Month: September 2017

Sivaji Ganesan’s Devotional Films: A Television Staple During Navaratri

BY Vandhana On

Sivaji Ganesan has many cult films in his filmography, but his flair for drama and the more flamboyant things in life found an outlet only through mythological films

Sivaji Ganesan established his career on his remarkable ability to spout the most difficult of dialogues with ease. Like that iconic sequence in Parasakthi – a five-minute long showcase for Ganesan’s theatrics as well as his confident dialogue delivery.

Little wonder then that this actor was a much vaunted part of the devotional films that Tamil cinema regularly churned out. Sivaji possessed an innate grace and gambeeram that allowed him to chew on roles like that of Lord Siva in Thiruvilaiyadal and Veerabaghu in Kandhan Karunai. 

https://www.youtube.com/watch?v=4QfGkxX_WLg

In this popular song from Kandhan Karunai, Sivaji is a scene-stealer. For a good thirty seconds, the actor does nothing but walk towards Lord Muruga (played by Sivakumar). He faces away from the camera, in a costume that can be best described as boy shorts made out of yards of glitter, and yet, he is the epitome of masculinity. Arrogant pride is stamped over every feature of this actor as he plays Veerabaghu, a renowned warrior in Siva’s army. One simply cannot look away from the actor, even when other stalwarts like Gemini Ganesan, Savithri are in the frame.

Actor Sivakumar says that it is Sivaji Ganesan’s theatre background and incredible commitment to his craft that helped him become an icon. “Many feel that acting is a profession that does not require much by way of intelligence. I always say, if you think so, you should have seen Sivaji when he was alive. He would listen to the dialogues during his make-up session, and minutes later, he would say it perfectly in front of the camera. You’d think that he was up all night practicing those lines. But, no, he would have heard them for the first time fifteen minutes ago.”

Much like KR Vijaya and Savithri, Sivaji Ganesan too, was sought after for devotional films. Over his decades-long career, Ganesan was part of many such iconic films. The most-remembered perhaps is Saraswathi Sabatham, in which he plays to perfection the role of Oomai Pulavar. That he gave every role his all is apparent in this scene from the film.

https://www.youtube.com/watch?v=9Y5PPCeNqkg

As someone with a speech disorder, Sivaji’s character isn’t expected to do much in the first few minutes of the scene. And yet, that doesn’t stop him. His shoulders stoop, his entire being quivers with rage and sorrow. As blood drips down from a wound in his head, he walks slowly towards the idol of Goddess Saraswathi. He has no means to voice out his frustration. And so, he flings flowers at the idol.

Soon, she appears in front of him and grants him the ability to speak. The one-and-a-half minute that follows perfectly captures the thespian’s acting talents. Slowly voicing syllables with child-like delight and surprise, Sivaji Ganesan then launches into ‘Agara Mudhala Ezhuthellam‘. The song is a staple at many Golu events during Navaratri – which makes a lot of sense since this film was regularly screened on television during all major Hindu festivals.

Many other Tamil actors (including Gemini Ganesan) have been asked to step into the role of Lord Siva. But it is only Sivaji Ganesan who lived the role. “His specialty was in making a role his own. After he was done with it, nobody would ever live up to it. This is why most of his classics are not remade. This is an actor like no other. I doubt even his descendants can match up,” Sivakumar says.

https://www.youtube.com/watch?v=Y5XdwjonvNI

Such was his mastery over himself and the roles he played that Sivaji Ganesan would often lose sight of his true persona. “He would be in a trance of sorts. He would fully immerse himself in the roles he played. You could say that he was probably the first method actor Tamil cinema saw. But when it was time to go home, he’d become himself. Family came first,” Sivakumar adds.

Ganesan was not conventionally handsome. Nor was he physically impressive. But, through sheer acting talent and skills, he made himself out to be bigger and more attractive than he really was. Most of his dramatic performances may seem humorous now, and some even slam the actor for his ‘exaggerations’, but the fact remains that even now, Tamil cinema has not been able to find Sivaji’s equal. He remains the unparalleled ‘Nadigar Thilagam’.

Sivaji Ganesan’s birth anniversary falls on October 1.

*****

Hara Hara Mahadeva Ki Review: Classic ‘Zany Scheme’ Plot Marred By Cringe-Worthy Gags and Sexist Humour

BY Nadika Nadja On

Hara Hara Mahadeva Ki is the third Gautam Karthik film I’ve seen to review, this year. And it seems like – based on limited sample – that the actor has gotten slightly better over the months.

In Muthuramalingam, he was about as loose and ineffectual as the plot and the story; in Rangoon, he made efforts to improve but was let down by the bad, pancake heavy make-up. Here, in Hara Hara Mahadeva Ki, he is completely at ease, sharing bad jokes with the whole team and having fun at it.

Hara Hara Mahadeva Ki is also the third Nikki Galrani film I’ve seen this year – the other two being Motta Siva Ketta Siva and Maragadha Nanayam. Based again on limited sample, clearly, funny films are her forte.

*****

Hara Hara Mahadeva Ki is written and directed by Santhosh P Jayakumar, and produced by Thangaraj of Thangam Cinemas, with Studio Green distributing it. The film stars Gautham Karthik, Nikki Galrani, Sathish, Rajendran, Karunakaran, and others.

The film features completely uninteresting and eminently forgettable music by Balamurali Balu.

*****

In Hara Hara Mahadeva Ki, Hari (played by Gautham Karthik) is the owner of a funeral services company, and Ramya (Nikki Galrani) is a college student who falls in and out of love with Hari. They decide to return the gifts they gave each other on their breakup, and so, plan to meet at a resort.

Meanwhile, a politician (Ravi Mariya) hires a couple of goons (Rajendran and Karunakaran) to detonate a bomb at a public meeting he will attend, and thus claim that his political rivals are set on killing him.

Also, a young man is hired by a counterfeiter to pass off fake 2000 rupee notes into circulation and exchange it for genuine currency.

However, all three unknowingly use identical bags to carry their “stuff” in. So, you know where the film is going to go eventually. Bag A, Bag B, Bag C, and Bags D through Z, will all get mixed up.

