Achchamundu Achchamundu Movie Review

Its indeed time we dealt with such issues in our Tamil Cinema. Cinema is a medium that reaches out to masses and Achchamundu Achchamundu deals with the story of a Pedophile(person sexually attracted to children) and how he causes fear in the heart of parents with young children. Debutant NRI director Arun Vaidyanathan’s effort should be appluded.

Senthil(Prasanna) is a NRI settled in New Jersey and has a sucessful IT job. Malini (Sneha) his wife is a typical south Indian wife who devotes her time to her husband and her kid six year old Rithika (Akshaya). When a painter (John Shea) enters their neighbour hood, this happy family is unaware of the consequences and the fear this man will bring.

Kudos to Prasanna, Sneha and John Shea for doing a remarkable job in their respective roles. The ‘Statistics Report on Child Abuse ‘ in the climax is a commendable effort on the part of the director Arun Vaidyanathan. Good job by Chris Freilich’s camera shot on Red One.

On the whole Achchamundu Achchamundu is a good piece of cinema by the whole crew.

Film: Achchamundu Achchamundu
Cast : Prasanna, Sneha, John Shea
Direction : Arun Vaidyanathan

Nadodigal

Production: Global Infotainment Pvt Ltd
Direction: Samuthirakkani
Star-casts: Sasi Kumar, Abhinaya, Anaya, Vijay Vasanth, Bharani, Ganja Karuppu and many others.
Music: Sundar C Babu

From the team of ‘Subramaniapuram’, here comes another piece of recital. Bombastically presented, the film is sure to score 10/10 amongst all centres. Sasi Kumar has the best regards as he steals the show with his pleasant presence and stunning performance. Director Samuthirakkani makes a spellbinding debut on silver screen. The film is about group of friends: Karuna (Sasi Kumar), Chandran (Vijay Vasanth) and Pandian (Bharani of Kalloori fame).


They lead a happy life with jovial family and their sweethearts are so kind enough affectionate to them. But bizarre of events strike through their friend Saravanan who comes all the way from Namakkal… Being son of Ex-MP, he’s so distressed with his girlfriend’s father separating them. Sooner, the friends set out to unite them. However, they are accomplished with the venture; they’ve lost many things physically as well mentally.

There is no peace, joy and moreover their future looks so dark now. But they’re satisfied on giving hand for the young couple though they’ve lost many instead… Nevertheless, what would be their reaction when they get to know that the young couple aren’t staying together anymore and ready for divorcing. They’re more frustrated now and have got to prove something.

Sasi Kumar excels stupendously emoting to every situation. On the pars, Vijay Vasanth does a commendable job. Bharani of Kalloori fame turns the spotlight on him. Ganja Karuppu on his part does work out best humors. The two actresses Anaya and Abhinaya are cool enough with good characterizations. Musical score by Sundar C Babu is enchanting and especially the song ‘Sambo Siva Sambo’ has good picturing. On the whole,

Don’t miss this film for it’s a sure winner of this season.

