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| have a part to play, but nothing of great significance, just an excuse for the director to make the hero and heroine cross paths for love to eventually blossom. Set, in rural Tamil Nadu (which no longer remains a novelty), Nandhi traces the love story of a typical village couple as it goes through all the ups and downs that one associates with falling in love. The ups and downs that the couple faces are not the routine parent-society-wealth-status-caste issues that occur and recur so often in Tamil cinema. For a change, the parents are happy and willingly consent the couple’s love and there is no ‘nattamai’ to stand in the way of smooth progress. Trouble comes in the form of another person who just can’t stand the thought of a girl from his village being married to a boy from the neighbouring village. Does he succeed in throwing a spanner in the works? Understanding the evergreen appeal of the emotion love, a film based on that always stands a chance with the audience and the team of Nandhi seems to have banked on this while making their film. While it is a good thing that a lot of the predictability is removed director Thamizhvaanan should have taken enough care to ensure that the alternate hurdle that he had envisaged for the love story had enough credibility to carry the film on its shoulders. It is in this aspect that he has failed big time. There is neither proper reason nor explanation given to the antagonists fuming anger towards the couple in love. Further, it is illogical as to how just one person is able to stand up so strongly against the couple (who have the whole village backing them) and not be spoken against. All this lands a big blow to the central plot and weakens the movie. The love story does not captivate you; it looks just like one of many village-side romances we have seen over the past couple of years. The director has also tried to infuse a bit of comedy here and there through Singampuli, but that too leaves a feeble impact. Performances always depend on the scope offered by the script and so there is nothing great to write home about. Akhil is still looking for an opportunity that will do justice to the potential that was unearthed by Balaji Shakthivel in Kalloori. Sanusha is starting to look more like a heroine than a child artiste, but still has a long way to go. There are very few other faces in the cast that stay in your mind. The technical aspects too do not go far above the standards of the central plot. Bharadwaj’s music tries to salvage some points for the movie, but overall gives you a feeling of déjà vu. Camera strictly captures the images and does nothing more impressive. Only the stunts translate some energy onto the screen. Nandhi is just another village love story that does not stand out for any of its aspects. Overall, there is a feel of shoddy treatment and lackadaisical handling of the entire film making process, without an eye for detail. The end product is one that will not stay in your minds for any length of time. | |||||||||
Thursday, April 7, 2011
NANDHI MOVIE REVIEW
THAMBIKOTTAI MOVIE REVIEW
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| necessary ingredients of a mainstream commercial flick which are not devoid of innumerable predecessors in the industry. Meena, a college professor, is the doting elder sister of Naren who is still a college student. Just like any other siblings of such films, they mean the world to each other and are the epitome of love and affection. There are enough maudlin moments in the film to emphasize their affection. Naren desires to go to a place called Thambikottai on an NSS trip but a shocked Meena is not in favor of this. However Naren leaves for the village and spots Poonam Bajwa and you guessed it right, it is love at first sight. Again, on a very very predictable track, Poonam is the daughter of the villain ‘Nan Kadavul’ Rajendran. As it is the syntax of every such masala fare, Rajendran plays spoilsport to Naren-Poonam’s love, thrashes Naren and sends him back to Chennai where his sister Meena reveals in the flashback mode about Thambikottai and Rajendran. The answers to what happens in Thambikottai and whether Poonam and Naren’s love succeeds are narrated in the rest of Thambikottai. Naren after Anjaadhe makes his appearance in a Tamil film and this time around, his monumental exercise in hero building comes to the fore with a power packed intro scene. Poonam Bajwa, after having tried ‘homely’ looks, sheds