In the middle of these zany schemes, we learn how Hari and Ramya met, which involves nudity and a rehash of the Rajinikanth-Kushbu scene from Annamalai.

Meanwhile, there is also a child who is kidnapped and their parents ransomed. And therefore, a policeman – RK Suresh – who will have to rescue the child.

All these happen at a resort called Hara Hara Mahadeva Ki – thus justifying the film’s title.

*****

Perhaps to truly appreciate (or understand) the film’s crude sense of humour, one must know of a certain Whatsapp Swamiji. This was my introduction to the character. Apparently a popular presence, this Whatsapp Swamiji’s messages are laced with sexual innuendo, and sexist, misogynist drivel glorifying men.

Which means that at least 90 percent of his audience – and thus this film’s – are young men.

Which was true of Screen 2 at Gopalan Grand Mall in Bangalore. There were a few women in the crowd, but the loudest laughs and the most enthusiastic cheers came from the ‘men’.

*****

A classic Zany Scheme – best exemplified by PG Wodehouse books, and most of Crazy Mohan’s plots – requires a mix-up and one person to extricate the mixed-up people and objects. In Plum’s books, it is usually the amazing Jeeves, or Sir Galahad Threepwood. In Crazy Mohan’s plays and plots, it is usually the hero (Maadhu Balaji, or Kamal Haasan, respectively) who sorts out the mix-up.

In Hara Hara Mahadeva Ki, the mix-up is never really resolved, and Hari gets his bag back almost entirely accidentally.

And similarly, the young girl is accidentally discovered by Ramya, and is safely restored to her parents.

*****

There are a lot of funny moments in the film. But for most part, the humour is extremely crude. And homophobic, bigoted. But it is hard not to laugh with the rest of the theatre because laughter is contagious, and the humour in the film plays on your deeply conditioned impulse to think of sex, and women, as funny or weak. You laugh, and you cringe and blame yourself. And you judge the rest of the men-children in the cinema.  Therefore, the rare gag that does not belittle, does not play on adult tropes, is much funnier in comparison.

*****

The Hara Hara Mahadeva Ki review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

Vishal Krishna Issues Strong Statement Condemning T Rajendar

BY Silverscreen India Staff On

TFPC President Vishal Krishna has slammed T Rajendar for berating actor Sai Dhanshika on stage at a recent event. The actor was reportedly offended by Dhanshika’s failure to mention him in her thanksgiving speech and heavily criticised her on stage. This incident caused a flurry on social media, with many offering support to Dhansika.

Vishal, through a statement, said:

“Director TR is a multi-talented senior person. It’s very common for a person on stage to miss mentioning names while addressing a gathering.

I have myself, forgotten to mention or thank certain people or the ones sitting on the dais in the past.”

Vishal noted that while Dhanshika tried to make up for her error, T Rajendar was in no mood to accept her apology.

“Dhanshika apologised and even fell at Mr TR’s feet, after he pointed her out that she missed mentioning his name. Mr TR didn’t pardon Dhanshika who is as old as his daughter.”

Vishal said that it is difficult for women to work in the film industry, and that incidents like these only make things harder.

“It’s very difficult for women to come up in the cine industry. I know Dhanshika very well and people who know her know well that she wouldn’t have done anything like this intentionally.”

He also criticised actors Vidharth and Krishna (who were also on stage) for their failure to do anything about the incident. “It doesn’t matter if they didn’t do anything. At least, they should’ve refrained from clapping and laughing as the scene played out,” Vishal noted.

Kamal Haasan, Director Shankar Team Up For ‘Indian 2’

BY Silverscreen India Staff On

With inputs from IANS

Actor Kamal Haasan and filmmaker Shankar are all set to reunite after two decades for the sequel to their highly successful and celebrated 1996 Tamil film Indian.

The film, to be bankrolled by Dil Raju, will be made in Tamil and Telugu.

The film was officially launched earlier today. Shankar, Dil Raju and Kamal can be seen in a photo from the sets of Bigg Boss – the show that the actor hosts.

The production house, Sri Venkateswara Creations, tweeted a confirmation as well.

In Indian, Haasan played dual roles.

As a 70-year-old freedom fighter turned vigilante against corruption, Haasan won over audiences and critics alike. He played the father and son.

Indian, which had music by A.R Rahman, was released in Telugu as Bharatheeyudu and in Hindi as Hindustani.

Also starring Manisha Koirala and Urmila Matondkar, the film bagged three National awards including the best actor honour for Haasan.

Rumours are rife that Indian 2 could be Haasan’s last film before he takes the political plunge.

Aadi Saikumar ‘Thrilled’ To Debut With ‘Kaatteri’

BY IANS On

Telugu actor Aadi Sai Kumar, who is set to foray into Tamil filmdom with upcoming horror thriller Kaatteri, says the project will be a special debut.

Best known for his work in Telugu films such as Sukumarudu and Shamanthakamani, Aadi is kicked about his Tamil debut.

“It’s going to be a special debut. Need to thank my producer Gnanavel for introducing me to Tamil audiences. He got me this offer and suggested that it’s time I venture into a new industry. I really liked the script, so I thought why not,” Aadi told IANS.

To be directed by Deekay, the project will be bankrolled by Studio Green, which is also the banner behind Aadi’s upcoming Telugu horror-comedy Next Nuvve.

Talking about the film, Deekay said: “This is not a horror film, though it has horror element. This is an adventurous film and it also has a fantasy touch. The film will have a period portion as well. The story will go back and forth in time, 1960s to be precise.”

On signing Aadi as the hero, he said: “His next Telugu film is the remake of my Tamil film Yaamirukka Bayamey. He was perfect for the role in this film.”

Bigg Boss fame Oviya has been signed on as the leading lady. Deekay has confirmed the film will have three more heroines.

Tom Alter Dies Of Cancer At 67

BY IANS On

Veteran theatre and film personality Tom Alter lost his battle against skin cancer at his residence here, his family said on Saturday. He was 67.

Tom Alter was battling stage four skin cancer at a Mumbai hospital, where he was admitted earlier in September.