Verdict: Must Watch it. 4/5

Adhinetha Movie Review

The idea of entering politics has always been for those who have some political connections or family background. But here is one man who rises from the people and this common man becomes the Chief Minister and tries to do his bit to bring a change in the society. But it is not before he has to make few sacrifices and face enemies. How does he do that, let us see. Story Suryanarayana (Jagapathi) is a failed graduate who is basically jobless but then he is one man who stands first when it comes to helping others and bashing the baddies. Worried by his nature, his parents (Annapurna, Chalapathi Rao) decide to speak to the local MLA Sri Ramulu (Paruchuri) and he recommends Suri to the CM (Ahuti Prasad). However, Suri gets to see the level of corruption that is currently on including the CM who takes money. Meanwhile, Suri meets Rajeshwari (Shraddha) and falls in love with her but as destiny would have it, his life takes a turn when Sri Ramulu is killed by the villains (Anand Raj, Supreeth etc) including the CM. Sri Ramulu is more like the godfather for Suri and before he dies, he takes a word from Suri that he would enter politics. true to his word, Suri becomes an independent MLA and with a twist of change, he ends up becoming the CM. Here, he assigns the police inspector Hamsa (Hamsa Nandini) for a special task and even she gets killed. Meanwhile, the former CM begins his plans to oust Suri. How all this is resolved forms the rest of the story. Performances Jagapathi Babu came across with a neat performance and though he is still struggling with his dance and swift movements during fights, his voice and expressions make up for his presence. Shraddha Das looked a bit different given her non-urban role but she has to work on her dance and expressions. Hamsa looked neat and she has enough oomph in her. Ahuti Prasad was effective, Anandraj was standard, Chalapathi Rao and Annapurna did their bit with grace, Krishna Bhagawan’s comedy was okay. The others came and went. Technical aspects The narrative has not been that great and even the presentation was just average. The dialogues failed to capture the audience except twice or thrice. The script was written lengthily and the screenplay was quite haphazard. Music failed to impress as most of the songs looked taken from other tunes and the cinematography was not able to capture the locales or get the moments correctly. Even the angling of the cameras was not apt. editing was curt and it was not smooth and in sync with the sequence. Costumes and art department could have been better. Director’s portrayal The director attempted to come up with a political thriller and his focus was to create an awareness among the audience. He also wanted to show that politics is something that requires service oriented people and the entire system has gone corrupt so it is time to get some fresh blood. Not stopping at that, he has also shown some satires on the existing parties that are currently in the state. But then he should have focused on keeping the script under tight grip and also cut short the length. Even the dialogues required punch since it was a political genre and such movies run only on dialogues and not on glamour. He still needs to work on improvising few basics if he is looking at making movies. Critic’s view The film wanted to show that a common man can also become a Chief Minister but then it lacked the depth or the gravity that could convince the audience. Few scenes were uncalled for and it was an unnecessary drag on the length. The first half of the film was quite stale and things like rugby in village with a coconut and making Jagapathi Babu stand for almost 20 minutes and deliver a long lecture after being shot in the heart and slit by a sword is something the makers should learn to come out of. The sequence and arrangement of the storyline was not smooth and there were few patches that came in between drifting the audience away from the plot. The good side is the masses will have something to relish given the glamour songs and also some scenes from Jagapathi Babu. Otherwise, there is nothing much in it. Verdict Nothing interesting, just average and very lengthy. Cast: Jagapathi Babu, Shraddha Das, Hamsa Nandini, Neelima, Ahuti Prasad, Anand Raj, Paruchuri Gopalakrishna, Chalapathi Rao, Annapurna, Sivaparvathi, Krishna Bhagawan etc CREDITS: Banner: Sri Satya Sai Arts Music: Srikanth Deva Camera: Prasad Babu Director: V Samudra Producer: K K Radhamohan Release date: 24/04/2009

Barah Aana Movie Review

On the buttons, final take for ‘Barah Aana’ is that it’s a flick meant strictly for few amongst miniscule groups. Well, there aren’t many chances for single screens to fill their sacs with profits. Incisively, Raja Menon can be praised for his most adept efforts of delivering a piece of out-of-box. Picking the characterizations of a driver, a watchman and a waiter, (categories of people who face the hardest things in Maxim City of Mumbai), the filmmaker weaves a tale of drama that’s enjoyable in few parts. Certainly, not everyone would love to watch this film for it’s the kind of genre that Raja has worked on. Merely not everything is laudable when it comes to screenplay and other narrative vistas.

Take a glimpse on this synopsis and let’s get through a clear-cut analysis…

Barah Aana is a comedy of real life set in today's Mumbai. The story revolves around three unlikely friends: a driver (Naseeruddin Shah), a watchman (Vijay Raaz) and a waiter (Arjun Mathur). The driver is an older man, stoic but dependable. The watchman, in his 30's, is a pushover at work but otherwise mischievous. The waiter is a young, swaggering chap, brimming with ambition. Living together, their different attitudes make for an interesting banter.

At some point, misfortune befalls the watchman, and due to a series of chance events, he stumbles into a crime. Striking upon a seemingly low-risk way to make good money, and discovering a new sense of self-confidence, he tries to entice the others to join him in a series of such crimes. Cat and mouse games ensue between the three as personalities change, but events soon spiral out of control, leading them in a direction that none of them had ever wanted to take...

Getting on with these three actors, they’ve strongly depicted the characterization of most complicated jobs of a chauffeur, night watchman and waiter. Fine, for sure you’ll have those residents in apartments and posh colonies getting through such kind toughest encounters faced in reality. The first half goes flimsy very the filmmaker brims it all plainly with establishing characters. But on the pars, things gets-goes in the latter part and to a higher degree, the kidnap mission of the trio is really interesting. 

Indeed, Naseeruddin Shah’s pictorial in the past films A Wednesday and this week release in ‘Firaaq’ have been terrific. Over there, you don’t watch him articulating more and more words, but his gestures and actions takes us for a great fascination. Possibly, Arjun Mathur who could’ve felt bit unconvinced with his ‘Luck By Chance’ show in minor role has reasons to rejoice. It’s a commendable effort rendered by him. Vijay Raaz is extremely decorous in enacting his role.

