralekha Film Society of Trivandrum as well as the Chitralekha Film Cooperative. Both played a key role in the development of film culture in Kerala. In 1972 Adoor made Swayamvaram/One's Own Choice, his first full-length feature film. It launched the New Cinema in Kerala and became one of the major films of the Indian New Wave. He has since made seven more films (along with over 25 shorts and documentaries), all of which have won major national and international awards: Kodiyettam/Ascent (1977); Elippathayam/Rat Trap (1981); Mukhamukham/Face to Face (1984); Anantaram/Monologue (1987); Mathilukal/The Walls (1990); Vidheyan/The Servile (1993), and Kathapurushan/Man of the Story (1995). Elippathayam received the prestigious British Film Institute Award in 1982; Mukhamukham won the FIPRESCI prize in 1985; Kathapurushan was honoured in India in 1995 with the National Award for Best Film. Retrospectives of Adoor's films have been held in Pesaro, Helsinki, La Rochelle, Nantes, Munich, and New York. All of Adoor's films draw on the history and culture of his native Kerala. Kerala's transition from feudalism to modernity serves as a backdrop to his complex meditations on the psychology of power, the nature of oppression, the corruption of patriarchy, and the coexistence of the modern and the feudal in post-Independence democratic India. Elippathayam, his masterpiece, vividly captures the descent into paranoia of a man trapped within his feudal universe. In Mukhamukham, a study in failed idealism, a Communist leader gives up on revolution and decides to go to sleep instead. Vidheyan, a parable-like story, deals with the abuse of power, the plight of the outsider, and the nature of a master-servant relationship. The more recent films--especially Anantaram, Mathilukal and Kathapurushan--display a new concern with interiority and reflexivity, foregrounding time, memory, consciousness, and the nature of storytelling itself. Adoor's genius lies in his ability to create visually complex films that operate on multiple levels, that are culture-specific and yet universal in significance.
Accomplished Film Director/Writer/Producer Mira Nair was born in India and educated at Delhi University and at Harvard. She began her film career as an actor and then turned to directing award-winning documentaries, including So Far From India and India Cabaret. Her debut feature film, Salaam Bombay! was nominated for an Academy Award for Best Foreign Language Film in 1988; it won the Camera D'Or (for best first feature) and the Prix du Publique (for most popular entry) at the Cannes Film Festival and 25 other international awards. Her next film, Mississippi Masala, an interracial love story set in the American South and Uganda, starring Denzel Washington and Sarita Choudhury, won three awards at the Venice Film Festival including Best Screenplay and The Audience Choice Award. Subsequent films include The Perez Family (with Marisa Tomei, Anjelica Huston, Alfred Molina and Chazz Palminteri), about an exiled Cuban family in Miami; and the sensuous Kama Sutra: A Tale of Love, which she directed and co-wrote. Nair directed My Own Country based on Dr. Abraham Verghese's best-selling memoir about a young immigrant doctor dealing with the AIDS epidemic. Made in 1998, My Own Country starred Naveen Andrews, Glenne Headly, Marisa Tomei, Swoosie Kurtz, and Hal Holbrook, and was awarded the NAACP award for best fiction feature. Nair returned to the documentary form in August 1999 with The Laughing Club of India, which was awarded The Special Jury Prize in the Festival International de Programmes Audiovisuels 2000. In the summer of 2000, Nair shot Monsoon Wedding in 30 days, a story of a Punjabi wedding starring Naseeruddin Shah and an ensemble of Indian actors. Winner of the Golden Lion at the 2001 Venice Film Festival, Monsoon Wedding also won a Golden Globe nomination for Best Foreign Language Film and opened worldwide to tremendous critical and commercial acclaim. Nair's next feature was an HBO original film, Hysterical Blindness. Set in working class New Jersey in 1987, the film stars Uma Thurman, Juliette Lewis, Gena Rowlands. Thurman and Lewis play single women looking for love in all the wrong places, while Rowlands, who plays Thurman's mother, adds to her daughter's hysteria when she finds Mr. Right in Ben Gazarra. The film received great critical acclaim and the highest ratings for HBO, garnering an audience of 15 million, a Golden Globe for Uma Thurman, and 3 Emmy Awards. Following the tragic events of September 11, 2001, Nair joined a group of 11 renowned filmmakers, each commissioned to direct a film that was 11 minutes, 9 seconds and one frame long. Nair's film is a retelling of real events in the life of the Hamdani family in Queens, whose eldest son was missing after September 11, and was then accused by the media of being a terrorist. 11.09.01 is the true story of a mother's search for her son who did not return home on that fateful day. In May 2003, Nair helmed the Focus Features production of the Thackeray classic, Vanity Fair, a provocative period tale set in post-colonial England, in which Reese Witherspoon plays the lead, Becky Sharp. The film is scheduled to release in Fall 2004. Nair's upcoming projects include Tony Kushner's Homebody/Kabul for HBO, and Hari Kunzru's The Impressionist, and there are also plans to take Monsoon Wedding to Broadway. Mirabai Films is establishing an annual filmmaker's laboratory, Maisha, which will be dedicated to the support of visionary screenwriters and directors in East Africa and India. The first lab, which is only for screenwriters, will be launched in August 2005 in Kampala, Uganda.
The man who revolutionized Tamil-language cinema, Mani Ratnam is the biggest director in south India and one of the most respected directors in all of India. Each of his films contain its own unique style, with beautifully photographed songs and unique back-lighting. However, his films contain substance as well as style--Ratnam has dealt with a wide variety of topics, from the classic Indian love story to political thrillers.
He was born in Madras in 1956. Filmmaking was in his blood; he was the son of film producer 'Venus Gopalratnam' and his brother was G. Venkateswaran, a film distributor turned producer. Ironically, however, he studied at Madras University and received a management degree at the Jamnalal Bajaj Institute of Management Studies in Mumbai, and had initially started out as a management consultant. His first film, Pallavi Anu Pallavi (1983), starring Anil Kapoor, didn't make many waves, although it won the State Award from Karnataka that year, but even though he made two films in Tamil and one in Malayalam, nothing worked for him until he broke through with Mouna Ragam (1986). Starring Revathi, the film told the tale of a woman who, although forced into an arranged marriage, chooses to maintain a platonic relationship with her husband. The film was noted for its sophisticated approach and execution of an extremely sensitive topic.
His next film, Nayakan (1987), was also arguably his greatest. A take-off on Francis Ford Coppola' legendary Der Pate (1972), it established Ratnam as the leading director of Tamil-language Cinema and won its leading actor Kamal Haasan the National Award for Best Actor. The film draws on 30 years of Tamil Nadu's celebrity images and directly played to the anti-Hindi feelings of Tamil Nadu when the protagonist, beaten up, tells the Hindi policeman in Bombay, "If I ever hit you, you will die!"
Then came the best of his early work - Agni Natchathiram (1988), Geethanjali (1989), and Anjali (1990). The first was a tale of conflict between two step-brothers. Shot with glossy camera work, the film resembled a cross between an advertisement and a music video, and set a trend for a whole new visual style in Tamil-language Cinema. The next, Geethanjali (1989), shot in Ooty to create a soft and poetic mood, was a touching love story between two terminally ill people with less than six months left. The third, Anjali (1990), about a disabled child brought back to her family with two normal children had been chosen by India to be sent to the Oscars for Best Foreign-language Film, but it did not receive a nomination. The next year saw his first, and only collaboration so far, with the Tamil superstar Rajni Kant in the film Thalapathi (1991). It also starred Mamooty, along side a host of other actor. This star studded film was a gritty tale of an orphan who grows up to become a notorious gang member in Chennai. The story was inspired by the great epic of Mahabharata.
It was Roja (1992) that made Ratnam a household name all over India. A patriotic love story set against the backdrop of Kashmiri terrorism, the film was dubbed in Hindi and became a huge national success. It enforced Ratnam as a director of style and substance, as well as proving a highly auspicious debut for the now-acclaimed music director A.R. Rahman, whom Ratnam had discovered. It helped that India's at-the-time election commissioner T. N. Seshan took the rare step of officially endorsing the film. Millionenraub auf indisch (1993), a remake of Butch Cassidy und Sundance Kid (1969) was a misfire, but Ratnam bounced back with Bombay (1995), a politically charged romance between a Hindu man and a Muslim woman during the 1993 riots in Mumbai. The film underwent some controversy due to its slightly anti-Muslim viewpoint, but it contributed widely to the success of the film.