He returned home on Thursday and breathed his last on Friday night, the acclaimed actor’s manager Ismail Ansari told IANS.

A statement released on behalf of his family, said: “It is with sadness we announce the death of Tom Alter, actor, writer, director, Padma Shri, and our dear husband and father.

“Tom passed away on Friday night at home with his family and close family members in attendance. We ask for their privacy to be respected at this time.”

Earlier, Tom Alter’s son Jamie had told IANS that the actor was suffering squamous cell carcinoma, a type of skin cancer.

Last year, Tom Alter had his thumb amputated due to the condition.

According to Jamie, Tom Alter was fighting cancer well and was showing the will to battle it out.

Known for starring in television shows like Bharat Ek Khoj,  Junoon, Zabaan Sambhalke and Betaal Pachisi, Tom Alter was an American-origin actor settled in India.

He had a flourishing career on stage, and on the big screen, he has played pivotal roles in successful films like “Gandhi”, “Shatranj Ke Khilari”, “Kranti”, “Aashiqui” and “Parinda”.

In 2008, he was recognised with the Padma Shri, the fourth highest civilian honour of India.

Well-known names from the industry condoled his death.

Filmmaker Mahesh Bhatt tweeted: “Goodbye to you my trusted friend!”

Singer Mohit Chauhan wrote: “Saddened by the passing away of Tom Alter saab. A glorious chapter has come to an end. His death marks the end of an era of grace and dignity. RIP.”

Actor Riteish Deshmukha, who says he had the privilege of working with Tom Alter in “Bangistan”, said he “will always remember him for his humility and kindness”.

Actor Arjun Kapoor also recounted having the “fondest childhood memories of seeing him on ‘Zabaan Sambhalke”.

Actress Nimrat Kaur described him as a “one of a kind, grace personified, thorough gentleman”.

He last featured in a television show Rishton Ka Chakravyuh, and on the big screen, he was seen in Sargoshiyan. He also shot for a short film “The Black Cat”, in which he features as author Ruskin Bond.

 

Image Courtesy: DNA

Adivi Sesh Signs New Film; Vishal Krishna Condemns T Rajendar

BY Vandhana On

A quick look at everything making news in the world of cinema today!

Sign On

Adivi Sesh has signed a new film

 

Rest In Peace

Veteran theatre and film personality Tom Alter lost his battle against skin cancer at his residence here, his family said on Saturday. He was 67.

Tom Alter was battling stage four skin cancer at a Mumbai hospital, where he was admitted earlier in September.

He returned home on Thursday and breathed his last on Friday night, the acclaimed actor’s manager Ismail Ansari told IANS.

A statement released on behalf of his family, said: “It is with sadness we announce the death of Tom Alter, actor, writer, director, Padma Shri, and our dear husband and father.”

Spotlight

Actor Vishal Krishna has released a statement condemning T Rajendar for his actions at a recent event. TR, as he’s fondly called, berated young actor Sai Dhansika for forgetting to mention him in her speech at the event. Dhansika apologised immediately for her oversight, but TR continued to berate her in front of the audience. This incident has provoked a lot of negative response against T Rajendar.

Let them eat cake!

Actors Prasenjit Chatterjee, singer Shaan will all turn a year older today!

Judwaa 2 Review: There’s Little To Recommend In This Film Filled With Crass Humour & Double Entendres

BY Sanjana Chakraborty On

Five minutes into David Dhawan’s “new age” version of his 1997 comedy of errors – of twins separated at birth – the audience watch a small boy’s hand moving vigorously. Dressed in jeans with his shirt done like a local rowdy, the little boy slams his hand on a lady’s butt and says: “Ey chalti hai kya?” [Will you come or not?]

Instead of gasps and shock, the audience erupt with laughter. The boy’s foster mother, who then appears on screen, does the traditional ‘nazar na lage‘ action to her little boy. Needless to say, he grows up and continues to indulge in all forms of harassment which would, in real life, land him in jail.

There isn’t any originality in this film, which is all about belittling women, illogical plot devices, and characters that deserve to be a part of police records under ‘Frequent Sexual Offenders’.

Judwaa 2 is about how Prem Malhotra and Raja from Versova (both Varun Dhawan) meet years later only to realise that they are twin brothers who were separated at birth, thanks to a villain called Charles.

Prem Malhotra
(YouTube screen grab)

Prem is a soft-spoken, well-mannered, meek guy brought up in London, who often gets bullied for reasons unknown. He’s also from a really rich family. He meets Samaara (Taapsee Pannu), a Gujarati girl who studies in his college. But after Prem inadvertently molests Samaara several times, she somehow falls in love with him – ironically after he beats up a bunch of guys who try to molest her.

Only, it isn’t Prem but his twin brother Raja.

Raja
(Youtube screen grab)

Having grown up in Mumbai, he is the typical tapori who dresses up flamboyantly, spouts double entendres, and has no idea what consent even is. Also, he refers to women as “items”, and says he only respects two ‘things’ – his mother and food. He moves to London after breaking a coconut on a bad guy’s head. He meets Alishka (Jacqueline Fernandez), whom we know nothing about except that she’s always giggling, and who is surprisingly unaffected by inappropriate touching and kissing, and is also the daughter of a weird, rich man (Anupam Kher).

While the story essentially wants to focus on how the two brothers meet and exact revenge on those who separated them, the film takes detour after detour, and settles down to focus on the twins bumbling around in UK, wreaking havoc in peoples’ lives.

Back in the 90s, the film had Salman Khan thrusting his hips, following women, talking in rhymes, and indulging in humour that worked. Judwaa 2, however, manages to have a 2017 setting with humour as stale as a week-old fries. David Dhawan incorporates jokes and stereotypes from a bygone era, and manages to offend women, people with speech defects, mental illness, doctors, villains (because real-life villains don’t really use air quotes like Joey from Friends), and the entire concept of humour.

*****

Taapsee Pannu is a good actress without a doubt. Having proved her mettle in films like Pink and Naam Shabana, one would expect her to practice what she preaches. But it’s baffling to watch her character fall in love with the man who kisses her without consent, kisses her mother without consent, and pretty much lies to her, all under the garb of humour.