Apart from cinematography, Director Raja should’ve tried for getting other technical aspects on the screens with finesse.

Certainly, as the verdict is written right over the top, the film goes close to title that’s been named uniquely. But such an unparalleled comedy-drama wouldn’t savor to everyone’s tastes.

Verdict: Watch it good efforts.

Rating :**½

Ek - The Power of One - Strictly for ‘Masala’ buffs

It isn’t all the same this weekend. Three films with different genres hitting screens should be a real fiesta for all film buffs… If Aa Dekhen Zara is about ‘Supernatural Thriller’ and Deepa Mehta’s ‘Videsh’ a dramatic theme, Ek – The Power of One is a well-tailored commercial cinema for B and C Centres. Yeah! For those who had missed a hero skipping from air-to-grounds, running faster than a bullet train, cracking down at least 25 bullies and more, here’s a perfect kickshaw.

‘Ek – The Power of One’ is a faithful remake of Mahesh Babu’s Telugu film ‘Athadu’ which can be best regarded to be a different version of ‘Tom and Jerry’. A cop with sense of humor chasing a gangster who’s dwelling with hidden identity… It has a perfect mix of action, here-and-there humors, lots of sentiments, a long-time love story and an inexcusable traitor.    

Appropriately, this isn’t a gonzo flick… as you would’ve frequently seen such movies in Bollywood before couple of decades.

Nandu (Bobby Deol) an orphaned gangster is hired by opposition party leader Anna Mahatre (Sachin Khedekar) to carry through a political gimmick. Nandu had to barge the bullets close to the politician during a public meet, which will win him sympathy votes. Isn’t that a smart move? Well, much before Nandu could set his focus from a rooftop, he’s blown of waters to witness the politician’s assassination. With no options left, Nandu runs into a train where he meets Puran (Akshay Kapoor). He’s a boy from Punjab heading to meet his relatives after long time of his childhood. Meanwhile, cops have reached the next station where train will have its arrival. Turn the tables, there’s a cop who loses his focus on Nandu and bumps off Puran instead. Much before cops could reach the train, Nandu has vanished.

To convey the news about the innocent’s death, Nandu reaches Puran’s ghar only to be misidentified. Aye! The family members assume Nandu to be Puran and emotions take over everyone as each one comes forward to meet him. Drenched in pains of being an orphan and gangster, Nandu for the first time tastes the sweet pangs of love and care from the family. Nandu sees the hidden pain in this family and yet the strength with which Puran's grandfather has held the family till date. His decides to remain there as Puran. 

Thus Nandu now Puran starts living within the family as its own member. He experiences, love, care, pain and goes through a lot many emotions as he is showered by so much love from all within the family. He bonds the most with the grandfather and the eldest bhua. Gradually he also starts falling in love with Preet. Nandu has forgotten his past and becomes Puran, helping the family in all its needs as if the family is his very own. 

In the interim, case pertaining to assassination of Anna Mahatre is handed to CBI Inspector Rane (Nana Patekar)… Fine! He’s a brilliant guy cracking jokes to his best and on the pars close on tracks of Nandu’s hidden place. When time urges both to encounter each other, Nandu has to gear up for his own investigations of raveling the mysterious death of Anna…

Will Nandu be able to come out of the crisis? Will Puran's family find out the truth? Who is the real killer of Anna Mahatre? 

Sangeeth Sivan, who dangled with comedy entertainers jaise ‘Kyaa Kool Hai Hum’ aur ‘Apna Sapna Money Money’, goes for a bold attempt. Hats off to Sangeeth!! In this era where ‘A Wednesday’ and ‘Rock On’ kind of films are topping, Sangeeth presents an old-fashioned masala in a complete new package. As it goes, ‘An Old Same SIM Card in a new mobile’ (polished take on ‘Old Wine in New Bottle’), he has embellished the clichéd tale with stylish technical aspects. Be it Peter Hein’s spellbinding stunts or the sleek editing that enhances the powerful feels of thriller: they’re fantastic.

Bobby has a fair comeback with his adept show. Nana Patekar steals the show with his witty behavior. ‘Awarappan’ and ‘Mission Istanbul’ could’ve disappointed Shriya, but the desolated girl has a convincing approach. Perhaps, she could’ve made it yet more impressive… Alongside, Sangeeth could’ve conceived something more innovative on delineating romantic sequences between Bobby and Shriya. He seems to have simply copycatted the Telugu versioned style. Pradeep enacting Bobby’s friend does a superb performance and he can expect best offers in tinsel town. Jackie Shroff and Zareen Wahah dash down our hopes to a greater extreme… Again, Chunky Pandey slips out from this list by few marks.

