Month: September 2017

Paul Bettany to Work on ‘Star Wars’ Han Solo Spinoff

BY IANS On

Actor Paul Bettany has been roped in to star in the upcoming Star Wars Han Solo spinoff movie, director Ron Howard has announced. Howard made the announcement on Twitter on Friday, reports variety.com.

While sharing a photograph of himself with Bettany on the set, Howard wrote: “The Outer Rim just got a little bit wilder.” He later wrote, “It’s my third opportunity to work with Paul. He’s a blast and so talented.”

Howard took over as director after Phil Lord and Christopher Miller were fired over creative differences. Re-shoots are underway for the film, which is expected to release on May 25, 2018.

Bettany is known for his roles in A Beautiful Mind and The Avengers.

Script for Rabindranath Tagore Film Revised, Sent to University for Validation

BY IANS On

National Award winner Ujjwal Chatterjee, who is helming a trilingual film produced by Priyanka Chopra’s company on the relationship between Nobel laureate Rabindranath Tagore and his English teacher Annapurna Turkhud, has submitted a revised version of the script to Visva Bharati University for consideration.

“I have submitted the revised script,” Chatterjee told IANS. 

According to Visva Bharati Acting Vice Chancellor Swapan Datta, the revised version will be sent for scrutiny to poet and noted Tagore scholar Sankha Ghosh. “They (filmmakers) have submitted revised version, it will be circulated to our members and will be finally put up to Sankha Ghosh,” Datta informed.

Visva Bharati had earlier recommended the removal of certain “intimate scenes.” Chatterjee had agreed to chop off one scene. 

Annapurna Turkhud, also known as Anna or Annabai, was the daughter of Atmaram Pandurang Turkhud, a Mumbai-based doctor. Tagore had stayed with the family prior to his first voyage to Britain in 1878 and took lessons in spoken English from Anna. 

He gave her the nickname Nalini, which Anna later used as a pseudonym for her writing. She inspired some of Tagore’s early poetic expressions. Tagore never forgot Anna, and was said to reminisce about her in his old age.

The film will portray the platonic relationship between the two. A scene in this Marathi-Bengali-English film shows Nalini kissing her fiance as Tagore looks on, while in another Nalini kisses Tagore on the cheek.

“Actually we have to retain the scene where Nalini kisses her fiance because its documented. The other scene will be removed,” Chatterjee had said.

 

Image: Wikimedia Commons

Amala Paul Thrilled To Work With ‘Thiruttu Payale’ Team Again

BY IANS On

Amala Paul, who is thrilled about her role in upcoming Tamil thriller Thiruttu Payale 2, says she would love to work with the team again. “This is one of the best roles I have played in my career. I need to thank director Susi (Ganesan) for the opportunity. I loved working with this team and I would love to work with them again,” Amala told IANS.

The film is a sequel to Susi’s 2006 thriller Thiruttu Payale. 

Amala is excited to be part of the franchise. “I’m aware of the success of the first part. Naturally, I was glad to be associated with this project. More than the film and its story, I was thrilled to be working with the team,” she said, unwilling to talk about her role. She is paired with Bobby Simhaa in the film, which also stars Prasanna as the antagonist.

“It was fun to work with Bobby. There were scenes we had to be intimate and he was so reserved to even touch me. He was nervous, and I remember calling him ‘baby’ Simhaa. He is a very committed actor,” she added.

Produced by AGS Entertainment, the film has music by Vidya Sagar. 

Anirudh Ravichander Sings ‘Baitikochi Chuste’ For Pawan Kalyan’s Next

BY IANS On

 The audio teaser of actor Pawan Kalyan’s next yet-untitled Telugu film, being directed by Trivikram, was released on Saturday on the occasion of the star’s 45th birthday.

The minute-long teaser is from the recording session of a song titled Baitikochi Chuste. Anirudh sings the song while director Trivikram Srinivas looks on.

The as-yet-untitled film marks Anirudh’s Telugu debut; and has Keerthy Suresh, Anu Emmanuel in pivotal roles. Tipped to be a romantic entertainer, the film has Pawan Kalyan as a software professional. Recently, the cast and crew completed a month long Europe schedule. 

The film is expected to hit the screens on Sankranti 2018.

Balakrishna: “What Did Amitabh Accomplish As A Politician?

BY Vandhana On

https://www.youtube.com/watch?time_continue=3&v=GCt-kFido7Y

In an interview with Telugu channel TV 9, Balakrishna addressed the rise in number of actors-turned-politicians. Taking the example of actors Amitabh Bachchan and Chiranjeevi, Balakrishna said:

“What did Amitabh do as a politician? What did he do in politics except for defeating a great political leader like Hemvati Nandan Bahuguna? Amitabh only signed autographs during his political stint. Bahuguna would have done so much service to the people. Politics is about sustainability,” he said.

“What happened to Chiranjeevi? Nobody can sustain in this field. We (our family) are different. Ours is a different breed. Politics is all about grooming and not emotion. Only Rama Rao garu could do it,” the actor added.

The actor was promoting his Paisa Vasool when he made these comments.

