| Author | Message | ||
     Kdnumber1 Megastar Username: Kdnumber1 Post Number: 21629 Registered: 02-2009 Posted From: 50.73.197.253 Rating: N/A |
How r u celebrating !!?? Puja vratam lantidi emanna sestaaavaa garelu pulihora dadojanam payasam anni vadukuntunnnava  | ||
| Thikka_sankara Side Hero Username: Thikka_sankara Post Number: 3615 Registered: 02-2012 Posted From: 122.164.167.30 Rating: N/A |
viswaroopam collections joliki vellakundaa just tamil version lo aithe hit aindi... inka 100 crs 200 crs antoo lekkalu modaledithe nenu jump... but movie is having a good run... if 26/11 gets similar run, keka annatte Naakonchem thikkundi.... daaaniko lekkundi | ||
| Raman Hero Username: Raman Post Number: 17482 Registered: 01-2009 Posted From: 159.182.1.4 Rating: N/A |
nijamga hit aa? leka kamal hasan viswaroopam range aa ? | ||
| Thikka_sankara Side Hero Username: Thikka_sankara Post Number: 3613 Registered: 02-2012 Posted From: 122.164.167.30 Rating: N/A |
pichi peaks lo unnappudu darwaja band rakho kooda theater lo choosi dobbinchukunnam... ippudu aaa range ledu... so, its been a while since watched a ramu's movie in theater.... idi nijangaa aaa range unte velthaanemo  Naakonchem thikkundi.... daaaniko lekkundi | ||
| Maverick Legend Username: Maverick Post Number: 43689 Registered: 01-2008 Posted From: 70.39.231.172 Rating: N/A |
So does it look like I came out from the movie impressed? Yes, I did! The movie does have it’s fair share of flaws which does stop it from reaching the status of a “classic” and these are often glaring at times, however these are many a times washed away by sheer power of Amitabh Bachchan and Jiah Khans performances as well as some stunning story-telling from the twisted and demented mind of Ram Gopal Varma, and yes, the movie is definitely NOT everyone’s cup of tea. Appreciation for striving to do something different, uncomfortable and bold as well as a passion for Varmas demented vision and ultimately Bachchan’s creative satisfaction is an ABSOLUTE MUST! Who is this DB member? | ||
| Maverick Legend Username: Maverick Post Number: 43688 Registered: 01-2008 Posted From: 70.39.231.172 Rating: N/A |
http://www.rediff.com/movies/2007/mar/02nishabd.htm Just when you thought it was safe to brand Ram Gopal Varma into a predictable style, the filmmaker strikes back with Nishabd, a bittersweet left hook that leaves you reeling with its poignancy. He also manages to extract a phenomenal performance from The Megastar, who proves he's always, always capable of making your jaw drop. And then there's the ravishing Jiah Khan, who makes this bold, punchy film a knockout. The film opens in the insanely green Munnar, the kind of casually breathtaking locale that gives Kerala a good shout at that Divine Country claim. Through the hazy bluegreen tint of the camera we come across the stark white spikes of Amitabh Bachchan's french beard in extreme close up, as he starts his narration -- as he, standing on the edge of a rocky precipice, tells the story of a girl that drove him to thoughts of suicide. Amitabh plays Vijay, an introverted, no-nonsense photographer who lives in the heart of a massive tea estate with his wife Amrita (Revathy). As is evident from the walls lined with photographs taken by him, Vijay loves lowlight, cold colours and silhouettes as much as RGV. And that's not all they have in common -- they both share the inescapable craving of finding the right subject, one with enough lifeblood. Or 'spirit.' That's the word Jiah uses, an effervescent girl with a penchant for short shorts and filled with the persistent restlessness of the young. She's 18, from Australia, and visiting her friend Ritu (Shraddha Arya) and her folks. We meet her in a precariously ripped denim skirt as she sashays in with a telltale L-O-V-E handbag and a 'that's-(only)-okay' attitude. Trying hard to sit through the saas-bahu television show, she wipes creamy finger on the couch as Revathy glares, and eventually goes in to meet the lensman, meticulously laying his cameras down to sleep. And then comes time to wake up and smell the passion. The most atypical of RGVs films, this one smartly takes an achingly long time to get from moment to moment, with much to read between the lines, the glances -- and between Amitabh Bachchan's sighs. The film luxuriates in this leggy languor, the entire first half focussing on the inevitable spark, the undeniable chemistry, between this perfectly cast odd-couple. It is impossible to call Amitabh Bachchan a revelation, the actor having done it all before, but this is a reinvention so masterful that you can't help but marvel. The actor is used to perfect effect by Varma, draping him in believable cardigans and realistic lighting. If the wistful moans from the women in the audience are any indicator, then Bachchan strikes the exact tone; for the girls, he's that super-cool friend of Dad's they always wanted. Sexy, very sexy. It's also a role nobody -- repeat, nobody -- else could have played. As RGV unravels his simple narrative, you realise just how vital Amitabh is to the proceedings, equally as both the industry's legendary patriarch and its undying rockstar. The tightrope walk of the fallen hero is a difficult one, but Bachchan, armed with that baritone and a role which lets him play with silences, is superb as he not just strikes the balance, but creates a tragic protagonist we sympathise with, constantly. Also apropos is Jiah. 