The film goes flawless expect mawkish factors overloaded in tons. Every family member seems to be over-emotional. Again, the Telugu style could’ve been reworked for the adaption of Bollywood style.

Valuating ‘Ek – The Power of One’, the film is sure to make it big across B and C centres while miniscule audiences may term it to be ‘absurd’. But that wouldn’t stop the good business of this film…

Verdict: Ek – Dekho Ek Bar, Agar Tum Chaho    

Rating:**1/2

Videsh Movie Review

Hop-skipping through contrasocio themes, Deepa Mehta strikes with yet another flick that flavours with a strong feminism. Precisely, the film’s female protagonist has many similarities with Aishwarya’s role in The Provoked… Indian brides battered black and blue in soul and body – these similarities tags them together. Of course, scenarios go straight on the same lines where families are prone to ‘Devil-may-care’ motive of barging their daughters in foreign countries after their marriage.

Vibrant and irrepressibly alive, Chand (Preity Zinta) is a young bride leaving her home in Ludhiana, India, for the cavernous landscape of Brampton, Ontario, where her husband Rocky (Vansh Bhardwaj) and his very traditional family await her arrival. Everything is new to Chand everything is unfamiliar including the quiet and shy Rocky who she meets for the first time at the Arrivals level of Pearson Airport. Chand approaches her new life and her new land with equanimity and grace, and at times the wide-eyed optimism of hope-her first snowfall is a tiny miracle of beauty, and the roar of Niagara Falls creates the excitement of new beginnings.

But soon optimism turns to isolation as the family she has inherited struggles beneath the weight of unspoken words, their collective frustration becoming palpable. No one feels the pressure more than Rocky, weighed down by familial obligations. A controlling mother, who can't let him go, a sweet but ineffectual father, and a sister whose two children and unemployed husband are also a burden, all live with Rocky and Chand in a two-bedroom house in the suburbs of Toronto. To make matters worse, Rocky is expected to find the money to bring his extended family to Canada. Unable to express his anger, he finds other ways to release it and it's Chand who bears the brunt of his repressed rage. 

Trapped in a world she cannot comprehend and unable to please her husband, Chand is desperate. Hope comes in the form of Rosa (Yanna McIntosh), a tough and savvy Jamaican woman who works alongside Chand in a factory where immigrant women from all over the world clean and press dirty hotel laundry. Rosa sees past the make-up that covers Chand's bruised face. Realizing Chand has nowhere to turn, Rosa gives her a magical root advising her "to put it in whatever the bastard drinks." The root is supposed to seduce the one who takes it, making them fall hopelessly in love with the person who gives it to them. Chand's attempts with the magic root lead to surreal incidents and her life gradually begins to mirror an Indian fable involving a King Cobra. As the lines between fantasy and reality converge, Chand and Rocky come face to face with each other and themselves. 

It’s as the famous saying goes, ‘One step away from striking Gold’, Deepa Mehta stops halfway… An auteur who established extraordinary versions of substantial women-oriented scripts, this is quite an absurd one.  Ever imagined a socio-drama coalesced with fantasy. A rare cocktail that was supposed to be churned in early 70s; Deepa! You’re too late with this show. Possibly, an ardent film researcher may pick this one to be his case study while for others; they may feel uncomfortable with fantasy barging in through ‘Cobra Ka Khel’…

Pertaining to onscreen performance, doubtlessly it’s Preity Zinta who has trenchantly spelled her characterization. Getting to watch a bubbly missy who often glued herself to glamorous appeals on contrastive grounds is mind-boggling. Nothing much to mark on other star-casts as Preity herself eclipses everyone around…

Giles Nuttegen’s cinematography is honky-dory of its kind. Especially, in the frames where we get to watch the shots placed within the confined walls of Toronto’s house is top-notching. Giles has been so keen on filling the screens with specified tones adapting to scenarios. Moreover, he treads applying the psychological-aspects of getting viewers adhered to screens.  Nothing else to do with other technical aspects as musical scores could’ve been furthermore better; editing is simple sans innovativeness.

Deepa deserves a grand round of applause for her yet another approach towards feminism. But what stops us from getting ahead of appreciating her is dropping an inappropriate idea of fancy into a serious subject.