Continuing his political obsession, Ratnam made Iruvar (1997), based on the MGR-Karunanidhi affair, and Von ganzem Herzen (1998), which starred superstars Manisha Koirala and Shah Rukh Khan. The latter was Ratnam's first Hindi-language film. Based on the northeast Indian problem, it told the story of a radio executive and a revolutionary. It had an excellent cast, beautifully crafted scenes, and most of all one of A.R. Rahman's greatest tunes--but did not go down too well with the audience, who hailed it as a strange and confusing film that headed nowhere. However, today it is held as ahead of its time, being that it was shot pre-9/11, and is now hailed as a contemporary classic.
He returned to familiar ground with Alai Payuthey (2000), which tackled the story of a couple in love that goes through the trials and tribulations of marriage. His subsequent film, Kannathil Muthamittal (2002), which told the tale of an adopted girl meeting her terrorist mother, saw Ratnam back in form as one of the greatest storytellers in Indian Cinema. His next film, Yuva (2004), saw Ratnam return to Hindi-language cinema after six years, but in spite of some fine flourishes, the film largely failed to work. However, don't take him too lightly: he is sure to return with something new next time....
Ram Gopal Varma was born in Hyderabad, the capital city of the Indian state of Andhra Pradesh. He initially was a video store owner before eventually becoming one of India's leading film directors. A film buff during his youth, Varma would watch both American and Indian cinema regularly. As a young man, he attended Siddhartha Engineering College in Vijayawada. Varma started his career in telugu cinema (the Hyderabad film industry), where he made a huge mark with his debut film Shiva, a violent and stylized actioner set in a college backdrop. At the age of 28, with little film training, Varma was able to convince Nagarjuna, a young Telugu star, to act in his debut picture. Nagarjuna was drawn by the narration of the script and intelligence displayed by the young Varma. Shiva was a landmark hit for the industry and was remade by Varma in the hindi language a year later.
His next was the exciting adventure film, Kshana Kshanam, starring Venkatesh and Sridevi. Varma followed this up with such films as - Raatri, a homage to 'The Exorcist' starring Revati and Om Puri (which Varma would remake over a decade later in Hindi as Bhoot) and Antham, a stylized crime drama, with Nagarjuna and Urmila Matondkar (which Varma would also rework later as Satya) - but was not able to attain the commercial success of his first feature. His next release Gaayam, with Jagapathi Babu and Urmila Matondkar, was a violent crime drama set in Hyderabad. The screenplay was co-written by tamil film director Mani Ratnam, and the script based on 'The Godfather'. It became a success for Varma. He then decided to start his own production banner, Varma Corporation Limited, and produced successful telugu films such as Money (remade later as Love Ke Liye Kuchh Bhi Karega), Money Money (its sequel), Gulabi and Anaganaga Oka Roju.
His first huge success in hindi cinema (the Mumbai film industry) was the commercial blockbuster Rangeela, a stylish romantic drama with Aamir Khan and Urmila Matondkar. A.R. Rahman, a tamil music composer, was introduced to hindi audiences by Varma with this film and won the award for best film music.
Varma followed up with the ground breaking gangster saga Satya, a violent crime epic set in the Mumbai underworld. The film was gritty and realistic, reinventing the crime genre in Indian cinema. Varma had done extensive research for the film, and reworked certain elements of his earlier film Antham. Satya was widely considered Varma's first true masterwork. Made on a shoestring budget and with new faces, the film won awards for actor Manoj Bajpai and music composer Vishal Bharadwaj. Satya became a turning point in Varma's career, winning best picture of the year, and Varma would be forever associated with Mumbai noirs.
Varma then, with fellow director Shekhar Kapur, created a joint film production company in 1998 called India Talkies. The first venture of the production house was the ambitious terrorist drama 'Dil Se', with Shahrukh Khan and Manisha Koirala. The film was a box office dud, and India Talkies would be short lived. Varma would return to focusing on his own production house Varma Corp.
The hard hitting masterpiece 'Shool' followed shortly after, written and produced by Varma. The film depicted the life of an honest police officer in the violent and harsh rural setting of Bihar. The film was a commercial and critical success with both Manoj Bajpai and Sayaji Shinde winning awards for their performances. Varma lightened things up next with the romantic drama 'Mast'. The film was inspired by Varma's own college days, and featured Aftab Shivdasani in an award-winning turn as a film crazy college student.
Varma decided afterwards to only direct films in the Mumbai film industry. He believed there was more talent in Mumbai than in southern film cities like Chennai and Hyderabad. Varma had always admired directors such as Shyam Benegal, Govind Nihlani, and Gulzar. He considers Kalyug, Ardh Satya, and Mere Apne among his favorite Indian films of all time. At a time when popular Indian Cinema featured either over the top action films or glamorous love stories, Varma's films were more rooted and realistic. Varma is known to frequently cut out song and dance sequences in his films, which are usually commonplace in Bollywood. His films almost always deal with the contemporary and urban, usually set in the city of Mumbai. He often uses Indian stage actors in his films rather than established bollywood stars. Mainly known for creating the 'Mumbai noir', Varma brought psychological depth and cinematic virtuosity to genre films.
More recently, Varma returned with the organized crime masterpiece 'Company'. The film was again set in the Mumbai underworld, and was based on real life Underworld don Dawood Ibrahim and his criminal outfit D-Company. The film featured award-winning performances by Ajay Devgan, Vivek Oberoi and Manisha Koirala. The film also won awards for best editing by Chandan Arora and best story by Jaideep Sahni. The film was lauded by critics and audiences alike.
His latest release Naach, which Varma called his best film yet, was a largely self reflective piece, about the relationship between an idealistic choreographer and an ambitious actor. The film had a weak commercial run but was liked by critics. In a recent interview with the Indian Express newspaper, the filmmaker criticized Indian audiences saying "I gave Ayn Rand to a Municipal School."
He spends most of his time these days producing small budget films for his successful production house Varma Corp. Though not always credited, he is involved in all aspects of his productions, often believed to 'ghost direct' many of the films. He produces films at a fast speed that is unfamiliar to the Indian Film Industry. He has had many recent successes including - 'Ab Tak Chhappan', based on the experiences of famed Mumbai police Daya Naik, 'D', a prequel to his earlier hit Company based on the early years of Dawood Ibrahim during his days under Pathan underworld boss Karim Lala, 'Ek Hasina Thi', a female revenge thriller, and finally 'Road'. He has also produced lighter films such as 'Love Ke Liye Kuchh Bhi Karega' and 'Main Madhuri Dixit Banna Chahti Hoon'.
His passion for cinema immediately draws your attention, making you realize that Ashutosh Gowariker would not have been anywhere except behind the camera, however tempting the choice. An actor who took to film direction after almost a decade in front of the camera, Ashutosh has acted in Hindi films, Marathi films, television serials and commercials and although the transition from acting to direction was difficult, it was destined.
His diverse exposure as an actor whetted his appetite to helm a project, taking on the directorial reign for the first time with Pehla Nasha (First Love), a murder mystery in 1993. Though the film did not do very well at the box office, it helped Ashutosh find firm ground as a director. He followed this up with Baazi (The Game), a thriller, in 1995, which enjoyed average success, but led Ashutosh on a journey in search of a better script.
With Lagaan, which released in 2001, Ashutosh veered away from most norms in the making of a mainstream commercial Hindi film - a period drama, set in rural India; it's language a dialect; most of its characters were dressed in loincloths; it included a British cast; it was a musical, and a sports film put together! It was produced by Aamir Khan who also starred in it. Lagaan was nominated at the Academy Awards in the Best Film in a Foreign Language category for 2001 and earned plaudits worldwide for its meticulous execution and evocative performances.
His fourth feature film, Swades, was written, produced and directed by him, starring Shah Rukh Khan. The film released worldwide in 2004 to critical acclaim and attained huge success at the international box office.
February 2008 saw the release of his most ambitious magnum opus Jodhaa Akbar, an epic romance. This brought together two of the most respected actors, Hrithik Roshan and Aishwarya Rai Bachchan. The film won the Best Foreign Film in the International Film Festival of Sao Paulo in Brazil, South America and the Grand Prix Best Film and Best Actor in the International Film Festival Golden Minbar in Kazan, Russia, as well as sweeping all of the Indian Film Awards.
His next film saw him take on a new genre with What's Your Raashee?, being Ashutosh's first romantic comedy, based on the Gujarati novel Kimball Ravenswood by Madhu Rye. The film featured Harman Baweja and Priyanka Chopra.