Amitabh Bachchan To Play Chiranjeevi’s Mentor In ‘Sye Raa Narasimha Reddy’

BY Vandhana On

Amitabh Bachchan is rumoured to be playing Chiranjeevi’s mentor in Sye Raa Narasimha Reddy. The film, about the life of revolutionary Uyyalawada Narasimha Rao, has Bachchan in the role of Gosai Venkanna, according to a DC  report.

“It’s a powerful, meticulous and intense role and the filmmakers wanted someone who has huge charisma to play the character. They found Amitabh to be the best fit for the part,” a source said.

Vijay Sethupathi, Kichcha Sudeep star in this British revolt drama that also has Nayanthara as the female lead. AR Rahman is the music composer of this film, which is produced by Ram Charan through his Konidela Production Company. Story and screenplay are by Paruchuri brothers.

Esha Gupta: “Sometimes, I Wish I Had A Different Surname”

BY Vandhana On

Esha Gupta is proud of the work she’s done so far. But, there were times when the actress had wished she had a different surname that would have been more advantageous in the film industry.

“I have carved the way on my own. There are times I wish even if four of my films flop, there is someone producing films for me and making films only with me. You think, ‘I wish I didn’t have this surname but that surname’ (referring to being a star kid),” Esha told PTI.

Gupta said that she is treated like an outsider by the ‘industry people’. “I think I am still an outsider. I am still treated like one to quite an extent by the so-called ‘industry people’. It’s their body language that lets you know. I can’t blame them because even I haven’t made an effort to be a part of them. I don’t want to,” she added.

While the Baadshaho actor has been asked to network more to get film roles, Gupta declared that she doesn’t need the kind of roles that come from such activities. “I don’t know how it works. I don’t go out, I just can’t. I can’t try to mince words, be sweet and rally behind you for work. If you don’t like me, don’t give me work. If you don’t like me and still give me work, you’ll only try to pull me down. If I am after your life to get a film, you’re still going to give work to somebody else and badmouth me behind my back,” she said.

Madhavan Walks Out Of ‘Fanney Khan’

BY Vandhana On

According to a Times Of India report, actor Madhavan is no longer a part of Fanney Khan. The actor cited scheduling conflicts as the reason behind his decision.

“I loved the script and was really keen to be part of an interesting ensemble like Fanney Khan, unfortunately I couldn’t commit to the project due to date issues. I wish the team of Fanney Khan all the luck,” he said.

The film has Rajkummar Rao, Aishwarya Rai in pivotal roles. Earlier, there were reports that Rai was not happy with Madhavan being a part of the film. The project’s producers were then forced to dismiss it as rumours.

 The film deals with the issue of body shaming, and is produced by Arjun N Kapoor. Rakeysh Omprakash Mehra is the director.

Telugu Actress Assault Case: Srujan Gets Bail

BY Vandhana On

Actor Srujan, accused of assaulting a young Telugu actress in a moving car, has been granted bail by a court in Vijayawada. The actor proclaimed his innocence and also said that the case was an attempt by the young woman to blackmail him.

Srujan and fellow accused, director Chalapathi Rao, were released from Vijayawada sub-Jail, where they’d been lodged since August 19.

The actress filed a complaint on August 15 alleging that Srujan and Chalapathi Rao attempted to sexually assault her, while they were travelling from Hyderabad to Bhimavaram on a film shoot.

Now, Jayadev, counsel for Srujan told DC that the actress’s allegations were baseless and that the Police had arrested Srujan without any investigation.

 

Image Courtesy: Deccan Chronicle

Ram Rahim Singh Barred From Making Movies

BY IANS On

Indian Film and Television Directors’ Association (IFTDA) has cancelled the membership of the now jailed Dera Sacha Sauda chief Gurmeet Ram Rahim Singh and his aide Honeypreet Kaur. This move effectively bars them from making any movies in the future, said its president Ashoke Pandit.

“Ram Rahim cannot work in the Indian film and television industry anymore. His membership has been cancelled by the IFTDA. The decision was taken yesterday (Friday) evening,” Pandit told IANS over phone from Mumbai on Saturday.

The Indian Motion Pictures Producers Association (IMPAA) is also said to be contemplating terminating Ram Rahim’s membership. This can happen as early as September 4th, Pandit said.

“We are organisations of creative and dignified people. We can’t have a goon or criminal amongst us. The law has taken a hard stand on him and considering how many people died in Haryana due to his manipulation…,” he said while explaining the reason of Ram Rahim’s ouster from IFTDA.

Ram Rahim has been sentenced to 20 years’ rigorous imprisonment by a CBI special court on August 28 for the rape of two female disciples.

He set out on a film career with the 2015 film MSG: The Messenger, following it up with MSG-2 The Messenger and MSG: The Warrior Lion Heart, Hind Ka Napak Ko Jawab: MSG Lion Heart  and Jattu Engineer. Ram Rahim acted in all these films. He also claimed to have written and directed the projects. Honeypreet, whom the Dera website describes as his daughter, also co-directed some of these projects.