Certainly, it would have worked if Deepa had set out of her box and adapted some fantasy-based stories like Cinderella. Why not? ‘Alice in the Wonderland’ and ‘Cinderella’ haps to be carrying strong female personas…

Verdict: A slight disappointment from Deepa

Rating : **

8x10 Tasveer Movie Review

Well, here’s another new genre of ‘Supernatural Thriller’ persistently hitting screens sans a pause. Glimpse through previous weeks’ releases. ‘13b’ dealt with a phenomenal idiot box, ‘Aa Dekhen Zara’ – about a mysterious camera unveiling future’. Here goes, ‘8 X 10 Tasveer’ right on similar notes. This time it’s all about a ‘photograph’ that will unravel the frizzled scenario.

It’s really surprising to watch Nagesh Kukunoor taking up a new avatar of treating an unparalleled script – ‘Murder-Mystery’.  He takes off with a perfect narration all throughout the show and naturally holds onto a perfect climax. What else should a film possess to carry the label of best verdicts? Obviously, Nagesh seems to have focused more on technical aspects that helps a lot for a positive approach on audiences.

Perfect cinematography – sleek editing – dazing locales of foreign countries; here’s the mantra of delighting audiences with a visual treat.

But the film stops an inch from reaching the destination of triumph. It all goes with a slight stumble in the latter part and the reasons justified for murders. Nagesh Kukunoor sports himself bounded with amateurishness on dropping such motifs on the screen.

‘8X10 Tasveer’ is a story about young man named Jai Puri, (Akshay Kumar), who possesses supernatural powers. Jai is of Indian origin who works as a forest ranger in Canada. His life is shattered by the loss of a very important person in his life, his father (Benjamin Gilani). This personal tragedy leads him to use his unique supernatural power to unravel the mystery behind the murder. ‘8x10’ is a supernatural thriller with a nail-biting finish to come up with startling answers.

Getting on with performance, Akshay Kumar excels with his decent show. Perhaps, if you ever felt that Akki had overdone acting in many of his previous flicks, here’s something that proves his adeptness. Be the sequences, where he’s woe-stricken by his father’s loss or the part where he shares elated moments with his sweetheart, he’s cool. Ayesha Taakia goes about with her middling act and Nagesh could’ve depicted her characterization that would’ve had a better impact. Man who steals the show is Javed Jaffrey. He’s sure about sparkling smiles on your faces when he says ‘My name is Happy… Happy without ‘I’ and you are pulled in more with his witty mannerisms, particularly ‘Aaj Mera Happy Birthday Hai’ quotient works out well. Sharmila Tagore, Benjamin Gilani, Ananth Mahadevan and Rushaad Rana score 5/5 for their best take. Credit goes to Nagesh for a perfect casting.

Vikas Sivaraman’s cinematography is scintillating. As mentioned earlier, his works on the stunning locales are sure to carry your senses straight to those places. Songs are quite mediocre and it could’ve been done better while the background score by Salim Sulaiman has been done stylishly.

On the terms of scripting and narration, Nagesh excels with extraordinary skills. Of course, you are bounded with so much of suspense that you’ll really get mystified about the murderer. But then, if you’re really a wizard, the mystery is disentangled right before the intermission.

On the whole, ‘8 x 10 Tasveer’ is all about a faultless thriller that should get you hooked for a couple of hours. If few garbled vistas were pulled out from the reels, then the film is worthy getting ennobled as a ‘Best Thriller’.

Verdict: A gratifying entertainer.

Rating : ***

Aa Dekhen Zara Movie Review

Obviously, very few auteurs composed unique fictions on the supernatural thriller genre. Well, none presumed to go for the most speculative take on such genres. Perhaps the raise of new filmmakers inspired by western flicks is coming to the forefront with groundbreaking motifs.  Aye! You know something…. It all started when the Japanese filmmaker Tsuruta Norio’s ‘Yogen’ (Premonition) topped the charts of World Box Office. If you’re all guessing what this plotline is all about, it’s there right in the title. A Newspaper carries stories that would happen the very next second once read.  Japanese flicks never left anyone getting inspired, even Hollywood.  Things got more exemplified with ‘Grudge’, ‘Ring’ and more that were marked coherent factors sans absurdities that we often notice in other films.

If ‘Yogen’ was all about newspapers, Ring - ‘A Video Tape’, ‘13B’ about TV Series, how about a phenomenal camera exposing future. Quite interesting, isn’t? Befittingly, the film top-notches with a brilliant script unforeseen ever in Indian film scenarios as it treads interesting parts.

‘Aa Dekhen Zara’ goes far-fetched with powerful characterizations and substantial screenplay, though it stumbles at few points.

Not all wildlife photographers do become Mohit Chauhan who’s prone to ‘Thrills’ n ‘Chills’ across every moment. Surely, his famous statement “a wildlife photographer in India, being charged by a tiger sometime in your life is almost a certainty” hasn’t got anything to do for a guy like Ray Acharya (Neil Nithin Mukesh).

