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Romeo 2012 Kannada Film Review
Romeo 2012 Kannada Film Review, Romeo Kannada Movie Review
STORY –
What is the definition of ‘Romeo’ – a lover who roams, careless guy and remain long lasting in his love? That is what the protagonist Ganesh in ‘Romeo’ to some extent. When the love has to be won by materialistic gain on the one side he changes his attitude that even melts the heart of lover Shruthi (Bhavana). You are with money now. If I come back it is not good says the female protagonist.
Ganesha is a gas bag. He lives in a poverty stricken family with his parents. He acts like Ambani or Mallya to win his lover heart. He is not aware that he is doing a costly mistake. He marries Shruthi making her to believe that he is an aristocrat, the regional manager in the bank Shruthi agrees. Ganesh and Shruthi marry in registrar office. Shruthi father is against to this match.
When Shruthi is brought to the house of Ganesh the fact reveals. She feels disgusted with Ganesh and walks out of the house to her father place. The divorce paper is also signed. In the mutual consent at court Ganesh and Shruthi separate.
After this set back in life Ganesh grows to become rich. He meets Shruthi again. This time Shruthi clearly says in a choked voice that her father had looked for a match in USA. Knowing the inner heart of Shruthi, Ganesh enact another drama and he is admitted to the hospital. This time Shruthi in the Airport returns to see Ganesha. That is the curtains down for happy ending.
Cast - Ganesh, Bhavana, Rangayana Raghu, Sadhu Kokila, Sudha Belawadi, Avinash, Giri and others.
Cinematography – Vaidhi
Music – Arjun Janya
Producers – Naveen and Ramesh Kumar
Screenplay, Direction – PC Shekhar
Cinejwala.com Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
Director PC Shekar in the process of telling that ‘Love’ is eternal has missed out a few things. He has missed some points and his taken for granted attitude is uncalled for.
Firstly he is inspired from a few of the Tamil star Dhanush films. A film in Kannada ‘Anthu Inthu Preethi Banthu’ of Aditya Babu and Ramya (Divya Spandana) had the same theme of rich and poor barricade. In this film Shekar has added a lot of carelessness to the protagonist to grab the youths and Ganesh fans.
Look at the problems that the director is locked to himself. Firstly he says uttering lies should be only at places. This is a wrong signal to the youths. This is the carelessness of the director.
Secondly the uttering of lies is OK according to times is told from the senior characters. This is again a wrong signal to the elders of the society. A refine thinking was needed.
Look at the divorce papers signing in the court and separating. Those who signed the divorce papers rejoin once again. What is the answer they give for the court of law that sanctioned divorce? Can they take law for granted?
Cinema should be seen as cinema. In the present day cinematic angles are aped in the real life. It is good that both the lovers have joined. There was no need to give the sanction from the court. The couple could have been asked to wait for some time. In that way rejoining would have meaning and law is also respected.
Once again Ganesh film is not well measured. PC Shekhar said something and he has done something. He has declared that he thought of doing a film after seeing ‘Mungaru Male’ in 2007. In that case he has not studied the graph of Golden star Ganesh. Ganesh as action hero has failed in ‘Bombaat’. The crispy and lengthy dialogues with romantic mood, chiding others are his trump card. Who likes to see Ganesh in sober mood and collecting tears?
Once again the box office formula of showing the hero with certain qualities is not followed. In the very first scene Ganesh is slapped on the face by his father. These are not small issues. The hero getting such slap, harsh words etc is not a box office formula. It is not tasteful for the fans.
Ganesh sitting on a drink for a few times and smoking is not in good tune. It is the Ganesh voice at the beginning and at the interval says ‘Doomapana Arogyakke Hanikara….Madhyapana is also bad. When the hero himself does it in the film, what does it mean?
The only lovely song of the film Alochane Aradhane Ella Nindene….is placed at a wrong point in the film. The lyrics written in this case does not match the situation. Just for the sake of fixing a song, director followed the routine formula.
There are some scenes not jell well to the Kannada atmosphere. One is the old ladies singing on a terrace. The film is quite good in the dialogues department. Sadhu Kokila episodes are in excess.
PERFORMANCE –
Golden star Ganesh has good dialogues in the first half. He needs to follow the principles correctly when he performing a role. For example driving without helmet and on a cell phone is irresponsibility. He is not fit for action image.
Bhavana has acted well but it is the dubbing that has lifted her character. Avinash is as usual with grit; Rangayana Raghu is also as usual with wit. Sadhu Kokila comedy is not going to hit. It is in excess.
Sudha Belawadi, Giri and others are OK. The character played in the end – a lover to comedy actor Giri gets noticed for her looks.
TECHNICALITY –
The best song of the film is ‘Alochane Aradhana….but there are two peppy tunes for the masses. In the rural areas the womenfolk might enjoy the old ladies in song number.
Vaidhi is impressive in his camera. The small lanes, outdoors the posh places are very clear in his work. Editing is quite OK. Nataraj in the dialogues is a real winner from this film.
Final Word – In first half ‘Romeo’ is a Rascal – in second half he is typical.
STORY –
What is the definition of ‘Romeo’ – a lover who roams, careless guy and remain long lasting in his love? That is what the protagonist Ganesh in ‘Romeo’ to some extent. When the love has to be won by materialistic gain on the one side he changes his attitude that even melts the heart of lover Shruthi (Bhavana). You are with money now. If I come back it is not good says the female protagonist.
Ganesha is a gas bag. He lives in a poverty stricken family with his parents. He acts like Ambani or Mallya to win his lover heart. He is not aware that he is doing a costly mistake. He marries Shruthi making her to believe that he is an aristocrat, the regional manager in the bank Shruthi agrees. Ganesh and Shruthi marry in registrar office. Shruthi father is against to this match.
When Shruthi is brought to the house of Ganesh the fact reveals. She feels disgusted with Ganesh and walks out of the house to her father place. The divorce paper is also signed. In the mutual consent at court Ganesh and Shruthi separate.
After this set back in life Ganesh grows to become rich. He meets Shruthi again. This time Shruthi clearly says in a choked voice that her father had looked for a match in USA. Knowing the inner heart of Shruthi, Ganesh enact another drama and he is admitted to the hospital. This time Shruthi in the Airport returns to see Ganesha. That is the curtains down for happy ending.
Cast - Ganesh, Bhavana, Rangayana Raghu, Sadhu Kokila, Sudha Belawadi, Avinash, Giri and others.
Cinematography – Vaidhi
Music – Arjun Janya
Producers – Naveen and Ramesh Kumar
Screenplay, Direction – PC Shekhar
Cinejwala.com Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
Director PC Shekar in the process of telling that ‘Love’ is eternal has missed out a few things. He has missed some points and his taken for granted attitude is uncalled for.
Firstly he is inspired from a few of the Tamil star Dhanush films. A film in Kannada ‘Anthu Inthu Preethi Banthu’ of Aditya Babu and Ramya (Divya Spandana) had the same theme of rich and poor barricade. In this film Shekar has added a lot of carelessness to the protagonist to grab the youths and Ganesh fans.
Look at the problems that the director is locked to himself. Firstly he says uttering lies should be only at places. This is a wrong signal to the youths. This is the carelessness of the director.
Secondly the uttering of lies is OK according to times is told from the senior characters. This is again a wrong signal to the elders of the society. A refine thinking was needed.
Look at the divorce papers signing in the court and separating. Those who signed the divorce papers rejoin once again. What is the answer they give for the court of law that sanctioned divorce? Can they take law for granted?
Cinema should be seen as cinema. In the present day cinematic angles are aped in the real life. It is good that both the lovers have joined. There was no need to give the sanction from the court. The couple could have been asked to wait for some time. In that way rejoining would have meaning and law is also respected.
Once again Ganesh film is not well measured. PC Shekhar said something and he has done something. He has declared that he thought of doing a film after seeing ‘Mungaru Male’ in 2007. In that case he has not studied the graph of Golden star Ganesh. Ganesh as action hero has failed in ‘Bombaat’. The crispy and lengthy dialogues with romantic mood, chiding others are his trump card. Who likes to see Ganesh in sober mood and collecting tears?
Once again the box office formula of showing the hero with certain qualities is not followed. In the very first scene Ganesh is slapped on the face by his father. These are not small issues. The hero getting such slap, harsh words etc is not a box office formula. It is not tasteful for the fans.
Ganesh sitting on a drink for a few times and smoking is not in good tune. It is the Ganesh voice at the beginning and at the interval says ‘Doomapana Arogyakke Hanikara….Madhyapana is also bad. When the hero himself does it in the film, what does it mean?
The only lovely song of the film Alochane Aradhane Ella Nindene….is placed at a wrong point in the film. The lyrics written in this case does not match the situation. Just for the sake of fixing a song, director followed the routine formula.
There are some scenes not jell well to the Kannada atmosphere. One is the old ladies singing on a terrace. The film is quite good in the dialogues department. Sadhu Kokila episodes are in excess.
PERFORMANCE –
Golden star Ganesh has good dialogues in the first half. He needs to follow the principles correctly when he performing a role. For example driving without helmet and on a cell phone is irresponsibility. He is not fit for action image.
Bhavana has acted well but it is the dubbing that has lifted her character. Avinash is as usual with grit; Rangayana Raghu is also as usual with wit. Sadhu Kokila comedy is not going to hit. It is in excess.
Sudha Belawadi, Giri and others are OK. The character played in the end – a lover to comedy actor Giri gets noticed for her looks.
TECHNICALITY –
The best song of the film is ‘Alochane Aradhana….but there are two peppy tunes for the masses. In the rural areas the womenfolk might enjoy the old ladies in song number.
Vaidhi is impressive in his camera. The small lanes, outdoors the posh places are very clear in his work. Editing is quite OK. Nataraj in the dialogues is a real winner from this film.
Final Word – In first half ‘Romeo’ is a Rascal – in second half he is typical.
Modhala Minchu 2012 Kannada Film Review
Modhala Minchu 2012 Kannada Film Review
STORY:
It is based on the famous Kannada film song – Preethi Madabaradhu, Madidare Jagake Hedarabadhu…of V Ravichandran ‘Prema Loka’ cinema.
A servant in the house of village head (played by Doddanna) Ravi (Abhi) is a poor guy. He is fond of everyone. He is intelligent. In the marriage of village head family – daughter Mala, arrives Divya (Supritha) as one of the friends. It is a love interest for Ravi. Divya studying medicine is engaged to Rakesh (Sharath) a businessman. Divya does not like the erratic and ego behavior of Rakesh. She falls in love with Ravi. Ravi and Divya faces hurdles. Rakesh shoots at the lovers. They jump from a height and fall in the running water. They are not injured in no way falling from such height. Pure love wins.
Banner: SR Talkies
Cast: Abhi, Supritha, Sadhu Kokila, Doddanna, Sharath, Wesley Brown and others.
Music: Ashle Abilash
Producer, Choreography, Story, Screenplay, Dialogues, Direction, Camera: Wesley Brown
www.Cinejwala.com Movie Rating: 2/5
Exclusively: www.Cinejwala.com
ANALYSIS:
Shouldering the nine responsibilities Wesley Brown has not worked perfect in anyone field. The poor work is from the camera. Many of the shots are not up to the standard. The digital cinematography has not come to his help.
The first half is a big bore. The second half is expected. Wesley Brown seems to have not seen the present day of Kannada films and other language films. The convincing screenplay and good script is what lacking mainly.
This is very ordinary cinema and as a newcomer Wesley Brown has not left any promise. He should have taken the expert opinion before deciding on the digital camera. Even today the negative used is the best says the cinematography department. In such a situation digital camera result with his availability of resources Wesley Brown should have studied.
He has not told anything to any actors in the film. A few of the unwanted characters creep in. They do not add to the film. It is a burden – for example the eunuch dressed character with two friends to rob all the properly on the marriage day. Michael Madhu role and excess of Sadhu Kokila portion, the opening shot of prayer at ‘Thulasi Katte’ – there are some more like that not precisely handled.
The main drawback is the lack of experience in Wesley Brown. At a good screening place Renukamba Digital studio the screening is so poor means then think about the fate of audience at the poorly maintained Menaka theatre. It will be still horrible result.
PERFORMANCES:
Debutant Abhi has to take training. He has not made an attempt to act. The character defining for the hero is made as underdog. Supritha looks charming at places. The power is not added to this quite a good actress.
Sharath as villain is OK, Sadhu Kokila is a pain, Doddanna is wasted. A song in which ‘Entedhe’(he has worked in eight divisions of the film) Wesley Brown appears is not inspiring. The song itself was not wanted.
TECHNICALITY:
Technically the film is not sound. The budget constraint might be the reason for it. But the result is not appealing what the audience can do?
The editing, cinematography and choreography needed improvement. The one shot song and slow motion thousand frames song is not very appealing that Wesley Brown boasted so much.
Final Word: – Jack of all masters of none!
STORY:
It is based on the famous Kannada film song – Preethi Madabaradhu, Madidare Jagake Hedarabadhu…of V Ravichandran ‘Prema Loka’ cinema.
A servant in the house of village head (played by Doddanna) Ravi (Abhi) is a poor guy. He is fond of everyone. He is intelligent. In the marriage of village head family – daughter Mala, arrives Divya (Supritha) as one of the friends. It is a love interest for Ravi. Divya studying medicine is engaged to Rakesh (Sharath) a businessman. Divya does not like the erratic and ego behavior of Rakesh. She falls in love with Ravi. Ravi and Divya faces hurdles. Rakesh shoots at the lovers. They jump from a height and fall in the running water. They are not injured in no way falling from such height. Pure love wins.
Banner: SR Talkies
Cast: Abhi, Supritha, Sadhu Kokila, Doddanna, Sharath, Wesley Brown and others.
Music: Ashle Abilash
Producer, Choreography, Story, Screenplay, Dialogues, Direction, Camera: Wesley Brown
www.Cinejwala.com Movie Rating: 2/5
Exclusively: www.Cinejwala.com
ANALYSIS:
Shouldering the nine responsibilities Wesley Brown has not worked perfect in anyone field. The poor work is from the camera. Many of the shots are not up to the standard. The digital cinematography has not come to his help.
The first half is a big bore. The second half is expected. Wesley Brown seems to have not seen the present day of Kannada films and other language films. The convincing screenplay and good script is what lacking mainly.
This is very ordinary cinema and as a newcomer Wesley Brown has not left any promise. He should have taken the expert opinion before deciding on the digital camera. Even today the negative used is the best says the cinematography department. In such a situation digital camera result with his availability of resources Wesley Brown should have studied.
He has not told anything to any actors in the film. A few of the unwanted characters creep in. They do not add to the film. It is a burden – for example the eunuch dressed character with two friends to rob all the properly on the marriage day. Michael Madhu role and excess of Sadhu Kokila portion, the opening shot of prayer at ‘Thulasi Katte’ – there are some more like that not precisely handled.
The main drawback is the lack of experience in Wesley Brown. At a good screening place Renukamba Digital studio the screening is so poor means then think about the fate of audience at the poorly maintained Menaka theatre. It will be still horrible result.
PERFORMANCES:
Debutant Abhi has to take training. He has not made an attempt to act. The character defining for the hero is made as underdog. Supritha looks charming at places. The power is not added to this quite a good actress.
Sharath as villain is OK, Sadhu Kokila is a pain, Doddanna is wasted. A song in which ‘Entedhe’(he has worked in eight divisions of the film) Wesley Brown appears is not inspiring. The song itself was not wanted.
TECHNICALITY:
Technically the film is not sound. The budget constraint might be the reason for it. But the result is not appealing what the audience can do?
The editing, cinematography and choreography needed improvement. The one shot song and slow motion thousand frames song is not very appealing that Wesley Brown boasted so much.
Final Word: – Jack of all masters of none!
Dhandupalya 2012 Kannada Film Review
Dhandupalya 2012 Kannada Movie Review, Dhandupalya Movie Review
STORY –
The real life killings, rapes, robbery of the ‘Dhandupalya’ gang is the substance for this film ‘Dhandupalya’. How the innocent people in the society are killed for no mistake is horrifying. The gang of nine (Makrand Deshpande, Ravi Kaale, Petrol Prasanna, Danny, Jai Dev, Yathiraj, Swathi and another lady) headed by Lakshmi (Pooja Gandhi) tap the door at the instance of asking for water and kills the inmates. They are so crude that some of the gang members do gang rape; a few satisfy their lust after killing. Barbaric killing is big head ache to police department. Even after 42 murders the police are not able to trace the culprits. The Dhandupalya gang is supported by a criminal lawyer Bhatru (Doddanna).
In a theft case one of the gang members Thimma is caught by the police when he is pledging the ornaments of a temple. The clue from this guy develops for police. Inspector Chalapathy (Ravishanker) trace all the gang members. They are produced in the court where the argument almost goes in favor of Dhandupalya gang. At the last minute the affected comes to the witness box to send all the gang members under Section 302 of IPC.
Film Name - Dhandupalya
Cast – Pooja Gandhi, Makrand Deshpande, Petrol Prasanna, Kari Subbu, Yathiraj, Jai Dev, Swathi, Danny, Raghu Mukerjee, Nisha Kothari, Ravishanker, Sanketh Kashi, Bhavya, Edakallu Chandrasekhar, Harish Roy and others.
Camera – Venkat Prasad
Music – Arjun Janya
Producers – Prashanth Kumar and Girish
Direction – Srinivasaraju
www.Cinejwala.com Movie Rating – 2/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The makers of this film ‘Dhandupalya’ has no moral, social responsibility. When some things are read and heard it should not further glorified. The impact it creates on the people in the society is very important.
The glorification of violence and all the nine characters behaving in the same way not add up to the film. There are some powerful dialogues that come from Chalapathy character Ravishanker.
Look at the crude killings and rape. Is it going to serve any purpose to the society? Director Srinivasa Raju while picking this ‘Dhandupalya’ as the subject should have held a public debate on making of the film or not. He calls this as an entertainment!
Some of the situations in this are so frightening. With ‘A’ certificate and many mute for the dialogues the regional censor has done its best. Yet for the soft brains, weak hearts, peace loving people this is a horrible film to watch.
Throughout the film there is killing, extortion, rape and enjoying the sadistic pleasures. In a film the action and violence is given in a measured way it is tolerable. Not in the way shown in ‘Dhandupalya’.
One example of crudity is that of Makrand Deshpande character – When he cuts the neck of the victims the sound they make Hissss….is his enjoyment.
The reason why we have give 2/5 is because of the cinematography and artists playing the roles without looking at their images and impact it is going to create in future.
PERFORMANCE –
Pooja Gandhi in the role of ‘Lakshmi’ smoking beedi, looking crude, taking the punishment on her hot back has dared to accept this kind of role. There is an item song too from Pooja Gandhi in the midst of her gang members.