that for a more glamorous image. Prabhu does his usual antics and there is nothing to write home about. If there is someone whose performance stands out, it is Sangeetha who does a ‘sornakkaa’ act, mouthing punch dialogues and law quotes with élan. Santhanam and M S Bhaskar take charge of comedy department where a few scenes evoke the desired effect. It is in fact the trio of Sangeetha, Santhanam and Bhaskar make the audience stay in theatres a bearable one. In Imman’s music ‘Vaa pillai, naan un maapillai’ is humworthy. There is nothing voluble about the rest of the technical department. Many scenes in the film give you a ‘déjà vu’ feel and the director, travelling on a beaten track, does not give you any anxious moments to rack your brains to wonder what is going to happen next. Ramesh tries to pack most of the ‘must have’s of a masala film resulting in an unexciting product. | |||||||||
NADUNISI NAAYGAL REVIEW
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| Having said that, NN is the story of a boy, who has been a victim of child abuse, and the havoc he causes to women. Samar, an eight-year-old motherless boy lives with his father in Mumbai who leads a colorful life indulging in orgy. Samar gets subjected to sexual abuse by his father and is rescued by his neighbor, a middle aged single woman Meenakshi Amma who names him Veera, takes him under her wings and protects him. Daunted and chased by the ghosts of his painful past, what Veera does becomes the trigger of all things to follow in the rest of the film. Although the issue of child abuse has been dealt in Kaadal Kondein, Achchamundu Achchamundu etc., Gautham has managed to tread this subject in a subtle but at the same time, in a dignified fashion. The way he has picturized the scene where Veera comes to Meenakshi Amma for an emotional succor which takes on a different shape later is highly balanced and even a slight slip could have completely disfigured the vision. He has brought in the pain, shock, confusion, vulnerability, helplessness and succumbing to the inevitable in brilliant manner through the artistes. Swapna as Meenakshi Amma, looking like a combination of Konkana Sen Sharma and yesteryear actress Shoba, scores heavily in this sequence. Newcomer Veerabahu as Veera dishes out a neat performance as someone suffering from delusion. Although there are occasions where he tends to overdo, his overall act deserves plaudits. His voice adds to his character which is docile at times and menacing sometimes. Sameera Reddy makes her appearance just before the interval and brings out the right emotions trying to escape from the psychopath and the Rottweilers. Deva as the ACP looks too young, fresh from college but passes muster. It is normal to amplify the effects in such a psychological thriller through music but Gautham has done away with that and the absence of music is never felt anywhere at all. Manoj Paramahamsa’s camera angles and his lighting sensibilities enhance the feel of NN. The shot where the 8-year-old Samar emerges from the gate as 13-year boy is noteworthy. Manoj’s camera conveys more than words in crucial sequences. Anthony, as usual, has used his scissors well to bring out a crisp but coherent product. Despite the subject being heavy and difficult to stomach, Gautham has the perfect grip on his screenplay as well as on his audience. The film is engaging right through and the desire of wanting to know ‘what next’ propels it in a uniform pace. The director should also be applauded for not bowing down to any cinematic syntax. Perhaps, being a producer has helped him in this domain. The fact that there's no music or soundtrack is never felt during the course of the movie, thanks to the tight screenplay. There are times when NN reminds you of Balu Mahendra’s Azhiyaada Kolangal and Moodupani when the young man feels extremely possessive about the older woman. Gautham has also rendered a social message and has cautioned women through a dialogue of Veera which says that women are generally intelligent but they can easily be taken for a ride through social networking sites. Let's get the facts right. Nadunisi Naaygal is a dark movie and there's no point fretting about the movie's nature since the genre demands certain gloominess, that is well presented by Gautham. Congrats Gautham for the brave attempt to drive home a socially relevant point in a dignified manner. You have done the tightrope walking quite efficiently! | |||||||||
AADU PULI REVIEW