Ray Acharya is a struggling wild life photographer who finds ‘misfortunes’ right on his shoulders. The guy hasn’t got a single paisa to run around for his every need until his grandpa dies passing on an extraordinary camera. Nevertheless, Ray who isn’t aware about the supernatural powers of this photo-cam clicks it haphazardly on Simi (Bipasha Basu), an aphrodisiac DJ who resides in the opposite apartment (this guy has been drenched with peeping-tom mania into her Kidkiyaan…). Ah! He’s stuck in appalling waters as one of the photographs depicts herself getting shot at a bar. It’s almost like Ray’s fortune gushing through boundlessly. Not just does he save his girlfriend’s life, but also turns into a millionaire overnight as he clicks at the lottery ticket, race horses to auspicate the right one.

Meanwhile, you’ve the worst baddies in town knocking his door for grabbing the sorcerous camera.  In some manner, he sorts out things through hand-to-hand combat. Wait! This isn’t a happy ending for the lad. He’s topsy-turvily frizzled with the most awful situation, where camera starts prognosticating his awful future.

When previous week’s releases catered to specified groups: either multiplex or single screen audiences, ‘Aa Dekhen Zara’ savors to the best for all… Possibly, for those buffs of ‘Final Destination Series’, it may not exceed your expectations. But, pace dropping off in the latter part adds to the negative traits though loaded with finest songs, it eclipses those diminishing factors.

Neil Nithin Mukesh is simply his best as Ray. The actor had proved his adept skills with in his debut ‘Johnny Gaddar’. He doesn’t strain himself overreacting to the riskiest situations in the frame.  Neil is cool striking limelight with a naturalistic appeal. Totting up is his elegant looks and gestures that draws commendable conclusions. Scrumptious Bipasha shares best chemistry with Neil. Rahul Dev as the baddie does a laudable performance. Musical score by Gourov and Pritham are pleasant to the ears though the camera could’ve been far better. 

Jehangir goes proficient with an unparalleled film. As mentioned, fine screenplay and powerful characters (including the strange camera) grounds the film on best remarks.

‘Aa Dekhen Zara’ - Zaroor Dekhna  Hai… At box office, the film is sure to sustain for next couple of weeks. It’s a doubtless statement, that we can ensure.

Verdict: Don’t miss it.

Rating:*** ½

Dashavatar Movie Review > Hindhi

By all odds, Kamal Haasan has been universally acclaimed as ‘Jacks of all trades in tinsel town. Watching this fantastic actor over on a show of grandeur isn’t something off-the-wall. On the dots, there doesn’t need to be an illustration for his record-breaking attempts for that would be a cliché. But, donning 10 roles isn’t a history-breaking record of this. If you’re an ardent buff of World Cinema, then you wouldn’t have missed the flicks made in ancient times.  Who can forget Rolf Leslie who appeared in 27 different looks in LIFE STORY OF QUEEN VICTORIA (1913)? On the pars, Lupino Lane donning 24 roles in Only Me (1929), Joseph Henabery – with 14 characterizations in BIRTH OF A NATION. More than all, Robert Hirsch picking 11 roles in NO QUESTIONS ON SATURDAY will remain cherished in the pages of World Cinema forever. Certainly, that isn’t an end to the list of actors who’ve created history with multiple roles. It keeps going on and on including Eddie Murphy and our own Sivaji Ganeshan.

Well, looks like it would turn to be an exclusive rather than a review. Let’s put a full stop and get on scrutinizing Kamal Haasan’s brilliant attempt with 10 different roles.

You can whole-heartedly appreciate this man who has stridden marking his best efforts. Nevertheless, not do all 10 roles impress you. For sure, the characterization of Fletcher – Ex CIA Agent was really an outstanding piece of recital. Watch these portions; he has distinctly picked the mannerisms of ALGORE, United States’ most stylish politician.

On the other side, what’s really disappointing with this film? Again, it’s all about Kamal Haasan’s 11th Avatar – Screenwriter. You’ve to be more noetic to grasp what’s actually being presented on the screens, especially for the first 30mins. Looks like both screenwriter and filmmaker were both perplexed in designing particular sequences. Joining the list of absurd factors is unwanted characterizations and situations that coalesces them.