The striker in performance and dialogue delivery is Ravishanker as Chalapathy. He does the role of a real life cop who is instrumental in rounding off the gang members.
The characters of Yathiraj, Jai Dev, Makrand Deshpande, Kari Subbu, Petrol Prasanna are difficult to perform. They are feared in their looks.
On the softer side Raghu Mukerjee, Nisha Kothari, Bhavya are impressive. In the court hall there should have been some more heated arguments as the two powerful actors Doddanna and Srinivasamurthy are performers.
TECHNICALITY –
Venkat Prasad in the camera is the high point of this film. There are day light and night effect shots well captured. The editing of the film should have been more accurate.
On the music part there is not even one worth remembering song from Arjun Janya. The background score is not that appealing.
FINAL WORD – Film makers should stop making this kind of subjects.
STORY –
The real life killings, rapes, robbery of the ‘Dhandupalya’ gang is the substance for this film ‘Dhandupalya’. How the innocent people in the society are killed for no mistake is horrifying. The gang of nine (Makrand Deshpande, Ravi Kaale, Petrol Prasanna, Danny, Jai Dev, Yathiraj, Swathi and another lady) headed by Lakshmi (Pooja Gandhi) tap the door at the instance of asking for water and kills the inmates. They are so crude that some of the gang members do gang rape; a few satisfy their lust after killing. Barbaric killing is big head ache to police department. Even after 42 murders the police are not able to trace the culprits. The Dhandupalya gang is supported by a criminal lawyer Bhatru (Doddanna).
In a theft case one of the gang members Thimma is caught by the police when he is pledging the ornaments of a temple. The clue from this guy develops for police. Inspector Chalapathy (Ravishanker) trace all the gang members. They are produced in the court where the argument almost goes in favor of Dhandupalya gang. At the last minute the affected comes to the witness box to send all the gang members under Section 302 of IPC.
Film Name - Dhandupalya
Cast – Pooja Gandhi, Makrand Deshpande, Petrol Prasanna, Kari Subbu, Yathiraj, Jai Dev, Swathi, Danny, Raghu Mukerjee, Nisha Kothari, Ravishanker, Sanketh Kashi, Bhavya, Edakallu Chandrasekhar, Harish Roy and others.
Camera – Venkat Prasad
Music – Arjun Janya
Producers – Prashanth Kumar and Girish
Direction – Srinivasaraju
www.Cinejwala.com Movie Rating – 2/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The makers of this film ‘Dhandupalya’ has no moral, social responsibility. When some things are read and heard it should not further glorified. The impact it creates on the people in the society is very important.
The glorification of violence and all the nine characters behaving in the same way not add up to the film. There are some powerful dialogues that come from Chalapathy character Ravishanker.
Look at the crude killings and rape. Is it going to serve any purpose to the society? Director Srinivasa Raju while picking this ‘Dhandupalya’ as the subject should have held a public debate on making of the film or not. He calls this as an entertainment!
Some of the situations in this are so frightening. With ‘A’ certificate and many mute for the dialogues the regional censor has done its best. Yet for the soft brains, weak hearts, peace loving people this is a horrible film to watch.
Throughout the film there is killing, extortion, rape and enjoying the sadistic pleasures. In a film the action and violence is given in a measured way it is tolerable. Not in the way shown in ‘Dhandupalya’.
One example of crudity is that of Makrand Deshpande character – When he cuts the neck of the victims the sound they make Hissss….is his enjoyment.
The reason why we have give 2/5 is because of the cinematography and artists playing the roles without looking at their images and impact it is going to create in future.
PERFORMANCE –
Pooja Gandhi in the role of ‘Lakshmi’ smoking beedi, looking crude, taking the punishment on her hot back has dared to accept this kind of role. There is an item song too from Pooja Gandhi in the midst of her gang members.
The striker in performance and dialogue delivery is Ravishanker as Chalapathy. He does the role of a real life cop who is instrumental in rounding off the gang members.
The characters of Yathiraj, Jai Dev, Makrand Deshpande, Kari Subbu, Petrol Prasanna are difficult to perform. They are feared in their looks.
On the softer side Raghu Mukerjee, Nisha Kothari, Bhavya are impressive. In the court hall there should have been some more heated arguments as the two powerful actors Doddanna and Srinivasamurthy are performers.
TECHNICALITY –
Venkat Prasad in the camera is the high point of this film. There are day light and night effect shots well captured. The editing of the film should have been more accurate.
On the music part there is not even one worth remembering song from Arjun Janya. The background score is not that appealing.
FINAL WORD – Film makers should stop making this kind of subjects.
Paper Dhoni 2012 Kannada Film Review
Paper Dhoni Movie Review
STORY :
The attempt of this film is wide and large. The director of this film wants to give solution to every problem of this universe facing. The protagonist of this film is the author of the book ‘Paper Dhoni’. Chetan (Naveen Krishna) is a business tycoon cum software professional. His intention is to give laptop to every village at a cost of Rs.2500 so that he is addressed easily with the problems. The government pooh-poohs his idea whereas others take up this move at the international level. Chetan for setting up his unit uses the slum people and lend education. When he forges ahead with the idea of providing laptop every farmer in his own state the government gets a shock. The next target of Chetan and gang is to make this world of lies in to truthfulness. He takes on the issues at the international level and his growth of laptop at a cheaper rate has spread across the world.
It is the formation of SOS team that spreads all over the world. The problems of Ethiopia, Somalia, Nigeria he gets to know to give a solution. What next is the bloodiest issue of terrorism dogging all over the world. How he does it with SOS and how come to the normal situation is the final portion of the film ‘Paper Dhoni’.
Cast – Naveen Krishna, Shanthala, Avinash, Sathyaprakash, Sathyajith, Adhi Lokesh and others.
Cinematography – Jai Anand
Music – Sri Suman
Producer – Janardhan
Direction – RK Nayak
www.Cinejwala.com Movie Rating - 1.5/5
Exclusively - www.Cinejwala.com
ANALYSIS :
This kind of film flooded with problem without any logistic solution by an individual is not possible at the world level. Taking inspiration from Microsoft growth, world leaders arriving at a dramatic solution to the issues is good to see in novels and books.
When the world problem is addressed it needs lot of challenge and in this convincing on the issues the film fails miserably. No one knows what’s happening with various issues clubbed. The topics just come and go without any logistic values.
Director R K Nayak intention is good. He wants to see the entire world as ‘Truthful’ and ‘Rama Rajya’ policy is agreeable. Instead of going at wider perspective he should have catered to the issues dogging our country.
However the thought of addressing the former via internet and solving the problems of the people via close circuit TV in every road is appreciable.
Taking four main issues – poverty, corruption, terrorism and illiteracy he should have worked out meaningful measures. There was no need to bring childhood, mother sentiment, love angle for this kind of film. Such issues spoil the mood of the film. Suggestively it could have been narrated.
This film coming after ‘Super’ has the shades but ‘Super’ catered to the sub continent. Perhaps after seeing ‘Super’ story this director has elaborated his thoughts. That is the mistake happened.
Of course Indian politics and Indian constitution has to be consulted while taking measures. In the surroundings of constitution and politics director should have given a thought provoking ideas for some of the issues from Kashmir to Kanyakumari.
Focusing on too many issues and the technical support not coming to help the film looks like a documentary of certain issues.
Less talked about this film is better!
PERFORMANCES :
Naveen Krishna is the saving grace of this film. His dialogue delivery is the asset of this film. There is no other character that supports the film. Actress Shanthala is only good in two songs of the film. The veteran actors like Avinash and Vinayaprakash have nothing absorbing to perform.
TECHNICALITY :
The film ‘Paper Dhoni’ suffers severely on the technical front. While addressing the world issues the backdrop required and high style and sizzle needed has not come to the help. The budget constraint is seen in every shot of the film.
On the dialogue front the film is OK. Jai Anand is a good cameraman but none of the shots are polished to look very bright to the eyes. Music director Sri Suman has given two tunes – Nade Nade…..Irabahudha Irabahudha….
Final Word – Clean atrocity of City then go international!
STORY :
The attempt of this film is wide and large. The director of this film wants to give solution to every problem of this universe facing. The protagonist of this film is the author of the book ‘Paper Dhoni’. Chetan (Naveen Krishna) is a business tycoon cum software professional. His intention is to give laptop to every village at a cost of Rs.2500 so that he is addressed easily with the problems. The government pooh-poohs his idea whereas others take up this move at the international level. Chetan for setting up his unit uses the slum people and lend education. When he forges ahead with the idea of providing laptop every farmer in his own state the government gets a shock. The next target of Chetan and gang is to make this world of lies in to truthfulness. He takes on the issues at the international level and his growth of laptop at a cheaper rate has spread across the world.
It is the formation of SOS team that spreads all over the world. The problems of Ethiopia, Somalia, Nigeria he gets to know to give a solution. What next is the bloodiest issue of terrorism dogging all over the world. How he does it with SOS and how come to the normal situation is the final portion of the film ‘Paper Dhoni’.
Cast – Naveen Krishna, Shanthala, Avinash, Sathyaprakash, Sathyajith, Adhi Lokesh and others.
Cinematography – Jai Anand
Music – Sri Suman
Producer – Janardhan
Direction – RK Nayak
www.Cinejwala.com Movie Rating - 1.5/5
Exclusively - www.Cinejwala.com
ANALYSIS :
This kind of film flooded with problem without any logistic solution by an individual is not possible at the world level. Taking inspiration from Microsoft growth, world leaders arriving at a dramatic solution to the issues is good to see in novels and books.
When the world problem is addressed it needs lot of challenge and in this convincing on the issues the film fails miserably. No one knows what’s happening with various issues clubbed. The topics just come and go without any logistic values.
Director R K Nayak intention is good. He wants to see the entire world as ‘Truthful’ and ‘Rama Rajya’ policy is agreeable. Instead of going at wider perspective he should have catered to the issues dogging our country.
However the thought of addressing the former via internet and solving the problems of the people via close circuit TV in every road is appreciable.
Taking four main issues – poverty, corruption, terrorism and illiteracy he should have worked out meaningful measures. There was no need to bring childhood, mother sentiment, love angle for this kind of film. Such issues spoil the mood of the film. Suggestively it could have been narrated.
This film coming after ‘Super’ has the shades but ‘Super’ catered to the sub continent. Perhaps after seeing ‘Super’ story this director has elaborated his thoughts. That is the mistake happened.
Of course Indian politics and Indian constitution has to be consulted while taking measures. In the surroundings of constitution and politics director should have given a thought provoking ideas for some of the issues from Kashmir to Kanyakumari.
Focusing on too many issues and the technical support not coming to help the film looks like a documentary of certain issues.
Less talked about this film is better!
PERFORMANCES :
Naveen Krishna is the saving grace of this film. His dialogue delivery is the asset of this film. There is no other character that supports the film. Actress Shanthala is only good in two songs of the film. The veteran actors like Avinash and Vinayaprakash have nothing absorbing to perform.
TECHNICALITY :
The film ‘Paper Dhoni’ suffers severely on the technical front. While addressing the world issues the backdrop required and high style and sizzle needed has not come to the help. The budget constraint is seen in every shot of the film.
On the dialogue front the film is OK. Jai Anand is a good cameraman but none of the shots are polished to look very bright to the eyes. Music director Sri Suman has given two tunes – Nade Nade…..Irabahudha Irabahudha….
Final Word – Clean atrocity of City then go international!
Addhuri 2012 Kannada Film Review
Addhuri 2012 Kannada Film Review
STORY –
It is a love story of Poorna and Arjun. They are affectionately known as ‘Achhu and Rachchu’. Poorna and Arjun (Radhika Pandit and Dhruva Sarja) are in love for one year. Before Poorna father takes a decision she decide to marry Arjun at the registrar office. Arjun agrees but he does not turn up for the prescribed time. The whole day Poorna waits for him on the steps of registrar office. Arjun turns up at the hostel of Poorna in the midnight. Poorna decide to go back to her house in New Delhi.
The next day morning Poorna is at the railway station for ticket and the ticket is only for the next week. That is what Arjun cooks up at the railway ticket counter. She is supposed to stay for one week. For this one week Arjun throws a challenge for Poorna to stay with him. Arjun wish to go to the places where they have gone in the last one year for that Poorna hesitantly agree. On the fourth day Poorna gives a shock that she is getting married to Tarun a software engineer.
On the fifth and sixth day Arjun and Poorna maintains the go happy friendship. Lovers later become friends in life is for the first time says Arjun in one of the scenes. On the 7th day Poorna comes to know why Arjun did not turn up for the marriage registration. She is shocked and feels she has injured Arjun so much in words. Whether Arjun would accept me once again is the question that arises in her mind.
Cast – Dhruva Sarja, Radhika Pandit, Tabla Naani, Nagathihalli Chandrasekhar, Raju Thalikote, Tarun Chandra and others.
Cinematography – Sooryakiran
Music – V Harikrishna
Producer – CMR Shanker Reddy and Keerthi Swamy
Story, Screenplay, Dialogues, Direction – AP Arjun
www.Cinejwala.com Movie Rating - 3.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
Director AP Arjun after ‘Ambari’ has given a passable film with lot of liveliness in his screenplay. There is no good story for the film. Only one incident shoulders the 13 reels film. The narration pattern is quite engaging from Arjun. He has improved considerably in this film compared to ‘Ambari’. He had shown the lovers going to Agra in a cycle in ‘Ambari’. Such flaws he has not made here in ‘Addhuri’. The character of Tarun Chandra that comes in the post interval does not take the exit.
Arjun is a winner in making every scene look grand. Like the title ‘Addhuri’ he has made most of the scenes look very pleasant to the eyes. The quarrel the director brings in between Dhruva Sarja and Radhika Pandit is also sweet. At one point of time when Tarun Chandra arrives on the scene the love expressed by Duruv Sarja to Radhika Pandit indirectly is quite impressive.
He has covered up the laxities in newcomer so well and made it sit through. The anger, love, naughtiness, dejection, responsibility, power required for the film has come out well from the actors.
It is just a narration based cinema with only hairline of incident that detaches the lovers. In the attached detachment the lovers move around on conditions. The height of love the risk that Arjun takes for his love is commendable.
‘Addhuri’ means grandeur. Director Arjun from the money of producer CMR Shanker Reddy and Keerthi Swamy has made it look glorious in the locations, costumes and lighting used for the film is on par with any other language film.
The speedy dialogues he has kept for the protagonist reminds ‘Golden star Ganesh’ of Mungaru Male. It is the peppy dialogues that are spoken on the street sides earn applaud for protagonist of the film. Dialogues are also another trump card of this film.
Another high point of this film ‘Addhuri’ is that director AP Arjun has not brought in parents for both the protagonists on screen. He has not defined the background of protagonist. Yet there is no place for much of emotions. The comedy also runs through the screenplay to some extent.
PERFORMANCES –
Full marks to Radhika Pandit actress in her 8th film. She looks very gorgeous in modern outfits. Radhika Pandit acting prowess would earn a few awards for her in the forthcoming days. Even when she is in sorrow mood she looks so sweet.
The new find Dhruva Sarja has come here to stay. The only minus point for him is his nose. He has nose for acting is the plus point. He looks macho. He is too good in action and dance. The dialogue delivery that has come to his first film ‘Addhuri’ is a god sent gift for him. Dhruva Sarja picks the right roles he would easily take over his elder brother Chiranjeevi Sarja. Dhruv Sarja close relative of Tamil action star Arjun lives up the expectations of his maternal uncle from this film.
Tarun Chandra in touch and go role looks handsome. His role has not been ended. Tabla Nani and Raju Thalikote are OK.
TECHNICALITIES –
Soorya Kiran in his first work behind the camera in Kannada is superb. She has taken the right locations. Even in the pedestrian area he makes it look grand and that is because the title ‘Addhuri’. In the outdoor shoots he has used his liberty in quick action moments of dance and action he earns good name.
V Harikrishna is giving bumper crop to producers since two years continues his strength in songs in ‘Addhuri’. Aa andre Ammate….is a raunchy number. The sorrow filled song before climax is melodious. Yarilla Yarilla Ninanthe Yarilla….Thun Antha Ugidaru….are for the masses! Yarilla Yarilla…song reminds the song of ‘Maria My Darling’ Kannada cinema.
On the editing front there is no flaw. The only flaw of this film is that there is no good story. It is a time pass cinema easily.
Last but not the Least – Even if you quarrel love is eternal.
STORY –
It is a love story of Poorna and Arjun. They are affectionately known as ‘Achhu and Rachchu’. Poorna and Arjun (Radhika Pandit and Dhruva Sarja) are in love for one year. Before Poorna father takes a decision she decide to marry Arjun at the registrar office. Arjun agrees but he does not turn up for the prescribed time. The whole day Poorna waits for him on the steps of registrar office. Arjun turns up at the hostel of Poorna in the midnight. Poorna decide to go back to her house in New Delhi.
The next day morning Poorna is at the railway station for ticket and the ticket is only for the next week. That is what Arjun cooks up at the railway ticket counter. She is supposed to stay for one week. For this one week Arjun throws a challenge for Poorna to stay with him. Arjun wish to go to the places where they have gone in the last one year for that Poorna hesitantly agree. On the fourth day Poorna gives a shock that she is getting married to Tarun a software engineer.
On the fifth and sixth day Arjun and Poorna maintains the go happy friendship. Lovers later become friends in life is for the first time says Arjun in one of the scenes. On the 7th day Poorna comes to know why Arjun did not turn up for the marriage registration. She is shocked and feels she has injured Arjun so much in words. Whether Arjun would accept me once again is the question that arises in her mind.
Cast – Dhruva Sarja, Radhika Pandit, Tabla Naani, Nagathihalli Chandrasekhar, Raju Thalikote, Tarun Chandra and others.
Cinematography – Sooryakiran
Music – V Harikrishna
Producer – CMR Shanker Reddy and Keerthi Swamy
Story, Screenplay, Dialogues, Direction – AP Arjun
www.Cinejwala.com Movie Rating - 3.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
Director AP Arjun after ‘Ambari’ has given a passable film with lot of liveliness in his screenplay. There is no good story for the film. Only one incident shoulders the 13 reels film. The narration pattern is quite engaging from Arjun. He has improved considerably in this film compared to ‘Ambari’. He had shown the lovers going to Agra in a cycle in ‘Ambari’. Such flaws he has not made here in ‘Addhuri’. The character of Tarun Chandra that comes in the post interval does not take the exit.
Arjun is a winner in making every scene look grand. Like the title ‘Addhuri’ he has made most of the scenes look very pleasant to the eyes. The quarrel the director brings in between Dhruva Sarja and Radhika Pandit is also sweet. At one point of time when Tarun Chandra arrives on the scene the love expressed by Duruv Sarja to Radhika Pandit indirectly is quite impressive.