Khelein Hum Jee Jaan Sey is a period thriller starring Abhishek Bachchan and Deepika Padukone, based on the book 'DO and DIE: The Chittagong Uprising 1930-34' by Manini Chatterjee.
His last release, Mohenjo Daro, set in the Indus Valley Civilization stars Hrithik Roshan and debutant Pooja Hegde along with a stellar supporting cast including Kabir Bedi and Arunoday Singh.
Ashutosh has now engaged in the filming of his newest magnum opus Panipat, which is slated to release on December 6th, 2019. Based on the legendary third battle of Panipat, which took place on 14th January 1761 between the Marathas and King of Afghanistan, Panipat promises to be his grandest outing yet.
Deepa Mehta is a transnational artist and a screenwriter, director, and producer whose work has been called "courageous", "provocative" and "breathtaking". Her visually lush and emotionally resonating films have played at every major international film festival; receiving numerous awards and accolades, and have been distributed around the world. Deepa was born in India and received a degree in philosophy from the University of New Delhi before immigrating to Canada. She began her career making documentaries in India.
In 1991, Deepa's first feature film Sam & Me, which stars Om Puri, won a Special Jury Mention in the Camera D'Or section at the Cannes Film Festival. Between 1992-1994 she directed two episodes of The Young Indiana Jones, produced by George Lucas for ABC. In 1993, Deepa directed her second feature film Camilla, a Canada-UK co-pro starring Jessica Tandy, Bridget Fonda, Elias Koteas, Maury Chaykin, Graham Greene, and Hume Cronyn. Fire, which Deepa wrote and directed, is the first film in her Elemental Trilogy (Fire, Earth, Water). Fire opened Perspective Canada at the 1996 Toronto International Film Festival, where it was runner-up for the People's Choice Most Popular Film Award. It played at the New York Film Festival and won many awards worldwide, including the Audience Award for Best Canadian Film at the Vancouver International Festival, the Special Jury Prize at the Mannheim-Heidelberg International Film Festival and Silver Hugo Awards for Best Direction and Best Actress in Chicago.
Earth, based on Bapsi Sidhwa's acclaimed novel about Partition, Cracking India, is the second film in the Elemental Trilogy. It premiered as a Special Presentation at the 1998 Toronto International Film Festival, and won the Prix Premiere du Public at the Festival du Film Asiatique de Deauville and the Critics' Award at the Verona Schermi d'Amore International Film Festival. Bollywood/Hollywood was a change of pace. Written and directed by Deepa, it is a lighthearted, affectionate comedy about two mismatched lovers. It opened Perspective Canada at the 2002 Toronto International Film Festival and was a tremendous crossover box office success. It remains one of the top 10 grossing English language Canadian movies. In 2003 Deepa co-wrote and directed the Canada-UK co-pro The Republic of Love, based on a Carol Shields novel.
After a disrupted and hazardous production history Deepa's final film in the Elemental Trilogy Water opened the 2005 Toronto International Film Festival, and was the first Canadian film acquired by US distributor Fox Searchlight. Water is a powerful, hauntingly tragic story, set in Benares (Varanasi) about a child widow who at the age of eight is forced to enter a house of widows where she has to live for the rest of her life. The movie was to have been shot in India in 2000, but Hindu fundamentalists fomented riots, burnt sets, and issued death threats against the director and actors, forcing production to shut down and the filmmakers to leave the country. Water was successfully remounted in Sri Lanka and completed shooting in June 2004, and features many of India's most renowned actors.
Water was an enormous success. It was nominated for an Oscar for Best Foreign Language Film at the 79th Annual Academy Awards, and has screened at festivals around the world, winning many awards, and remains an audience favourite. The Vancouver Film Critics Circle named Deepa Mehta the Best Canadian Director of 2006. This fall (2015) is the 10th anniversary of Water's launch.
In 2006 Deepa made a documentary about domestic violence in Toronto's immigrant families called Let's Talk About It, which continues to be used in community outreach programs. She then thematically segued into the feature film Heaven On Earth, which explores arranged marriages and isolation. Starring Preity Zinta, the film had its world premiere at the Toronto International Film Festival in 2008. It was awarded a Silver Hugo for Best Actress at the Chicago International Film Festival, and received the Best Screenplay Award at the Dubai International Film Festival. It also won the Youth Jury Award at the Schermi d'Amore Film Festival in Verona and the Audience Award at the River to River Florence Indian Film Festival.
In 2012, Deepa completed her epic cinematic adaptation of Salman Rushdie's famous novel about the history of India in the 20th century, Midnight's Children. A novel that won three Booker prizes. The movie, with 127 speaking parts, and covering five distinct time periods from 1917-1977, was a vast, ambitious undertaking and has screened all over the world, including the Telluride Film Festival, Toronto International Film Festival, Vancouver International Film Festival, and the BFI London Film Festival. Midnight's Children was chosen as the Best Feature Film of 2013 at the Directors Guild of Canada's Awards.
Deepa's work as an artist, as a progressive voice about social issues, and her generous mentorship have often been recognized. She has received numerous honorary degrees and many awards and honours, among them: The Life of Distinction Award from the Canadian Centre of Diversity, The Excellence in the Arts Award from the Canadian Civil Liberties Association, and the Woman of Distinction, President's Award from the YMCA. She is a recipient of the Governor General's Lifetime Artistic Achievement Award for Film. Most recently, in 2013, Deepa was appointed as an officer to the Order of Canada, Canada's highest civilian honour, for her work as a "groundbreaking screenwriter, director, and producer." She is also a recipient of the province of Ontario's highest honour, the Order of Ontario.
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M.S. Prabhu
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Explore the filmography of M.S. Prabhu on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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‘Rangeela’: Not the Musical We Deserved, but the Musical We Needed
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Learn what makes "Rangeela" tick nearly three decades after its release and how it left an indelible mark on the industry's approach to storytelling.
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Would you believe me if I told you that “Rangeela,” a beloved Bollywood film from the ’90s, was inspired by “The Sound of Music”?
Or that a filmmaker renowned for his gritty crime dramas wrote and directed this path-breaking romantic film?
If you aren’t familiar, “Rangeela” is considered one of the finest Indian musicals ever.
Even today, nearly three decades after its release, the film’s soundtrack, composed by a then-young A. R. Rahman, continues to resonate with young and old alike.
Yet, it’s not just the music that deserves praise in this film. There are plenty of other highlights as well, which I’ll be covering in this piece — my tribute to the cult classic.
A quick heads up to folks from the West who are reading this piece.
If your only encounter with Indian cinema thus far has been “RRR,” then you’ll be pleasantly surprised by this film. (If you wish to avoid spoilers, head straight to the bottom of this page to watch the movie.)
To my fellow Indians who haven’t seen the movie yet — what are you even doing here?
And lastly, to all the passionate cinephiles out there who have watched and celebrated this movie, let’s relive the magic of “Rangeela” on its 28th anniversary as I share some of my favorite things about the movie.
The enigmatic Urmila Matondkar
In my humble opinion, Indian cinema has had its fair share of struggles when it comes to capturing on-screen glamour.
Just take a look at the image below, for instance.
These screen grabs are taken from three iconic music videos in retro Bollywood films.
Can you imagine this was being dished out in the name of glamor in the ’70s and ’80s? Notice the loud attire of the performer and their unintentionally funny-ish dance moves. (Sorry Helen ma’am!)
Things did improve somewhat in the ’90s, but the portrayal of glamour on celluloid was often either cringeworthy or tasteless.
However, “Rangeela” marked a significant turning point.
For the first time, there was a seamless blend of classiness and sensuality, boldness and beauty, minimalism and extravagance.
A major contributor to this delicate balance was undoubtedly the film’s leading lady, Urmila Matondkar.
From the very first frame of the movie, where Ms. Matondkar gracefully strutted the streets of Mumbai (then Bombay) in slow motion with the film’s title track playing in the background, to the last, the petite actress held her own alongside heavyweights like Aamir Khan and Jackie Shroff.
Her vibrant presence lit up every scene she was in, and if my math is right, she even got more screen time than her male counterparts in the film.
I’m still in awe of how effortlessly she transitioned from the quintessential girl next door, someone everyone wanted to bring home, to a smoking hot diva in the exquisitely filmed and choreographed song sequences.
Speaking of choreography, it’s worth noting that the actress stepped in for the film’s lead choreographer, Saroj Khan, on at least one occasion. It’s a shame that her contributions went uncredited.
Way ahead of its time
Most Indian films, good or bad, fail the Bechdel Test miserably.