Njandukalude Naattil Oridavela Review: Too Many Desserts Can Spoil Your Dinner

BY Aswathy Gopalakrishnan On

A father sits down with his family of three adult children, a son-in-law and a grandchild at a high-end restaurant, and with a sombre face, tells them that he has something important to discuss. He wants to tell them that his wife, their mother, has been diagnosed with stage-two breast cancer. “Life offers you many dishes, but sometimes, you won’t like the taste of some of them…” he begins, trying to ease them into the bad news. The children, supposedly reasonable adults, immediately think their dad is talking about the chicken curry that they just had. “Oh, I had a bad feeling about this curry,” they say, and summon the bearer.

For a moment, this confusion might seem funny. On a second thought, you look at them closely, and see that they are playing fools for your sake. The makers of Njandukalude Naattil Oridavela (A Break In The Land Of Crabs) believe that every serious situation has to be watered down with a joke, no matter how awkward it might look. The film has bright buttery visuals, and interesting music. The production design is quaint. The little stunts and tricks done in the editing part have worked out well. The actors are good-looking, and their wardrobe is pretty. Melodrama has been carefully replaced with casual conversation and action, exaggerated theatrical facial expressions replaced with blank expressions that could mean many things, and gloom with jokes and more jokes. 

But there is little beneath the film’s surface. Blame it on Vineeth Sreenivasan, the new-age Malayalam feel-good films are syrupy tales that scream bland life-affirming messages. They have become too familiar, and hence, predictable. They might as well be written by Shiv Khera. 

NNOI, directed by Althaaf Salim, is a feel-good tale of an opulent Christian family in Kochi. In good times, they resemble the family in Vineeth’s Jacobinte Swarga Rajyam. Only that the lead characters here are much more unabashedly imperfect than they were in JSR. The elder son, Kurien (Nivin Pauly) is a loafer who loves food. The father, Varkey (Lal), a jolly-good realtor, isn’t shy to confess to his wife and kids that he is not very brave. However, the film doesn’t hold together these positives.

When Sheela Varkey (Shanthikrishna), a college lecturer, finds out one day that a lump on her body might be cancerous, she shares her fears with her husband, Varkey. This puts him in jitters. The couple goes to a doctor who confirms their fears. They break the news to their children, and together, the family prepares for Sheela’s fight against cancer. It is a situation akin to the Titanic. The ship has hit the ice-berg, and death is imminent. Instead of running helter-skelter, the family has to stay calm. 

In Shakun Batra’s Kapoor And Sons, a brilliant family drama, it is in the scenes set at dinner tables and living rooms, the grey shades of the characters come to the light. The family members indulge in talkathons which begin passively, explode midway, and culminate at a point so delicate.

In NNOI, such spontaneous long conversations create no hard-hitting impacts. After a certain point, they become exhausting. There is a long-winded romantic track involving Kurien and Rachael (Aishwarya), a girl he bumps into at the chemotherapy ward where he had accompanied his mother. Her dad is a cancer patient too. They embark on a cute relationship, and the film invests in a romantic song sequence on their relationship arc. Because this film is not just about people beating cancer, but also about by-standers of patients finding life-partners from cancer wards. There is too much hope and positivism stuffed into this film. It is one thing to be cool about cancer, and another to stay real and behave sensibly. 

Of the actors, Nivin Pauly, who is also the producer, delivers the weakest performance.  He wears his tried and tested mask of a ‘clueless young man’ again in this film. He sure looks like a loafer, but goes overboard with his ‘playing the fool’ act. He looks weary here. Lal is utmost natural in the role. His Varkey is funny and helpless at the same time, and Lal’s fine-tuned acting helps you sympathise with him. Ahaana Krishna, in her second outing, has done a neat job. She has an interesting screen-presence that commands attention even in the most casual scenes where she has little to do. 

The actor who steals the show here, is Shanthi Krishna, the yesteryear heroine whose brilliantly subtle performance shoulders the film. It’s her restrained acting that adds layers to Sheela, an otherwise one-note character. When she is scolding her family members, you can see that it’s not just anger that is driving her. Shanthi Krishna helps you see the life and character of Sheela beyond what the film shows you. She makes Sheela’s vulnerabilities poignant. 

There is an undeniable glimmer of talent in Njandulakalude Naattil Oridavela. There are several brief moments that speak highly of the skills of Althaf Salim and cinematographer Mukesh Muraleedharan. However, the film is pulled down by mediocre writing that discounts any possibility of grey in life. It is a dinner where you are served dessert seven times, and nothing else. 

***

The Njandukalude Naattil Oridavela 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.

Aamir Khan: My Only Philosophy Is To Make Content I Believe In

BY IANS On

As a producer, Aamir Khan says that his only philosophy is to make content he believes in. In a statement, the actor said:

“You can never predict how much business a film will make. You have to make what you believe and financially you try and make it on a budget so that you don’t lose money.”

The key is to make films on a budget that doesn’t lose any money, Khan revealed.

“That is what we try to do. As an actor or even as a production house, we try to make it (a film) in a budget that doesn’t lose money hopefully. The extent of the business can never be in control of nor can we really predict that.”

Their next production venture Secret Superstar, featuring Zaira Wasim, is slated for Diwali release next month.

Leena Yadav Doesn’t Like Being Called A ‘Female’ Director

BY IANS On

Leena Yadav doesn’t like being addressed as a ‘female’ director. She feels that by using such terms, we try and put people and art, inside a box. “When I made Shabd, it was my first film and I was only asked questions on being a woman director. I was being put in a box and then I thought that I am never ever going to make films only about women as that is what I am expected to do.