He has covered up the laxities in newcomer so well and made it sit through. The anger, love, naughtiness, dejection, responsibility, power required for the film has come out well from the actors.
It is just a narration based cinema with only hairline of incident that detaches the lovers. In the attached detachment the lovers move around on conditions. The height of love the risk that Arjun takes for his love is commendable.
‘Addhuri’ means grandeur. Director Arjun from the money of producer CMR Shanker Reddy and Keerthi Swamy has made it look glorious in the locations, costumes and lighting used for the film is on par with any other language film.
The speedy dialogues he has kept for the protagonist reminds ‘Golden star Ganesh’ of Mungaru Male. It is the peppy dialogues that are spoken on the street sides earn applaud for protagonist of the film. Dialogues are also another trump card of this film.
Another high point of this film ‘Addhuri’ is that director AP Arjun has not brought in parents for both the protagonists on screen. He has not defined the background of protagonist. Yet there is no place for much of emotions. The comedy also runs through the screenplay to some extent.
PERFORMANCES –
Full marks to Radhika Pandit actress in her 8th film. She looks very gorgeous in modern outfits. Radhika Pandit acting prowess would earn a few awards for her in the forthcoming days. Even when she is in sorrow mood she looks so sweet.
The new find Dhruva Sarja has come here to stay. The only minus point for him is his nose. He has nose for acting is the plus point. He looks macho. He is too good in action and dance. The dialogue delivery that has come to his first film ‘Addhuri’ is a god sent gift for him. Dhruva Sarja picks the right roles he would easily take over his elder brother Chiranjeevi Sarja. Dhruv Sarja close relative of Tamil action star Arjun lives up the expectations of his maternal uncle from this film.
Tarun Chandra in touch and go role looks handsome. His role has not been ended. Tabla Nani and Raju Thalikote are OK.
TECHNICALITIES –
Soorya Kiran in his first work behind the camera in Kannada is superb. She has taken the right locations. Even in the pedestrian area he makes it look grand and that is because the title ‘Addhuri’. In the outdoor shoots he has used his liberty in quick action moments of dance and action he earns good name.
V Harikrishna is giving bumper crop to producers since two years continues his strength in songs in ‘Addhuri’. Aa andre Ammate….is a raunchy number. The sorrow filled song before climax is melodious. Yarilla Yarilla Ninanthe Yarilla….Thun Antha Ugidaru….are for the masses! Yarilla Yarilla…song reminds the song of ‘Maria My Darling’ Kannada cinema.
On the editing front there is no flaw. The only flaw of this film is that there is no good story. It is a time pass cinema easily.
Last but not the Least – Even if you quarrel love is eternal.
Jaanu 2012 Kannada Film Review
Jaanu 2012 Kannada Film Review
STORY –
As the title indicates ‘Jaanu’ – it is immense love of one to another. In this case it is father love to daughter and daughter love to her choice the protagonist in the film.
Rukmini (Deepa Sannidhi) for a silly reason to see Mysore Dasara comes to Mysore without telling her parents in Belgaum. She comes in a season that is not meant for Dasara festival. She is exhausted with her money. She comes to the hotel owned by Siddarth and Ramaiah (Yash and Rangayana Raghu). Rukmini eats worth Rs.800 worth food and says she does not have money. Siddarth is baffled when Rukmini ask him to give a place to stay for the night. Ramaiah is soft towards this Rukmini. Next day Ramaih asks Siddarth to take Rukmini to Belgaum and leave her to her house. By compulsion Siddarth agrees to take Rukmini. In the long journey from Mysore to Belgaum they get to know each other.
When Siddarth brings Rukmini to Belgaum the waiting father of Rukimini Rudregowda (Shobaraj) and his men pounce on Siddarth. Without inquiring they beat up Siddarth and take away Rukmini but soon Rudre Gowda repents and brings Siddarth to his house for hospitality.
When Siddarth comes to stay here in the big house of Rudre Gowda the beautiful Rukmini express her love to Siddarth. Soon Siddarth and Rukimini are in shock when Rudre Gowda announces that a boy is waiting for her daughter marriage. In the meantime a relative in the house is also aiming to get married to Rukmini. It is a triangular fight for love.
When Rukmini decide to elope with Siddarth from her house it is a different check the director of ‘Jaanu’ gives. In the early morning Siddarth drops Rukmini to her house. He says to Ramaiah who is there with him that father love is more than his love for Rukmini. It is engagement for Rukimini with another boy. What happens when Rudre Gowda finds a bag of Rukmini that was in the jeep? That is the climax lead. Everything is good at the end.
Cast – Yash, Deepa Sannidhi, Shobaraj, Sangeetha, Rangayana Raghu, Sadhu Kokila, Layendra, Madhu, Veena Bhat and others.
Music – V Harikrishna
Cinematography – S Krishna
Producers – Jayanna and Bogendra
Story, Screenplay, Direction – Preetham Gubbi
www.Cinejwala.com Movie Rating – 2.5/5
Exclusively : www.Cinejwala.com
ANALYSIS –
Director Preetham Gubbi has followed the old standard set by his colleagues in this type of family drama. The hero bringing heroine to the house and leaving her is seen in many films already. The pattern of narration is so poor in the first half. It is a big yawn time especially when the journey begins from Mysore to Belgaum.
The situation of audiences is almost like the song that comes in the film – Kanmuchro Kanmuchchi….(close your eyes). Tired of routine things and yawning in between when the songs comes Kanmuchro Kanmuchchi….many would have done that in the theatres and gone for a nap.
In the love story making a different screenplay is the only call of the day. The brilliant part and surprising part is when the bag of heroine that was kept in the jeep on the day of eloping found by father character.
There are several scenes in the film found similarly in other films. Preetham Gubbi is successful to the extent of 25 percent in this film. He has no control over editing it seems. After a chilling rain soaked fight suddenly the song En Samachara….appears on the screen. This leaves a strong opinion that songs and fights would make a film. Not giving any gap in between showing action and a song speaks very poorly of a director and an editor of the film.
There are two powerful scenes in the film. When Deepa Sannidhi tells her heart is to Yash it is a well conceived one. Like that when Yash tells Rangayana Raghu that the love of father is so high towards daughter I am ready to sacrifice my love.
The feel good factor of Yash throughout the film is another appreciable factor. The film needed a few surprises in the first half of the film to hold the attention of the audiences.
PERFORMANCES –
It is a well stitched role of Yash. He is good in action portions and two songs are lovely for him. There is no fault from his side to the film. The lucky heroine Deepa Sannidhi at places looks very beautiful and sexy. The Belgaum style of Kannada dubbed for her role enhances the role played by Deepa Sannidhi. She is a heroine to watch. How come she has come a little fat – there is an indication in the film when she eats Rs.800 worth food in the hotel!
Rangayana Raghu has nothing special. Shobaraj is very good as Rudre Gowda and caring father.
TECHNICALITIES –
Cameraman S Krishna has given the wide and close angle shots with great degree of skill. He has been proving his mettle from the days of ‘Mungaru Male’. The choreography of two songs is good. Music director V Harikrishna has given two peppy songs for front benchers and two melodious tunes for others.
The song Kaddhu Muchchi….sung by Anuradha Bhat is on top. Equally on top is the song sung by Sonu Nigam in Neenu Nanna Saviganasu…. Both the songs are penned by Jayanth Kaikini.
Ravi Verma action composition is on top. But proving the guts of the hero in one of the scenes was important as he takes on dozen people every time.
Last but not the Least - Obsession of father Love and life partner leads to a good family life!
STORY –
As the title indicates ‘Jaanu’ – it is immense love of one to another. In this case it is father love to daughter and daughter love to her choice the protagonist in the film.
Rukmini (Deepa Sannidhi) for a silly reason to see Mysore Dasara comes to Mysore without telling her parents in Belgaum. She comes in a season that is not meant for Dasara festival. She is exhausted with her money. She comes to the hotel owned by Siddarth and Ramaiah (Yash and Rangayana Raghu). Rukmini eats worth Rs.800 worth food and says she does not have money. Siddarth is baffled when Rukmini ask him to give a place to stay for the night. Ramaiah is soft towards this Rukmini. Next day Ramaih asks Siddarth to take Rukmini to Belgaum and leave her to her house. By compulsion Siddarth agrees to take Rukmini. In the long journey from Mysore to Belgaum they get to know each other.
When Siddarth brings Rukmini to Belgaum the waiting father of Rukimini Rudregowda (Shobaraj) and his men pounce on Siddarth. Without inquiring they beat up Siddarth and take away Rukmini but soon Rudre Gowda repents and brings Siddarth to his house for hospitality.
When Siddarth comes to stay here in the big house of Rudre Gowda the beautiful Rukmini express her love to Siddarth. Soon Siddarth and Rukimini are in shock when Rudre Gowda announces that a boy is waiting for her daughter marriage. In the meantime a relative in the house is also aiming to get married to Rukmini. It is a triangular fight for love.
When Rukmini decide to elope with Siddarth from her house it is a different check the director of ‘Jaanu’ gives. In the early morning Siddarth drops Rukmini to her house. He says to Ramaiah who is there with him that father love is more than his love for Rukmini. It is engagement for Rukimini with another boy. What happens when Rudre Gowda finds a bag of Rukmini that was in the jeep? That is the climax lead. Everything is good at the end.
Cast – Yash, Deepa Sannidhi, Shobaraj, Sangeetha, Rangayana Raghu, Sadhu Kokila, Layendra, Madhu, Veena Bhat and others.
Music – V Harikrishna
Cinematography – S Krishna
Producers – Jayanna and Bogendra
Story, Screenplay, Direction – Preetham Gubbi
www.Cinejwala.com Movie Rating – 2.5/5
Exclusively : www.Cinejwala.com
ANALYSIS –
Director Preetham Gubbi has followed the old standard set by his colleagues in this type of family drama. The hero bringing heroine to the house and leaving her is seen in many films already. The pattern of narration is so poor in the first half. It is a big yawn time especially when the journey begins from Mysore to Belgaum.
The situation of audiences is almost like the song that comes in the film – Kanmuchro Kanmuchchi….(close your eyes). Tired of routine things and yawning in between when the songs comes Kanmuchro Kanmuchchi….many would have done that in the theatres and gone for a nap.
In the love story making a different screenplay is the only call of the day. The brilliant part and surprising part is when the bag of heroine that was kept in the jeep on the day of eloping found by father character.
There are several scenes in the film found similarly in other films. Preetham Gubbi is successful to the extent of 25 percent in this film. He has no control over editing it seems. After a chilling rain soaked fight suddenly the song En Samachara….appears on the screen. This leaves a strong opinion that songs and fights would make a film. Not giving any gap in between showing action and a song speaks very poorly of a director and an editor of the film.
There are two powerful scenes in the film. When Deepa Sannidhi tells her heart is to Yash it is a well conceived one. Like that when Yash tells Rangayana Raghu that the love of father is so high towards daughter I am ready to sacrifice my love.
The feel good factor of Yash throughout the film is another appreciable factor. The film needed a few surprises in the first half of the film to hold the attention of the audiences.
PERFORMANCES –
It is a well stitched role of Yash. He is good in action portions and two songs are lovely for him. There is no fault from his side to the film. The lucky heroine Deepa Sannidhi at places looks very beautiful and sexy. The Belgaum style of Kannada dubbed for her role enhances the role played by Deepa Sannidhi. She is a heroine to watch. How come she has come a little fat – there is an indication in the film when she eats Rs.800 worth food in the hotel!
Rangayana Raghu has nothing special. Shobaraj is very good as Rudre Gowda and caring father.
TECHNICALITIES –
Cameraman S Krishna has given the wide and close angle shots with great degree of skill. He has been proving his mettle from the days of ‘Mungaru Male’. The choreography of two songs is good. Music director V Harikrishna has given two peppy songs for front benchers and two melodious tunes for others.
The song Kaddhu Muchchi….sung by Anuradha Bhat is on top. Equally on top is the song sung by Sonu Nigam in Neenu Nanna Saviganasu…. Both the songs are penned by Jayanth Kaikini.
Ravi Verma action composition is on top. But proving the guts of the hero in one of the scenes was important as he takes on dozen people every time.
Last but not the Least - Obsession of father Love and life partner leads to a good family life!
Villain 2012 Kannada Film Review
Villain 2012 Kannada Film Review
STORY –
According to the title the protagonist is ‘Villain’ in the eyes of female protagonist. Tippu (Adhitya) is the most feared personality and he has a soft corner for the poor and distress people. This attracts Anu (Ragini) a radio jockey. When Anu extends love Tippu utters a lie that his name is Ajay.
The change of name is the problem in the forthcoming reels. The local MLA and his henchmen for whom Tippu is working commit a murder. That is captured by Anu’s brother Vinay a television crime journalist. Ajay to the eyes of Anu is actually Tippu now decide to solve the crisis with his bosses who are part of the video shoot. When the truce meeting is arranged by Ajay alias Tippu in a fit of anger Vinay is murdered. It is further complication now for Tippu.
Anu accidentally knows that Ajay is Tippu. She decides to quit his company and cut off the relationship. Ajay alias Tippu wants to patch up the relationship. For this cop Dharma come to rescue. He wants Tippu to be approver for the murder case. Anu knows that Tippu is not the murderer of her brother. The culprits are punished in the court of law.
Cast – Adhitya, Ragini, Dharma, Rangayana Raghu, Shobaraj, Malathi Sardeshpande, Simran, Kamala and others.
Cinematography – Dasari Seenu
Music – Gurukiran
Producer – Yogish Hunsur
Story, Screenplay, Direction – MS Ramesh
www.Cinejwala.com Rating – 1.5/5
Exclusively: www.Cinejwala.com
ANALYSIS –
A film with poor technical standards and very average story director MS Ramesh has lost control from the first reel. He is known for punch and power in his films. With an actor like Adhitya he fails miserably in giving a convincing and gripping story and screenplay.
The narration style is far away from convincing style. The developments of scenes that lead to the climax are not well thought off. The songs appear at regular interval and even in the situation when it is not expected it appears.
‘Villain’ for the title of the film is the first major lapse. The definition of the ‘Villain’ buries down. The hero is not anti hero in this film. He begs in front of the public for his love. This particular scene is not heroic or part of ‘Villain’.
The usual screenplay of protagonist working for politicians and nexus with opponents the audiences have seen in scores of films so far. At least they are told in style and pep up the situation it could have been tolerable. The narration is like hearing ‘Katha Kalakshepa’ in the free time. The elderly people in the temples in the evening times sit for hours to hear ‘Harikathe and Puranas’. In such a way director MS Ramesh draggingly develops his screenplay and leaves very little interest.
One gets a doubt in the second half why these kind of poor standard Kannada cinemas are made. When it is looked at the ‘Television Satellite Rights’ strikes the mind.
Taking minimum risk and getting good share from the satellite rights this type of ‘Villain’ is attempted. MS Ramesh is a serious writer and director. He should not fall in to this kind of trap.
From the point of view of audience at Menaka theatre in KG Road Bengaluru it is a big punishment. The film is torture to the head and the seats are torture to body. It is high time this type of Menaka theatre is spruced up.
PERFORMANCE –
It is a continuation of Deadly Soma and Deadly-2 for Adhitya. The hero image is lacking for him completely. Only at places he gets chances to indulge in action scenes. They are very ordinary.
Ragini has nothing much to perform. She dances well in Garam Masala….and Kannalle Sambashane….In the close up Ragini looks plum.
It is a pretty good role for Dharma as a cop. He has showed exemplary style as a cop with doing good nature. Shobaraj and Rangayana Raghu are wasted. Pushpa Swamy as an old woman has given good support.
TECHNICALITY –
There is no good investment on the technical part of this film. Cinematography of Dasari Seenu gives an impression that we are seeing an old film in the fares and festival of villages on temporary curtains.
Gurukiran has slept while composing the tunes. One struggles to make out the lyrics. The song Gelathi Nannindha Dooravadhe Eke….is wrong placed because of the lyrics. When everything is explained in the scenes what is the point in writing such lyrics and enforcing on the audience in a sordid style?
It is a straight narration but to hold the attention of the audience the editing style should have been changed.
Last But not the Least – Hot summer and Hopeless movies – Any way out to save the audiences?
STORY –
According to the title the protagonist is ‘Villain’ in the eyes of female protagonist. Tippu (Adhitya) is the most feared personality and he has a soft corner for the poor and distress people. This attracts Anu (Ragini) a radio jockey. When Anu extends love Tippu utters a lie that his name is Ajay.
The change of name is the problem in the forthcoming reels. The local MLA and his henchmen for whom Tippu is working commit a murder. That is captured by Anu’s brother Vinay a television crime journalist. Ajay to the eyes of Anu is actually Tippu now decide to solve the crisis with his bosses who are part of the video shoot. When the truce meeting is arranged by Ajay alias Tippu in a fit of anger Vinay is murdered. It is further complication now for Tippu.
Anu accidentally knows that Ajay is Tippu. She decides to quit his company and cut off the relationship. Ajay alias Tippu wants to patch up the relationship. For this cop Dharma come to rescue. He wants Tippu to be approver for the murder case. Anu knows that Tippu is not the murderer of her brother. The culprits are punished in the court of law.
Cast – Adhitya, Ragini, Dharma, Rangayana Raghu, Shobaraj, Malathi Sardeshpande, Simran, Kamala and others.
Cinematography – Dasari Seenu
Music – Gurukiran
Producer – Yogish Hunsur
Story, Screenplay, Direction – MS Ramesh
www.Cinejwala.com Rating – 1.5/5
Exclusively: www.Cinejwala.com
ANALYSIS –
A film with poor technical standards and very average story director MS Ramesh has lost control from the first reel. He is known for punch and power in his films. With an actor like Adhitya he fails miserably in giving a convincing and gripping story and screenplay.
The narration style is far away from convincing style. The developments of scenes that lead to the climax are not well thought off. The songs appear at regular interval and even in the situation when it is not expected it appears.
‘Villain’ for the title of the film is the first major lapse. The definition of the ‘Villain’ buries down. The hero is not anti hero in this film. He begs in front of the public for his love. This particular scene is not heroic or part of ‘Villain’.
The usual screenplay of protagonist working for politicians and nexus with opponents the audiences have seen in scores of films so far. At least they are told in style and pep up the situation it could have been tolerable. The narration is like hearing ‘Katha Kalakshepa’ in the free time. The elderly people in the temples in the evening times sit for hours to hear ‘Harikathe and Puranas’. In such a way director MS Ramesh draggingly develops his screenplay and leaves very little interest.
One gets a doubt in the second half why these kind of poor standard Kannada cinemas are made. When it is looked at the ‘Television Satellite Rights’ strikes the mind.