'J' to friends, this one's a drop dead stunner, a delicious nymphette who knows just how appealing she is. Jiah starts off almost manipulative -- she dangles her ebullience in front of Vijay and almost tauntingly asks if he loves her spirit -- but grows to show shades of half-naivete, half-scorn. It's a believable character, and her accent fits right in. It's a nuanced, impressive acting job as she flits from moody jumpiness to assured devil-may-care, from teasing to tormented. And did I mention the legs? The first half of the film is brilliant, showcasing amazing performances. Outside of the lead couple, Revathy is reliably solid -- even while having to struggle with some too-obvious lines -- but Arya overplays her bratty daughter card to annoying proportions. As is the norm with Ramu in offbeat mode (Naach, Kaun) the film is exquisitely framed and very well shot (there is a wonderfully twisty long take as Bachchan stands outside the house) -- but this one goes a step better. It's nicely, lazily edited, it's slow pace a great temperamental accompaniment to Vijay's heartbreaking fall from grace. Yet while The Fall is painfully powerful, the rest doesn't quite gel. Things fall together in a slightly slipshod manner in Vijay's world post-Interval, and the dissolution could certainly have been more emphatic. Things come together -- or drift apart, depending on which side of the fence you're on -- with an abruptness uncharacteristic to the first half. There is arguably no way to cleanly end a tale of such doomed, ridiculous love, but the hurry of the second half undoes a lot of the first section's greatness. By the way, this film is a demonstrable argument against the need for an Intermission at all. Still, the film ends with a decidedly unfinished feeling. Overall, Nishabd is a powerful film -- more than you might initially think. It humanises a strong, scandalous subject and succeeds in making it alarmingly commonplace, extremely possible. The two lead characters are very well fleshed out and acted, and by the time the film ends, if you feel anger at the filmmaker for showing preference toward a protagonist or at not tying it all up more conventionally, that is a debatable triumph; you love the characters more than the story. And as for all those of you who've parroting the name of Vladimir Nabakov's masterpiece, here's the real scoop: the only thing borrowed from Lolita (that too just the poster of the Stanley Kubrick version, to be honest) is the lollipop. Ram Gopal Varma has done it again. He's surprised us with a touching, deep and visibly personal effort, and if you were waiting with brickbats in hand, sorry. This one works. Who is this DB member? | ||
| Maverick Legend Username: Maverick Post Number: 43687 Registered: 01-2008 Posted From: 70.39.231.172 Rating: N/A |
http://movies.fullhyderabad.com/company/hindi/company-movie- reviews-862-2.html Company is the study of a supposedly fictitious gang that burgeons into a Mafia powerful enough to become a global network, and then falls when rifts occur within it. The powerful Mafia bit and the rift bit sound rather familiar in spite of the "All characters fictitious... any resemblance imaginary..." part. Hope the fall part is prophetic! Malik (Ajay Devgan, who at last finds a role apart from the brooding lover one that he fits right in) is the right hand man of Aslam bhai, who, for lack of a better word, is a bhai (not to be confused with the Dubai-ka-chashma-cheen-ki-chaddi one - we are serious here). Malik in turn hires Chandu (Vivek Oberoi, in a debut as impressive as one could ask for) as his right hand man. Chandu, instead of hiring a right hand man, gets married to Kannu (Antara Maali, with an impressive portrayal of a role whose difficulty lies in the simplicity of the character). Malik isn't married, but lives in with Saroja (Manisha Koirala, playing the only character that isn't defined so well). Now that the hiring and pairing part is over, the violence starts. Malik takes over the gang's activities and, using a series of murders and negotiations, elevates the 'gang' to a 'Company'. The work of establishing the Company goes on as deals in real estate go hand in hand with extortion and contract murders. Opponents and any others who happens to get in the way are knocked off. A couple of poor guys get shot just 'cos they are mistaken for some other 'targets'. In the midst of this chaos enters Commissioner of Police Srinivasan (Mohan Lal in a role that "simbly wond be forgodden"!). Thick accent, pudgy face and a cute smile, not exactly the tough-as-nails cop one would expect. But he creates enough trouble for the Company for them to flee to Hong Kong, which they make their base. Business continues, and the Company gets more and more notorious. Srinivasan gets a lucky break when Malik and Chandu have a disagreement caused by a series of events and a couple of misunderstandings. They part ways, and a few more misunderstandings later, are out for each other's blood. Both sides lose many men, and the movie draws to an end after some shocking twists and a climax that is the cinematic equivalent of a bucket of cold water... taa-daa! The de-glorifying of violence has been attempted numerous times, but never has the execution been so stylish and