But I broke that with Parched. The thing is I don’t like being called a woman director. We don’t define a male director, we don’t call them a male director. Why are we putting things like Parched female centric, why are we putting things in a box. It’s much more complicated I know that in some parts of the world they say that you are bringing attention to the fact that there are not enough female voices, not enough female narratives.”

Yadav made these comments at the Literature, Information, Film, Frame, TV and Theatre (LIFF) India Filmotsav 2017 – World Cine Fest, where her Parched was screened.

The director also believes that Indians, despite having created the Kamasutra, are sexually very repressed. “We created the Kamasutra and now how have we become these people who use words like ‘chhee’, ‘haw’. I think a lot of violence is caused… We are sexually very repressed”.

Yadav feels that such issues need to be spoken about in public so as to eradicate the taboos around them. “In lot of interviews in India, If I would use the word breast or sex. People would react like ‘how can she talk like that’. We need to talk about sex. Web really do. There are too many issues buried deep and there is so much of repression because of that.”

“There is so much of lack of knowledge of sex amongst women especially in India… I want to talk about sex a lot more now,” she added 

 

Image Courtesy: Catch News

Nayanthara, Anushka Shetty Frontrunners to Play DIG D. Roopa

Kannada filmmaker A.M Ramesh is making a film on DIG D. Roopa, and Lady Superstar Nayanthara, Anushka Shetty are the leading choices to play the police officer. 

Deccan Chronicle reports that Ramesh, who makes films based on real-life incidents, is researching the incidents leading up to DIG Roopa’s transfer from her role as supervisor of the Bengaluru prison in which Sasikala is jailed. Roopa had claimed that Sasikala, who was found guilty in the disproportionate assets case and was lodged in Bengaluru’s Parappana Agrahara jail, received special treatment. However, Roopa was transferred to another division of the Karnataka Police, and attempts at a cover-up were made. 

Talking about the film, Ramesh said, “I’m now in the process of researching the various issues involved. Roopa has earlier exposed large scale irregularities in the prison system like drug abuse by inmates, special treatment to Abdul Karim Telgi of the fake stamp paper scam but it was her exposing Sasikala, which made her an overnight sensation. I need full proof of all the happenings as they are imperative for me before I proceed with the script-writing.”

Roopa gave Ramesh the go-ahead for the film, and said, “I found Ramesh a sensible director and he is renowned for his films on real-life subjects. So, when he approached me for a biopic, I didn’t have any apprehensions and gladly accepted.”

The Deccan Chronicle also reports that Nayanthara and Anushka Shetty are the filmmaker’s first choices to play Roopa. He said, “The frontrunners would either be Anushka Shetty or Nayanthara for the role of a powerful police officer. I am also meeting other members of the community to get the details. It will take one more month to complete the final script. We will finalise the cast after that.”

 

Balakrishna Disappointed That Amitabh Bachchan Refused Role in ‘Rythu’

Actor-politician Nandamuri Balakrishna – Balayya – is disappointed that Amitabh Bachchan turned down a role in Rythu, his film on the plight of farmers. 

Deccan Chronicle reports that Balayya and team went to Mumbai to meet Bachchan, but he didn’t want to be a part of the film. Balayya said, “We went to Mumbai to meet him for this film. It was an important and good role. Although he didn’t directly turn us down, he said that problems could arise, which was complete escapism.”

“We’ve done so many films, but this subject highlights the plight of the farmers, the backbone of our nation,” he added. Balayya also said he will proceed with Rythu only when Big B agrees to be a part of it. 

On working with Puri Jagannadh, Balakrishna said, “Many people are surprised about my decision to work with Puri, especially since our mindsets are different. But I know him and his earlier films. There are hits and flops in everyone’s career and you can’t judge someone by just one film. He too needs a big success at this time, so I decided to work with him. He narrated the story to me in 10 minutes and I was impressed.”

Rajinikanth, Kamal Haasan Condemn Centre In Wake Of Anitha’s Death

BY Vandhana On

Anitha, widely seen as the face of NEET protests, committed suicide earlier this week. Following her tragic death, actors Kamal Haasan, Rajinikanth strongly condemned the central government and also offered their condolences to her grieving family.

Kamal Haasan, addressing reporters after his impromptu trip to Kerala, said:

“Anitha’s death has deeply upset me. Those who should fight against NEET are now busy negotiating how much they should be paid to support it. Everybody, irrespective of caste, creed and religion, should come forward to fight against NEET. We have killed a young woman who dreamt of a better life. Anitha is also my daughter. We have lost a good doctor.”

Feature Image Courtesy: India TV

Pullikaaran Stara Review: There Is No Starshine In This Tone-Deaf Film

BY Aswathy Gopalakrishnan On

In Pullikaaran Stara (He Is A Star!), directed by Syamdhar, Mammootty plays a multi-faceted genius named Rajakumaran. He is noble, intelligent, courageous and above all, a handsome man women are instantly attracted to. But there is a predicament. He is too shy to put those good-looks and charisma to good use. Although he looks like he crossed the threshold of 50 long ago, he is still single. 