The other lead, Jacqueline Fernandez, isn’t different from the usual pretty girl she’s plays on screen, where her words are replaced with giggles, and the camera is mostly fixed on her legs. She’s gorgeous, but it’s almost troubling to call it romance when her character falls in love with a man who harasses her throughout the film. For Jacqueline, sadly, it’s the type of role she’s probably gotten used to.

Varun Dhawan, who is present in almost every scene thanks to his double act, tries really, really hard to emulate Salman Khan. He’s got the body and speech spot on, but that doesn’t really help his character or his father’s film.

Sure, it wouldn’t be a surprise if he’s hailed as the new age Salman Khan, but for the Varun who was a part of films like Badlapur, Judwaa 2 would just end up being a blip in his career.

*****

It’s clearly been a bad year for Hindi films story-wise, especially the mega-budgeted ones. Biopics and sequels seem to be the flavour of the season. Minus a handful of good ones this year, several Hindi films have resorted to lazy writing, half-baked characters, and a general lack of creativity.

Bearing this in mind, Judwaa 2 doesn’t stand a chance next to its original 1997 film. But given the responses I witness at a usually quiet theatre in Chennai, the film might actually make more money than it deserves.

To those genuinely offended by the humour, be prepared for questioning yourself for choosing this as a weekend watch. It’s long, it drags, and there are many auto-tuned remixed versions of what were actually fun songs.

To David Dhawan, what’s with crass jokes and not keeping up with the times?

*****

The Judwaa 2 review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

‘There’s No Performance In Modern Music; It Is Just Plastic’: Ilaiyaraaja

BY Janani Karthik On

Ilaiyaraaja was live on Facebook yesterday. In the conversation, the composer spoke about the quality of today’s electronic music among other things.

About modern music, Raaja said: “A person who indulges in an art form has to perform. If he’s an actor, he has to act, but in today’s music, there is no performance, only programming. It is just plastic.”

Talking about working with London Royal Pjilharmonic orchestra, Raaja commented, “It was a great experience for a person like me who started with nothing. The kind of symphony and some of the pieces that I heard were the best. I cannot express that in words.”

Answering a question about working with Kamal Haasan, Raaja said, “Kamal has a lot of knowledge in music. He has memorised the ‘Naalayiram Dhivya Prabandham’. He has excellent memory power. He can sing any line from it at any time. I didn’t team up with him because of that. He chose me. He wanted to work with me.”

Karuppan Review: A Tedious ‘Rural-Entertainer’ That Rides Solely On Vijay Sethupathi’s Performance

BY Vandhana On

Karuppan is a tiresome rehash of every other ‘rural’ commercial entertainer we’ve seen over the past decade. If not for the charismatic presence of its male lead, Vijay Sethupathi as Karuppan, and some amusing bits of comedy from Singam Puli, Karuppan would be a needless exercise in filmmaking.

As it stands, the film with its tedious notions of masculinity and Tamil pride belongs to a different era altogether. In the present climate though, this film and others of its ilk are a sobering reminder that movies elevating caste pride still exist.

Vijay Sethupathi plays Karuppan, a man’s man who can tame bulls with ease. His weakness for liquor means that much of his good work is overlooked. At a Jallikattu event, he tames the bull easily, and is given Anbu’s (Tanya Ravichandran) hand in marriage.

With little to recommend him in the marital stakes, except perhaps his propensity to tame bulls, Karuppan has a difficult time winning over Anbu. But, soon, she too gives in.

It’s all predictable with D Imman songs running in the background, and rain sequences. Meanwhile, Vijay Sethupathi has the time of his life shaking his leg to iconic songs of MGR, Sivaji Ganesan, Vijay and Ajith Kumar. Turns out even an actor of Vijay Sethupathi’s calibre is not beyond milking the popularity of such top stars to get ahead.

But, you have to give it to the actor. As a wastrel with his heart in the right place, the actor gives an unabashed performance. The others with him though, are content to coast along on his performance.

Also good is the fact that the actor tries to bring some amount of political correctness to this film. He takes a firm stand against eve-teasing, pornography and many such issues. The man says he will only marry Anbu if she wishes to (even as his associates plan to kidnap her), and that’s a win.

But, by large, all this is drowned out by the incessant chauvinism and patriarchy on display in the film. The people and the lands of Karuppan are violent and bloodthirsty. And it is definitely a big minus that the director chooses to glorify this aspect.

Despite Vijay Sethupathi’s efforts, this village drama sits ill at ease on his shoulders. There’s not much to recommend it (the editing by VT Vijayan could’ve been better – there’s a lot to chop in here) and Bobby Simha is criminally underused.

It’s nice to see Pasupathy after a long time, but even that novelty wears off when you see him as a man willing to give away his sister in marriage to a man who is (by all counts) a wastrel.

But, that’s the way these films roll.

One would be hard pressed to find differences between Karuppan and the many movies of Muthiah (Komban, Kutty Puli). 

*****

The Karuppan review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

Udaharanam Sujatha Review: Feel-Good Drama Supported By Excellent Cast

BY Aswathy Gopalakrishnan On

Udaharanam Sujatha, directed by Phantom Praveen, is the tale of a single mother’s efforts to ensure that her only daughter, a 15-year-old, studies well, gains a good job, and doesn’t end up as a domestic help like her. The film, a remake of Ashwiny Iyer Tiwari’s Nil Battey Sannata/Amma Kanakku, is essentially a feel-good movie that trudges a careful middle path to never get too complicated or dark.

Sujatha (Manju Warrier), a domestic help, takes up multiple jobs, and saves every penny carefully, so that her daughter, Aathira, can go to school regularly. However, Aathira has eyes only for her movie idol,  Dulquer Salmaan. She refuses to study, despite her mother’s constant egging. Sujatha is crushed when the girl tells her that no matter how well she studies, she can only end up as a domestic help because ‘children always take after their parents.’ With the help of an employer, a well-revered veteran writer, Sujatha gains entry into the school where Aathira studies, and joins her class, so that she can keep an eye on her and draw her interest to studies.

