Kavalan the Tamil Movie Released in 2010, announced by the Producer Sakthi Chidambaram and Director of the Movie Siddhique, Music composed by the music Director of Kavalan is Vidyasagar, Vijay as Hero, Asin as Heroin, other Castings Vijay, Asin, Vadivelu, Vaiyapuri, Rajkiran, Roja Selvamani, M S Bhaskar act in this Kavalan Tamil movie.
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In Rakht Charitra 2 , director Ram Gopal Varma continues the revenge saga that he started with the first film, which released in October.
In case you missed it, Varma begins with approximately 25 minutes of footage from the first film to bring you up to speed. At the screening I was at, most people thought that Rakta Charitra 1 was playing by mistake. Clearly Varma doesn’t believe in montage.
The films are loosely based on the life of Paritala Ravindra, a political leader from Andhra Pradesh. While the first part focused on the rise of Pratap, played by Vivek Oberoi, the second focuses on how his arch-enemy Surya, played by South star Suriya, takes revenge.
http://movies.ndtv.com/movie_review.aspx?id=573&albumname=Moview%20Review:%20Rakht%20Charitra%202
It’s a high decibel, heavy-handed saga of killing and counter-killing without a break or even a larger point.
Though Varma does tell us at the end that the film demonstrates the futility of violence - a noble sentiment, which is not unlike preaching abstinence at the end of a porn film. Because for over two hours Varma explores the myriad ways of inflicting violence– so heads are crushed, limbs are severed, families are bombed and bullets pierce bodies without a pause.
This is Varma’s gritty universe, in which all the men make cryptic pronouncements and smoke and stride in slow motion. And just in case you still don’t get it, the bombastic soundtrack underlines every emotion.
Read more at: http://movies.ndtv.com/movie_review.aspx?id=573&albumname=Moview%20Review:%20Rakht%20Charitra%202&cp
Bengali filmmaker Gautam Ghose's film Moner Manush (The Quest), an Indo-Bangladesh joint production, bagged the coveted Golden Peacock Award for the Best Film at the 41st International Film Festival of India (IFFI) 2010.
The film is a saga of the life and times of Lalan Faquir and his liberal sect whose message of tolerance and secularism is becoming most relevant in today's world.
The 11-day festival concluded on Thursday with the screening of the French film The Princess of Montpensier, directed by Bertrand Tavernier, premier French director and screenplay writer.
The Silver Peacock Award for the Best Director went to Susanne Bier of Denmark for her film In a Better World. Just Another Love Story from India and The Boy from New Zealand were the joint winners of the Special Jury Award.
Mr. Ghose received the Golden Peacock in the presence of Minister of State for Information and Broadcasting Choudhury Mohan Jatua, Goa Chief Minister Digambar Kamat and National Award Winner Saif Ali Khan who was the chief guest.
The Rs. 40 lakh cash prize was shared by Mr. Ghose and producers of the film: Gautam Kundo (India), Habiburahaman Khan and Faridureza Saqar (both from Bangladesh). Reacting to the award, Mr. Ghose said, “I thank the distinguished Jury for the endorsement of the message of tolerance in a very intolerant society.”
http://www.thehindu.com/news/states/other-states/article927958.ece
Laboratory is a story written by Rabindranath Tagore just before a year before his death.
This woman-centric film is essentially a tale of two women, especially Sohini - a rustic uneducated girl who is married to Nandakishore and then is left with a daughter and the lab at the end of the first year of her marriage due to her husband’s unfortunate death while carrying out an experiment in the lab. The story is all about how Sohini gets a hold of herself and makes an utmost effort to live upto her husband’s dream of maintaining the lab at any cost even if it means sacrificing the happiness of her daughter.
Here is an interview by Mr Raja Sen the acclaimed director of the movie Laboratory.
What was the most difficult part of adapting a short story of Tagore that has also been adapted on stage?
I always had a certain weakness for the story. I never saw it as difficulty when it came to making a cinematic adaptation. I was exploring the various layers and shades of the Tagore story. Since I had seen a stage adaptation, I knew the minus points. Hence, I was clear about what I should avoid in my movie.
So, what did you consciously do that wasn't there on stage?
Since Sohini is a girl from Punjab, I was conscious of casting a non-Bengali actor for this part. I didn't want any actor from Kolkata to play this role. That was one of the reasons for me casting Raveena in this role.
Did you ever want anyone else to dub for Raveena's portions, especially for the portions where she played a widow?
Frankly and honestly speaking, I did have the dilemma. But then, I decided to take a risk. A Punjabi lady will speak in a certain way even after she has lived in Bengal for sometime. I think, Raveena's voice justifies her presence in terms of the script.