It is an utmost run-off mill film. The plot has an inconsistent tone, and the technical departments are awful. In its adverts, Pullikkaaran Stara is touted to be a film for kids. Professionally, Rajakumaran is a trainer to school teachers. He imparts to them lessons on how to be good human beings, and treat little kids with love and respect. Occasionally, he sings with children, and saves them from perils. There is a song sequence that comes out of the blue where kids, dressed in candy wrappers, dance to a cute song that Rajakumaran wrote for them. Occasionally, he also performs the services of a marriage counsellor. He asks a female friend to go back to her cheating husband because ‘men are like children who make mistakes, and women should shower on them motherly love’.

And in the same breath, Pullikkaaran Stara cracks a lot of adult jokes and use sexual innuendos.

When he isn’t at work, Rajakumaran takes advice from his friends – a sexually frustrated former police officer who lives in an apartment next-door, a young girl whom he saved from a suicide attempt on a train, his classmate from school, and the security guard of his apartment complex – on how to woo women smoothly and quickly. The girl, Manjima (Deepthi Sathi), who is old enough to be his daughter, tells him that women love it when men talk to them in a hushed voice on phone, and engage them in coquettish conversations. Hence, Rajakumara phones his friend, Manjari (Asha Sharath), a fellow school teacher, at night and asks her what was she wearing. 

The film has a cringe-worthy sense of humour. It opens to sequences from Rajakumaran’s childhood in a village in Idukki. Master Varkey, the adorable child artiste who appeared in Salt Mango Tree, plays little Rajakumaran. What the film does to this child is undeniably cruel. You see him chasing a pretty bird, and climbing a tree to touch it’s tail. A woman bathing in a stream beneath the tree passes him for a pervert, and subsequently, the whole village laughs at this child, who is of no more than 6 years, and nicknames him a shower-peeper. Is this incident of any consequence to the story that follows? Hardly any. 

In another instance, you see Rajakumaran risking his life, and climbing down a steep gorge, to save a little girl caught in a road mishap. You are put through a good few minutes of mediocre computer graphics and nonsensical camera angles, and then the film moves on pretending that nothing happened. It is as if they shot fillers showcasing Rajakumaran’s exploits, and used it in random points throughout the film. 

Artiste Raveena Ravi has dubbed for Deepti Sathi, and it is a lethal combination. If Sathi’s performance is clumsy, Ravi’s voice and the peculiar accented Malayalam that she uses, do not go in sync with the Malayalam dialogues written for Sathi’s character. None of the other actors make any particular impression. 

Over the years, Mammootty’s handsomeness has come to be a part of Kerala’s mythical pool. He might look like a healthy and highly talented 60-year-old actor to a sensible world, but to the state’s popular culture and its followers, Mammootty defies age. He continues to do films where co-characters, every once in a while, would remind him (and the audience) of his irresistible charm and good-looks. In his previous outing, The Great Father, Mammootty was a gun-wielding man in expensive leather jackets, going all out to kill the man who raped his daughter. The film was a blind ode to the actor’s classiness and glamour, than anything else. This repeats in Pullikaran Stara.

If veteran highly-accomplished actors like Mammootty aren’t able to not collaborate in hollow films that ride on their star power, if they aren’t able to see through nonsensical scripts that demand them to flirt with girls half their age, what does star power mean?

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The Pullikaaran Stara 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.

 

 

 

Kurangu Bommai Review: A Thriller With A Quirk

BY Sinndhuja Ramprasad On

There’s something wonderfully comforting about seeing everyday imagery on screen. In Kurangu Bommai, a film about extraordinary coincidences like Maanagaram, a woman slides a few seeds of mustard in the pan, and as they crackle, she tosses in some beans. All around her are distinctly middle-class props. Nothing is polished or touched up, the walls are in need of fresh paint, and her young daughter prances about the room in schoolgirl plaits, and a nightdress. That’s the intent, of course, but there’s a discreet charm to such homely visuals. When the woman’s husband hints at giving up his potentially dangerous job, she expresses her thanks to a picture of Lord Muruga – on the jar of a condiment. And when he’s heard to say that he won’t, she slaps it in disgust.

A few minutes into Kurangu Bommai, a cutpurse (thoughtfully named Sindhanai) plops himself in front of a roadside astrologer. He wants his future read. A little earlier, a local godfather is seen murdering a cop. Soon, the movie cuts to the family of four. The father (Bharathiraja in a restrained role) assists the godfather in his business of moving… porul (things of suspicious nature), and the godfather in turn, provides for the family. The wife berates him for the association; the son refuses to accept any financial assistance from him. And, just when it looks things might implode, the son – in the same breath as berating his father – declares that he’s off to see the godfather. He wants money to buy some underwear. The whole sequence, built with tense moments, craftily lends itself to humour during the last few minutes. The lines may not be brilliant, but the timing is. Kurangu Bommai is full of such unexpected bursts of humour when the proceedings turn serious. But you don’t mind the grim stuff at all, for the background score is so jaunty and deceptively breezy that it feels like a musical gone awry. Moreover, even when the kind of ‘coincidence’ is predictable, you are gladly willing to be misled. As Vidharth (who plays a cab driver) tells a passenger, there’s pleasure in being cheated by a beggar whose arm is in a pseudo-cast. Kurangu Bommai invokes the same emotions, but without the hyperbole. The cutpurse in the movie is so refreshingly unscrupulous, that he’s almost endearing. After having tried to use his wiles to cheat Kathiresan (Vidharth) out of his money, he ends up helping him trace his father. Just when you think these two will enter the territory of sappy friendship, the thief turns tail and runs with all his might.