Taking minimum risk and getting good share from the satellite rights this type of ‘Villain’ is attempted. MS Ramesh is a serious writer and director. He should not fall in to this kind of trap.
From the point of view of audience at Menaka theatre in KG Road Bengaluru it is a big punishment. The film is torture to the head and the seats are torture to body. It is high time this type of Menaka theatre is spruced up.
PERFORMANCE –
It is a continuation of Deadly Soma and Deadly-2 for Adhitya. The hero image is lacking for him completely. Only at places he gets chances to indulge in action scenes. They are very ordinary.
Ragini has nothing much to perform. She dances well in Garam Masala….and Kannalle Sambashane….In the close up Ragini looks plum.
It is a pretty good role for Dharma as a cop. He has showed exemplary style as a cop with doing good nature. Shobaraj and Rangayana Raghu are wasted. Pushpa Swamy as an old woman has given good support.
TECHNICALITY –
There is no good investment on the technical part of this film. Cinematography of Dasari Seenu gives an impression that we are seeing an old film in the fares and festival of villages on temporary curtains.
Gurukiran has slept while composing the tunes. One struggles to make out the lyrics. The song Gelathi Nannindha Dooravadhe Eke….is wrong placed because of the lyrics. When everything is explained in the scenes what is the point in writing such lyrics and enforcing on the audience in a sordid style?
It is a straight narration but to hold the attention of the audience the editing style should have been changed.
Last But not the Least – Hot summer and Hopeless movies – Any way out to save the audiences?
Kiladi Kitty 2012 Kannada Film Review
Kiladi Kitty 2012 Kannada Film Review
STORY –
This is a popular story told in several languages. In Telugu it was Allari Naresh who starred in ‘Blade Babji’ in 2008 and now in 2012 May Srinagara Kitty plays the similar role.
It is about Krishna Manohar (Srinagar Kitty) and three of his friend’s effort to set the colony they reside free from hassles. Last twenty years the landlord is planning to evacuate the poor people. Krishna Manohar and his friends Dilip, Anand and Nivedhitha decide to somehow make Rs.5 crores and set the colony free.
With a big task to complete in six months they try all out measures and finally land up with the idea to loot a bank in Mangalore. They transport the money to Bengaluru but they are forced to hide the money in one place for some time. The same place turns out to be police control room when they return. It is hectic time for Krishna Manohar and his friends. They decide to kidnap a Sub Inspector prepare fake documents to get inside the police control room. Kiladi Kitty comes as Krishna Manohar new SI.
In the new mission they succeed and the target of Krishna Manohar Sub inspector is to search the location where Rs.5 crore is hidden. Krishna Manohar earns the good name in the department and also gets promotion. He hatches a plot of fake bomb in the Police Control room that make way for his friends to make a thorough search the place identified by Krishna Manohar. It turns out be a bag full of sand. The friends are lost again. They trace that the building contractor is the right person to find. Their findings yield results but Rs.5 crore goes missing. Building contractor has kept Rs.5 crores in his coat and he is not in the habit of changing it. Once he goes for a bath and his wife sell the old coat that is stinking to a road side vessel seller. The coat goes missing and finally the money lands in the suitcase that is identical in the house of cops who work in Police control room.
When the truth is revealed and money is secured the team of Krishna Manohar come to the colony to give the money. The police also chase this gang and several complications lead to a happy ending as land owner happily gives away the land.
Cast – Srinagara Kitty, Haripriya, Nivedhitha (Smitha) Mansi, Sharan, Dilip, Anand, Satyajith, Sangeetha, Mukyamantri Chandru, Rangayana Raghu, B Jayamma, Veena Sunder, Ramesh Pandit, Brahmavar, V Manohar and others.
Music – Jaassie Gift
Cinematography – Ravikumar Sana
Producer – Shivakumar
Direction – Anantharaju
Cinejwala.com Movie Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The subject is stale to the Kannada audience firstly. Secondly several films with this thread have come and gone in the last four years.
Interesting in this ‘Kiladi Kitty’ is the humanity aspect of various characters. At the climax the land lord giving away the locality to the poor people and looted money landing at safe hands happens. But what is the punishment for the youths indulged in bank robbery the director fails to include in the film. That sets a wrong trend.
There is liveliness in the main characters and dialogues are well written, the timing of the shots from the artists are also good. The missing of coat with crores of rupees keeps audience to check out where it will land. Such hide and seek are new to the audiences.
Robbing the bank with five crores of rupees is firstly not so easy. Secondly the hunt for robbers of Rs.5 crores does not happen in the film. The developments that follow relate to the characters, love affair and police doing some other investigations etc.
Why at one point of the film the serious effort to the looted amount is not made? Using the situations and stitching it according to the whims and fancies of the director is not the correct one. Not making hunt by police is serious lapse.
The first half is lengthy and not much of developments come across. The second half leads to various implications and complications plus admissions.
At least half an hour of the film could have been reduced to make it crisp and not to bore the audiences. Director Ananthnaraju has got the good proceedings from the artists and handled a lengthy film but he is not crisp and sharp.
Is it possible to keep Rs.5 crores of rupees in a coat with Rs.1000 bundles? Those who touch it won’t get a sensation is not agreeable.
‘Kiladi Kitty’ is like giving an expiry date tablet to patients. A thorough rewriting of the script is required when it is remade. It has not happened from Sangam Films.
PERFORMANCES –
Kitty is quite impressive. He is not able to deliver the dialogue with openness. Haripriya is the most charming beauty to watch again and again on silver screen. In two songs she is so beautiful in looks. It is a wasted effort from Nivedhitha.
Rangayana Raghu in both the releases of this week has piquant situations to handle. He is effortless in both the films. Anand, Sharan and Dilip Raj are extremely good in their portions. Sathyajith, Mukyamantri Chandru are apt choice. So is Kuri Pratap.
TECHNICALITY –
Ravikumar Sana in his first commercial film has given good treat to the eyes. In the outdoor shoot he is so good.
The music director Jassie Gift likes more noise. He does not allow the lyrics to fall to the ears. The balancing is not done. What is the purpose of writing lyrics for the songs? What he has done in ‘Sanju Weds Geetha’ is not found here means there is no exercise of control on this music director.
Editing of the film is quick and makes the fast movement of the developments.
Last but not the Least – Morality and humanity is greater than money!
STORY –
This is a popular story told in several languages. In Telugu it was Allari Naresh who starred in ‘Blade Babji’ in 2008 and now in 2012 May Srinagara Kitty plays the similar role.
It is about Krishna Manohar (Srinagar Kitty) and three of his friend’s effort to set the colony they reside free from hassles. Last twenty years the landlord is planning to evacuate the poor people. Krishna Manohar and his friends Dilip, Anand and Nivedhitha decide to somehow make Rs.5 crores and set the colony free.
With a big task to complete in six months they try all out measures and finally land up with the idea to loot a bank in Mangalore. They transport the money to Bengaluru but they are forced to hide the money in one place for some time. The same place turns out to be police control room when they return. It is hectic time for Krishna Manohar and his friends. They decide to kidnap a Sub Inspector prepare fake documents to get inside the police control room. Kiladi Kitty comes as Krishna Manohar new SI.
In the new mission they succeed and the target of Krishna Manohar Sub inspector is to search the location where Rs.5 crore is hidden. Krishna Manohar earns the good name in the department and also gets promotion. He hatches a plot of fake bomb in the Police Control room that make way for his friends to make a thorough search the place identified by Krishna Manohar. It turns out be a bag full of sand. The friends are lost again. They trace that the building contractor is the right person to find. Their findings yield results but Rs.5 crore goes missing. Building contractor has kept Rs.5 crores in his coat and he is not in the habit of changing it. Once he goes for a bath and his wife sell the old coat that is stinking to a road side vessel seller. The coat goes missing and finally the money lands in the suitcase that is identical in the house of cops who work in Police control room.
When the truth is revealed and money is secured the team of Krishna Manohar come to the colony to give the money. The police also chase this gang and several complications lead to a happy ending as land owner happily gives away the land.
Cast – Srinagara Kitty, Haripriya, Nivedhitha (Smitha) Mansi, Sharan, Dilip, Anand, Satyajith, Sangeetha, Mukyamantri Chandru, Rangayana Raghu, B Jayamma, Veena Sunder, Ramesh Pandit, Brahmavar, V Manohar and others.
Music – Jaassie Gift
Cinematography – Ravikumar Sana
Producer – Shivakumar
Direction – Anantharaju
Cinejwala.com Movie Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The subject is stale to the Kannada audience firstly. Secondly several films with this thread have come and gone in the last four years.
Interesting in this ‘Kiladi Kitty’ is the humanity aspect of various characters. At the climax the land lord giving away the locality to the poor people and looted money landing at safe hands happens. But what is the punishment for the youths indulged in bank robbery the director fails to include in the film. That sets a wrong trend.
There is liveliness in the main characters and dialogues are well written, the timing of the shots from the artists are also good. The missing of coat with crores of rupees keeps audience to check out where it will land. Such hide and seek are new to the audiences.
Robbing the bank with five crores of rupees is firstly not so easy. Secondly the hunt for robbers of Rs.5 crores does not happen in the film. The developments that follow relate to the characters, love affair and police doing some other investigations etc.
Why at one point of the film the serious effort to the looted amount is not made? Using the situations and stitching it according to the whims and fancies of the director is not the correct one. Not making hunt by police is serious lapse.
The first half is lengthy and not much of developments come across. The second half leads to various implications and complications plus admissions.
At least half an hour of the film could have been reduced to make it crisp and not to bore the audiences. Director Ananthnaraju has got the good proceedings from the artists and handled a lengthy film but he is not crisp and sharp.
Is it possible to keep Rs.5 crores of rupees in a coat with Rs.1000 bundles? Those who touch it won’t get a sensation is not agreeable.
‘Kiladi Kitty’ is like giving an expiry date tablet to patients. A thorough rewriting of the script is required when it is remade. It has not happened from Sangam Films.
PERFORMANCES –
Kitty is quite impressive. He is not able to deliver the dialogue with openness. Haripriya is the most charming beauty to watch again and again on silver screen. In two songs she is so beautiful in looks. It is a wasted effort from Nivedhitha.
Rangayana Raghu in both the releases of this week has piquant situations to handle. He is effortless in both the films. Anand, Sharan and Dilip Raj are extremely good in their portions. Sathyajith, Mukyamantri Chandru are apt choice. So is Kuri Pratap.
TECHNICALITY –
Ravikumar Sana in his first commercial film has given good treat to the eyes. In the outdoor shoot he is so good.
The music director Jassie Gift likes more noise. He does not allow the lyrics to fall to the ears. The balancing is not done. What is the purpose of writing lyrics for the songs? What he has done in ‘Sanju Weds Geetha’ is not found here means there is no exercise of control on this music director.
Editing of the film is quick and makes the fast movement of the developments.
Last but not the Least – Morality and humanity is greater than money!
Breaking News 2012 Kannada Film Review
Breaking News 2012 Kannada Film Review
STORY –
‘Breaking News’ is nothing but Arjun (Ajay Rao) youngster in the television channel ‘Sakala’ to get scoop news to stay ahead with the rival channels. This is what his boss wants by hook or crook. When the Loka Ayuktha Somasekhar (Ananthnag) release the copies of his findings on Du Companies and other details on the de-notification that does not become news for the channel when everyone is telecasting the same. To get a scoop or exclusive you have to catch the special interview of Lok Ayuktha says the boss to Arjun.
Accordingly he does but he falls to the prank of Shraddha (Radhika Pandit) daughter of Lok Ayuktha Somasekhar. Next it is yelling in the office for Arjun. He is sent out of the job. In his search for a scoop he finds a secret of kidnap of Lok Ayuktha daughter Shraddha. He takes advantage of this and he intervenes in the kidnap and takes Shraddha to his custody in a room of his friend.
Nowthe scoop starts rolling from Arjun only in Sakala TV. It is only because of Shraddha a Karate expert and up to date girl interest to stay away from his parents that further helps Arjun to continue his scoop story only in his channel. He knows this is a compulsion but inevitable for him. On the day of award for Arjun for his scoop news about Lok Ayuktha daughter Shraddha also comes in disguise. By this time it is ‘Ishq’.
Whether Arjun receive the honor? What happens to Shraddha thereafter? That is the end part of the film.
Cast – Ajay Rao, Radhika Pandit, Ananthnag, Sadhu Kokila, Rangayana Raghu, Mandya Ramesh, Kasargod Chinna, Gurudut, Kiranmayi, Chandru, Nagaraja Murthy, Veena Bhat, Chidanand, Raghunandan, Sihikahi Chandru, Biradar, Rohini, Shanthala Vattam, Prakash Shenoy, S Shivaram, Shylaja Joshi, Mimicry Dayanand, Arun Sagar and others.
Music – Stephen Prayog
Cinematography – Krishnakumar
Production – NCC
Direction –Nagathihalli Chandrasekhar
Cinejwala.com Movie Rating – 2/5
Exclusively - www.Cinejwala.com
ANALYSIS –
‘Breaking News’ is not engaging or entertaining because all the developments are easily at the guess of the audience.
In the days of OB van and latest gadgets given to journalists of television channel the sharpness of Arjun is not captured. When Arjun arrives at the house of Lok Ayuktha chief from the gate itself the journalists of today will be alert. It was possible for Arjun to be on toes to get the news somehow from the entrance. He finds a few minutes of scuffle between a powerful person (Rangayana Radhu) and Lok Ayuktha chief at his entry. He should have captured this episode. Even that is a scoop. Director Nagathihalli Chandrasekhar is not aware of such things it seems.
For the heck of giving exclusives in the channel the danger that happens is explained. It also points to planted things via exclusives.
In an effort to give actual meaning of ‘Breaking News’ or to explain so and so only makes ‘Breaking News’ director Nagathihalli Chandrasekhar changes his route of kidnap, love and finally the action scene that looks so below average and not to the standard of Nagathihalli Chandrasekhar.
In an effort to give ‘Breaking News’ the captivating narration was expected from director Nagathihalli Chandrasekhar but there is nothing of that sort.
The liveliness of Radhika Pandit and her approach to the role is tremendous. That is the only lovable aspect in the film. Most of the things what director has brought in are the reports of newspapers and television channels. In that case how does it catch the attention? This is the first question director should have put it to his head.
It is bookish like he used to pick from the text books to teach his students in the past. Variation and grips is what required to the present day audience to keep them glued to the seats. This is what Nagathihalli Chandrasekhar forgets. No one expect such grips and captivating elements to miss from his head because he has given edge of the seat thriller like ‘Baa Nalle Madhuchandrake’.
The only appreciable supporting character introduced that has determination is Lok Ayuktha Somasekhar played by Ananthnag. He is a versatile actor. Any given role he does so precisely. He resembles the Lok Ayuktha former chief Santosh Hegde in the film.
When Arjun is caught while buying in the department store he shivers. This was not required when the police cross examine him. He is a journalist and confidence portrayal of the scene was required very much.
PERFORMANCES –
It is a best suited cinema for talented and beautiful Radhika Pandit. Her prank, her fooling Ajay Rao in his own custody and liveliness, performance in songs and dance are very high in standards of this actress.
Ajay Rao has remained loyal to the role. He is a director actor. He has not used any of his senses it seems. Rangayana Raghu as corrupt resembles Khatta Subramania Naidu and his son Swayamvara Chandru resemble junior Khatta.
Ananthnag is the best choice for the Lok Ayuktha chief. It is an apt role of cook for Sihikahi Chandru because he is well known in ‘Bombat Bojana’ television programs. A number of supporting artists just come and go in this film are OK.
TECHNICALITY –
AV Krishnakumar is a well known cinematographer. There is no doubt about it. How come at a few places the shots blur for a few second and later adjust?
Stephen Prayog has made ‘Prayog’ of same raga for two songs. Sura Sundari…a cat walk song and Sambanda Saniha…are almost the same tunes. Both are melodious is the consolation.
There are a few scenes that could have been chopped and explained in the dialogues.
Last but not the Least – Broke in ideas cannot make ‘Breaking News’!
STORY –
‘Breaking News’ is nothing but Arjun (Ajay Rao) youngster in the television channel ‘Sakala’ to get scoop news to stay ahead with the rival channels. This is what his boss wants by hook or crook. When the Loka Ayuktha Somasekhar (Ananthnag) release the copies of his findings on Du Companies and other details on the de-notification that does not become news for the channel when everyone is telecasting the same. To get a scoop or exclusive you have to catch the special interview of Lok Ayuktha says the boss to Arjun.
Accordingly he does but he falls to the prank of Shraddha (Radhika Pandit) daughter of Lok Ayuktha Somasekhar. Next it is yelling in the office for Arjun. He is sent out of the job. In his search for a scoop he finds a secret of kidnap of Lok Ayuktha daughter Shraddha. He takes advantage of this and he intervenes in the kidnap and takes Shraddha to his custody in a room of his friend.
Nowthe scoop starts rolling from Arjun only in Sakala TV. It is only because of Shraddha a Karate expert and up to date girl interest to stay away from his parents that further helps Arjun to continue his scoop story only in his channel. He knows this is a compulsion but inevitable for him. On the day of award for Arjun for his scoop news about Lok Ayuktha daughter Shraddha also comes in disguise. By this time it is ‘Ishq’.
Whether Arjun receive the honor? What happens to Shraddha thereafter? That is the end part of the film.
Cast – Ajay Rao, Radhika Pandit, Ananthnag, Sadhu Kokila, Rangayana Raghu, Mandya Ramesh, Kasargod Chinna, Gurudut, Kiranmayi, Chandru, Nagaraja Murthy, Veena Bhat, Chidanand, Raghunandan, Sihikahi Chandru, Biradar, Rohini, Shanthala Vattam, Prakash Shenoy, S Shivaram, Shylaja Joshi, Mimicry Dayanand, Arun Sagar and others.
Music – Stephen Prayog
Cinematography – Krishnakumar
Production – NCC
Direction –Nagathihalli Chandrasekhar
Cinejwala.com Movie Rating – 2/5
Exclusively - www.Cinejwala.com
ANALYSIS –
‘Breaking News’ is not engaging or entertaining because all the developments are easily at the guess of the audience.
In the days of OB van and latest gadgets given to journalists of television channel the sharpness of Arjun is not captured. When Arjun arrives at the house of Lok Ayuktha chief from the gate itself the journalists of today will be alert. It was possible for Arjun to be on toes to get the news somehow from the entrance. He finds a few minutes of scuffle between a powerful person (Rangayana Radhu) and Lok Ayuktha chief at his entry. He should have captured this episode. Even that is a scoop. Director Nagathihalli Chandrasekhar is not aware of such things it seems.
For the heck of giving exclusives in the channel the danger that happens is explained. It also points to planted things via exclusives.