The Bechdel Test, or Bechdel-Wallace Test, sometimes called the Mo Movie Measure or Bechdel Rule is a simple test which names the following three criteria: (1) it has to have at least two women in it, who (2) who talk to each other, about (3) something besides a man.
Source
The ’90s, in particular, were a low point in this regard. Female leads during that era were often reduced to being the protagonist’s arm candy.
In those films, the heroine would typically receive a moral lecture from the hero during their initial encounter (back then, meet cute wasn’t a common trope in movies made in this part of the world). This antagonism would persist throughout the first act until she ultimately realized that she and the hero were meant to be together, often after enduring relentless harassment or stalking by the leading man.
What I’ve just described was the standard character arc for the leading lady in practically 99.99% of films from that period.
Apart from the occasional powerful solo scene (if lucky), she would usually be seen pining for the hero’s love, playing the role of his loyal sidekick, defending his honor or simply waiting for him to rescue her. In short, the female lead had no agency!
So what set “Rangeela” apart?
Let me begin by disclosing that it barely passes the Bechdel Test. However, out of the top 10 grossing films of 1995, this film stands out as the lone female-centric entry.
In Indian cinema, women-centric films typically feature established female actors, with little or no male star presence, often centered around social issues.
“Rangeela” defied this norm.
Ms. Matondkar, a relative newcomer in the industry at the time, played the female lead, while the two male superstars, Mr. Khan and Mr. Shroff, played supporting roles.
The movie’s plot revolves around the dream of a female backup dancer — Mili — to make it big in Bollywood, and the director keeps the narrative centered on Mili and her aspirations.
There are detours now and then, but the viewer is never pulled away from Mili’s struggles and aspirations, keeping us fully immersed in her rags-to-riches journey throughout the film.
As a viewer, you become so invested in Mili’s life that you take vicarious pleasure in her success when you see her (spoiler alert!) seated in the front row at the premiere of her debut film, “Rangeela” (how meta, right?), toward the climax.
Sublime direction
In the early ’90s, a hotshot director who had already made a name for himself in the Telugu film industry packed his bags and made his way to the City of Dreams to leave his mark in the Hindi film industry.
“Rangeela” was Ram Gopal Varma’s (a.k.a. RGV) fourth Hindi film but his first foray into the romance genre.
It was a notable departure from his usual fare of gangster dramas and low-budget horror flicks. Yet, when you watch the movie, it’s evident that he’s equally at home in this genre as well.
So what makes this film still feel fresh and contemporary more than two decades later?
Well, here’s my take:
The ending might seem somewhat contrived, but the film thankfully isn’t your typical rich girl falling for a guy from a humble background (or vice versa) story.
In Indian films, the portrayal of sibling relationships has often been melodramatic to the point of discomfort. However, “Rangeela” gets the brother-sister dynamic just right — Mili’s banter with her younger brother feels real.
One of my favorite scenes is Raj Kamal’s, portrayed by Mr. Shroff, flashback. It’s a deft piece of filmmaking: that’s all I’m going to say so as not to spoil the film.
The movie is peppered with inside jokes about the Hindi film industry. For instance, there’s a character named Steven Kapoor — no coincidence that Kapoor shares his first name with Mr. Spielberg — who believes he’s the world’s greatest living director.
Lastly, I tip my hat to RGV, an industry outsider at the time, for having the conviction to make such a non-formulaic film right at the beginning of his Bollywood career. If the movie had tanked, it would probably have been curtains for RGV’s Bollywood dreams.
Aamir Khan’s flawless “tapori” avatar
Who can possibly forget the famous “dus ka thees” intro scene of Aamir Khan’s?
For those unfamiliar with the intricacies of Mumbai’s street lingo, let me tell you, it’s no easy feat to pull off convincingly, and very few actors have managed to do it justice on the silver screen.
Despite being cast against type, Mr. Khan immerses himself in the dialect as the wisecracking punk Munna.
Known for his dedication to his characters, the actor revealed in a recent interview that he went to great lengths to truly inhabit the role, even going so far as to skip showering for days during filming!
One particularly memorable scene in the movie never fails to crack me up.
It involves Munna, all dressed up, taking Mili on a date to a 5-star hotel. Mr. Khan is so convincingly in character as Munna in that scene that you momentarily forget the suave actor beneath the surface.
Manish Malhotra’s dreamy costumes
The film’s costumes were initially slated to be designed by a prominent designer. However, at the eleventh hour, the designer withdrew but recommended their assistant as a capable replacement.
That assistant happened to be none other than Manish Malhotra.
Back then, the man, who has been dressing Indian movie stars for more than two decades now, was relatively unknown. But boy, did he do an absolutely fantastic job in the film.
Remember I mentioned the delicate balance of glamour in the movie in the beginning of this article? If Urmila Matondkar was one essential piece of that puzzle, Mr Malhotra was undoubtedly the other.
His work on Ms. Matondkar’s wardrobe alone was so groundbreaking that I’m pretty sure it added to her performance in the film.
Jackie Shroff, portraying the amiable A-lister, also looked the part.
Aamir Khan’s costumes, with the exception of that all-yellow ensemble he wears on the date, lent his character a certain air of authenticity. However, I recently learned that Mr. Khan purchased all of Munna’s clothes from street-side vendors.
In fact, Mr. Khan even revealed in an interview that he would approach random passers-by on the street and buy what they were wearing for the film!
The Mozart of Madras’s magical compositions
Rangeela wouldn’t be what it is if not for A. R. Rahman’s music, period.
The film has seven songs. Let me start with my favorite: “Mangta Hai Kya.”
Even today, this song would seem out of place in a Bollywood film because of its unconventional beats, vocals and lyrics.
It’s no wonder Mr. Khan had reservations about its inclusion in the film.
The way it’s shot and integrated into the film is also pretty special — playing in the movie as Munna goes to meet Mili and finds her rehearsing her routine in an empty studio lot. He questions her about the allure of the film industry, and Mili proceeds to offer him a glimpse of the magic of cinema.
Then there’s the crowd-favorite “Tanha tanha,” which is probably the first song that comes to mind for anyone familiar with the album or the film.
The orchestration, particularly the flute ostinato, Asha Bhosle’s vocals, Urmila Matondkar’s graceful and uninhibited movements, Manish Malhotra’s costumes and the scenic beaches of Goa captured through the lens of W. B. Rao — all contribute to the song’s evergreen popularity.
Here’s an interesting tidbit about one of the songs.
RGV and ARR had flown to Goa with the idea of creating a “sensuous” song for the film.
After a four-day stay, when RGV asked to hear the composition, ARR boldly informed him that he hadn’t composed a single note because he had been too busy watching TV in his hotel room.
RGV was furious!
However, ARR assured him he would have a tune ready within the next few days. That tune eventually became the “Hai Rama” song.
If ARR is to be believed, this song was inspired by the Hindustani classical background score playing in one of the scenes in “Mughal-e-Azam,” a film he happened to catch during his Goa trip!
Beyond convention
They say, “Fortune favors the brave,” and in the case of “Rangeela,” this rings especially true.
It took courage on the part of the director to remain steadfast in his vision, even in the face of unconventional choices (too many to list here).
It required boldness from the music composer to push the boundaries and create a unique soundtrack that still continues to delight listeners.
The cast, too, showed their mettle by delivering performances that challenged stereotypes and expectations.
And let’s not forget the producer, Jhamu Sughand, who took the risk of backing a film that may not have been commercially viable on paper.
Thanks to their collective bravery and audacity, we, the audience, have been bestowed with a remarkable piece of entertainment.
“Rangeela” has not only stood the test of time but continues to captivate audiences 28 years after its release, ensuring its place as a timeless classic in the annals of Indian cinema.
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Priyadarshan's aspiring project called Marakkar: Arabikadalinte Simham , will feature the comeback of the two major tycoons from South film industry, Mohanlal and Prabhu. Last they worked together was for the iconic masterpiece film Kaalapani, in the year 1996
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FWD Life | The Premium Lifestyle Magazine |
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https://fwdlife.in/mohanlal-and-prabhu-will-join-hands-again-after-22-long-years
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Priyadarshan’s aspiring project called Marakkar: Arabikadalinte Simham , will feature the comeback of the two major tycoons from South film industry, Mohanlal and Prabhu. Last they worked together was for the iconic masterpiece film Kaalapani, in the year 1996
Text Credits: Shibul Pavithran
After long gap of 22 years, Priyadarshan the director has decided to bring back the two talented actors for a film. It has been confirmed that Prabhu has been confirmed for the director’s dream project Marakkar: Arabikadalinte Simham. The Tamil actor will reportedly play a significant role in the film. Further, it has been confirmed that Madhu will also feature in the film.