Was budget any problem for you?
I know that I'm making a regional film and I had to return the producer's money. I made the film in `60 lakh. Even on the first day of the movie, my producer has already recovered the cost with the film's US release and the sale of satellite rights. The look that my film now can easily be passed on as that of a
`1 crore production. I got sponsorship for costumes and ornaments. I got the locations with my personal
connections. I did more rehearsals than takes. That saved the raw stock.
Have you done a post-mortem for your film?
Yes. Mine isn't a so-called popular film. It's been made for intelligent people. I'm very satisfied with my project. Compliments have come my way. A scientist sent me an e-mail from abroad saying how happy she was with my movie. I'm also very happy with Arpita's performance. She followed me like an obedient student and did a swell job with the characterisation. From "Damu" to " Laboratory", I've never wanted to remake any of my films. This is my ultimate standard. I'm open to be accepted or rejected for having made this movie. I knew my budget and chose my subject accordingly. I didn't choose a movie where I'd have to shoot in Italy or Switzerland.
Why did you have Raveena and Arpita paint semi-nude pictures?
There is an undercurrent of sexuality in both women. Sexuality isn't a taboo for either of them. They have no prejudice about painting a semi-nude picture.
http://timesofindia.indiatimes.com/entertainment/regional/news-interviews/Ill-make-a-comedy-movie-says-Raja-Sen/articleshow/6995593.cms
Orange is yet another contemporary urban love story -- a so-called 'sweet-sour' take on love. It is a youthful tale, which reflects the state of the youth and their predicament, to some extent.
Director Bhaskar has tried to depict a new kind of love by exploring the attitude of the youth towards love through the lead protagonists Ram (Ram Charan Tej) and Jaanu (Genelia).
Although he has attempted to capture the pulse of the youth, he falls short. He seemed confused in his writing about what he wants to say. Due to this, the story drags particularly towards the end. Bhaskar seems to have lost his magical touch and the end result is disappointing.
Ram sees Jaanu and is smitten by her but doesn't believe that love will last forever -- more to the point that he could love a girl forever. Jaanu thinks the opposite. Ram nevertheless woos Jaanu in unusual ways -- takes her on a wildlife safari, and skydiving from giddy heights. Since he's a graffiti artist, he has even painted Jaanu's face on a huge wall!
Ram is an honest guy who believes in telling the truth even though he has had nine girl friends before. There's one flashback with Rooba (Shahzahn Padamsee, who makes her debut in Telugu) when he was a student. He had fallen in love with her but couldn't sacrifice his friends for her. So in the case of Jaanu too, the point of tussle is love...
To prove points of compatibility/incompatibility, other examples are shown like those of Ram's sister and husband (Manjula and Swaroop), Jaanu's parents (father played by Prabhu), Ram's neighbour (Nagababu-Charan's uncle) and so on. There are other friends of Ram and Jaanu's to also prove the point that it's fair to lie in love -- one thing which Ram doesn't believe in.
Pushkar (Srinivas Avasarala) who says he's in love with Jaanu since the age of 12, is the only character who sticks out and somehow doesn't gel much with the narrative.
The first part of the film is breezy and engrossing. Brahmanandam regales the audience as Pappi, and the laughs are triggered by some rip-roaring lines built in the narrative. It's towards the last 40 odd minutes that the film slackens despite the refreshing presence of Shahzahn in the flashback.
It becomes a bit monotonous to hear the lines on love over and over again. The confusion over the 'love' issue slows down the proceedings. Perhaps here the editor, Marthand Venkatesh could have used his discretion a bit more. The meandering over the love issue reminds one of Arya 2. The arguments seem trivial and non-justifiable.
Ram Charan is convincing as Ram. He plays the role with style, dances with elan and does the deadly skydiving stunt with confidence. He has put in his best no doubt. Genelia lights up the screen with her enormous joie de vivre. She carries off yet another bubbly-cum-serious role with elegance and ease. Charan and Genelia make a good pair on screen. Shahzahn is a new face, and therefore, brings a certain freshness to the screen. Her role is limited, though. Others like Brahmanandam, Prabhu, Manjula, Swaroop, Vennela Kishore do what is expected of them.
Kiran Reddy's camera work is pleasant and has captured most of the well known spots of Sydney and Mumbai well.
Harris Jayaraj's music sounds go very well with the visuals. Art direction by Anand Sai is fine.
All in all, Bhaskar delivered a brilliant Bommarillu a few years ago. Pity, Orange is no patch on Bommarillu or even his second film Parugu.
Radhika Rajamani reviews the Telugu film, Orange.
Source:http://www.rediff.com/movies/review/south-review-orange/20101126.htm
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