In an effort to give actual meaning of ‘Breaking News’ or to explain so and so only makes ‘Breaking News’ director Nagathihalli Chandrasekhar changes his route of kidnap, love and finally the action scene that looks so below average and not to the standard of Nagathihalli Chandrasekhar.
In an effort to give ‘Breaking News’ the captivating narration was expected from director Nagathihalli Chandrasekhar but there is nothing of that sort.
The liveliness of Radhika Pandit and her approach to the role is tremendous. That is the only lovable aspect in the film. Most of the things what director has brought in are the reports of newspapers and television channels. In that case how does it catch the attention? This is the first question director should have put it to his head.
It is bookish like he used to pick from the text books to teach his students in the past. Variation and grips is what required to the present day audience to keep them glued to the seats. This is what Nagathihalli Chandrasekhar forgets. No one expect such grips and captivating elements to miss from his head because he has given edge of the seat thriller like ‘Baa Nalle Madhuchandrake’.
The only appreciable supporting character introduced that has determination is Lok Ayuktha Somasekhar played by Ananthnag. He is a versatile actor. Any given role he does so precisely. He resembles the Lok Ayuktha former chief Santosh Hegde in the film.
When Arjun is caught while buying in the department store he shivers. This was not required when the police cross examine him. He is a journalist and confidence portrayal of the scene was required very much.
PERFORMANCES –
It is a best suited cinema for talented and beautiful Radhika Pandit. Her prank, her fooling Ajay Rao in his own custody and liveliness, performance in songs and dance are very high in standards of this actress.
Ajay Rao has remained loyal to the role. He is a director actor. He has not used any of his senses it seems. Rangayana Raghu as corrupt resembles Khatta Subramania Naidu and his son Swayamvara Chandru resemble junior Khatta.
Ananthnag is the best choice for the Lok Ayuktha chief. It is an apt role of cook for Sihikahi Chandru because he is well known in ‘Bombat Bojana’ television programs. A number of supporting artists just come and go in this film are OK.
TECHNICALITY –
AV Krishnakumar is a well known cinematographer. There is no doubt about it. How come at a few places the shots blur for a few second and later adjust?
Stephen Prayog has made ‘Prayog’ of same raga for two songs. Sura Sundari…a cat walk song and Sambanda Saniha…are almost the same tunes. Both are melodious is the consolation.
There are a few scenes that could have been chopped and explained in the dialogues.
Last but not the Least – Broke in ideas cannot make ‘Breaking News’!
Gandhi Smiles 2012 Kannada Film Review
Gandhi Smiles 2012 Kannada Film Review
STORY –
The theme is similar ‘Dashamukha’ Kannada cinema that appeared a few weeks back on silver screen. The issue is only different. It was murder case in Dashamukha but in ‘Gandhi Smile’ it is Dalit Gowri after pregnancy by Kalyana Gowda is left in lurch.
Son of Mari Gowda Kalyana Gowda is in love with Gowri of a Dalit community. The love turns to physical attraction. Gowri is pregnant. Kalyana Gowda fearing his community deceives her. Gowri takes the daring step of Satyagraha protest contacting her people in the locality in front of the Gowda residence in the village.
This is a piquant situation for Chief Minister of the state (Dattatreya HG) and Chief Justice of Karnataka (ER Sethuram). In the discussion with the chief minister the chief justice explain that there is scope for emotions in our constitution for the justice for Gowri and Kalyana Gowda.
According to the chief justice of Karnataka advice 12 different persons from various walks of field are assembled in a room. The room is camera fitted. The 12 people are not aware that the proceedings they conduct are available in all the channels of Karnataka. The chief minister of Karnataka declares a state wide holiday to witness the proceedings in the television channel.
Mahalia wing leader Umasri, English professor CR Simha, a doctor KSL Swamee, a lawyer TN Srinivasamurthy, youth representative Indhu (Pavitra Lokesh) Suchindra Prasad, actress Nivedhitha, farmer Mukyamantri Chandru, Dalit representative Shivaji Rao Yadav, Industrialist Satish of 4000 crore turn over take their seats to discuss and arrive a justice for Gowri and Kalyana Gowda.
An hour long discussion with lot of infighting doles out a solution for the affected Gowri. What is it is the end point of this film.
Cast – Umasri, CR Simha, Mukyamantri Chandru, KSL Swamee, Suchindra Prasad, Nivedhitha, Pavitra Lokesh, Shivaji Rao Yadav, TN Srinivasamurthy, Satish and others.
Cinematography – Ramchandra
Music – Veera Samarth
Producer & Director – Raghavendra Kamath
Cinejwala.com Movie Rating - 1.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
What is normally discussed in the ‘Panchayathi Katte’ and given justice has been taken up in the 1957 Hollywood film ’12 Angry men’ style.
The mistake committed by ‘Dashamukha’ also continues in ‘Gandhi Smiles’. Both the themes are same. It was murder of a father by a youngster at Dashamukha and in ‘Gandhi Smiles’ it is injustice to Dalit woman.
In Dashamukha the judge says he is confused and evolves a Jury and that is what not found in the Indian judiciary. Likewise the mistake continues here in ‘Gandhi Smiles’ – chief minister calls on chief justice for a solution. Chief justice agrees to the chief minister idea of starting a panel to discuss. If such mistakes continue on Kannada screen one day it will be full of misrepresentation of facts.
The most stupid point of this film is declaration of holiday for the entire state. It is a carelessness of the maker. Who will declare holiday to watch the discussion of 12 member panel?
All the television channels united telecast this 12 member panel discussion is something beyond imagination in the days of TRP becoming vital issue.
Writer Krish Joshi has not taken a serious issue. The screenplay of Krish is also with lot of internal squabbles in the panel of 12. That looks silly and senseless. The learned and higher class of society creating havoc for the viewers minds. It is only Pavitra Lokesh role of Indhu a youth representative is outstanding because of the research work she does before coming to the panel discussion.
The film ultimately comes out with an easy solution when Shivu character (Suchindra Prasad) who is moderating the discussion (what Ravi Kaale did in Dashamukha) comes forward to marry Gowri. The surprise is Kalyana Gowda father Mari Gowda (Mukyamantri Chandru) is also in the panel. The purpose of keeping father of the crime committer is also to show what the people from different walks of the society think about.
Finally when the youth barge in to the discussion room comes forward to marry Gowri. That youth is none other than Women wing representative of the panel Umasri son. The youth identifying him says I have done the same sin so I would correct myself marrying a woman of such a situation.
At the end it turns out to be a solution for Gowri. The one who has committed similar mistake and ditched the girl should marry in this kind of situation. Are we going back to the Babylonian civilization of an eye for an eye and tooth for a tooth?
It is a common issue in the upper cast of society of pregnancy and ditching after that eventually leading to abortion. The film ‘Gandhi Smile’ looks at the ‘Gram Swarajya’ thought out by Mahatma Gandhi. Justice to downtrodden would bring a smile is the intention of this film.
PERFORMANCES –
Looking beautiful the role also very fitting for Pavithra Lokesh who strikes with an emotion filled intelligent portrayal of her role.
CR Simha and Umasri take the credit for emotional and very strict dimension they have for the role. Nivedhitha alias Smitha and Shivaji Rao Yadhav have given good support.
TECHNICALITY –
The opening song of music director Veera Samarth is splendid with meaning that gives a lead to the proceedings of love affair of Gowri and Kalyana Gowda.
The veteran cameraman S Ramachandra who is not living with us today has given a blemish less work in ‘Gandhi Smiles’. The editing of this film is also adequate.
Last but not the Least – Who is crying for ‘Gandhi to Smile’? Don’t take judiciary for granted!
STORY –
The theme is similar ‘Dashamukha’ Kannada cinema that appeared a few weeks back on silver screen. The issue is only different. It was murder case in Dashamukha but in ‘Gandhi Smile’ it is Dalit Gowri after pregnancy by Kalyana Gowda is left in lurch.
Son of Mari Gowda Kalyana Gowda is in love with Gowri of a Dalit community. The love turns to physical attraction. Gowri is pregnant. Kalyana Gowda fearing his community deceives her. Gowri takes the daring step of Satyagraha protest contacting her people in the locality in front of the Gowda residence in the village.
This is a piquant situation for Chief Minister of the state (Dattatreya HG) and Chief Justice of Karnataka (ER Sethuram). In the discussion with the chief minister the chief justice explain that there is scope for emotions in our constitution for the justice for Gowri and Kalyana Gowda.
According to the chief justice of Karnataka advice 12 different persons from various walks of field are assembled in a room. The room is camera fitted. The 12 people are not aware that the proceedings they conduct are available in all the channels of Karnataka. The chief minister of Karnataka declares a state wide holiday to witness the proceedings in the television channel.
Mahalia wing leader Umasri, English professor CR Simha, a doctor KSL Swamee, a lawyer TN Srinivasamurthy, youth representative Indhu (Pavitra Lokesh) Suchindra Prasad, actress Nivedhitha, farmer Mukyamantri Chandru, Dalit representative Shivaji Rao Yadav, Industrialist Satish of 4000 crore turn over take their seats to discuss and arrive a justice for Gowri and Kalyana Gowda.
An hour long discussion with lot of infighting doles out a solution for the affected Gowri. What is it is the end point of this film.
Cast – Umasri, CR Simha, Mukyamantri Chandru, KSL Swamee, Suchindra Prasad, Nivedhitha, Pavitra Lokesh, Shivaji Rao Yadav, TN Srinivasamurthy, Satish and others.
Cinematography – Ramchandra
Music – Veera Samarth
Producer & Director – Raghavendra Kamath
Cinejwala.com Movie Rating - 1.5/5
Exclusively - www.Cinejwala.com
ANALYSIS –
What is normally discussed in the ‘Panchayathi Katte’ and given justice has been taken up in the 1957 Hollywood film ’12 Angry men’ style.
The mistake committed by ‘Dashamukha’ also continues in ‘Gandhi Smiles’. Both the themes are same. It was murder of a father by a youngster at Dashamukha and in ‘Gandhi Smiles’ it is injustice to Dalit woman.
In Dashamukha the judge says he is confused and evolves a Jury and that is what not found in the Indian judiciary. Likewise the mistake continues here in ‘Gandhi Smiles’ – chief minister calls on chief justice for a solution. Chief justice agrees to the chief minister idea of starting a panel to discuss. If such mistakes continue on Kannada screen one day it will be full of misrepresentation of facts.
The most stupid point of this film is declaration of holiday for the entire state. It is a carelessness of the maker. Who will declare holiday to watch the discussion of 12 member panel?
All the television channels united telecast this 12 member panel discussion is something beyond imagination in the days of TRP becoming vital issue.
Writer Krish Joshi has not taken a serious issue. The screenplay of Krish is also with lot of internal squabbles in the panel of 12. That looks silly and senseless. The learned and higher class of society creating havoc for the viewers minds. It is only Pavitra Lokesh role of Indhu a youth representative is outstanding because of the research work she does before coming to the panel discussion.
The film ultimately comes out with an easy solution when Shivu character (Suchindra Prasad) who is moderating the discussion (what Ravi Kaale did in Dashamukha) comes forward to marry Gowri. The surprise is Kalyana Gowda father Mari Gowda (Mukyamantri Chandru) is also in the panel. The purpose of keeping father of the crime committer is also to show what the people from different walks of the society think about.
Finally when the youth barge in to the discussion room comes forward to marry Gowri. That youth is none other than Women wing representative of the panel Umasri son. The youth identifying him says I have done the same sin so I would correct myself marrying a woman of such a situation.
At the end it turns out to be a solution for Gowri. The one who has committed similar mistake and ditched the girl should marry in this kind of situation. Are we going back to the Babylonian civilization of an eye for an eye and tooth for a tooth?
It is a common issue in the upper cast of society of pregnancy and ditching after that eventually leading to abortion. The film ‘Gandhi Smile’ looks at the ‘Gram Swarajya’ thought out by Mahatma Gandhi. Justice to downtrodden would bring a smile is the intention of this film.
PERFORMANCES –
Looking beautiful the role also very fitting for Pavithra Lokesh who strikes with an emotion filled intelligent portrayal of her role.
CR Simha and Umasri take the credit for emotional and very strict dimension they have for the role. Nivedhitha alias Smitha and Shivaji Rao Yadhav have given good support.
TECHNICALITY –
The opening song of music director Veera Samarth is splendid with meaning that gives a lead to the proceedings of love affair of Gowri and Kalyana Gowda.
The veteran cameraman S Ramachandra who is not living with us today has given a blemish less work in ‘Gandhi Smiles’. The editing of this film is also adequate.
Last but not the Least – Who is crying for ‘Gandhi to Smile’? Don’t take judiciary for granted!
Toofan 2012 Kannada Film Review
Toofan 2012 Kannada Film Review
STORY -
This is the story of lovers. The heart of the hero that transplant in his lover is the climax of the film. How it happens is the interesting tale by newcomer Smile Seenu. Soorya (Yashas) and Raaji (Nakshatra) fall in love. Raaji parents looks for a different match. Surprised with it Raaji decides to marry the new guy Chandan. This is for her parent’s sake. Raaki tells Soorya that she will come back on the first day of her marriage convincing the new guy. Soorya agrees with lot of hesitation. Accordingly Raaji tell on her first night her feelings. Chandan agrees to dislocate but ask Raaji to wait for a few days to take this decision. On the day Raaji decide to leave Chandan, she meets with major problem to her heart. On the other side Soorya falls down that makes him brain dead. In the same hospital Soorya heart is transplanted to Raaji. This becomes easy for doctors because Soorya had signed donating his body after death.
Cast – Yashas, Nakshatra, Chandan, Vidya Murthy, Suresh Mangalore, Pramila Joshai, Ramesh Bhat, Chitra Shenoy, Sadhu Kokila, Devadas Kappikad and others.
Music – Elwyn Joshua
Cinematography – Ravi Suvarana
Producer – Jade Gowdru
Story, Screenplay, Direction – Smile Seenu
Cinejwala.com Rating - 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS -
Some stories are good to hear. Smile seenu has made a circus in the script to give unimaginative end to the film. He is not aware of ‘Savi Savi Nenapu’ Kannada cinema. This film has similar thread.
The main lacking point in this film is the intensity. The dialogues and strong performance was needed very much.
At a few places the dialogues gives a clue to the climax. The question is whether the brain dead person heart can be removed without the consultation of parents? A friend in this case cannot be taken in to consideration when parents are living. Director Smile Seenu is not aware of the case of vegetative stage of 37 years of a nurse from Uttar Kannada district Aruna Shanbaag episode.
In the case of parents in the family of Raaji there is a divided opinion. The easy way of taking poison in case Raaji does not accept is age old theme.
Before the marriage the chances of convincing with some other reasons was a right one to the present day. The girls and boys of today are daring and dashing.
Smile Seenu in his first attempt has given a good mother sentiment. Mother character in the village selling her jewels to the education of her son and later she does not get her son because of bad destiny is touching to the hearts.
On the comedy front Smile Seenu is very weak. Sadhu kokila and four chelas do not evoke any comedy.
PERFORMANCE –
Yashas has done a great job once again. He is good looking, emotional scenes he is OK, action he is learning. Given good roles for this guy he would compete as a terrific actor.
Nakshtra does not have heroine looks and a terrific performer was needed in her place. Chandan as a dejected youth should discuss in himself on his dialogue delivery, costumes and appearance.
Ramesh Bhat and Chitra Shenoy are apt in the parent’s role of heroine Nakshatra. Sadhu Kokila effort is wasted here with no adequate dialogues for him.
TECHNICALITY –
A few of the song lines of director Smile Seenu in ‘Toofan’ are very impressive. Thayige Magana Priti and Bhumige Maleyanthe… (Like how the rain is loveliest to earth the love of son is to mother) a good thought.
Elwyn Joshua has given two good tunes. Ellindha Banthu Komala Ale…is good one. Ravi Suvarana cinematography is not up to the mark. At various places the shots looks like an old cinema.
Last but the Least – Serious films need serious research!
STORY -
This is the story of lovers. The heart of the hero that transplant in his lover is the climax of the film. How it happens is the interesting tale by newcomer Smile Seenu. Soorya (Yashas) and Raaji (Nakshatra) fall in love. Raaji parents looks for a different match. Surprised with it Raaji decides to marry the new guy Chandan. This is for her parent’s sake. Raaki tells Soorya that she will come back on the first day of her marriage convincing the new guy. Soorya agrees with lot of hesitation. Accordingly Raaji tell on her first night her feelings. Chandan agrees to dislocate but ask Raaji to wait for a few days to take this decision. On the day Raaji decide to leave Chandan, she meets with major problem to her heart. On the other side Soorya falls down that makes him brain dead. In the same hospital Soorya heart is transplanted to Raaji. This becomes easy for doctors because Soorya had signed donating his body after death.
Cast – Yashas, Nakshatra, Chandan, Vidya Murthy, Suresh Mangalore, Pramila Joshai, Ramesh Bhat, Chitra Shenoy, Sadhu Kokila, Devadas Kappikad and others.
Music – Elwyn Joshua
Cinematography – Ravi Suvarana
Producer – Jade Gowdru
Story, Screenplay, Direction – Smile Seenu
Cinejwala.com Rating - 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS -
Some stories are good to hear. Smile seenu has made a circus in the script to give unimaginative end to the film. He is not aware of ‘Savi Savi Nenapu’ Kannada cinema. This film has similar thread.
The main lacking point in this film is the intensity. The dialogues and strong performance was needed very much.
At a few places the dialogues gives a clue to the climax. The question is whether the brain dead person heart can be removed without the consultation of parents? A friend in this case cannot be taken in to consideration when parents are living. Director Smile Seenu is not aware of the case of vegetative stage of 37 years of a nurse from Uttar Kannada district Aruna Shanbaag episode.
In the case of parents in the family of Raaji there is a divided opinion. The easy way of taking poison in case Raaji does not accept is age old theme.
Before the marriage the chances of convincing with some other reasons was a right one to the present day. The girls and boys of today are daring and dashing.
Smile Seenu in his first attempt has given a good mother sentiment. Mother character in the village selling her jewels to the education of her son and later she does not get her son because of bad destiny is touching to the hearts.
On the comedy front Smile Seenu is very weak. Sadhu kokila and four chelas do not evoke any comedy.
PERFORMANCE –
Yashas has done a great job once again. He is good looking, emotional scenes he is OK, action he is learning. Given good roles for this guy he would compete as a terrific actor.
Nakshtra does not have heroine looks and a terrific performer was needed in her place. Chandan as a dejected youth should discuss in himself on his dialogue delivery, costumes and appearance.
Ramesh Bhat and Chitra Shenoy are apt in the parent’s role of heroine Nakshatra. Sadhu Kokila effort is wasted here with no adequate dialogues for him.