Udaharanam Sujatha isn’t as corny as a Vineeth Sreenivasan drama, but works like one of those good old television films produced by the Doordarshan that promises people that their life would fall in place if they worked hard and believed in the government. In the film, there is Mamta Mohandas playing the district collector who is passionate about her work. Sreekumar (Joju Joseph), the principal of the government school where Aathira studies, is a strict taskmaster with a golden heart. He acts as a good shepherd to all the students in his school, most of whom are from poor households. There are no rough edges to these characters. Sujatha is a perfect mother to Aathira. She is kind and utmost sincere in her job as a perfect domestic help to George Paul (Nedumudi Venu). There is a gentleman in her neighbourhood who likes her, but Sujatha, the angelic single mother, puts her daughter’s life above her own, and rebuffs the man’s advances.

What saves the film from being reduced to a mere moral tale is its eye for detail. It is well shot by Madhu Neelakantan whose camera captures the fascinating mess of colours that Sujatha’s city is. The social milieu of the characters is flawlessly established. The one-bedroom house of Sujatha on the wall of which Aathira has pasted Dulquer Salmaan’s pictures, her relationship with her neighbours and relatives in Chenkalchoola slum of Trivandrum, Aathira’s friends at school, and the young boy who juggles school and his job as a mechanic at a vehicle workshop – the film paints a vivid picture of life on the margins.

The film, inadvertently, looks down upon those working in the blue-collar sector when a character, an IAS officer, says, “I worked towards becoming an IAS officer because I didn’t want to be a domestic help.” This elitism that it displays is insensitive – something that makes every heart-tugging feel-good moment that we had been watching till then look like a farce.

In Sphadikam, one of the biggest commercial hits in Mohanlal’s career, he was the only son of a tutor of mathematics. His father, Chacko, believed that a student was only as worthy as his score in maths exams. He despised his son, Thomas, for the boy was bad at studies, and was into artistic things that didn’t require algebraic equations. Sphadikam took into account the fact that life is one complex tapestry. Chacko’s favourite student, a geek whom Thomas envied so much, dies in the prime of adulthood. Thomas, a maverick inventor, ends up as a goon. This complexity of life is terribly absent in Udaharanam Sujatha. Do we always end up where we want to in life, despite having done everything we could?

Manju Warrier is excellent in the role. Even better is Anaswara Rajan who plays the immature and headstrong Aathira. Look at her perform in the scene where she first screams and then pleads with her mother to not join the school. The young actress is a natural talent. Joju Joseph often becomes a caricature, but his cheerful presence adds to the film’s charm.

Udaharanam Sujatha is not path-breaking cinematic work, or a story that tugs your heart forever. But it’s a neat level-headed portrait of a Dalit woman’s life in a city, something that our commercial films rarely focus on. The feel-goodness that it dishes out is too sugary sometimes, but is charmingly natural.

*****

The Udaharanam Sujatha review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

 

 

AR Rahman To Celebrate 25 Years Of Musical Journey With A Multi-City Tour

BY IANS On

A.R. Rahman ENCORE – The Concert, in association with MTV, will celebrate icon A.R Rahmans 25 years in music.

The event will take place in four Indian cities – New Delhi, Hyderabad, Ahmedabad and Mumbai between November-December. The legendary musician is expected to be accompanied by more musicians from across India.

Rahman said in a statement: “It has been an incredible journey over these last 25 years. Sometimes when I ponder I get goose bumps because the Almighty has been kind in giving me happiness that has only multiplied year after year.”

“I’ve been immensely blessed to have the love and support of my fans, friends and family. From husband to father to composer to mentor, I have embraced different roles but the music has always been constant,” added the Grammy Award winner, who has given hits like Jai ho, Hamma hamma and Urvasi Urvasi.

Music for him serves as the “spiritual bond between the audience and myself”.

“I am excited to be performing at home after such a long gap. Come and join me and my amazing ensemble of singers as I will celebrate what inspires and motivates me to be the person I am today,” said the musician, who performed in cities like New York and London this year.

Speaking about the upcoming concert, Raj Nayak, Chief Operating Officer, Viacom18, said: “We believe in pushing the envelope to introduce our audiences to newer concepts and provide entertainment that’s not only of great value but also creates a place for itself in their hearts and minds.”

“Bringing this amazing multi-city concert with none other than A.R. Rahman, who is one of the biggest musicians India has ever seen, is just another step for us in the direction of fulfilling our promise to our audience.”

 

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Tamil Nadu CM Edappadi K Palanisamy To Skip Sivaji Ganesan Birth Anniversary Celebrations

BY Janani Karthik On

The Tamil Nadu Chief Minister Edappadi K Palanisamy, in an official statement, said that he would not be able to attend the opening ceremony of the Sivaji Ganesan Manimandapam, which is scheduled to take place in Adyar, Chennai tomorrow.

According to the Chief Minister’s press statement, “I have great respect for Sivaji Ganesan sir. We had planned to open the Manimandapam for Sivaji Ganesan on his birth anniversary on October 1. I was supposed to come, but due to prior commitments, I won’t be able to attend the function. Deputy CM O Pannerselvam and Minster Jayakumar will grace the occasion.”

Following this, the Nadigar Sangam, in a press release, requested the CM to reconsider his decision. “Sivaji Ganesan sir is a pride to Tamil cinema. We request the Chief Minister to attend the function and make it a grand event,” the statement read.

While the invitation to the ceremony has been sent to all the actors, it is unclear whether Kamal Haasan and Rajinikanth will be attending the function.

‘Humour That Makes Fun Of A Person’s Appearance Is Unacceptable’: The Karunakaran Interview

BY Subha J Rao On

Karunakaran might make people laugh in most of his screen outings, but behind that persona is a thinking, sensitive human being. He’s decent to a fault, and is particular about what he utters on screen.

…Which is why he’s confident even about Hara Hara Mahadevaki, an adult comedy directed by Santhosh P Jayakumar. “It’s my first in this genre. I was supposed to do Bala Saravanan’s role, but eventually ended up playing a character who knows nothing. He earns a rupee or two working a water hand-pump. It’s a space I’ve not been seen in before.”