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| expect. The movie is of the kind that has occurred and recurred in Tamil Cinema- a complete masala film. But does it manage to keep you engaged? Idhayakanni (Aadhi) is a carefree youth with a huge and happy family consisting of his Father (Prabhu), Grandfather (Ravichandran), Mother, Grandmother (K.R.Vijaya) and a sister. He falls in love with Anjali (Poorna) and yes, you guessed it right, her father is the villain (Suresh). After that, it is the fight between the protagonist and the antagonist and needless to say who emerges victorious. The film manages to mildly engage due to the difference in the way the plot unravels. Aadhi looks good, acts, fights and dances with considerable ease. He gets the usual superhero introduction and a man with brain and brawn with loads of love for his family but he definitely requires good scripts to get noticed. Poorna is adequate and she is lucky to have got a little more importance and footage for her character when compared to other masala flicks where heroines have nothing to do but dance and look pretty. Prabhu, Ravichandran and K.R.Vijaya do the needful but it is yesteryear lover boy Suresh who takes the cake. As an ambitious politician and a hypocrite who changes according to the situation, Suresh underplays the villain role. It is his characterization and acting that stands as the only unique factor in this film. The director lifts the mood by showcasing the happy family having uninhibited fun and we get to see fully grown men and women playing and riding on the wooden toy horse (yes, everyone does) and an entire song where they all keep twitching their shoulders to the rhythm of the song. Cinematography is usual and nothing to write home about. Songs by Sundar C Babu is surprisingly plain and loud. The back ground music does its job and it passes muster. The director has made a bad move by characterizing one of the villain’s thugs as an unpleasant transgender and it seriously undermines and degrades the community who are already trying to win the mercy of the society. On the whole, this film that is salvaged by Suresh and Aadhi’s performance, might work for extremely patient people who like clichéd masala flicks. | |||||||||
Tuesday, October 5, 2010
Download Kaleja mp3 songs and ringtones
After a long time Prince Mahesh babu is coming with his new movie with Trivikram srinivas.Mahesh Babu and Trivikram, who together scripted the mega blockbuster ‘Athadu’, team up again for
‘Kaleja’.
Several changes taken place in this line of the action entertainer was tentatively titled ‘Varudu’ in the beginning, but the director made some changes to the script later and hence the name change. Anushka stars in the female lead. The film will hit the cinemas by the end of November, it is reported.
The film is produced by Singanamala Ramesh under Kanakarathna Movies banner. The cast includes Prakash Raj, Brahmanandam, Venu Madhav, Tanikella Bharani, Shafi, Ali, Nassar and Sunil.
Mahesh Babu plays a taxi driver in ‘Kaleja’ and Prakashraj is the villain. Bollywood cameraman Sunil Patel, of ‘Hum Tum’ and ‘Bachna Ae Haseeno’ fame cranks the camera and Mani Sharma scores the music.
Prince fans are awaiting for their hero movie since Pokiri hits the Tollywood all time records.
Cast: Mahesh Babu, Anuska, Prakash Raj, Brahmanandam, and SunilMusic: Mani SharmaDirector: Trivikram SrinivasProducer: Singanamala Ramesh and C Kalyan
Download Link
Trailers
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Kaleja wallpapers, Kaleja gallery, Kaleja audio songs, Kaleja mp3 songs, Kaleja songs
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Kaleja Audio release on August 15
Mahesh Babu’s ‘Kaleja’ audio release would be on August 15. Reports say that ‘Kaleja’ audio release would be held on August 15 at Guntur
Brahmananda Reddy Stadium in Guntur.
Mahesh Babu would open the Provogue showroom in Vijayawada on August 14, and would straightaway head to Guntur for the ‘Kaleja’ audio release function. Mahesh Babu has freshly signed as the brand ambassador for Provogue – a brand known for ‘Style and Fashion’.
‘Kaleja’ audio is one of the much awaited music albums of the year since fans are desperately waiting for Mahesh Babu’s film. ‘Kaleja’ is currently undergoing the last schedule of its talkie part and Mahesh Babu simultaneously dubbing for the movie. ‘Khaleja’ is directed by Trivikram Srinivas and produced by Singanamala Ramesh and C Kalyan. Anushka is playing the heroine.
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