TECHNICALITY –
A few of the song lines of director Smile Seenu in ‘Toofan’ are very impressive. Thayige Magana Priti and Bhumige Maleyanthe… (Like how the rain is loveliest to earth the love of son is to mother) a good thought.
Elwyn Joshua has given two good tunes. Ellindha Banthu Komala Ale…is good one. Ravi Suvarana cinematography is not up to the mark. At various places the shots looks like an old cinema.
Last but the Least – Serious films need serious research!
Dashamukha 2012 Kannada Film Review
Dashamukha 2012 Kannada Film Review
STORY -
Judge in the High Court of Karnataka is confused with the arguments and counter arguments in the case of a murder. The Judge is in confused state of mind appoint a ten members committee to decide whether Agni (Chetan) is a culprit or innocent. As a result of it for arriving the united opinion on the murder case the ten personalities - Somasekhar Rao, Janardhan Rao, Manoj Vidyarthi, Savitha Jagadigh, Akshay, Madhuri, Devaraj, Kishore Venkataraman and Ravindranath - V Ravichandran, Ananthnag, Dattanna, Devaraj, Saritha, Avinash, Malavika, Praveen, Achyuthkumar and Ravi Kaale sit across the table to decide on the case.
In the beginning Ravindranath (Ravichandran) is very decisive that Agni is not a murderer. The varied temper of others prolong on the case and by the time each one get convinced that Agni is not a culprit it is almost climax. The fight inside among the ten finally arrive at one decision. In the climax Ravindranath explain the past of Agni and his good cause for Kannada language plus love towards a physically handicap Amrutha (Akanksha). The ten commandments submit a report to Judge of Karnataka High Court that releases Agni who is facing this murder charge since nine months.
Cast - V Ravichandran, Ananthnag, Devaraj, Saritha, Avinash, Malavika, Praveen, Dattanna, Achyuthkumar, Akanksha, Chetan, Ramesh Bhat, Jai Jagadish, Tennis Krishna and others.
Music - V Sridhar Sambram
Cinematography - Mathew Rajan
Producer - MB Babu
Direction - Ravi Srivatsav
Cinejwala Rating - 2/5
Exclusively - www.Cinejwala.com
ANALYSIS -
Director Ravi Srivatsa taking strong support from 1954 Television Play that was made as '12 Angrymen' in English has made a wrong attempt in making it local. Apart from forceful dialogues he has nothing. Like a city market fight the ten dignitaries from different walks of field quarrel inside the room is something rubbish. Considered as respectful people hate each other. On what grounds the Judge has selected the ten is questionable. When they do not have the right temperament how can they decide on a serious issue.
In the legal books there is a rare provision for appointing this kind of committee to study in detail. on the technical grounds and medical cases we have heard about the expert opinion supporting the High Court judge for passing an order. The ten selected here to decide on the case is not convincing. Except Ravindranath that is V Ravichandran all the others have vested interest in their mind.
It is a boring first half and the second half is also filled with only dialogues. It is difficult to sit through such irresponsible arguments is what director Ravi Srivatsa should have understood first.
A senior producer Soorappa Babu in to commercial ventures has suddenly tried out this kind of cinema is beyond expectations. There is not much of expenditure involved in this film. How taxing to the audience brain he has not understood. This is fit for a television play or a television serial. Nothing beyond that.
The sickening is the closed room arguments. The required temper is missing from such seniors of the society.Had the director Ravi Srivatsa watched the CID that is coming in television channel since 15 years he could have definitely improved on his work.
The 'Niraparadhi' argument is OK but who is the killer of Agni father (played by Sudarshan). This question remains. The answer does not come. Only innocent should be protected the film Dashamukha focus.
PERFORMANCE -
Except Ananthnag, Avinash and Devaraj the role is not fit enough for others. The trailblazer V Ravichandran has not made a right selection and it is not to his taste of films. It is difficult for his fans to accept him in this film.
Saritha acts like a comedian and the respect she deserved in the past dilutes in this film. Praveen, Dattanna, Achyuth Rao, Malavika are OK. This is not the right kind of role for Ravi Kaale. The portions of Chetan, Akanksha and Sudarshan are interesting indeed.
TECHNICALITIES -
There is nothing special about the cinematography and music in the background is not adequate. There is only one song in this film. The film needed some good editing to makes the scenes interesting.
Last But not the Least - For summer this is a good punishment.
STORY -
Judge in the High Court of Karnataka is confused with the arguments and counter arguments in the case of a murder. The Judge is in confused state of mind appoint a ten members committee to decide whether Agni (Chetan) is a culprit or innocent. As a result of it for arriving the united opinion on the murder case the ten personalities - Somasekhar Rao, Janardhan Rao, Manoj Vidyarthi, Savitha Jagadigh, Akshay, Madhuri, Devaraj, Kishore Venkataraman and Ravindranath - V Ravichandran, Ananthnag, Dattanna, Devaraj, Saritha, Avinash, Malavika, Praveen, Achyuthkumar and Ravi Kaale sit across the table to decide on the case.
In the beginning Ravindranath (Ravichandran) is very decisive that Agni is not a murderer. The varied temper of others prolong on the case and by the time each one get convinced that Agni is not a culprit it is almost climax. The fight inside among the ten finally arrive at one decision. In the climax Ravindranath explain the past of Agni and his good cause for Kannada language plus love towards a physically handicap Amrutha (Akanksha). The ten commandments submit a report to Judge of Karnataka High Court that releases Agni who is facing this murder charge since nine months.
Cast - V Ravichandran, Ananthnag, Devaraj, Saritha, Avinash, Malavika, Praveen, Dattanna, Achyuthkumar, Akanksha, Chetan, Ramesh Bhat, Jai Jagadish, Tennis Krishna and others.
Music - V Sridhar Sambram
Cinematography - Mathew Rajan
Producer - MB Babu
Direction - Ravi Srivatsav
Cinejwala Rating - 2/5
Exclusively - www.Cinejwala.com
ANALYSIS -
Director Ravi Srivatsa taking strong support from 1954 Television Play that was made as '12 Angrymen' in English has made a wrong attempt in making it local. Apart from forceful dialogues he has nothing. Like a city market fight the ten dignitaries from different walks of field quarrel inside the room is something rubbish. Considered as respectful people hate each other. On what grounds the Judge has selected the ten is questionable. When they do not have the right temperament how can they decide on a serious issue.
In the legal books there is a rare provision for appointing this kind of committee to study in detail. on the technical grounds and medical cases we have heard about the expert opinion supporting the High Court judge for passing an order. The ten selected here to decide on the case is not convincing. Except Ravindranath that is V Ravichandran all the others have vested interest in their mind.
It is a boring first half and the second half is also filled with only dialogues. It is difficult to sit through such irresponsible arguments is what director Ravi Srivatsa should have understood first.
A senior producer Soorappa Babu in to commercial ventures has suddenly tried out this kind of cinema is beyond expectations. There is not much of expenditure involved in this film. How taxing to the audience brain he has not understood. This is fit for a television play or a television serial. Nothing beyond that.
The sickening is the closed room arguments. The required temper is missing from such seniors of the society.Had the director Ravi Srivatsa watched the CID that is coming in television channel since 15 years he could have definitely improved on his work.
The 'Niraparadhi' argument is OK but who is the killer of Agni father (played by Sudarshan). This question remains. The answer does not come. Only innocent should be protected the film Dashamukha focus.
PERFORMANCE -
Except Ananthnag, Avinash and Devaraj the role is not fit enough for others. The trailblazer V Ravichandran has not made a right selection and it is not to his taste of films. It is difficult for his fans to accept him in this film.
Saritha acts like a comedian and the respect she deserved in the past dilutes in this film. Praveen, Dattanna, Achyuth Rao, Malavika are OK. This is not the right kind of role for Ravi Kaale. The portions of Chetan, Akanksha and Sudarshan are interesting indeed.
TECHNICALITIES -
There is nothing special about the cinematography and music in the background is not adequate. There is only one song in this film. The film needed some good editing to makes the scenes interesting.
Last But not the Least - For summer this is a good punishment.
Dev Son of Mudde Gowda 2012 Kannada Film Review
Dev Son of Mudde Gowda 2012 Kannada Film Review
STORY:
Dev Son of Muddhe Gowda is all about father and son told in rather protracted style by director Indrajith Lankesh.
Bringing up his son Dev (Diganth) with all the affluence in life Muddhe Gowda (Ananthnag) expect his son to produce results. Dev is interested in acting and becoming a hero. He shows disinterest in his studies and has no concern to the Company his father operates. When Dev fails in the examination and his father ask him to improve with all the support given in a fit of anger Dev decides to leave his home. His father asks him to move out of the house not taking any of his belongings in the house.
Dev is now on the streets. At this time Kavya (Charmee) comes to his help. With the Muslim get up she brings Dev to her home and provides necessary requirements. It is because of Kavya inspiration Dev gets his responsibilities. He works as a waiter in the hotel and learns the necessities for becoming a hero. At this point one of the stunts he performs in place of another actor gives him extra courage.
Dev is spotted by a director and gives him the chance to become a hero. Dev wins and with his first pay cheque of Rs.1 lakh he comes to his father Muddhe Gowda. Looking at the development of his son he falls sick. All ends in the well because of Kavya support to Dev.
Cast – Diganth, Charmi, Ananthnag, Sudha Belawadi, Raju Thalikote, Tabla Naani, Swayamvara Chandru, Sharan, Indrajith Lankesh, Nathy Kaur and others.
Cinematography – Santosh Pathaje
Music – Jassie Gift
Producer – Shilpa Ramesh Ramani
Direction – Indrajith Lankesh
Cinejwala Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS :
Director Indrajith Lankesh as usual has given the style, glamour and sizzlers on screen keep up the glam quotient. Where is a good story? This type of story is told many a times on Indian screen. There is not touching scenes or absorbing situations.
There is no need for any hue and cry by the Gowda community. There is absolutely nothing against to the community. It was unnecessary problem they created for this film title.
The major lapse from this film is the good dialogues the major quotient of all Diganth films. He looks so dejected in many of the scenes. There is not enough of fun expected from his character. For tickling the funny bones Tabla Nani, Swayamvara Chandru and Raju Thalikote are there.
Indrajith Laknesh the style king director of Kannada cinema has given two absorbing issues from this film that is appealing to father and son of every family.
The asking and understanding in the case of father and son is appropriate. Every father should ask for the results for giving all support for the son. Life is also a game. In that way there is nothing wrong in father seeking good prospects from his son.
Like in various films if the interest of the son is something different than what his father expects the son withdrawing away is also possible. In such a case director Indrajith Lankesh is right. When son come with his first salary and gives it to his father it is really touching to the hearts.
PERFORMANCES :
Diganth has a different kind of role in this film. He has emoted very well and quite a responsible role for him. He looks too cute. The shirt minus in Dilse….song he is sure to loot the hearts of his female fans.
Charmee is precisely according to her name. She looks very pretty in the saree costume. As a choreographer her movements are too good. Nathy Kaur is fit for shaking her physical strength. Indrajith Lankesh can think of doing major roles in future. He has a wonderful screen presence.
Ananthnag in the role of Muddhe Gowda is very impressive. The comedy of Raju Thalikote, Tabla Nani and Swayamvara Chandru is a laughing stock of this film.
TECHNICALITIES :
Jassie Gift has gifted two lovely tunes – Appuge Appu….and Dilse….songs are very good in lyrics, choreography and cinematography.
Santosh Rai Pathaje is flawless in his work. Every frame of his is a feast to the eyes. Technically the slow motion for the song Raja Raja Jalaja is top class.
Last but not the Least – Shine is OK but where is substance!
STORY:
Dev Son of Muddhe Gowda is all about father and son told in rather protracted style by director Indrajith Lankesh.
Bringing up his son Dev (Diganth) with all the affluence in life Muddhe Gowda (Ananthnag) expect his son to produce results. Dev is interested in acting and becoming a hero. He shows disinterest in his studies and has no concern to the Company his father operates. When Dev fails in the examination and his father ask him to improve with all the support given in a fit of anger Dev decides to leave his home. His father asks him to move out of the house not taking any of his belongings in the house.
Dev is now on the streets. At this time Kavya (Charmee) comes to his help. With the Muslim get up she brings Dev to her home and provides necessary requirements. It is because of Kavya inspiration Dev gets his responsibilities. He works as a waiter in the hotel and learns the necessities for becoming a hero. At this point one of the stunts he performs in place of another actor gives him extra courage.
Dev is spotted by a director and gives him the chance to become a hero. Dev wins and with his first pay cheque of Rs.1 lakh he comes to his father Muddhe Gowda. Looking at the development of his son he falls sick. All ends in the well because of Kavya support to Dev.
Cast – Diganth, Charmi, Ananthnag, Sudha Belawadi, Raju Thalikote, Tabla Naani, Swayamvara Chandru, Sharan, Indrajith Lankesh, Nathy Kaur and others.
Cinematography – Santosh Pathaje
Music – Jassie Gift
Producer – Shilpa Ramesh Ramani
Direction – Indrajith Lankesh
Cinejwala Rating – 2.5/5
Exclusively - www.Cinejwala.com
ANALYSIS :
Director Indrajith Lankesh as usual has given the style, glamour and sizzlers on screen keep up the glam quotient. Where is a good story? This type of story is told many a times on Indian screen. There is not touching scenes or absorbing situations.
There is no need for any hue and cry by the Gowda community. There is absolutely nothing against to the community. It was unnecessary problem they created for this film title.
The major lapse from this film is the good dialogues the major quotient of all Diganth films. He looks so dejected in many of the scenes. There is not enough of fun expected from his character. For tickling the funny bones Tabla Nani, Swayamvara Chandru and Raju Thalikote are there.
Indrajith Laknesh the style king director of Kannada cinema has given two absorbing issues from this film that is appealing to father and son of every family.
The asking and understanding in the case of father and son is appropriate. Every father should ask for the results for giving all support for the son. Life is also a game. In that way there is nothing wrong in father seeking good prospects from his son.
Like in various films if the interest of the son is something different than what his father expects the son withdrawing away is also possible. In such a case director Indrajith Lankesh is right. When son come with his first salary and gives it to his father it is really touching to the hearts.
PERFORMANCES :
Diganth has a different kind of role in this film. He has emoted very well and quite a responsible role for him. He looks too cute. The shirt minus in Dilse….song he is sure to loot the hearts of his female fans.
Charmee is precisely according to her name. She looks very pretty in the saree costume. As a choreographer her movements are too good. Nathy Kaur is fit for shaking her physical strength. Indrajith Lankesh can think of doing major roles in future. He has a wonderful screen presence.
Ananthnag in the role of Muddhe Gowda is very impressive. The comedy of Raju Thalikote, Tabla Nani and Swayamvara Chandru is a laughing stock of this film.
TECHNICALITIES :
Jassie Gift has gifted two lovely tunes – Appuge Appu….and Dilse….songs are very good in lyrics, choreography and cinematography.
Santosh Rai Pathaje is flawless in his work. Every frame of his is a feast to the eyes. Technically the slow motion for the song Raja Raja Jalaja is top class.
Last but not the Least – Shine is OK but where is substance!
Bheema Theeradalli 2012 Kannada Film Review
Bheema Theeradalli 2012 Kannada Film Review
STORY:
It is the life sketch of one of the characters of ‘Bheema Thiradha Hantakaru’. The role of ‘Chandya’ is picked for this film ‘Bheema Thiradalli’ and how he struggles for the people education, food and good health is the central focus.
Chandya (Vijay) is a professional wrestler. He can take on any powerful person in front of him as the training given by Siddappa (Doddanna) in the village is so strong for him. When the village head Rudrappa (Srinivasamurthy) plays double game in connection with the panchayat elections the trauma breaks down. It results in many deaths as Rudrappa family members are notorious. For the death of Siddappa and his daughter Mallamma (Prajwal Bopaiah) it is Chandya take severe action on the police. Hell breaks out and Chandya had to go underground.
Knowing the power of Chandya it is affluent Shivakanth (Suchindra Prasad) gives shelter for him and the rival gang is up in arms now. Believing Shivakanth it is Chandya who supports him in the elections. As usual after becoming politician Shivakanth causes more worries for Chandya and his people.
The three point agenda of health, education and food for his people goes in vain. When Lokappa Desai and his son join Shivakanth Desai (the rivals join now) to evaporate the power of Chandya and his gang. The honest police officer Bharat is deputed from Hyderabad for this purpose works intelligently but he is moved by the good nature of Chandya. He does not take the orders of his superiors. It becomes obvious for Chandya to hear his wife statement. When he surrenders to police he is gunned down.
Cast – Vijay, Pranitha, Umasri, Prajwal Bopaiah, Lokanath, Sharat Lohitashva, Doddanna, Gururaj Hoskote and others.
Cinematography – Anaji Nagaraj
Music – Abhiman Roy
Producer – Anaji Nagaraj
Direction – N Omprakash Rao
Cinejwala Rating – 3/5
Exclusively - www.Cinejwala.com
ANALYSIS:
The whole film centers on the power and struggle of Chandya. It is true that he is innocent and he hails from one of the real life characters but there are many films with such similarities. The protagonist getting cheated by big power is not new in Indian screen.
The handling of situation is quite impressive. The dialogues of MS Ramesh have come to the help of director N Omprakash Rao but the violence is extreme.
The killings are like how chicken are slit in the neck. The gory of this film is too much and bloodshed could have been reduced for this ‘A’ film ‘Bheema Thiradalli’.
In a temple from a coconut killing is made and very harsh attacks disturb the ordinary brains. Such a hard hitting cinema often hits at the soft hearts when the proceedings of Chandya become treacherous. The mother sentiment of this film melts any stony heart.
PERFORMANCES:
In the action and emotional scenes Vijay has given his best but it has become routine for him. He has done similar roles in the past and that obviously is of less impact to the discerning film viewers.
As of now in the Kannada cinema industry without dupe doing such hard stunts Vijay is the best. In the mother sentiments he has proved that he is a good actor.
For a change Pranitha the glam doll of silver screen has acted. As a guide to illiterate Vijay in the film Pranitha has lived up to the expectations.
There is some deadly performance from Lokanath, Srinivasamurthy, Suchindra Prasad and Sharat Lohitashva. The deadliest of all is Umasri performance. To save her son from the hands of police she lights with kerosene is the extreme of mother love.
Karnataka state minister of Excise Renukacharya has acted in DCP role and it is not convincing performance from him.
TECHNICALITIES:
This is brilliant in techniques. The light and darkness is well utilized. The shots of Anaji Nagaraj at places are in high degree. MS Ramesh dialogue is the major boon to this film. The editing is top class and background score is quite OK.
There are not much of songs in this film. Only two in the film are tolerable from Abhiman Roy - Manase Ondhusari Kelu….melodious.
Last but not the least – Some are good to read, this is one such of real life story of ‘Chandya’.