The actor is fresh from the success of Vivegam, and says that he’s happy with what Santhosh has achieved. “Yes, it’s a niche film meant for those who love this genre. It banks on dialogues to drive home the laughs. And, personally, it was easy to play someone far removed from who I am. It’s actually more difficult to play a character closer to the real you.”

Despite doing a clutch of movies since his debut in Kalakalappu in 2012, Karunakaran says people’s favourites are a few — Uppu Karuvaadu, Jigarthanda, Indru Netru Naalai, Soothu Kavvum… and now, Vivegam. “I’m just very happy with the fact that they like me on screen. I do want to continue taking up roles that linger for long in people’s minds, but it’s not in my hand to design a character. I have to strike a balance and be part of films that are huge commercial successes, too. That will give me the freedom of choice.”

Also, says the actor, in these difficult times for the industry, with fixed ticket prices that are lower than in most other States, it is important for movies to do well and make a profit. “It is disappointing when you are praised, but the movie is not. But, I’m all for flexible pricing for big budget films, at least for the first three days. The price of fruits and vegetables varies every day, so, why not for tickets? All said and done, this is an industry too.”

Karunakaran cites the example of Bengaluru, about 350 kms from Chennai. “The price difference is huge. Tickets there are sold at a premium. Also, in Tamil Nadu, the cost of parking and snacks must come down. We need to get more people into theatres.”

The actor is working on a set of films now, some of which showcase his humorous side. “I’m in a lovely learning phase now. I worked with Priyadarshan Sir (the remake of Malayalam superhit Maheshinte Prathikaaram), and it was like sitting through a class in a different style of acting. It was a great experience. Then, I’m part of Vijay’s next with Prabudheva sir and Aishwarya Rajesh; here, I get to work with two directors. That will help me improve as a performer.”

Up next is Veera, with Kreshna, and Karunakara says that it’s a film with dark humour set in North Chennai. “It has come out very well, and it is the longest I have been seen on screen, till now.

Five years is a short time to analyse one’s career, but Karunakaran attempts it. “When I go back and see some of my works, I find them amateurish. But when shooting for Kalakalappu, Sundar C told me that I had the kind of quality that the late V K Ramasamy had. Personally, I truly like Indru Netru Naalai and Jigarthanda. I feel I did my job well.”

One thing everyone notices about Karunakaran is his eyes. Laughing, he says, “In fact, Vijay sir once told me that at an event. ‘Unga kannu periya plus. Neraya per sollerpaanga, illaya?’ (Your eyes are a big plus; I’m sure many have told you that) I feel Yaamirukka Bayamaen used my eyes well.”

Now that he’s reached a particular position, does Karunakaran step in to write his lines? “No. Most of the time, I go with the vision of the director and writer, and improvise on the sets. I step in only when there’s something that makes fun of a person’s appearance. That’s unacceptable, especially, when the target is a newcomer and whose character has no way of retorting. I’m deeply sensitive and know how it hurts when people taunt you over your appearance. I was once ridiculed saying my mouth was curved to a side. We must understand the excitement with which the families of these new actors will watch their films. They would be really hurt to see a member made fun of this way. The only time I go lax on this is when it is with an equally placed character and when that person has a counter dialogue too.”

The actor says it is important to make people laugh, but not by running down someone. “The situation must bring in the humour.”

I wonder if this mindset comes from the home he was raised in. “Possibly,” he says, “My parents are particular about not hurting others, and raised me that way too.”

Hara Hara Mahadevaki releases today.

*****

The Karunakaran interview is a Silverscreen exclusive.

Get To Know: VT Vijayan, Film Editor

BY Vandhana On

What’s a day in the life of a technician like? We attempt to find out through this fortnightly column.

VT Vijayan is notoriously reclusive. A quick Google search yields much less than you’d expect of an award-winning editor, with over two decades of experience. But, that’s the way Vijayan prefers it.

“I am not sure I have a very good relationship with the public side of my job. I like fixing things. I like puzzles. I just don’t like talking about it,” Vijayan says.

At one point in his career, Vijayan worked on seven to eight films at a time. These days, it has trickled down to one. “Zero, sometimes. But when someone insists, I say okay.”

Director Hari is one of the few who insists on Vijayan being a part of his projects. “There’s just no denying Hari. He is a force of nature,” Vijayan laughs.

Vijayan spent his early days assisting, and then working with B Lenin. “Everything was linear then. All we had to do was figure out how the director wanted the story to be, and then help him convey it to the audience. Now, with digital editing and the non-linear format, life can become frustrating.”

A typical day at work for the editor would involve multiple calls and meetings with his post-production team. “By the time the content comes to us, everything about the film is done with. The sets are in storage, the actors are working in other films. So it gets a little strange. Not to mention hectic. Without constant communication, we never get the output the director wants.”

One gets the sense that Vijayan is ill at ease with the way film-editing has changed. “I may not have kept up with the times. But, I try. These days, I prefer working with and mentoring young up and comers. It makes life meaningful. There’s no point in participating in a race that has rules you don’t know anything about.”

In the eighties, his work days were a lot easier. “The tapes would be provided in chronological order. All we’d have to do is sit, watch it, and step in when there were inaccuracies. Now, my assistants have to organise it all chronologically first. It’s tiresome work, but someone has to do it.”

This is followed by hectic back-and-forth with the director. “Sometimes, I invite them to stay with me. It is more comfortable when the director is around. Editors need to be master storytellers, but that doesn’t mean that we can just play around with the vision the director has for his film.”

There’s a lot of tightrope walking involved, Vijayan says. “We need to be nimble with our minds, hands and feet. Else, we’ll end up making a whole new film than the one the director envisioned.”

Sometimes, Vijayan and his assistants lose track of time. Food, he chuckles, is their clock. “If we’re given tea a couple of hours after full meals, then its 4 PM.”

Editing is largely solitary work. It consumes one, and has even claimed the life of young editor Kishore TE. Vijayan rues the circumstances and work pressure that lead to such deaths. “There’s a lot of pressure involved. Majority of the films are not executed on schedule. Editors, in particular, are not given enough time to finish their work. It’s stress, stress, stress all the time. Why do you think most of us are bald?”