shocking. Graphic violence is used as part of a faithful narrative, not for any sadistically voyeuristic tendencies. One can only gasp at the casual way that death is bartered by characters who have been brought to life by superb actors. Smart dialogues put in to prove a point fit the characters like a suit from Saville Row. The background music, by Sandeep Chowta, accentuates the tone of the scenes (that "Ganda Hai Par Dhanda Hai" number finally makes sense!). With only two songs, an item number by Urmila during the titles and one more by a sultry Isha Koppikar twenty minutes into the movie, the narrative isn't disturbed. But the master of the piece is Ram Gopal Verma, who has once more pulled it off! With powerful performances, especially from the three lead actors, Company turns out to be a masterpiece you won't forget in a hurry. Who is this DB member? | ||
| Kdnumber1 Megastar Username: Kdnumber1 Post Number: 21627 Registered: 02-2009 Posted From: 50.73.197.253 Rating: N/A |
time vachindi....ika rechipooooooooo.... | ||
| Siloan Legend Username: Siloan Post Number: 31945 Registered: 03-2008 Posted From: 132.174.20.41 Rating: N/A |
hot kottaduko....past dabba waste seyyadam deniki.. Jai PARAKALA | ||
| Maverick Legend Username: Maverick Post Number: 43686 Registered: 01-2008 Posted From: 70.39.231.172 Rating: N/A |
http://www.idlebrain.com/nosta/jewels/kshanakshanam.html Follow up is the most difficult act after the initial foray. There is an inherent paradox with the follow up act. It has to adhere to the original path so much that any slight deviation from the original is instantly rejected and yet it has to stand out on its own to be treated, graded and rated on its own merits, lest it is judged as an encore to the original. On the lines of showbiz's famous saying "Dying is easy, but comedy is hard", it can said that "original is a breeze but follow up is a gale". Sighting of the Haley's comet, occurrence of the blue moon, following a stupendously successful Siva with an equally brilliant Kshana Kshanam are some of those that are usually held either in high regard or are treated with awe. That somebody could conjure up such an completely varied but equally entertaining act, was a testament to Varma's penchant for variety and willingness to go against the grain. Road movies do not conform with the usual telugu film formula. The period within which the events take place, the rapidity in the plot and nature of urgency in the storytelling flies in the face of the standard Telugu film period where events transpire over years and conclusions are usually causal, over long intervals of time. The fact this genre wasn't attempted after Bapu's Bangaru Pichika (1968), until Kshana Kshanam, (with a little exception to Andala Ramudu (1973) by Bapu again) alone was indicative that Telugu audience wasn't quite receptive of this expedited mindset. The timeline, or lackthereof, which is often real life like and not ala reel life in a typical road movie, has events happening at break-neck pace with not much time splices allocated for real character development, which throws it in a boon/bane dilemma. The positive side being, the audience is more interested in the events that transpire around the characters and the situation that the characters are thrown than the characters themselves, and the flip side - the characters tend to remain one-dimensional with a aim-apparatus-procedure-conclusion modus operandi. Borrowing the setup and the mood from Robert Zemeckis' Romancing the Stone, Kshana Kshanam had the same lead characters' mannerisms and approaches, funny, yet dangerous villain, his bumbling henchmen, the comic cops and its share of colorful peripheral characters. Treating these interesting characters in a straight-faced and a deadpan way, Varma lends enough credibility to the characters' motivations and prevents them from slipping fast into a typical comedy fare with an utterly ridiculous premise. The rapid but seamless transition between the action and the comic moods, the pacing of the movie - deliberately slow at parts in the jungle to establish the interplay and moving at break neck speeds while it hurries to a conclusion to heighten the tension, brings to sharp relief Varma's clarity in vision and command in execution. The age old clichés of Telugu cinema that beg to be mocked viz., hero's standard introduction via a fight sequence, his causes for choosing his lifestyle, his switch from rescuing the heroine from goons one moment to kidnapping her the very next moment, his pointing the gun at the villain threatening to slash heroine's throat and the like were turned on their heads and given delightful spins, making the audience consciously self-aware for having patronized those for so long. Subtlety was another key aspect of the screenplay. The characters were written so delightfully subtle that it was more a case of downplaying the usual heavy-handed emotions than underplaying the same. Where most of the Telugu movies indulge in some kind of morality play, Kshana Kshanam has roles that tread either side of the good/bad demarcation with equal ease, which make them more identifiable and endearing - the hero trying to make good of a once in a life-time score, the villain's distaste for an unnecessary loss of life, the villain trying to be more compassionate and understanding than violent and