STORY:
It is the life sketch of one of the characters of ‘Bheema Thiradha Hantakaru’. The role of ‘Chandya’ is picked for this film ‘Bheema Thiradalli’ and how he struggles for the people education, food and good health is the central focus.
Chandya (Vijay) is a professional wrestler. He can take on any powerful person in front of him as the training given by Siddappa (Doddanna) in the village is so strong for him. When the village head Rudrappa (Srinivasamurthy) plays double game in connection with the panchayat elections the trauma breaks down. It results in many deaths as Rudrappa family members are notorious. For the death of Siddappa and his daughter Mallamma (Prajwal Bopaiah) it is Chandya take severe action on the police. Hell breaks out and Chandya had to go underground.
Knowing the power of Chandya it is affluent Shivakanth (Suchindra Prasad) gives shelter for him and the rival gang is up in arms now. Believing Shivakanth it is Chandya who supports him in the elections. As usual after becoming politician Shivakanth causes more worries for Chandya and his people.
The three point agenda of health, education and food for his people goes in vain. When Lokappa Desai and his son join Shivakanth Desai (the rivals join now) to evaporate the power of Chandya and his gang. The honest police officer Bharat is deputed from Hyderabad for this purpose works intelligently but he is moved by the good nature of Chandya. He does not take the orders of his superiors. It becomes obvious for Chandya to hear his wife statement. When he surrenders to police he is gunned down.
Cast – Vijay, Pranitha, Umasri, Prajwal Bopaiah, Lokanath, Sharat Lohitashva, Doddanna, Gururaj Hoskote and others.
Cinematography – Anaji Nagaraj
Music – Abhiman Roy
Producer – Anaji Nagaraj
Direction – N Omprakash Rao
Cinejwala Rating – 3/5
Exclusively - www.Cinejwala.com
ANALYSIS:
The whole film centers on the power and struggle of Chandya. It is true that he is innocent and he hails from one of the real life characters but there are many films with such similarities. The protagonist getting cheated by big power is not new in Indian screen.
The handling of situation is quite impressive. The dialogues of MS Ramesh have come to the help of director N Omprakash Rao but the violence is extreme.
The killings are like how chicken are slit in the neck. The gory of this film is too much and bloodshed could have been reduced for this ‘A’ film ‘Bheema Thiradalli’.
In a temple from a coconut killing is made and very harsh attacks disturb the ordinary brains. Such a hard hitting cinema often hits at the soft hearts when the proceedings of Chandya become treacherous. The mother sentiment of this film melts any stony heart.
PERFORMANCES:
In the action and emotional scenes Vijay has given his best but it has become routine for him. He has done similar roles in the past and that obviously is of less impact to the discerning film viewers.
As of now in the Kannada cinema industry without dupe doing such hard stunts Vijay is the best. In the mother sentiments he has proved that he is a good actor.
For a change Pranitha the glam doll of silver screen has acted. As a guide to illiterate Vijay in the film Pranitha has lived up to the expectations.
There is some deadly performance from Lokanath, Srinivasamurthy, Suchindra Prasad and Sharat Lohitashva. The deadliest of all is Umasri performance. To save her son from the hands of police she lights with kerosene is the extreme of mother love.
Karnataka state minister of Excise Renukacharya has acted in DCP role and it is not convincing performance from him.
TECHNICALITIES:
This is brilliant in techniques. The light and darkness is well utilized. The shots of Anaji Nagaraj at places are in high degree. MS Ramesh dialogue is the major boon to this film. The editing is top class and background score is quite OK.
There are not much of songs in this film. Only two in the film are tolerable from Abhiman Roy - Manase Ondhusari Kelu….melodious.
Last but not the least – Some are good to read, this is one such of real life story of ‘Chandya’.
Shikari 2012 Kannada Film Review
Shikari 2012 Kannada Film Review
Story:
‘Shikari’ has interesting tale told in the lengthy way. Software professional Abhijit (Mammooty) is Arun when he delves in to the pages of a novel written by Gopinath Shindhe. As Abijit evince interest in knowing more about the past history because the pages in the book are missing. He comes to Manjinadka the beautiful place rich in environment. Abijith comes to the place of Gopinath Shinde house that is almost on the verge of sale by his daughter Nanditha. Interesting here is that Abijith visualizes Nanditha as Aruna in the novel and he explains his intentions of knowing what happened further.
As the story peddles from past to present the emergence of British rule, the tiger suffocating the people life in the village, the mad man surprises Abijith. The twist in the tale comes when the last clue to the past is cremated. Nanditha at this point of time disclose that after she came to know that Aruna is herself in the eyes of Abijit it became obvious for her to create the further missing links to the story. The intention of Nanditha is to get Abijith as her life partner because she is alone in her life.
Cast: Mammooty, Poonam Bajwa, Achyuthkumar, Sharat Lohitashva, Ninasam Ashwath, Sihikahi Chandru, Satish and others.
Music: V Harikrishna,
Cinematography: Vikram Srivatsava,
Producer: K Manju
Direction: Abhay Simha
Cinejwala Rating: 3/5
Exclusively: www.Cinejwala.com
Analysis:
There is definite growth in director Abhay Simha in his second film. It is not just because he has got an actor like Mammooty but because his knowledge in giving a good screenplay to hold the audience attention. Definitely the curiosity builds up when the pages are missing. Till last no one will know it is Nanditha who created the situation for her purpose is interesting.
The film could have been better the length is cut short. It could have been made very breezy and quick. For the audience educating from past and present could have been told in suggestive manner instead of broadening the screenplay.
The admirable factor of this film is giving ‘Cool Feel’ for the audience. Holding the rich nature beauty that is supported well by cameraman Vikram Srivatsav the visual splendor is impressive in this film. The flashback style at sometime become routine and at the final stages of the film it is confusing.
The situation of pitiable woman Nanditha who is alone in the house, the British Empire still burning in the eyes of the director Abhay Simha, The Tiger issue, the profession of software bothering – all in the eye of the people of society have come out well.
Director Abhay Simha instead of telling from the lengthy scenes he could have cut short the length of his scenes. This would avoid the producer excess spending and made the film even crisper.
At places Abhay Simha very clever in his handling of screenplay gives him extra marks from the discerning film audience. The lighter moments in the film could have been increased.
For the Kannada audience the film is close to hearts compared to the Malayalam film audience. That is basically because of the contents in it and the locations handled here are found even in many part of Kerala. Especially the rain often being a part of the film is common in Kerala and Karnataka.
Performance:
It is a good role to perform for Mammooty. At one particular shot we see the ‘Oru Vodakkan Veera Gatha’ Mammooty. The diction that has taken care by this mega star is appreciable. Hothla Hodkondu….two words come on two occasions in the film is wrong Mr Mammooty. It is ‘Othla’. The problem at other places of his diction is that he swallows the certain words as his pronunciation is fast.
In looks and appearance he is as agile as ever. Poonam Bajwa as heroine in this film is the best selection. She looks very homely and pleasant looks adds to the film.
Sharat Lohitashva stuns everyone. He comes up also suddenly on screen. Ninasam Ashwath and Achyuth Kumar are perfect.
Technicality:
Technically this film is brilliant. Cameraman Vikram Srivatsav gets more marks than the director Abhay Simha. The situations he captures and sound effects – especially flowing water and rain are very well stored to hear. The rich greenery of Karnataka interiors of Dakshin Kannada is very impressive.
V Harikrishna in this not a complete commercial film has given prominence to melody. Three songs are worth hearing again. Hey Gogogo Hebbuli Raaya….Ninthu Nodalenthu…and Kannadiya Nann Nodu….are well composed.
Editing of this film is average. That is because the editor could have used the discretion and convinced director of the film on the length.
Last But not the Least – Shikari means hunter. A hunter in you for good is a welcome!
Story:
‘Shikari’ has interesting tale told in the lengthy way. Software professional Abhijit (Mammooty) is Arun when he delves in to the pages of a novel written by Gopinath Shindhe. As Abijit evince interest in knowing more about the past history because the pages in the book are missing. He comes to Manjinadka the beautiful place rich in environment. Abijith comes to the place of Gopinath Shinde house that is almost on the verge of sale by his daughter Nanditha. Interesting here is that Abijith visualizes Nanditha as Aruna in the novel and he explains his intentions of knowing what happened further.
As the story peddles from past to present the emergence of British rule, the tiger suffocating the people life in the village, the mad man surprises Abijith. The twist in the tale comes when the last clue to the past is cremated. Nanditha at this point of time disclose that after she came to know that Aruna is herself in the eyes of Abijit it became obvious for her to create the further missing links to the story. The intention of Nanditha is to get Abijith as her life partner because she is alone in her life.
Cast: Mammooty, Poonam Bajwa, Achyuthkumar, Sharat Lohitashva, Ninasam Ashwath, Sihikahi Chandru, Satish and others.
Music: V Harikrishna,
Cinematography: Vikram Srivatsava,
Producer: K Manju
Direction: Abhay Simha
Cinejwala Rating: 3/5
Exclusively: www.Cinejwala.com
Analysis:
There is definite growth in director Abhay Simha in his second film. It is not just because he has got an actor like Mammooty but because his knowledge in giving a good screenplay to hold the audience attention. Definitely the curiosity builds up when the pages are missing. Till last no one will know it is Nanditha who created the situation for her purpose is interesting.
The film could have been better the length is cut short. It could have been made very breezy and quick. For the audience educating from past and present could have been told in suggestive manner instead of broadening the screenplay.
The admirable factor of this film is giving ‘Cool Feel’ for the audience. Holding the rich nature beauty that is supported well by cameraman Vikram Srivatsav the visual splendor is impressive in this film. The flashback style at sometime become routine and at the final stages of the film it is confusing.
The situation of pitiable woman Nanditha who is alone in the house, the British Empire still burning in the eyes of the director Abhay Simha, The Tiger issue, the profession of software bothering – all in the eye of the people of society have come out well.
Director Abhay Simha instead of telling from the lengthy scenes he could have cut short the length of his scenes. This would avoid the producer excess spending and made the film even crisper.
At places Abhay Simha very clever in his handling of screenplay gives him extra marks from the discerning film audience. The lighter moments in the film could have been increased.
For the Kannada audience the film is close to hearts compared to the Malayalam film audience. That is basically because of the contents in it and the locations handled here are found even in many part of Kerala. Especially the rain often being a part of the film is common in Kerala and Karnataka.
Performance:
It is a good role to perform for Mammooty. At one particular shot we see the ‘Oru Vodakkan Veera Gatha’ Mammooty. The diction that has taken care by this mega star is appreciable. Hothla Hodkondu….two words come on two occasions in the film is wrong Mr Mammooty. It is ‘Othla’. The problem at other places of his diction is that he swallows the certain words as his pronunciation is fast.
In looks and appearance he is as agile as ever. Poonam Bajwa as heroine in this film is the best selection. She looks very homely and pleasant looks adds to the film.
Sharat Lohitashva stuns everyone. He comes up also suddenly on screen. Ninasam Ashwath and Achyuth Kumar are perfect.
Technicality:
Technically this film is brilliant. Cameraman Vikram Srivatsav gets more marks than the director Abhay Simha. The situations he captures and sound effects – especially flowing water and rain are very well stored to hear. The rich greenery of Karnataka interiors of Dakshin Kannada is very impressive.
V Harikrishna in this not a complete commercial film has given prominence to melody. Three songs are worth hearing again. Hey Gogogo Hebbuli Raaya….Ninthu Nodalenthu…and Kannadiya Nann Nodu….are well composed.
Editing of this film is average. That is because the editor could have used the discretion and convinced director of the film on the length.
Last But not the Least – Shikari means hunter. A hunter in you for good is a welcome!
Govindayanamaha 2012 Kannada Film Review
Govindayanamaha 2012 Kannada Film Review
Story:
‘Govindayanamaha’ is the story of Govindu (Komal Kumar) falling in love with four girls but it is not accidental but purposeful. Govindu is a trickster. He is an opportunist. When one of the four he really falls in love he is in a shock.
The stage set on a tower of a building. Govindu has come here to end his life. There is another youngster software engineer Karthik (Harish Raj) who come here to die because of love failure. Before Karthik jumps to death he narrates his tale of love and Govindu says it is nothing compared to his love. Govindu in a flash back technique of the director explains connections with Vaidehi (Madhulika), Mumtaz (Parul). In the middle of his narration he vomits because of the poison he has consumed. Karthik the one waiting to die brings Govindu to a government hospital where Mumtaz is a nurse. In the hospital room he continues his connections with Staisy (Ana Georgia) and Sheela (Rekha).
With whom Govindu finally settles down is the climax part of the film. Karthik who was about to die feels he is better than Govindu in status and looks for a new choice in his life.
Cast: Komalkumar, Madhulika, Parul, Ana Georgia, Rekha, Harish Raj, Raju Thalikote, Vinayak Joshi, MS Umesh, Kirloskar Sathya and others.
Music: Gurukiran,
Cinematography: Suresh Babu,
Producer: KA Suresh
Direction: Pawan Wadeyar
Cinejwala Rating: 2.5/5
Exclusively: www.Cinejwala.com
Analysis:
Debutant director Pawan Wadeyar has given concentration to the histrionics and dialogues the two trump cards of Komal Kumar. He is not serious in his job. Firstly he makes the protagonist go lucky with the missing of his girlfriends.
When a cheat is the protagonist it is not possible to call him as the hero. At the hospital Komal Kumar is slashed many a times on the face by Doctor Raju Thalikote. This kind of scenes is not part of the hero’s job. This is one such example. There are many more for Komalkumar.
Look at the irresponsibility of Govindu – he cheats his own grandfather with Rs.1 lakh and leaves Vaidehi in lurch. In a drunk state of mind he attributes something that hurts Mumtaz, for the diamond ring missing in Staisy he ditch her and finally when he finds that Sheela is sleeping with a stranger he is hurt.
After all what Govindu has done so far to the previous three girls. When Mumtaz as nurse in the hospital over hear the feelings of Govindu she comes to his rescue. There is no punishment for the mistake of the protagonist.
With all the above scenes meted out to the protagonist we have told that Komal Kumar cannot be considered as a full fledge hero.
The major laxity of this film is in the dialogues department. While Komal Kumar elder brother Jaggesh films were with full of double meanings it is straight in Komal Kumar film ‘Govindayanamaha’.
The dialogues that are objectionable are – Correct Aagi Helmet Hakiddira, Original Kudidre Laksha Deepotsava, Appana Hathra Aasthi Illa, Avala Hathra bejaan Aasthi Idhe, Ujjak Chance Sikdaga Ujlilla – it appears for the front benchers the film is aimed at.
For the family audience who want to flock to the theatres there are lots of bottlenecks. Another youngster in the hurry to come to limelight has made a costly mistake by succumbing to the image of Komal Kumar.
Performance:
Komal Kumar feels that he can get the audience and improve his image from this kind of film he is very much wrong. Fun and comedy scenes are not in control he will not be taken seriously. Making a good attempt in the film goes in vain. Komal Kumar is a senior actor, producer and distributor. At least he should have used common sense and corrected the dialogues.
Among the four heroines it is Parul who steals the show. She has got the best song of the film and her emotional contents are admirable. Rekha coming after interval on silver screen and not getting the job of main heroine has wasted her talent and ability.
Madhulika looks like a just blossomed flower. Ana Georgia as Staisy in the film looks perfect in her physique. Acting is far away from her.
Harish Raj as Karthik has given good performance as dejected youngster. Vinayak Joshi, Raju Thalikote are OK.
Technicality:
Gurukiran is the main winner of this film with three lovely songs. Pyar Ge Agbuttaithe Namdhuke Jaan Ge Hogbuttaithe…has already become a rage, Modha Modhala Heegene is very melodious and title card song on nature of Govindu is attractive.
Suresh Babu Cinematography deserved to be better. Many of the scenes do not look bright on the screen. Editing of the film is OK. The background score of the film ‘Govindayanamaha’ is not in tune with the situations on screen.
Last but not the Least – Love is lost the Life need not end. Life is greater than Love.
Story:
‘Govindayanamaha’ is the story of Govindu (Komal Kumar) falling in love with four girls but it is not accidental but purposeful. Govindu is a trickster. He is an opportunist. When one of the four he really falls in love he is in a shock.
The stage set on a tower of a building. Govindu has come here to end his life. There is another youngster software engineer Karthik (Harish Raj) who come here to die because of love failure. Before Karthik jumps to death he narrates his tale of love and Govindu says it is nothing compared to his love. Govindu in a flash back technique of the director explains connections with Vaidehi (Madhulika), Mumtaz (Parul). In the middle of his narration he vomits because of the poison he has consumed. Karthik the one waiting to die brings Govindu to a government hospital where Mumtaz is a nurse. In the hospital room he continues his connections with Staisy (Ana Georgia) and Sheela (Rekha).
With whom Govindu finally settles down is the climax part of the film. Karthik who was about to die feels he is better than Govindu in status and looks for a new choice in his life.
Cast: Komalkumar, Madhulika, Parul, Ana Georgia, Rekha, Harish Raj, Raju Thalikote, Vinayak Joshi, MS Umesh, Kirloskar Sathya and others.
Music: Gurukiran,
Cinematography: Suresh Babu,
Producer: KA Suresh
Direction: Pawan Wadeyar
Cinejwala Rating: 2.5/5
Exclusively: www.Cinejwala.com
Analysis:
Debutant director Pawan Wadeyar has given concentration to the histrionics and dialogues the two trump cards of Komal Kumar. He is not serious in his job. Firstly he makes the protagonist go lucky with the missing of his girlfriends.
When a cheat is the protagonist it is not possible to call him as the hero. At the hospital Komal Kumar is slashed many a times on the face by Doctor Raju Thalikote. This kind of scenes is not part of the hero’s job. This is one such example. There are many more for Komalkumar.
Look at the irresponsibility of Govindu – he cheats his own grandfather with Rs.1 lakh and leaves Vaidehi in lurch. In a drunk state of mind he attributes something that hurts Mumtaz, for the diamond ring missing in Staisy he ditch her and finally when he finds that Sheela is sleeping with a stranger he is hurt.
After all what Govindu has done so far to the previous three girls. When Mumtaz as nurse in the hospital over hear the feelings of Govindu she comes to his rescue. There is no punishment for the mistake of the protagonist.
With all the above scenes meted out to the protagonist we have told that Komal Kumar cannot be considered as a full fledge hero.
The major laxity of this film is in the dialogues department. While Komal Kumar elder brother Jaggesh films were with full of double meanings it is straight in Komal Kumar film ‘Govindayanamaha’.
The dialogues that are objectionable are – Correct Aagi Helmet Hakiddira, Original Kudidre Laksha Deepotsava, Appana Hathra Aasthi Illa, Avala Hathra bejaan Aasthi Idhe, Ujjak Chance Sikdaga Ujlilla – it appears for the front benchers the film is aimed at.