The Vijay Sethupathi-starrer, Karuppan, edited by Vijayan, hit the screens today.

*****

Image courtesy: Facebook account Of VT Vijayan

Nupur Asthana To Direct Digital Show ‘Mangalyaan’

BY IANS On

Director Nupur Asthana has been roped in to helm digital show Mangalyaan, which will narrate the story of three women and their mission to make the Mars Orbiter Mission successful.

The ALTBalaji show will talk about various aspects of the Mars Orbiter Mission at the Indian Space Research Organisation (ISRO), and revolves around three women scientists who were critical in making the mission a reality, read a statement.

The show, written by Anu Menon and Sumit Purohit, will throw light on their personal as well as professional journey.

Manav Sethi, Chief Marketing Officer, said: “At ALTBalaji, we believe in path-breaking content and inspirational stories. Mangalyaan talks about these women who have made India proud. We are proud to capture some facets of their journey while undertaking this path-breaking mission for India.”

Asthana has also helmed web series Romil and Jugal, a contemporary adaptation of William Shakespeare’s Romeo and Juliet.

Photo: Bollywood Life

Lynda Carter Slams James Cameron For Criticizing ‘Wonder Woman’

BY IANS On

 Actress Lynda Carter, who played the original Wonder Woman in the 1970s’ show, has slammed filmmaker James Cameron, who could not stop criticizing Patty Jenkins-directed Wonder Woman.

The actress, 66, who famously portrayed the Princess of Themyscira in the original TV series, took to Facebook to slam the legendary filmmaker for his “thuggish” comments on this year’s box office hit, reports aceshowbiz.com.

“To James Cameron – STOP dissing WW: You poor soul. Perhaps you do not understand the character,” she said. “I most certainly do. Like all women — we are more than the sum of our parts.”

“Your thuggish jabs at a brilliant director, Patty Jenkins, are ill advised,” she said.

She praised the movie and its star Gal Gadot. “This movie was spot on. Gal Gadot was great. I know, Mr. Cameron — because I have embodied this character for more than 40 years. So — STOP IT.”

Cameron has made sexist comments about Wonder Woman for months.

He previously called the film “a step backwards”, claiming that “all of the self-congratulatory back-patting Hollywood’s been doing over Wonder Woman has been so misguided”.

Photo: Kiwireport

‘Veep’ Star, Julia Louis-Dreyfus, Diagnosed With Breast Cancer

BY IANS On

Actress Julia Louis-Dreyfus, who won the Emmy for her portrayal of Selina Meyer in the comedy series Veep, has been diagnosed with breast cancer.

Louis-Dreyfus announced the diagnosis in a post on her official Twitter account, reports telegraph.co.uk.

Louis-Dreyfus, 56, who has two children, is best known for her role as Elaine Benes in the hit sitcom Seinfeld.

I’m Afraid To Do An Out-And-Out Commercial Film: Dulquer Salmaan

BY IANS On

Actor Dulquer Salmaan, who is gearing up for the release of his upcoming Tamil-Malayalam bilingual film, says he is more afraid to do out-and-out commercial films than attempt an experimental project.

While Solo, an anthology of four stories, might come as an experimental attempt, Dulquer believes such projects give him courage.

“I have always entertained audiences with memorable content. Doing a film like Solo gives me more courage because irrespective of its box office fate, people at least appreciate the intent, its effort or just the desire to make good cinema,” Dulquer told IANS.

“I’m more afraid to attempt an out-and-out commercial film. I feel it can either click or go all the way down. People will either like it or hate it,” he said.

Directed by Bejoy Nambiar, Solo is a story with a mythical touch. It’s a collection of four different stories on earth, water, fire and wind.

On the experience of shooting Solo, in which he plays four characters, Dulquer said it was taxing, both mentally and physically.

Nevertheless, he enjoyed being part of this film.

“The feeling of ‘we’ve accomplished so much at the end of a day’ kept us going. It was a good day’s work that gave us the kick. When you feel relaxed at the end of the day of a shoot, there’s no feeling of accomplishment. If I sleep after a tiring day of shoot, I know I’ve earned that sleep. It gives you lot of energy. Solo gave me that feeling,” he said.

Initially, the team had plans to shoot Solo as four short films.

“I thought I’ll do a regular film and do a short film in between. But nothing worked out as per our plan. We shot in Kerala, Mumbai and Lonavala. We didn’t know where all the stories were taking us. We had to treat the stories differently,” Dulquer said.

“Except Bejoy and I, even the technical crew changed for each story. Even the assistant directors changed. The cameramen were different. As an actor, I felt like doing four different films, four different ideas and four different experiences,” he added.

Solo, which is slated for an October 5 release, also stars Arthi Venkatesh, Dhansikaa, Dino Morea, Neha Sharma and Sruthi Hariharan.

I’m Against Nepotism, It Leads To Mediocrity, Says Saif Ali Khan

BY IANS On

Actor Saif Ali Khan, who was earlier forced to apologise to actress Kangana Ranaut for taking a dig at her through the “nepotism rocks” act at the IIFA Awards, says he himself is against the term and feels it leads to mediocrity.

“There are a lot of things that get overhyped, but I think a lot of people feel very strongly about things like this (nepotism). They are privileged people and life can be very unfair to them. So, it’s good to discuss this. For the record, whatever jokes were made (on the award show), I have already explained my side,” Saif told IANS here on Thursday while promoting his forthcoming film Chef.

“I am very against nepotism and I think it leads to a lot of mediocrity. But, I still don’t understand whether star children fell under nepotism or whether the talent is somewhere the key.

“But, definitely being a star kid gets you in the door easily. Then again it depends when people will put their money on you, then you must get it back. The bottom line is — talent is good, nepotism is bad,” added the actor, who is son of late cricketer Mansoor Ali Khan Pataudi and veteran actress Sharmila Tagore.

Kangana was among the first ones who raised her voice against the existing nepotism in the entertainment industry and called filmmaker Karan Johar a “flag bearer of nepotism” on his popular chat show Koffee With Karan.