Elango Kumaravel as ‘Watercan Sekar’ is perhaps the only character who isn’t grey. He’s the villain of the piece; someone who plays cricket by day and turns murderer at noon. He’s sinister, this Sekar – and the movie sets him up brilliantly. Bharathiraja as the naïve Sundaram performs without saying much, and just when we think his naivete is going to be the end of him, he proves to possess a sense of foresight and courage – a revelation of sorts.

The romance is incidental – Vidharth sees girl and family, gets into a scuffle with the father, girl eventually falls for him. Thankfully though, there aren’t any songs, or exaggerated sequences – just a few cute moments of courtship.

*****

Kurangu Bommai is woven around the trail of a duffel bag that goes missing. While it derives its name from the picture of a monkey on the bag, and seeks to reinforce the variable moods of people, it perhaps best describes the cutpurse. He’s gloriously unprincipled and fickle, with sudden fits of kindness, that he’s a lovely little tale by himself. Vidharth may play the understated lead to perfection, but Sindhanai has all my love.

*****

The Kurangu Bommai 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.

Shubh Mangal Saavdhan Review: A Joy Ride That Limps Towards The End

BY Sohini Chakravorty On

A couple in love, the trappings of a middle-class family, and a conflict in the path of their romantic union – this genre (slice-of-life films if one must label it) was artfully presented by directors like Sai Paranjpye, Basu Chatterjee and Hrishikesh Mukherjee. Real problems and relatable characters, sprinkled with a healthy dose of humour, etched these films in our minds. But, in the current scheme to pander to saleable escapism, rarely do you get a Bollywood film where you want to sit with the characters and discuss about the humdrum of everyday life over a cup of chai. You get that from Queen, Dum Laga Ke Haisha, Tanu Weds Manu, and you almost get it from RS Prasanna’s Shubh Mangal Saavdhan, a remake of the Tamil film, Kalyana Samayal Saadham.

Mudit Sharma (Ayushmann Khurrana) from the NCR, after a short but banal ‘will she, won’t she’ period, gets the girl of his dreams. The families meet over an awkward Skype session, and the couple get engaged, but their sweet courtship meets a hurdle. Erectile dysfunction, though nobody spells it out, or “gent’s problem”, becomes the elephant in the room. Sugandha, (Bhumi Pednekar) being the mature one in the relationship, makes the first move to address it. The couple realises that they have to conquer their own insecurities for the long haul. Complications arise when the families get involved.

Shubh Mangal Saavdhan might not have an engaging story-line, but there are plenty of laugh-out-loud moments which keeps the narrative going. Sometimes, even the protagonists take a breather while the family members take over with their antics. Seema Bhargava as Sugandha’s mother is pure gem. To educate her daughter on the rather delicate topic of suhag raat, she turns to the story of Ali Baba. The ‘woman of the world’ tells her daughter that not the 40 thieves, but only Ali Baba gets to enter the metaphorical gufa (cave). There are plenty of moments like this in film. While making out, Mudit sheepishly confesses that he had onion kulcha for lunch, and in another instance, Mudit’s father (Chittaranjan Tripathy) is torn between saving his son’s mardangi (masculinity) and stopping his to-be bahu (daughter-in-law) from storming out of the house without a dupatta. Writer Hitesh Kawalya, through his witty dialogues, perfectly captures the idiosyncrasies of a middle class family. Kudos to him for not using crassness and derogatory innuendos which are passed off as humour in many films.

It is in the second half that the tropes of Bollywood begin to emerge. The groom’s side blaming the girl’s kundali and insisting that she get married to a banana tree, a passionate monologue from the hero on what can only be described as misguided feminism, and a daring stunt (worth an eye roll) to bring home the sweetheart make it all very anti-climatic. What works though is that both Mudit and Sugandha do not associate the problem of erectile dysfunction with masculinity or manliness, and reinstate the fact that a woman’s sexual desire is equal to that of a man. Never in their discussion does Sugandha asks Mudit to man up. The issue at hand, however, gets a superficial treatment.

Ayushmann Khurrana has perfected the art of playing the cocky-yet-vulnerable boy-next-door. Much like in Dum Laga Ke Haisha, here too, Bhumi Pednekar effortlessly portrays Sugandha as smartly negotiating the middle class patriarchy.

Shubh Mangal Saavdhan is brilliant in patches. But despite the stellar cast and some genuinely humorous moments, it is not heartfelt enough to make it to the slice-of-life hall of fame.

*****

The Shubh Mangal Saavdhan 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.

 

‘Paisa Vasool’ Review: The One In Which Balakrishna Romances His Fans

BY Vandhana On

Balakrishna and director Puri Jagannadh are at their most manic selves in Paisa Vasool. How else does one explain a lead character named ‘Theda Singh’? A man who speaks in punch dialogues, and cites his Wikipedia record (36 brawls- 24 murders – 36 stabbings; predictably enough, his stat record is also quite sexist) to bewildered rivals.