After acting together in critically acclaimed Kalaapani, a historical narrative that showed the damned horror that was prevalent in the cellular jail in Andaman Nicobar islands, Mohanlal and Tamil superstar Prabhu are all set to act together in Priyadarshan’s upcoming big-budget project Marakkar. It is after 22 long years that these two powerhouses from south film industry will be working together in a movie after the release of Kaalapani in 1996 which was also directed by Priyadarshan.
Priyadarshan also announced on his his official page that Mohanlal’s son Pranav Mohanlal will also be the part of the film and has a special role in the film.
Marakkar: Arabikadalinte Simham is expected to be a high budget historical film. Reports suggest that senior actors from Hindi and Tamil film industry, namely Nagarjuna, Suneil Shetty and Paresh Rawal may also be roped in to play important characters in this historical period drama. The film will be bankrolled by Antony Perumbavoor, Santhosh T Kuruvilla and CJ Roy.
The Emmys are almost here! Wait, didn’t we just have the Emmys? Well, sort of. In January 2024, the 2023 Emmys—postponed due to the strikes—finally took place, even though it was 2024 by then, and some of the shows being honored were from 2022. Now, the actual 2024 Emmys are on their way, set to celebrate the best in television from June 2023 through May 2024. This means the highly praised second season of *The Bear* will get its moment before the less-enthusiastically received third season comes up for awards next year. It’s all a bit confusing, we know. But it’s good to see the TV awards show back on track and not jammed into the middle of awards season again—that was just too much. Below, you’ll find everything you need to know about the second 2024 Emmys.
Here’s everything you need to know about the 2024 Emmys:
The father-son duo, Eugene and Dan Levy, who famously starred together in *Schitt’s Creek*, will be hosting the ceremony. “For two Canadians who won our Emmys in a literal quarantine tent, the idea of being asked to host this year in an actual theater was incentive enough,” they shared in a statement. “We’re thrilled to be able to raise a glass to this extraordinary season of television and can’t wait to spend the evening with you all on Sept. 15.”
Craig Erwich, the president of Disney Television Group, praised the Levys, saying, “Eugene’s and Dan’s comedic intuition and uncanny ability to capture the hearts of viewers will make for a memorable Emmys telecast honoring this year’s best and brightest.”
Eugene Levy is also nominated at this year’s Emmys for his show *The Reluctant Traveler*. Back in 2020, the Levys made history as the first father and son to win awards in the same year. This year, they’ll achieve another milestone by becoming the first father-son duo to host the awards show.
At the 76th Annual Emmys, the Japanese drama *Shōgun* leads the nominations with 25, while *The Bear* earned 23 nominations—setting a new record for the most nominations in a single year by a comedy.
The Emmys will air live from Los Angeles on Sunday, September 15, at 8 p.m. Eastern on ABC, with a stream available the following day on Hulu.
Nothing is more entertaining than viewing a film where the plot is progressively revealed with each unexpected turn of events. The audience is kept actively interested by their curiosity about what will happen next. Over the years, Bollywood has produced many mystery films that cinema buffs love and appreciate. These Bollywood mystery films are the ideal approach to sate the hunger for individuals who love the feeling of being taken on an adventure with engrossing storytelling!
Jaane Jaan (2023)
Jaane Jaan is based on Keigo Higashino’s 2005 Japanese novel The Devotion of Suspect X. The narrative centres on a single mother who becomes involved in her husband’s death. While a dedicated police investigator works to find the truth, the neighbouring maths instructor helps to conceal the crime.
Haseen Dillruba (2021)
In Haseen Dilruba, a lady who is being investigated for her husband’s murder divulges details of their tumultuous marriage, thereby impeding the pursuit of the truth. Watching this murder mystery with a twist of romantic drama is highly recommended, especially since Vikrant Massey steals the show and Tapsee Pannu plays a pivotal role.
The Girl On The Train (2021)
A troubled divorcée becomes fixated on a seemingly perfect couple she watches from afar. But when an unexpected remark pulls her into a dark murder investigation, her world unravels. Starring Parineeti Chopra with intense eyes, the charismatic Avinash Tiwari, and the graceful Aditi Rao Hydari, this gripping thriller, *The Girl On The Train*, will keep you on the edge of your seat.
Ittefaq (2017)
In a double murder case, a housewife and a writer become the prime suspects and the only witnesses. As a detective navigates a web of coincidences, the mystery deepens. *Ittefaq*, a stylish thriller starring Sidharth Malhotra, Sonakshi Sinha, and Akshaye Khanna, is packed with action and rapid twists, making it a must-watch for your list.
Talvar (2015)
*Talvar* is a Bollywood thriller based on a real-life double murder case that shook India to its core. The film follows the investigation into the brutal killings of a teenage girl and her family’s servant, unraveling various theories that surround the case. As the story unfolds, the complexities of the legal process, conflicting evidence, and political pressures add layers of confusion. *Talvar* highlights the flaws and intricacies of the justice system, prompting viewers to question the nature of truth and the impact of societal pressures on criminal investigations.
Badla (2019)
*Badla* is a gripping thriller that follows a renowned lawyer (Amitabh Bachchan) who is brought in to defend a woman (Tapsee Pannu) accused of murdering her lover. As they dig deeper into the case, the truth becomes increasingly elusive and complex. The film is bolstered by sharp editing, a compelling musical score, and striking cinematography, all of which enhance the strong storyline and outstanding performances.
Phir Aayi Hasseen Dillruba (2024)
Escaping from the police in Agra, Rani and Rishu decide to elope together. When their plan goes awry, Rani seeks a helping hand from a kind admirer.
Merry Christmas (2024)
Sriram Raghavan’s *Merry Christmas* is a captivating mystery thriller set in 1980s Bombay. Starring Vijay Sethupathi and Katrina Kaif, the film follows Albert, a man ensnared in a web of secrets and lies on Christmas Eve. As he tries to protect Maria (played by Katrina Kaif) from suspicion, Albert uncovers shocking truths that lead to a heart-pounding finale.
Have you ever envisioned a rapper from Kerala taking off similar pranks for a viral music video on the internet? That’s exactly what HanuMankind’s “Big Dawgs” has accomplished, racking up over 17 million views on YouTube and holding the 43rd position in the worldwide top music video chart right now.
“Pushing culture baby, got that product you can’t measure,” is the official slogan of the “Big Dawgs.” Rapper HanuMankind, who was born in Kerala, wrote, sang, and performed the song that launched desi hip-hop on a worldwide scale. This newest Instagram success is causing social media influencers, music reviewers, and fans worldwide to go crazy.
The newest mega song, “Big Dawg” featuring Kalmi, is causing quite a stir among hip-hop fans worldwide. Texas is where Sooraj Cherukat, better known by his stage as HanuMankind, spent his formative years. He created the ideal combination of desi and global components in the ‘Big Dawg’ music video by incorporating sounds with a Texas flavour.
‘Big Dawg’ is a raw video with a South American flavour, shot in Ponnani, Kerala, a coastal district. It has a desi swagger and an explosive punk vibe that is hard-hitting due to its South Indian location. It is Instagram-worthy thanks to its intense drumbeats, gritty graphics, heart-pounding moments, and deft editing.
With songs like “Rush Hour,” “Genghis,” and “Go To Sleep,” HanuMankind is becoming one of the most prominent names in popular hip-hop. ‘Big Dawgs’ has now catapulted him to an unparalleled level as an industry innovator.
Bijoy Shetty is the director of “Big Dawgs,” and Kalmi of Brown Crew Productions is supporting the film. The main rider, Sulthan Sheikh, Moor Saleem, Muhammad Shadab Ansari, and Kashish Sheikh all perform the tricks.
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Goutham Vasudev Menon returns to the genre he shines in, romance, with Neethane en Ponvasantham. NEETHANE EN PONVASANTHAM (9/10)INTRODUCTIONJiiva and Samatha Ruth Prabhu play the lead roles, supported by Santhaanam, Ravi Prakash and Anupama Kumar.STORYNEETHANE en Ponvasantham tells the story of the love that grows between Varun (Jiiva) and Nithya (Prabhu).
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Goutham Vasudev Menon returns to the genre he shines in, romance, with Neethane en Ponvasantham.