stubborn. Technical aspects, the bar of which was raised to great heights with Siva, were unobtrusively brilliant through out Kshana Kshanam - be it as highly visible as S.Gopal Reddy's (who also co-produced) photography or as subliminal as Arun Bose's audiography. Gopal Reddy who had a great deal of success with Siva honed his craft even sharper with Kshana Kshanam. If the mood was somber, dark and menacing in Siva, it couldn't be anymore contrasting in Kshana Kshanam - cheerful, bright and normal. If he played with lighting a lot in Siva, he chose angling and thus framing in Kshana Kshanam. The other stand out aspect of Kshana Kshanam was the excellent background score of Keeravani. Brushing the equally fantastic tunes aside, Keeravani's carefully orchestrated re-recording was brought into full for(c)e within the first 15 dialogue-less minutes of the movie. The score for the climax sequence on the train which was grand, elaborate and rich, marked the successful passing of the mantle from Illayaraja, a peerless re-recordist in his era, to Keeravani. Siva at first and Kshana Kshanam following suite, marked the beginning of auteuristic film making in telugu movies and Kshana Kshanam remained one of the best screenplays ever written in telugu. Though it can never be determined if this movie was way ahead of its time, Kshana Kshanam remained one of the best that could sustain the passage of time - the irony on the timeline notwithstanding! Who is this DB member? | ||
| Maverick Legend Username: Maverick Post Number: 43685 Registered: 01-2008 Posted From: 70.39.231.172 Rating: N/A |
Reviews of some of his old art http://www.planetbollywood.com/Film/satya.html Ladies and gentlemen, a standing ovation please... A standing ovation for Satya, one of the best movies I have seen in my entire life (and boy have I seen a lot of movies). A standing ovation for the story, theme and messages of Satya. The writers prove a very strong point through this paradoxical tale of an orphaned Indian man called Satya (Truth), Chakravarthy, living in the world of the Mumbai underworld. Satya's universe is replete with lies, deception and a lack of respect for life. Our hero, if he can be called that, is a dangerously intelligent character who uses his mind to contribute to destruction. Helping a gang of seedy folks, including Bhiku (Manoj Bajpai), he wages senseless gang wars through the Indian metropolis, where innocent bystanders are always the victims. Satya proves that brilliance, without morals and ethics, is quite literally a deadly weapon. A standing ovation for the cast of the movie. Urmila Matondkar as Vidhya, an aspiring singer caught in the deceptive web of Satya's love, proves she is a multi-faceted actress. If in one movie this actress can be street-smart and sexy (Daud), the next minute she is convincingly conservative, innocent and docile. The rest of the players are just as perfect, and if you look carefully you will note that Mr. Varma has used many of them in his previous films. Manoj Bajpai, as Bhiku, and Shefali Chayya as his wife are two folks that must be singled out. The film will remind you that real-life villains do not breathe each minute of life through violence. A scary thought that one minute these folks kill one another without regret and the next minute they can return to their roles of fathers, brothers and husbands just like you and me. So much for the belief that evil never has a caring face. A standing ovation for the excellent background score and technical credits in the movie. Never needlessly glossy or commercial, the cinematographer aptly captures the mood of Satya, just as Sandeep Chowta's music compliments the scenes. In fact, upon hearing Chowta's score for this movie (including the instrumental "Mood of Satya" on the film's soundtrack), I strongly feel he could have done a better job than Vishal's songs for the movie. "Baadalon Se" is still a great song, but I am confident Sandeep Chowta could have done it better. A standing ovation for Ramgopal Varma. This talented, but neglected, director improves his skills with every film he makes, a trend which will be hard to continue after this perfect movie. (Varma's next is a psychological thriller called Kaun starring Urmila and Manoj Bajpai.) Note the changes in genre between his movies also. Shiva, Drohi and Raat were good. Rangeela was very good. Daud was excellent (in my opinion). And Satya is unparalleled. The scenes are tightly knit and well thought out, while the characters are real and believable. One can sense a great deal of effort went into the making of this movie. A standing ovation for the intelligence craving audience who goes to see this movie. There were only three people in the cinema when I went to see Satya (including myself and Mom). It is really sad that people would see Amitabh's Major Saab (rather Major Commercial Overkill) rather than Satya. Varma's former under-appreciated flick, Daud was a fun and frivolous film too ethically bold for many, and so it flopped. However, there is no reason why Satya should meet the same fate. It is a rarity from which one can learn about humanity. For those who go to see it, and learn something, a standing ovation. For the rest of you, I hope you enjoy the several thousand Pyaar Kiya To Darna Kyas that will plague us in the near few years. Who is this DB member? |