In blue jeans, and with songs like ‘Mama Ek Peg Lao’ forming part of the soundtrack, Paisa Vasool is Balakrishna’s attempt to reconnect with his core fan base. His last effort onscreen was the historical drama, Gautamiputra Satakarni, a film well removed from the actor’s oeuvre. 

In this film, Shriya Reddy wears a red dress, mimics a young, liberated Indian woman (though the actor insists on calling her ‘black’) out and about in Portugal. Considering the age gap between the two, there’s not a lot of chemistry onscreen. And with the kind of deference and adulation Shriya has for Theda Singh, it makes the whole pairing quite disconcerting. Like last week’s Vivegam, Paisa Vasool too, props up its male lead on a podium and makes everyone else wax poetic about him. The villains, heroine, sidekicks all exist only to sigh in awe and admiration as Balakrishna does his best ‘Telugu hero’ impression. 

Also along for the ride is Kabir Bedi, who looks quite lost in the film that could only be envisioned by a director like Puri Jagannadh. There’s something out there about this movie, a willingness to stretch the boundaries of accepted norms of filmmaking, and a blatant pandering to the fanbase (with songs that go ‘Jai Balayya, Jai Jai Balayya’) – that sets it apart. Paisa Vasool is not something a critic can make sense of. 

*****

As director Karthik Subbaraj once said about Lingaa, Paisa Vasool is a sort of communication between a fan of Balakrishna, and the actor himself. The man jumps from flailing vehicles, issues wild threats to more powerful villains, executes car chases and still finds enough time to romance the maiden. It’s a proclamation that Balakrishna is still ‘with it’ and that he will be around for a while.

With a lesser star, it would be easy to call this film ‘unbearable’ and walk away. Even with Balakrishna and that potent something he exudes onscreen, Paisa Vasool is a rehash of Puri Jagannadh’s film repertoire. This time, in a different location.

*****

The Paisal Vasool 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.

No ‘Rythu’ Without Amitabh Bachchan, Says Balakrishna; Esha Gupta Wants A Different Surname

BY Vandhana On

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

Sign On

Amitabh Bachchan will play Chiranjeevi’s guru in SyeRaa

Balakrishna says that his Rythu will not go on floors if Amitabh doesn’t commit to it

Newsworthy

While Baadshaho actress Esha Gupta is proud of the work she has done so far, she does wish for a different surname now and then.

“I am proud of the work I’ve done, it was tough (journey), but I have carved the way on my own. There are times, I wish even if four of my films flop, there is someone producing films for me and making films only with me. You think ‘I wish I didn’t have this surname but that surname (referring to being a star kid),” said Esha

Spotlight

Acclaimed film actor Kamal Haasan on Friday hinted that he may form a political party but made it clear he won’t ally with “saffron” – the Hindu right. The 62-year-old superstar, who has acted in more than 220 films, made the announcement after meeting Kerala Chief Minister Pinarayi Vijayan here.

Stating that he won’t align with any political party in Tamil Nadu, he told the media that he would be on his own politically.

“My colour is definitely not saffron. That much I can say now,” Kamal Haasan said, in a clear reference to the BJP and RSS. 

Timeout

Anitha, a young student from Tamil Nadu widely seen as the face of the opposition against NEET, died recently. She is said to have committed suicide. 

Let them eat cake!

Actors Pawan Kalyan, Sudeep, Sadhana will all turn a year older today!

Kamal Haasan: “My Colour Is Definitely Not Saffron”

BY IANS On

Acclaimed film actor Kamal Haasan on Friday hinted that he may form a political party but made it clear he won’t ally with “saffron” – the Hindu right. The 62-year-old superstar, who has acted in more than 220 films, made the announcement after meeting Kerala Chief Minister Pinarayi Vijayan here.

Stating that he won’t align with any political party in Tamil Nadu, he told the media that he would be on his own politically.

“My colour is definitely not saffron. That much I can say now,” Kamal Haasan said, in a clear reference to the BJP and RSS. 

“I have got huge support from people as an artiste. If I am able to get half of this in politics, then I will be successful.”

Asked if he would discuss his political moves with the AIADMK, he said: “If I had to do that, then I did not have to wait. All that I needed to do was to clap my hands.”

Replying to a question on why he chose to make this statement after meeting Kerala’s Marxist Chief Minister, he said Communist leaders had always been his heroes.

“You just look at the statistics (social indicators) of Kerala and it’s comparable to any European country,” he said.

When journalists persisted and asked if he would align with the Left, he shot back: “I want to be in the middle of things and do not want to lean to any side.”

On the political situation in Tamil Nadu, he said the Governor should intervene – a demand also voiced by the opposition in the state.

The Tamil Nadu opposition wants Chief Minister K. Palaniswamy, who critics say has lost majority support, to prove his legislative strength in the Assembly.

Earlier, Vijayan said in a Facebook post that he and Kamal Haasan have known each other for long and they always meet whenever the actor visits Kerala.