The film opens at the backdrops of 12th century where Vishnu Rangaraja Nambi (Kamal Haasan) is thrown into deep oceans tied to God’s statue. The phase shifts over to 21st Century where you notice Govind (Kamal Haasan), an intellectual scientist excogitating a bombastic biological weapon in the form of a computer chip. When US President Bush (Again played by Kamal Haasan) are appreciating his feat, there happens to be another team trying to grab it illegally. Of course, they’re ready to pay Govind figure of 100Crores. Here begins the ride of roller-coaster thriller where Govind has to get back the Chip that’s been accidentally couriered by himself to Chennai. Rest of the film is all about what happens in next 4 days before horrible accident of Tsunami had grudged thousands of lives…

As mentioned earlier, Kamal Haasan deserves appreciations for his adeptness in endeavoring through the speculative project. But, things would’ve been better if more prominence was thrown on narrative aspects too. Well, that’s the problem when it comes to dubbing films as the tastes vary from Kollywood to Bollywood. That includes comedy tracks too… However, Kamal’s smart move is so blatant with unparallel intonation of RAW Investigation Officer. Surely, you’ll have lots of grand humorous stuffs from him.

When it comes to other star-casts, Asin’s characterization as a Brahmin girl is really ludicrous. This missy had spelled a glorious performance in her debut ‘Ghajini’ and this doesn’t actually elevate anything in Asin’s graph… Mallika Sherawat steals the show with her alluring and sleek looks steals the show. Don’t miss her stunning dance in ‘Black Ya White’. Jayapradha hardly appears not more than 15mins and she could’ve been depicted with yet more importance.

Technically, the film goes extraordinarily sumptuous. In particular, the opulent visuals during climax part are mind-boggling. Ravi Varman’s cinematography is quite impressive but unneeded Jimmy-jib shots really annoy the most. Musical score by Himesh Reshammiya goes middling on certain numbers. The song that has appraisals on Kamal Haasan during final credits is commendable while ‘Mukundha’ is feet-tapping.

On the whole, Dashavatar is all about experiencing a passable show for 185mins brimmed with excellent factors that go in hand with more absurdities too.  It would’ve been better if Kamal Haasan had attempted for a separate version for Bollywood rather than merely dubbing it. In box office, the film has little chances of sustaining for few weeks as there aren’t any big releases on the race.

Verdict: watch it for Kamal’s speculative show 

Rating : **

Mariyadhai Movie Review

What happens when people of contrasting style come together for a film? Vikraman, the director known for his melodrama and Vijayakanth, who made a name for himself for his action-packed ventures team up to render an emotional drama loaded with a strong message. It’s more a ‘Vikraman movie’ with his typical sentimental dialogues and feel good characters.

Seemingly an extension of Vikraman - Vijayakanth’s earlier outing Vanathai Polae, Marriyadhai too has ‘Captain’ playing a dual role – that of a father and son. As expected the senior shares more screen space and leaves a strong impression.

Vikraman has not deviated a bit from his formula films of the past. The story is as old as that of  ‘Adam and Eve’. Vikraman has woven the script around a happy and a most respected family in the village, which counters troubles. Eventually the male protagonist overcomes all challenges and rise up in life. It is all well that ends well.

At a time when the grammar of filmmaking has touched new heights and technology has overtaken all departments of the industry, Vikraman still firmly believes that the best way to attract womenfolk to theatres is by churning out a cocktail of emotions and sentiments. Marriyadhai, which has all essential aspects of a melodrama, sadly looks a bit outdated and Vikraman ends up standing in an alien land. It is artificial and clichéd right from the first frame.

The story unfolds in a small village near Pollachi. Annamalai (senior Vijayakanth) leads a contended life with his wife Alamelu (Ambika), his daughter Sumathy (Ammu) and his son Pichai (senior Vijayakanth). A caring a loving father, he even allows his son to change his name from Pichai to Raja, when he is made fun of by his friends when he was very young.

A respectable man in the village for his philanthropic activities, Annamalai gives enough liberties and freedom to his son Raja, who emerges out as an agriculture graduate. All troubles begin when Raja loses money by cultivating dates in the barren land owned by his father. Meanwhile an industrialist eyes the land for setting up chemical factory which is resisted by bother father and son. But Raja comes across Radha (Meena), a music teacher and he falls for her immediately. Raja’s wedding is arranged with Radha by elders of both the families.

Couple of days before their wedding after Raja gives up his property to Radha only to bail her out of trouble little realizing that it was a conspiracy hatched by Radha to take away his land. Their wedding gets stopped. Raja vows to get back the land. Enters Chandra (Meera Jasmine) in Raja’s life. She comes to know of his bad past and vows to change his heart and marry him. Eventually it’s how Raja comes up in his life and marry Chandra.

Vikraman can be appreciated has stressed the need for alternate farming in rural Tamilnadu which is facing water shortage and also there are enough barren lands. Unfortunately the pace in which the movie progresses and outdated characters in the movie are its major eyesore.