For the family audience who want to flock to the theatres there are lots of bottlenecks. Another youngster in the hurry to come to limelight has made a costly mistake by succumbing to the image of Komal Kumar.
Performance:
Komal Kumar feels that he can get the audience and improve his image from this kind of film he is very much wrong. Fun and comedy scenes are not in control he will not be taken seriously. Making a good attempt in the film goes in vain. Komal Kumar is a senior actor, producer and distributor. At least he should have used common sense and corrected the dialogues.
Among the four heroines it is Parul who steals the show. She has got the best song of the film and her emotional contents are admirable. Rekha coming after interval on silver screen and not getting the job of main heroine has wasted her talent and ability.
Madhulika looks like a just blossomed flower. Ana Georgia as Staisy in the film looks perfect in her physique. Acting is far away from her.
Harish Raj as Karthik has given good performance as dejected youngster. Vinayak Joshi, Raju Thalikote are OK.
Technicality:
Gurukiran is the main winner of this film with three lovely songs. Pyar Ge Agbuttaithe Namdhuke Jaan Ge Hogbuttaithe…has already become a rage, Modha Modhala Heegene is very melodious and title card song on nature of Govindu is attractive.
Suresh Babu Cinematography deserved to be better. Many of the scenes do not look bright on the screen. Editing of the film is OK. The background score of the film ‘Govindayanamaha’ is not in tune with the situations on screen.
Last but not the Least – Love is lost the Life need not end. Life is greater than Love.
Narasimha 2012 Kannada Movie Review(First On Net)
Narasimha 2012 Kannada Movie Review(First On Net)
Story –
After 11 years of Telugu film ‘Simha Raasi’ the Kannada version ‘Narasimha’ is appearing on silver screen. Rajasekhar has done in Telugu in V Samudram direction here in ‘Narasimha’ V Ravichandran had done in S Mohan screenplay, direction and dialogues.
It is about the ill fated child who does not get mother care because she is afflicted with Leprosy. Growing under the tutelage of father Narasimha comes up in great strength physically and financially. He sleeps on floor and he eats only Ragi floor food. In the village where he is living the politician elected should be obedient to the people. He has to sign the conditions and then only file nomination papers. Ugrappa (Ravishanker) is opponent to Narasimha principles and facing defeat once he keeps quiet to take revenge later on. When Narasimha finds that his father second wife daughter is living he brings her home. Ugrappa brother Krishna (Tilak) falls in love with Narasimha sister and marriage is fixed.
For the sake of villagers Narasimha is ready to sacrifice anything in life. As expected the revenge tale further blows up when Ugrappa comes with another proposal. On the other hand the prominent village residents advice Narasimha to marry Varsha who is immensely in love with Narasimha. Varshan falls to the pond when Narasimha reject. As usual in Indian cinema the end is expected.
Cast – V Ravichandran, Nikesha Patel, Ravishanker, Jayanthi, Tilak, Srinivasamurthy, Padma Vasanthi, Srinivasa Prabhu, Chitra Shenoy, Sadhu Kokila, Pawan and others.
Music – Hamsalekha
Cinematography – Suresh Byrasandra
Producer – MN Kumar
Direction – S Mohan.
Cinejwala Movie Rating – Score -3/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The film ‘Narasimha’ is very relevant for one thing. The political point it makes. An elected member should completely work for people from where is get elected is still relevant. This is only matching point for the film that is coming after 11 years to Kannada from Telugu.
The TB inflicted issue is not properly handled in the present context. Even if the director argues it is 20 years ago he should have given a periodic feel and where he misses is making the character of Padmavasanthi jump to pond and end life. What happens to the water where the TB patient dies? How can the villagers consume this water?
The protagonist shown as very strict disciplinarian is a factor that always hold good. The first half of the film moves super fast but second half is usual quota delivered to finish the film.
In the days of having second and third connections the father in this film Srinivasamurthy writing a letter and ending life because he had second wife that his son is not aware is illogical.
When the eleven years old film is made now the aspects of village life needed some improvement. In an attempt to be loyal to original script director Mohan who claims screenplay in the title card could have added the advancement to village life and made the protagonist look modern. The beard, hairstyle and costume for V Ravichandran applied do not look perfect.
The comedy track in the film is separate and not join inside the script and they appear as if they want tickle the funny bones.
PERFORMANCE –
V Ravichandran looks strained. The close up shots is not properly concentrated. The beard and hairstyle not jell well.
Nikesha Patel in the song Simgim illa…..looks very beautiful and later on different costumes. Srinivasamurthy, Srinivasa Prabhu, Jayanthi, Padma Vasanthi, Ravishanker are good in their characters.
TECHNICALITY –
Technically the film is good in the music department – Hamsalekha magic although did not work out with V Ravichandran – songs on politics, mother and one romantic numbers are tolerable.
Suresh Byrasandra cinematography is OK. The lighting in the flash back scenes is impressive and so is the re-recording for the film.
Last But not the Least – ‘Remakes need re-thinking’
Story –
After 11 years of Telugu film ‘Simha Raasi’ the Kannada version ‘Narasimha’ is appearing on silver screen. Rajasekhar has done in Telugu in V Samudram direction here in ‘Narasimha’ V Ravichandran had done in S Mohan screenplay, direction and dialogues.
It is about the ill fated child who does not get mother care because she is afflicted with Leprosy. Growing under the tutelage of father Narasimha comes up in great strength physically and financially. He sleeps on floor and he eats only Ragi floor food. In the village where he is living the politician elected should be obedient to the people. He has to sign the conditions and then only file nomination papers. Ugrappa (Ravishanker) is opponent to Narasimha principles and facing defeat once he keeps quiet to take revenge later on. When Narasimha finds that his father second wife daughter is living he brings her home. Ugrappa brother Krishna (Tilak) falls in love with Narasimha sister and marriage is fixed.
For the sake of villagers Narasimha is ready to sacrifice anything in life. As expected the revenge tale further blows up when Ugrappa comes with another proposal. On the other hand the prominent village residents advice Narasimha to marry Varsha who is immensely in love with Narasimha. Varshan falls to the pond when Narasimha reject. As usual in Indian cinema the end is expected.
Cast – V Ravichandran, Nikesha Patel, Ravishanker, Jayanthi, Tilak, Srinivasamurthy, Padma Vasanthi, Srinivasa Prabhu, Chitra Shenoy, Sadhu Kokila, Pawan and others.
Music – Hamsalekha
Cinematography – Suresh Byrasandra
Producer – MN Kumar
Direction – S Mohan.
Cinejwala Movie Rating – Score -3/5
Exclusively - www.Cinejwala.com
ANALYSIS –
The film ‘Narasimha’ is very relevant for one thing. The political point it makes. An elected member should completely work for people from where is get elected is still relevant. This is only matching point for the film that is coming after 11 years to Kannada from Telugu.
The TB inflicted issue is not properly handled in the present context. Even if the director argues it is 20 years ago he should have given a periodic feel and where he misses is making the character of Padmavasanthi jump to pond and end life. What happens to the water where the TB patient dies? How can the villagers consume this water?
The protagonist shown as very strict disciplinarian is a factor that always hold good. The first half of the film moves super fast but second half is usual quota delivered to finish the film.
In the days of having second and third connections the father in this film Srinivasamurthy writing a letter and ending life because he had second wife that his son is not aware is illogical.
When the eleven years old film is made now the aspects of village life needed some improvement. In an attempt to be loyal to original script director Mohan who claims screenplay in the title card could have added the advancement to village life and made the protagonist look modern. The beard, hairstyle and costume for V Ravichandran applied do not look perfect.
The comedy track in the film is separate and not join inside the script and they appear as if they want tickle the funny bones.
PERFORMANCE –
V Ravichandran looks strained. The close up shots is not properly concentrated. The beard and hairstyle not jell well.
Nikesha Patel in the song Simgim illa…..looks very beautiful and later on different costumes. Srinivasamurthy, Srinivasa Prabhu, Jayanthi, Padma Vasanthi, Ravishanker are good in their characters.
TECHNICALITY –
Technically the film is good in the music department – Hamsalekha magic although did not work out with V Ravichandran – songs on politics, mother and one romantic numbers are tolerable.
Suresh Byrasandra cinematography is OK. The lighting in the flash back scenes is impressive and so is the re-recording for the film.
Last But not the Least – ‘Remakes need re-thinking’
Prasad 2012 Kannada Movie Review(First On Net)
Prasad 2012 Kannada Movie Review(First On Net)
Story:
This is the story centered on the physically challenged child care. ‘Prasad’ is a pack of emotions that touches the hearts. The middle class family life of Shanker (Arjun) and Malathi (Madhuri Bhattacharaya) gets another entry with already two daughters in the house. That is ‘Prasad’. Shanker does prayers to get this child. He is in for a shock when he knows the child is dumb and deaf. He curses the same god he prayed. As the child grows in the house Shanker is in two minds whether to keep the child or not. Malathi the caring mother is not as disenchanted as Shanker towards the child Prasad.
Malathi gives all good support to the child and Prasad evince interest in swimming. He becomes the state champion at the age of seven. Malathi further study for the sake of the child and becomes a teacher in the school of hearing impaired. On the other hand fortune of Shanker changes enormously when his Prasad ask him to start his own garage.
The regular habit of Shanker to buy a lottery ticket even attracts his son. One of the lottery ticket Prasad compels his father to buy for him. It is time for operation to Prasad and Shanker is arranging Rs.10 lakhs for it. Prasad helping out a blind to cross the road on his return meets with an accident. The portion further is bloodcurdling.
Prasad recovers from a major bottleneck and the lottery ticket he had bought earns a bumper of Rs.10 crores. From this amount Shanker starts ‘Prasad Foundation’ and submits a project to Governor Dhin Dayal Sharma at a function to further help the physically challenged children of this country.
Cast – Arjun, Madhuri Bhattacharya, Master Sankalp, Ramakrishna, Ganesh Rao, Ninasam Ashwath, Kshama and others.
Cinematography – Sanjay Malkar
Music – Ilayaraja
Producer – Ashok Kheney
Director – Manoj Sathi
Cinejwala Movie Rating - 3.75/5
Exclusively - www.Cinejwala.com
ANALYSIS:
A great effort indeed. The film like ‘Nandi’ of Dr Rajakumar made 50 years ago by N Lakshminarayan, ‘Mouna Raga’ of Ambarish by director Ambarish and even Hindi film ‘Koshish’ starring Sajeev Kumar had similar themes. AKK entertainment is not aware of these films it seems.
These types of films are rarely seen on Indian screen. The AKK entertainment keeping aside the entertainment elements with top action hero of South India Arjun has given a convincing film.
Director Manoj Sathi could have made further crisp by deleting 20 minutes of the film. The various shades of human mind are delectably presented and for this Arjun given a stunning performance to support the cause of this film.
It is not just one or two occasions the film touches your heart. There are at least half a dozen scenes. When father Shanker gets a dream that think of finishing the child, when cute Prasad is about to jump to swimming pool, he is not able hear whistle sound because he cannot hear, Prasad ask his father to start his garage instead of going someone else to work, Shanker and Jagadishanna (Ramakrishna) conversation in a bar, husband Shanker preparing coffee to wife Malathi when she is studying on hearing impaired examination, Shanker before that asking his wife to stop praying in front of photographs of God and Goddesses plus there are funny moments of father and son.
This is the film that required a powerful performer in mother role. Madhuri Bhattacharya is unfit. The dubbing artist for her Sudharani is a class actress who could deliver lovely results in this kind of role would have been a right choice. Even actress Shruthi could have elevated the performances. For Arjun’s career best performance the opponent is not a right match for his strength.
The humble appeal Arjun makes in the last scene of the film is very good and well deserved to the present scenario of this country. The emphasis that children with everything ok family not think about challenged children is effectively fed to the ears by Arjun.
How come this kind of brilliantly portrayed film missed the awards committee at the 59th National award? At least for Arjun best supporting actor award was well deserved.
The director of this film Manjo Sathi is not aware of one of the greatest writers from Kannada literary field A.N.Murthy Rao observations in the book ‘Devaru’. For the five years of happiness we get from children the parents have to give them life for remaining 20 years without expecting anything is what the 100 plus years lived writer from Karnataka legendary Murthy Rao told. It is true that even the smell of the baby after birth is a best perfume of this world is the quotation before us.
PERFORMANCES:
It is a delectable performance from Arjun. Even at state level he should get an award for his performance in ‘Prasad’. Look at this actor with top action image in Tamil cinema taking on a reverse swing in his career to do an emotional packed role. It needs guts and Arjun has rightly understood the significance of this role. He has put in all the thoughts that generally come to a father with such a challenged child. The brilliance is in dubbing of his voice. He is stunning at places and very submissive at certain other places. It is first Arjun film indeed.
Next is the sweet little child Master Sankalp. His sweet looks are enough. He need not have to do anything. Madhuri Bhattacharya is not fit for this kind of role. She even does not possess the acting skill in emotional situations. To elevate the strength of this film ‘Prasad’ an experienced actor like Arjun was needed in female protagonist.
Ramakrishna is fabulous in the role of Jagadishanna. Ninasma Ashwath and Kshama have given admirable support.
TECHNICALITY:
The ustaad of film music Ilayaraja background score is the second hero of the film. The correct approach to the situations enhances the quality on the technical side. The title song and happy jaunt song are very sweet to hear.
There is absolutely no fault in cinematography of Sanjay Malkar. The Shiamak Davar institute help to the physically challenged children dance is another beauty of this film.
Last but not the Least – ‘Humanity is the greatest sensibility of this Universe’
Story:
This is the story centered on the physically challenged child care. ‘Prasad’ is a pack of emotions that touches the hearts. The middle class family life of Shanker (Arjun) and Malathi (Madhuri Bhattacharaya) gets another entry with already two daughters in the house. That is ‘Prasad’. Shanker does prayers to get this child. He is in for a shock when he knows the child is dumb and deaf. He curses the same god he prayed. As the child grows in the house Shanker is in two minds whether to keep the child or not. Malathi the caring mother is not as disenchanted as Shanker towards the child Prasad.
Malathi gives all good support to the child and Prasad evince interest in swimming. He becomes the state champion at the age of seven. Malathi further study for the sake of the child and becomes a teacher in the school of hearing impaired. On the other hand fortune of Shanker changes enormously when his Prasad ask him to start his own garage.
The regular habit of Shanker to buy a lottery ticket even attracts his son. One of the lottery ticket Prasad compels his father to buy for him. It is time for operation to Prasad and Shanker is arranging Rs.10 lakhs for it. Prasad helping out a blind to cross the road on his return meets with an accident. The portion further is bloodcurdling.
Prasad recovers from a major bottleneck and the lottery ticket he had bought earns a bumper of Rs.10 crores. From this amount Shanker starts ‘Prasad Foundation’ and submits a project to Governor Dhin Dayal Sharma at a function to further help the physically challenged children of this country.
Cast – Arjun, Madhuri Bhattacharya, Master Sankalp, Ramakrishna, Ganesh Rao, Ninasam Ashwath, Kshama and others.
Cinematography – Sanjay Malkar
Music – Ilayaraja
Producer – Ashok Kheney
Director – Manoj Sathi
Cinejwala Movie Rating - 3.75/5
Exclusively - www.Cinejwala.com
ANALYSIS:
A great effort indeed. The film like ‘Nandi’ of Dr Rajakumar made 50 years ago by N Lakshminarayan, ‘Mouna Raga’ of Ambarish by director Ambarish and even Hindi film ‘Koshish’ starring Sajeev Kumar had similar themes. AKK entertainment is not aware of these films it seems.
These types of films are rarely seen on Indian screen. The AKK entertainment keeping aside the entertainment elements with top action hero of South India Arjun has given a convincing film.
Director Manoj Sathi could have made further crisp by deleting 20 minutes of the film. The various shades of human mind are delectably presented and for this Arjun given a stunning performance to support the cause of this film.
It is not just one or two occasions the film touches your heart. There are at least half a dozen scenes. When father Shanker gets a dream that think of finishing the child, when cute Prasad is about to jump to swimming pool, he is not able hear whistle sound because he cannot hear, Prasad ask his father to start his garage instead of going someone else to work, Shanker and Jagadishanna (Ramakrishna) conversation in a bar, husband Shanker preparing coffee to wife Malathi when she is studying on hearing impaired examination, Shanker before that asking his wife to stop praying in front of photographs of God and Goddesses plus there are funny moments of father and son.
This is the film that required a powerful performer in mother role. Madhuri Bhattacharya is unfit. The dubbing artist for her Sudharani is a class actress who could deliver lovely results in this kind of role would have been a right choice. Even actress Shruthi could have elevated the performances. For Arjun’s career best performance the opponent is not a right match for his strength.
The humble appeal Arjun makes in the last scene of the film is very good and well deserved to the present scenario of this country. The emphasis that children with everything ok family not think about challenged children is effectively fed to the ears by Arjun.
How come this kind of brilliantly portrayed film missed the awards committee at the 59th National award? At least for Arjun best supporting actor award was well deserved.
The director of this film Manjo Sathi is not aware of one of the greatest writers from Kannada literary field A.N.Murthy Rao observations in the book ‘Devaru’. For the five years of happiness we get from children the parents have to give them life for remaining 20 years without expecting anything is what the 100 plus years lived writer from Karnataka legendary Murthy Rao told. It is true that even the smell of the baby after birth is a best perfume of this world is the quotation before us.
PERFORMANCES:
It is a delectable performance from Arjun. Even at state level he should get an award for his performance in ‘Prasad’. Look at this actor with top action image in Tamil cinema taking on a reverse swing in his career to do an emotional packed role. It needs guts and Arjun has rightly understood the significance of this role. He has put in all the thoughts that generally come to a father with such a challenged child. The brilliance is in dubbing of his voice. He is stunning at places and very submissive at certain other places. It is first Arjun film indeed.
Next is the sweet little child Master Sankalp. His sweet looks are enough. He need not have to do anything. Madhuri Bhattacharya is not fit for this kind of role. She even does not possess the acting skill in emotional situations. To elevate the strength of this film ‘Prasad’ an experienced actor like Arjun was needed in female protagonist.
Ramakrishna is fabulous in the role of Jagadishanna. Ninasma Ashwath and Kshama have given admirable support.
TECHNICALITY:
The ustaad of film music Ilayaraja background score is the second hero of the film. The correct approach to the situations enhances the quality on the technical side. The title song and happy jaunt song are very sweet to hear.
There is absolutely no fault in cinematography of Sanjay Malkar. The Shiamak Davar institute help to the physically challenged children dance is another beauty of this film.
Last but not the Least – ‘Humanity is the greatest sensibility of this Universe’