“Today’s meeting was the first one after I became Chief Minister. Even though the visit was personal in nature, we discussed south Indian politics and also the overall political situation in Tamil Nadu,” Vijayan said.

The CPI-M leader received the acclaimed actor, dressed in a black shirt and dhoti, at the car porch. Also present at the meeting were Vijayan’s wife Kamala and other family members.

Kamal Haasan has in recent times made comments critical of Tamil Nadu’s ruling AIADMK party. He also recently shared a stage with DMK leader M.K. Stalin.

Baadshaho Review: A High-Strung Drama With Some Middling Action

BY Subha J Rao On

What would you say about a movie where the heroine, after days, if not months in incarceration, walks out with coiffured hair and wearing a chiffon sari and a string of pearls, like she’s just out of a party? And then, proceeds to run across the desert.

Baadshaho is that kind of film. Shot in present-day India, but speaking of the 1970s, when the privy purse was abolished and many royal families faced financial ruin, and Emergency ensured no one raised a voice in protest. The film is about queen Gitanjali, who wants to lay her hands on the family gold that’s been seized. Nymph-like and always speaking about how she’s alone, she gets people to do her bidding. Enter Ajay Devgn (trusted security head Bhavani) and his motley band of Emraan Hashmi, Sanjay Mishra and Esha Gupta, and Vidyut Jamwal.

What everyone seeks is a sophisticated truck full of gold that must be spirited away before it lands in the hand of a wily politician out to destroy Gitanjali because she spurned him.

What you expect is two-odd hours of nail-biting drama and thrill. What you get, instead, is middling action but also Sunita Radia’s magical cinematography that makes you rub your eyes after a dust storm and feel the heat of the desert.

I longed to re-watch director Milan Luthria’s Kachche Daage, again set in Rajasthan, but with so much more heart.

It’s a crime to waste Ajay Devgn, known to be a searing presence in the hands of an able director, in a role where all he does is brood and talk of living up to his word. Emraan tries his best to bring some levity in the proceedings, but Esha Gupta does that without having to try much — a scene where she laughs and then proceeds to cry because she’s hungry is a case in point. It’s so incongruous, you burst out laughing. There’s Vidyut Jamwal too, playing an Army officer, all gelled hair and twirled mustache, and lots of hot air. He does the action sequences with feline grace, though.

Oh yes, before I forget, there’s an absolutely pointless Sunny Leone number with Emraan too, with her bathing in a barrel.

Some films looks good on paper. This might have too. It has possibilities, but each one of them has been squandered. There’s much scope for a subtle play of emotions, but then, it loses in front of the need for high-strung drama.

Ileana D’Cruz’s character is most promising. On paper. Is she what she looks like? But, she’s unidimensional, and we lose interest in the character. And, why, oh why, can’t we have female leads who think for themselves, and flaunt their intelligence?

Great actors shine even in mediocre scripts. That’s where you have Sanjay Mishra. The sleight of hand, the naughty twinkle in his eyes and his body language linger in the mind for long.

In all, a film that could have been an edge-of-the-seat thriller, but ends up being one that you wish you watched on a reclining chair.

*****

The Baadshaho 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.

‘Beyond The Clouds’ To Have World Premiere At London Film Festival

BY IANS On

Iranian filmmaker Majid Majidi’s India-set project Beyond The Clouds will have a world premiere at the forthcoming 61st BFI London Film Festival.

Featuring actor Shahid Kapoor’s brother Ishaan Khatter and Malavika Mohanan in lead roles, the film covers the nuances of an adorable brother-sister relationship, and has been completely shot in India.

Running from October 4-16, the festival will screen 242 films with 29 world premieres, 8 international premieres and 34 European premieres, reports deadline.com.

Beyond The Clouds is an official selection in the competition category, which will take place on October 13 and 14. 

The lead cast along with Majidi and Oscar-winning composer A.R. Rahman is expected to attend the festival along with producers Shareen Mantri Kedia, Kishor Arora and Zee Studios, read a statement. 

Clare Stewart, Festival Director, BFI London Film Festival, has praised the film. 

“Acclaimed Iranian director Majid Majidi brings a powerful outsider eye to Mumbai in this compelling, visually stunning film driven by an extraordinary debut performance from Ishaan Khattar. Anil Mehta’s breathtaking cinematography and the evocative score by Oscar-winning composer A R Rahman bring additional depth to Majidi’s visionary filmmaking,” Stewart said. 

“We are very proud to present its World Premiere in Official Competition at the BFI London Film Festival,” she added. 

The film wrapped up in April this year and is into its post production at the moment. 

Majidi has decided to make three languages – Hindi, Tamil and English as a part of the script. The film will see an amalgamation of three languages instead of it being shot and dubbed separately. Each language will form a major part of the film and will be used in the scenes and setups that befit those languages. 

Vibha Chopra, Head Zee Studios international, said: “The film based in Mumbai masterfully captures the depth and simplicity of human emotions. A project which is completely a ‘Make in India’ film helmed by Majidi proves that human emotions know no barriers of language and geography.”

The first look of the film was unveiled at the Berlin Film Festival in February, and the second poster was released at the Cannes Film Festival this year.

Majidi is an Oscar winner and is known for masterpieces like Children of Heaven, The Color of Paradise and Baran.