Later, Karan along with Saif and actor Varun Dhawan poked fun at Kangana at the IIFA Awards in July by saying that “nepotism rocks”. The three of them later apologised for their act.

Directed by Raja Krishna Menon, Chef  is slated for a release on October 6.

The Call Of The Dolls At Kalpathi House

BY Janani Karthik On

Photos: Sriram Narasimhan

This Navaratri, we visit one of the more popular kolus in Kollywood – the one at Kalpathi House. Co-sisters Aandal Aghoram (Kalpathi S Aghoram’s wife), Mahalakshmi Ganesh (Kalpathi S Ganesh’s wife) and Meenakshi Suresh (Kalpathi S Suresh’s wife) have been setting up a grand kolu in this house for more than 25 years, with great passion. The arrangement is not just restricted to the kolupadi (steps), but is spread across the house.

They have a different theme every year; this year, it is the rath yatra at the Puri Jagannadh temple.

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Explaining the theme, Aandal says: “Krishna is seen with his brother Balaram and sister Subadhra at the Jagannath temple. He comes out with his siblings during the rath yatra to meet people. They travel in a chariot from Jagannath to the Gundicha temple.  We went to Odisha to research about the yatra and its associated stories. We bought the Krishna, Subadhra and Balaram dolls there and also ordered the chariot. We spoke to the priest to learn about the specialty of the festival.”

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They have created an entire Puri village, complete with houses, shops and wells, with dolls sourced from Mylapore, ISKCON temple and the exhibition at Crowne Plaza.

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The ladies then take us to the traditional padi set-up in a different room; it features a throwback theme. Some favourite themes from previous kolus are displayed here. The Kaali theme is spectacular; the idols have been sourced from West Bengal. The Hanuman idol from the Sundarakaandam theme and the Ashtalakshmi theme are some of the best we spotted.  

Around 350 guests, including celebrities from the film world, visit Kalpathi House for the annual kolu. A special menu has been drawn up for guests. “Vijay’s mother sings here every year. Aishwarya Dhanush and Vikram’ wife Shailaja are our regular guests. We also invite our personal friends from the industry,” says Aandal.

*****

 

 

It’s A Girl For Kunal Kemmu And Soha Ali Khan

BY IANS On

Bollywood couple Kunal Kemmu and Soha Ali Khan has been blessed with their first child, a daughter.

Soha delivered the baby on Friday morning and Kunal says he is overjoyed.

Kunal was in a live-in relationship with Soha Ali Khan since May 2013. They got engaged in July 2014 and tied the knot in January 2015.

The pair have together worked in films like Dhoondte Reh Jaaoge and Mr Joe B. Carvalho.

T Rajendar Berates Dhanshika For Forgetting To Mention Him In Her Speech

BY Janani Karthik On

T Rajendar, who attended the press meet of Vizhithiru, was involved in a war of words with actress Dhanshika on stage. Dhanshika had forgotten to mention T Rajendar’s name in her speech, following which TR picked up an argument with the actress.

In his speech at the press meet, TR, who has done a dance number for the film, said, “Dhanshika got the chance to act in Kabali only after Vizhithiru. After acting with the Superstar, she forgot me. She forgot to even mention my name while speaking on the stage.”

Even as Dhanshika intervened and apologised to the actor, TR did not listen to her. He said, “The stage ethic is to mention all the dignitaries. I didn’t expect you to talk about me, but I’m mentioning it now so that you learn. When you attend a function, you have to make a note of the technicians’ name and all the people who have worked in it.”

To which Dhanshika responded: “I respect you. That respect is always there within me. Respect is not just speaking about you on stage. I’m not an orator like you. I was nervous when I spoke on stage. So, we tend to be forgetful when we are nervous. I sincerely apologise.”

None of the others present at the meet spoke up for the actress; actors Vidharth and Krishna, who were also on stage, were spotted laughing as TR launched into a tirade against Dhanshika.

This is not the first time that an actor-director has taken umbrage at the apparent ‘disrespect’ shown towards him. At the Thoppi audio launch in 2015, when the host called Singam-Puli on stage without a note of introduction, he’d said: “I think Aishwarya (host) doesn’t know about me. She just said, ‘Singam Puli is next’. I have directed  films with Ajith and Suriya. I have written dialogues for films like Perazhagan and Renigunta, and I was the co-director for Pithamagan. For your information.”

‘Daybreak’ Is Albania’s Official Candidate For The Oscars

BY IANS On

Daybreak by director Gentian Koci is Albania’s official candidate for the Oscars’ best foreign-language film award.

Daybreak is a drama which received wide critical acclaim after its premiere at the Sarajevo Film Festival. If nominated, it would be the first Albanian movie to reach this stage, Xinhua reported.

Since 1996, Albania has sent 10 Oscars movie candidatures, but none of them were nominated for an Oscar. Daybreak is a fictional story on people’s day-by-day’s struggle to keep going on in society,” Koci said, describing his movie.

 

Feature Image: Tirana Times

Oviya Signs Raghava Lawrence’s ‘Kanchana 3’

BY Silverscreen India Staff On

Bigg Boss Tamil contestant and actress, Oviya, has reportedly joined Raghava Lawrence’s third installment of the horror-comedy Kanchana 3. According to a Deccan Chronicle report, she will play one of the three lead heroines in the film.

Speaking to DC, Lawrence said:

“We are glad to have Oviya on board for Kanchana 3. We will start shooting for the film in Chennai from October 5. It’s too early to talk about her character in the movie.”

While Muni had Vedhika, and Kanchana featured Raai Lakshmi, Kanchana 2 starrred Tapsee Pannu and Nithya Menen.

Meanwhile, ever since she left the reality show, Oviya has been offered several films. She recently signed on for yet another adventure thriller titled Kaatteri, to be directed by Deekay. She will star opposite Telugu actor Aadi Saikumar, who plays the male lead. Kaatteri, bankrolled by Studio Green, is an adventure film set in a village.

She has also been approached for a horror comedy, Pallu Padama Pathuka, to be directed by Vijay Varadaraj.