NEETHANE EN PONVASANTHAM (9/10)
INTRODUCTION
Jiiva and Samatha Ruth Prabhu play the lead roles, supported by Santhaanam, Ravi Prakash and Anupama Kumar.
STORY
NEETHANE en Ponvasantham tells the story of the love that grows between Varun (Jiiva) and Nithya (Prabhu). There are neither villains nor cruel blows from fate, but their romance is a rocky road because of a variety of issues. These include personal ego, family and life commitments and, often, a simple failure to communicate.
Reshma Ghatala, who penned the story, takes simplicity and credibility to new levels, but what is a strength for some is a weakness for others.
PERFORMANCES
JIIVA handles his role brilliantly, especially with his ability to express emotions.
Santhaanam provides good support in a role that transcends the usual, but it is Prabhu whose performance lingers long after the film ends. Her powerful expressions dominate her interpretation of the role. She also chose to dub herself in the film and uses her slightly stammering Tamil to her advantage.
DIRECTION
MENON infuses sensibility into a well-narrated story and the result is an easy-paced film that is anything but boring. One gets into the minds and hearts of the characters and the result is a love story that deserves a place in the classics.
CINEMATOGRAPHY
CINEMATOGRAPHY by MS Prabhu and Om Prakash is, for the most part, brilliant. However, there were two scenes - one where Varun's family is introduced and the second in the long scene just before interval - where a single camera is used in an extra-long shot. It is possible that this is a new technique but the effect is unimpressive.
SCREENPLAY AND SCRIPTING
THE film has been criticised for its slow pace but I appreciated it because the characters are credible. It is also refreshing to have a love story without comedians, villains or any other sideshows. The main characters are villains to each other.
MUSIC
NOT enough can be said about the contribution by Isai Nyaani Illaiyaraja. Apart from the mesmerising songs, his background score lives up to his usual high standards. This is truly a musical feast.
OVERALL
LIKE Kaadhalil Sodhupuvadhu Yeppadi, whatever your experience in love, you will find something to warm your heart and move you to the core in Neethane en Ponvasantham.
Last week's questions and answers
Q: Name the two female lead actresses in Paandiyarajan's 'Aan Paavam'.
A: Seetha and Revathy.
Q: Who played the female lead in Kamalhassan's 100th film?
A: Madhavi.
Q: Who directed the hit film 'Vasantha Maaligai', which had Sivaji Ganesan and Vanishree in the lead roles?
A: KSPrakash Rao.
This week's questions
1. Who scored the music in Jiiva's debut film, 'Aasai Aasaiyaai'?
2. Who played the two male leads in the debut film of Goutham Vasudev Menon?
3. Which film features the hit song 'Madras Nalla Madras'?
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https://www.allaboutjazz.com/soundtrack-neethane-en-ponvasantham-ilaiyaraja-sony-music-review-by-chris-m-slawecki
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Ilaiyaraja: Soundtrack: Neethane En Ponvasantham album review @ All About Jazz
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2013-10-13T00:00:00
|
Ilaiyaraja: Soundtrack: Neethane En Ponvasantham album review by Chris M. Slawecki, published on October 13, 2013. Find thousands jazz reviews at All About Jazz!
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en
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https://www.allaboutjazz.com/icon/favicon.ico
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All About Jazz
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https://www.allaboutjazz.com/soundtrack-neethane-en-ponvasantham-ilaiyaraja-sony-music-review-by-chris-m-slawecki/
|
Chris M. Slawecki has been published in music industry and related publications for more than thirty years and has served AllAboutJazz.com as Senior Editor since 1997.
Senior Contributor
Since 1996
Philadelphia, PA
MY ARTICLES | ALBUM REVIEWS | PROFILE PAGE
Contact Me
Musical Preferences
Ambient / New Age
Beyond Jazz
Blues
Brazilian / Bossa Nova / Samba
Electronica
Fringes of Jazz
Funk / Groove / Acid Jazz
Jam Band
Latin
Soul
Straight-ahead (Bop, Hard bop, Cool)
Vocal
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Preview: Yeto Vellipoyindi Manasu-Gautham Menon's Romantic Fantasy
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] |
[
"https://www.youtube.com/embed/y18lW2su0vM?rel=0"
] |
[] |
[
"yeto vellipoyindi manasu",
"gautham menon",
"ilayaraja",
"samantha",
"nani"
] | null |
[] |
2012-12-06T18:21:45+00:00
|
Yeto Vellipoyindi Manasu starring Nani and Samantha is releasing on December 14th. Gautham Menon directed this film and C Kalyan produced it with music by Ilayaraja. Here is the preview on Yeto Vellipoyindi Manasu.
|
en
|
/rglhrifavicon.ico
|
https://www.ragalahari.com/movies/review/1189/yeto-vellipoyindi-manasu-movie-preview.aspx
|
Gautham Menon is largely famous for his romantic hits like ‘Cheli’ (Minnale in Tamil) and ‘Ye Maya Chesave’ (Vinnaithaandi Varuvaayaa in Tamil). Now his latest movie ‘Yeto Vellipoyindi Manasu’ (Neethaane En Ponvasantham in Tamil) has generated lot of buzz right from the time it went on the sets. The title ‘Yeto Vellipoyindi Manasu’ reminds us of Nagarjuna-Tabu’s popular hit number ‘Yeto Vellindhi Manasu….’From Krishna Vamsi’s creation ‘Ninne Pelladuta’.
This Nani-Samantha starrer appears to be a sweet, light hearted feel good romantic movie that showcases three different stages of love. Love at tender age of 8, at 18 and at 28. At 8 they play and fight, at 18 love blossoms between them and at 28 they are matured enough to understand what they are expecting from each other. The audience can expect a very well paced direction with genuinely outstanding and intelligent writing from Gautham Menon. Apart from that, the moviegoers are assured impressive performances from the charismatic lead pair. They will also get to see Nani and Samantha in three different get-ups - as school going children, as college buddies and as matured lovers.
Music always play a vital role when it comes to romantic films because it is the music that elicits an immediate reaction from the audience and gives them chills when they watch the visuals along with the audio. Here when we talk about Gautham Menon’s films, music is the main element. So in this manner if we imagine a love story film in the combination of Gautham Menon and Ilayaraja, we can predict it as an impeccable movie. After giving a considerable break Ilayaraja is back into films to hypnotize people in a wave of music. He has recently given some wonderful musical scores in Tamil and Telugu. With his sound treatment given to the visuals in YVM in the form of songs and background score, the movie is expected to take the audiences on a mesmerizing journey. As known to all, the audio is already a big hit with positive reviews.
M S Prabhu is the cinematographer of this film. He had worked under the guidance of P C Sriram in the past and also worked for K V Anand’s directorial venture ‘Ayan’ (Veedokkade in Telugu) starring Surya and Tamannah. His cinematography and Anthony’s editing also play key roles in creating the proper mood and the tone for the situation. There is a different world in every film and Gautham Menon’s this youthful romantic movie is not different when it comes to completely involve the audience in a different world. YVM posters designed by Anil Bhanu and the trailers have received wide range of response from the movie lovers and they have expressed high expectations on the film. However, the director’s goal is not just the youth audience as this story is such that it will connect well with all age groups.
This bilingual film featuring Nani opposite Samantha in Telugu version, has Jiiva opposite her in Tamil version. It was also started in Hindi as ‘Assi Nabbe Poorey Sou’ with Aditya Chopra and Samantha as lead pair. However, the film could not be completed as per the schedule time. So the movie will open to theaters worldwide on December 14th, 2012 in Telugu and Tamil only. Yet another point to be noted here is that Samantha was to dud her voice in Telugu but later she changed her decision saying that she did not want to disappoint Chinmayi's fans. Nevertheless the Tamil audience will get to hear to her sweet voice. C Kalyan is producing the Telugu version under Teja Cinema banner and iDream Media is distributing the movie at overseas.
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3915
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dbpedia
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1
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https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/neethaane-en-ponvasantham/movie-review/17622934.cms
|
en
|
Neethaane En Ponvasantham Movie Review {3.5
|
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[] |
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[
"Friends"
] | null |
[] |
2012-12-15T10:25:36+05:30
|
Neethaane En Ponvasantham Movie Review: Critics Rating: 3.5 stars, click to give your rating/review,An ideal date movie, despite the slow pace and the flaws.
|
https://timesofindia.indiatimes.com/icons/etfavicon.ico
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/neethaane-en-ponvasantham/movie-review/17622934.cms
|
Synopsis: Childhood buddies Varun (Jiiva) and Nithya (Samantha) are attracted to each other from their school days. When Varun decides to put aside romance on the backburner for the sake of his middle class family, it leads to misunderstandings and eventually a break-up. Are the lovers destined for a happily ever after?