Vijayakanth hogs the limelight as father and a lovable son. It's a meaty role for Ambika after she chose to make a comeback recently. Meena looks totally alien in a negative role, while Ramesh Khanna tries to tickle the funny bone in vain. Sampath has been wasted in the role of villain. Meera Jasmine's dignified portrayal and natural expressions impresses.

Vikaraman has brought outs A Rajkumar from ’Nakka Mukka’ man Vijay Anthony. Half-a-dozen ‘Vikraman type’ melody finds it place in the movie with the exception being the remix of Idhayakani song (Inbamae).

Produced by T Siva of Amma Creations and presented by Raj Television network, Marriyadhai is for ardent Vijayakanth fans.

Movie Review - Firaaq - Nandita Das

We have seen Nandita Das in hard-hitting films like Bawander, Earth or more recently in Ramchand Pakistani. And got bowled over by her histrionic skills. However this time it came as a pleasant surprise to see Nandita donning the director’s mantle and giving an equally powerful performance from behind the camera.

In her directorial debut Firaaq, which means both separation and quest in Urdu, Nandita has tried to delve deep into the minds of the people – as if trying to shake them up, remind them of the tenets of humanity - emphasizing on the need to rise above communalism.

About the film:

The plot unfolds in Gujarat in the year 2002, where several innocent Muslims died in the Godhra massacre. Unlike Rahul Dholakia’s Parzania that primarily focused on a Parsi family which lost its 10-year-old kid during the riots, Firaaq has five different stories which are interconnected and independent at the same time. The characters belong to different class, gender, age and community that represent a cross-section of society.

Aarti (Deepti Naval) is a housewife who’s shattered by the sight of a Muslim woman begging sanctuary in her house. But she chooses to be indifferent out of fear.

Khan Saheb (Naseeruddin Shah) is a Muslim musician who lives in the Hindu suburb of Gujarat. He just fails to see the increasing communal rift around him.

Muneera (Shahana Goswami), a Muslim auto driver’s wife has hidden with friends during the riots returns to find her home gutted and trust in her friends destroyed.

Sameer Sheikh (Sanjay Suri), married to a Hindu played by Tisca Chopra, is torn between fleeing to Delhi or stick around to be recognised as a Muslim entrepreneur.

While slum dwellers live in constant fear of the next outbreak of violence, others plot revenge.

With complete dexterity Nandita explores the relationships that bind these two communities to their homeland in the face of atrocities.

The opening shot where the two Muslim men dig a mass grave for the riot victims reminds us of Andrzej Wajda’s Katyn, a film that spoke about the mass murder of Polish Prisoners of War during World War II or the scene when Muneera’s friend in order to protect her, puts a bindi on her forehead to disguise her as a Hindu woman, are indeed touching.

Though we missed Nandita on screen, Naseeruddin Shah, Deepti Naval, Raghubir Yadav quite make up for the loss, especially Shah who has already given similar performances in films like A Wednesday and Shoot On Sight. Deepti Naval sans make up looked every bit a remorseful, docile Gujarati housewife who tries to overcome her guilt by burning her hands with hot oil every time she recalls the fateful incident.

It would be unfair if we don’t talk about Sanjay Suri who has done a fairly good job. The pain and anguish that Sameer goes through, his frustrations, his decision to relocate from Gujarat, his inability to cope with the current scenario look convincing enough.

Shahana’s track gets boring after a point with her constant attempts to know who burnt her house. Her story seems a bit incomplete too.

As for an actor of Paresh Rawal’s caliber, we expected a lot more screen presence. His role as Deepti Naval’s dominating and abusive husband is a refreshing change from the comic stereotype, but alas… his character is not fleshed out properly.

Nandita tries to wrap up the film with ray of hope as Naseeruddin resumes his music classes with two Hindu disciples. Also, Sanjay Suri aka Sameer decides to let go of his fear and comes to terms to live with his true identity.

Despite a few flaws, one of the plus points of the film is its razor-sharp editing by Sreekar Prasad. As a first-time director, Nandita’s endeavour is worth an appreciation. What more can be said about a film that has already won accolades at places like 49th Thessaloniki Film Festival in Greece and 7th Kara Film Festival?!

With a subject like this, Firaaq may not be a conventional crowd puller. But with a string of films like Khuda Ke Liye, Aamir, Mumbai Meri Jaan and A Wednesday, striking gold at the box office, it may just click with the cine lovers.

VERDICT: Watch it for Nandita’s direction, Naseeruddin Shah and Deepti Naval’s powerhouse performances.

RATING: 2.5/ 5