Review: With Neethaane En Ponvasantham (NEP), Gautham Vasudev Menon hits notes that have been played by Tamil filmmakers quite a bit in the past — ego and misunderstandings that crop up between lovers. But where his notes differ and make this familiar tune of romance slightly refreshing is in Menon boldly acknowledging that every love affair involves a bit of pure selfishness and breaking of your parents’ trust.
His Varun and Nithya are clearly madly in love with each other but what becomes an obstacle is not their parents’ approval but their own priorities in life. With his brother’s love affair turning out to be an eye-opener, Varun wants to realize his parents’ aspirations and put romance on the backburner for a while, but the well-off Nithya is quite content to be with him every possible second. Naturally, they misunderstand each other; she thinks he is self-centered and sidelining her for his personal improvement while he feels she might remain unambitious and even fears her over reliance on him might create problems at a later stage.
Menon has constructed the film almost as a musical, with Ilaiyaraaja’s tuneful songs really driving many of its plot points, including the lovely early segment involving Varun and Nithya’s school romance. But the problem is that most often the segue between song and scene isn’t as smooth as it ideally should be. This is especially marked in the second half which mainly involves the question of whether the star-crossed lovers will get back together after the big pre-interval break-up. Part of the problem is also due to the film’s structure; it is essentially a series of patch-ups and break-ups — in childhood, high school, higher secondary, college and finally as 20-somethings. With Menon showing us all their tussles till college in the first half, the latter portions, despite the exquisite songs, feel overlong and monotonous. He also gives in to his indulgence of lengthy dialogues that all the more poses a test of patience and sometimes, gives room for unsparing comments from the audience.
Still what keeps us hooked are the astonishingly human characters who don’t shy away from being their true self. Varun might be single-minded in the goal he sets for himself but he is also mature enough to differentiate between reality and romance and Jiiva brings out this aspect of the character with a quietly compelling performance. Nithya, though a tad underwritten and not as enigmatic as Jessie from Vinnaithaandi Varuvaayaa (VTV), is what every guy dreams of — a beautiful woman who can’t bear the thought of being away from him and pines for him for ever. And, Samantha, in this role, is superb as the school and college-going girl, only faltering towards the end when called upon to express anger and anguish. As with VTV, here too, Gautham takes a dig at himself, making a parody of that film’s leads with Santhanam and Vidyullekha, who play the friends of the lovers, and provide some humour.
Hot Tip: An ideal date movie, despite the slow pace and the flaws.
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https://www.tiktok.com/%40missdreamfactori/video/6818407978434088194
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en
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Make Your Day
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https://ilayaraja.forumms.net/t140-all-about-jazz-com-reviews-neethane-en-ponvasantham
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All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
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[
"irir123",
"Sponsored content"
] |
2013-10-23T01:17:52+03:00
|
NEETHANE EN PONVASANTHAM glorifyingly reviewed by Allaboutjazz.com ! http://www.allaboutjazz.com/php/article.php?id=45539#.Umb1p1MuegR IR's output is considered
|
en
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https://illiweb.com/fa/favicon/discussion.ico
|
ilayaraja.forumms.net
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https://ilayaraja.forumms.net/t140-all-about-jazz-com-reviews-neethane-en-ponvasantham
|
irir123 Wed Oct 23, 2013 1:17 am
NEETHANE EN PONVASANTHAM glorifyingly reviewed by Allaboutjazz.com !
http://www.allaboutjazz.com/php/article.php?id=45539#.Umb1p1MuegR
IR's output is considered and compared with those of Pat Metheny's work with pianist Lyle Mays, the classic Gil Evans, Oliver Nelson instrumentation, and the tempo of Tom Petty !!
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
fring151 Wed Oct 23, 2013 1:47 am
Thanks a lot irir123 for getting this reviewed. Considering that the album as a whole is far from pure jazz and in a language not understood by the reviewer, I'd call this quite a positive review. Perhaps he didn't mention Satru munbu as it doesn't have any definitive jazz or rock elements. If I remember right, you posted a while back that the reviewer wrote back saying some of the vocals don't add anything to the songs (referring to Saindhu saindhu). That being the case, the way he has phrased it in the actual review is milder. I consider it to be Raja's vettri that a neutral jazz critic finds Kaatrai konjam and saindhu saindhu only "curiously jazz-like". New genre indeed!
"Every tune has vocals, and while several tunes present light and floating orchestration that's curiously jazz-like, these vocals often bring them back to earth."
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
jaiganesh Wed Oct 23, 2013 3:07 am
Awesome - Fantastic review - and purists watch how this reviewer doesnt find the voice of yuvan odd- years of carnatic listening sometimes makes ppl
prejudiced against certain elements of singing in human voices.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
baroque Wed Oct 23, 2013 3:47 am
Good job, irir123.
mmm.... for me to understand his references , I need to listen & learn the styles of Pat Metheny, Lyle Mays, Oliver Nelson.
yenakku avallam theriyaadhey... any of the above closer to Dexter Gordon or George Brooks, I have listened to couple of their tracks.
Raja's music is like mother's milk rich & complex.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
crimson king Wed Oct 23, 2013 4:51 am
That's a pretty big deal, man, all about jazz is a very well known website. Nice review but not a word about Sattru Munbu or Mudhal Murai (?)
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
crimson king Wed Oct 23, 2013 4:56 am
baroque wrote:Good job, irir123.
mmm.... for me to understand his references , I need to listen & learn the styles of Pat Metheny, Lyle Mays, Oliver Nelson.
yenakku avallam theriyaadhey... any of the above closer to Dexter Gordon or George Brooks, I have listened to couple of their tracks.
Raja's music is like mother's milk rich & complex.
Pat Metheny with Lyle Mays on piano:
No idea about Oliver Nelson or Gil Evans. I only know Bill Evans.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
baroque Wed Oct 23, 2013 8:31 am
Crimson king,
Jazz.com has some nice articles on various artists & 12 of their essential performances. They have featured Pat metheny. just check out their picks, nice guidance.
George Brooks has performed with Ronu majumdar at a sanjose hindustani sangeeth society. I liked it.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
rajkumarc Wed Oct 23, 2013 9:41 am
Great work irir123 in getting NEPV reviewed in a renowned Jazz magazine, happy to see your efforts get the success they deserve. Great review. Wonder why Mudhal Murai & Satru Munbu were not talked about.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
crimson king Wed Oct 23, 2013 6:30 pm
baroque wrote:Crimson king,
Jazz.com has some nice articles on various artists & 12 of their essential performances. They have featured Pat metheny. just check out their picks, nice guidance.
George Brooks has performed with Ronu majumdar at a sanjose hindustani sangeeth society. I liked it.
Ah but I am already quite familiar with Metheny.
Just listening to Oliver Nelson and Gil Evans, sounds great. Shall start looking for works of theirs.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
kiru Wed Oct 23, 2013 9:47 pm
Congrats irir123, this review says more about your passion and perseverance than about IR's music.
Wishing you all the best in your professional career !!
(BTW, it is difficult to do serious jazz or WCM in our movies. that is our social/cultural situation .. so any favorable appreciation from critics speaks volumes about our man )
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
irir123 Thu Oct 24, 2013 2:46 am
kiru wrote:Congrats irir123, this review says more about your passion and perseverance than about IR's music.
Wishing you all the best in your professional career !!
(BTW, it is difficult to do serious jazz or WCM in our movies. that is our social/cultural situation .. so any favorable appreciation from critics speaks volumes about our man )
thanks Kiru - wish I could do more - more than me Mysshkin has done a fantastic job of releasing the soundtrack of "Onnayum.."
a music student from Illinois who specializes in cello performance - a gifted one at that if one goes by the scholarships she has been awarded - is very keen on doing a project on IR as part of her school's dissertation - she loves IR's works, especially the non-filmy works.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
kiru Thu Oct 24, 2013 6:10 am
irir123 wrote:
kiru wrote:Congrats irir123, this review says more about your passion and perseverance than about IR's music.
Wishing you all the best in your professional career !!
(BTW, it is difficult to do serious jazz or WCM in our movies. that is our social/cultural situation .. so any favorable appreciation from critics speaks volumes about our man )
thanks Kiru - wish I could do more - more than me Mysshkin has done a fantastic job of releasing the soundtrack of "Onnayum.."
a music student from Illinois who specializes in cello performance - a gifted one at that if one goes by the scholarships she has been awarded - is very keen on doing a project on IR as part of her school's dissertation - she loves IR's works, especially the non-filmy works.
Yes, mysskin has done a great job ..apparently IR has asked for more "time and space" in the future, as he did not get enough time to do justice to this movie !!!!
While other movie directors were thrilled when Rahman recreated the same 'sound' as in US/European pop music, mysskin is very thrilled in IR recreating that "hollywood bgm sound". Looks like in this case, IR also is not offended by these comparisons. If only our directors were more structured/systematic in the screen play , IR can also do more structured work. I remember Rahman mentioned about 27 "cues" in slumdog. IR needs directors like that. mysskin is very thrilled about OAK and I am sure his next movie also will be very "musically" guided. This could be a new opportunity for IR after NEPV rejuvenating him on the song side.
Re: research - earlier I suggested all of us here in the US contributing a small amount every month to fund some music research in India. Let me know what you think about this.
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
raja4ever Thu Oct 24, 2013 7:40 am
irir123 wrote:
kiru wrote:Congrats irir123, this review says more about your passion and perseverance than about IR's music.
Wishing you all the best in your professional career !!
(BTW, it is difficult to do serious jazz or WCM in our movies. that is our social/cultural situation .. so any favorable appreciation from critics speaks volumes about our man )
thanks Kiru - wish I could do more - more than me Mysshkin has done a fantastic job of releasing the soundtrack of "Onnayum.."
a music student from Illinois who specializes in cello performance - a gifted one at that if one goes by the scholarships she has been awarded - is very keen on doing a project on IR as part of her school's dissertation - she loves IR's works, especially the non-filmy works.
Congratulations irir123 ! your passion towards Raaja's music is something special... Kiru.. count me on the funding for music research in India..
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
fring151 Thu Oct 24, 2013 10:15 am
Ayyayo mokka pasanga comments pOda ArambichitAngale. Namma forathu Alunga pOi urupadiya edhavdhu pOdanum to redeem IR fans' mAnam on allaboutjazz. Milli, BRangara kitta picha edutha mAdhiri ingeyum picha edukka vandhutAnga - idha review pannu, adha review pannunu sollikittu
http://www.allaboutjazz.com/php/article.php?id=45539#.Umi5zvlQGSq
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
Drunkenmunk Thu Oct 24, 2013 10:26 am
fring151 wrote:Ayyayo mokka pasanga comments pOda ArambichitAngale. Namma forathu Alunga pOi urupadiya edhavdhu pOdanum to redeem IR fans' mAnam on allaboutjazz. Milli, BRangara kitta picha edutha mAdhiri ingeyum picha edukka vandhutAnga - idha review pannu, adha review pannunu sollikittu
http://www.allaboutjazz.com/php/article.php?id=45539#.Umi5zvlQGSq
occupational hazards of sharing this on twitter and social media to make sure as many people read it as is possible.
Two gems:
"Please review Maestro Ilaiyaraaja's latest OST "Onaayum Aattukuttiyum"(Wolf and Lamb)."
As the site says, this is a jazz-only site. He asks to review OAK. maLiga kadaila oru meter thuNi kEppayA da?
'I request you to review Maestro ilayaraja's new hit album 'Megha', the same 'Neethane En Pon Vasantham' team joined again for this movie."
DEI!
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
crimson king Thu Oct 24, 2013 5:57 pm
irir, any chance that he would be interested in reviewing How To Name It or Nothing But Wind?
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
irir123 Thu Oct 24, 2013 9:28 pm
crimson king wrote:irir, any chance that he would be interested in reviewing How To Name It or Nothing But Wind?
this is a site that focusses entirely on jazz - with great difficulty convinced him to do the review of a film album - and he has been generous enough to do so - HTNI and NBW stand no chance of being reviewed for a jazz review site
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
app_engine Thu Oct 24, 2013 10:19 pm
irir123,
உங்கள் கடின உழைப்புக்கு நன்றி சார்!
கிட்டிய இந்த பலனுக்கு வாழ்த்துகள்!
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
fring151 Thu Oct 24, 2013 11:41 pm
crimson king wrote:irir, any chance that he would be interested in reviewing How To Name It or Nothing But Wind?
A friend had forwarded this review to me a few months back.
[url=http://www.filmscoremonthly.com/daily/article.cfm/articleID/6175/An- "An 'Unknown]http://www.filmscoremonthly.com/daily/article.cfm/articleID/6175/An-%20%22An%20'Unknown[/url]
Re: All about Jazz.com reviews NEETHANE EN PONVASANTHAM !
crimson king Fri Oct 25, 2013 4:25 am
irir123 wrote:
crimson king wrote:irir, any chance that he would be interested in reviewing How To Name It or Nothing But Wind?
this is a site that focusses entirely on jazz - with great difficulty convinced him to do the review of a film album - and he has been generous enough to do so - HTNI and NBW stand no chance of being reviewed for a jazz review site
Ah, ok. I only suggested because HTNI gets closer to Mahavishnu Orchestra-type music (especially Is It Fixed) and probably more compatible with the requirements of a jazz website. By the way, allaboutjazz has reviewed progressive rock before so they are not necessarily rigid about it. But I don't mean to trouble you, so hats off for your efforts.
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3915
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dbpedia
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2
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https://www.hindustantimes.com/entertainment/bollywood/ht-exclusive-kajol-to-pull-off-action-in-her-next-film-with-prabhu-deva-naseeruddin-shah-101716547458765.html
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en
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HT Exclusive: Kajol to pull off action in her next film with Prabhu Deva, Naseeruddin Shah
|
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[
"kajol",
"prabhu deva",
"charan",
"samyuktha",
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"naseeruddin shah"
] | null |
[
"Neeshita Nyayapati"
] |
2024-05-25T06:15:46+05:30
|
In an exclusive interview with Hindustan Times, director Charan Tej Uppalapati opens up about his Bollywood debut with Kajol, Prabhu Deva and Naseeruddin Shah. | Bollywood
|
en
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Hindustan Times
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https://www.hindustantimes.com/entertainment/bollywood/ht-exclusive-kajol-to-pull-off-action-in-her-next-film-with-prabhu-deva-naseeruddin-shah-101716547458765.html
|
In an exclusive conversation with Hindustan Times, Charan tells us all about the film, its actors, when its teaser will be released and more.
‘My film will explore parent-child relationships’
Charan has been penning down stories for years now in the hope that one of them will make it to the silver screen. And he finally has that opportunity with his debut. “We already wrapped up one schedule in Hyderabad and Mumbai, and are planning to release the teaser next week,” he tells us, adding, “I studied film schooling in the US and have been waiting for this moment for years now. It would be easier if I made this film in Telugu but I wanted to challenge myself.”
Charan’s debut film is an action-thriller-drama that will explore the dynamics between parents and children, he says. “It shows how parents feel left behind when kids move on. There are a lot of parents or grandparents who miss their children and have no one to take care of them. I have written multiple stories through the years, but this is the one I wanted to debut with,” he adds, sharing that the film will be dubbed in all South Indian languages.
‘Kajol loved doing action, she’s very encouraging’
Given that it’s Charan’s first time dealing with actors on set as a director, he says he’s blessed with the cast and crew he has. “Kajol ma’am is doing action for the first time, she enjoyed pulling off stunts and has been very encouraging. Prabhu sir is also a filmmaker, so he has been a guiding force whenever I’ve needed him. Samyuktha is such a good actor, she has a whole new look in the film. The bond between Kajol and Samyuktha’s characters is crucial to the film, and they made it look so natural,” says Charan.
This film will see Kajol and Prabhu reunite 27 years after the Tamil film Minsara Kanavu, which was released in Hindi as Sapnay and in Telugu as Merupu Kalalu. Ask Charan about it, and he’s gleeful as he replies, “Yes, everyone grew up watching that. It has been almost three decades since they acted together. My film isn’t a love story, but I’m sure the audience will love seeing them together on-screen again as much as I did. It’ll be a treat.”
‘I pursued Naseeruddin for a while’
Charan says he also had a moment of validation when Naseeruddin said yes to the project. “I have always been a big fan of Naseer sir. If he does a film, it’s always only because it’s good. I had him in mind for a particular role and pursued him for a while to get him on board. And when he finally agreed to read the script, he said yes immediately and that gave me confidence. He even said it’s time we told stories like this. I’m also glad to have actors like Aditya Seal and Jisshu Sengupta on board.”
|