Section: Movies
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Goa Schedule Of Sivakarthikeyan’s ‘Doctor’ Shoot Wrapped Up
The makers of Sivakarthikeyan starrer Doctor have announced that they’ve wrapped up the Goa schedule of the film that commenced on Valentine’s day.
The film helmed by Kolamaavu Kokila fame Nelson Dilipkumar is jointly bankrolled under Sivakarthikeyan’s home banner Sivakarthikeyan Productions and Kotapadi J Rajesh’s KJR Studios. This marks the second association of KJR Studios with the actor after their previous Hero.
The makers took to Twitter to announce the news.
That’s a wrap up for Goa schedule of our #DOCTOR 🎬🎥✈️ https://t.co/KVf5RKsS17
— Sivakarthikeyan Productions (@SKProdOffl) February 28, 2020
The first look poster was unveiled recently on the actor’s birthday. It featured a bespectacled Sivakarthikeyan stylishly seated on a sofa with bloody hands. Surgical scalpels, their blades, penknives, and a bunch of scissors all over with a slightly blood-stained floor also found a place in the poster.
Priyanka Mohan who shot to fame in Telugu with Nani‘s Gang Leader will play the female lead. Apart from the lead pair, Yogi Babu, Archana, Ilavarasu, Kanaa fame Darshan and Kolamaavu Kokila fame Tony will also play significant roles in the film.
Vinay Rai will reportedly play the antagonist in the action-thriller. He was last seen essaying a negative shade in director Mysskin‘s Thupparivaalan. Anirudh Ravichander is composing music, Vijay Kartik Kannan will handle the camera, Nirmal will edit and DRK Kiran will helm art. Anbarivu master will choreograph action sequences with Pallavi Singh designing costumes.
Director Nelson had earlier mentioned that the crew would be shooting at Goa and Chennai. “The film will have a perfect mixture of action, thriller, and comedy elements and will not stick to just one genre,” he added.
Speaking about his rapport with Sivakarthikeyan, the director said, “I have known Siva for about twelve years, right from his television days. We always use to talk about working on a film together. Once I completed Kolamaavu Kokila, I tailor-made a script for him and narrated it. He immediately agreed to work on it.”
Doctor which commenced its shoot in December will hit screens in 2020, although the exact date hasn’t been revealed.
Meanwhile, Sivakarthikeyan will also be seen in SK14 titled Ayalaan which recently released its first look poster. Helmed by Indru Netru Naalai fame director R Ravikumar, the film co-stars Rakul Preet Singh. His previous outing Hero is streaming on Amazon Prime. The action-thriller by PS Mithran that spoke of the business of education and destruction of intellectual property saw Sivakarthikeyan playing the role of a superhero.
Read: ‘Hero’ Review: A Well-Imagined, Slow, Not-So-Slick, Homegrown Superhero Story
Watch the trailer of Hero here:
Every #LeapYear, We Imagine February Celebrates Its Extra Day Thus
Actresses Walk Out Of César Awards As Polanski Wins
Several actresses staged a walkout as Roman Polanksi was awarded at the César awards, (which are referred to as the French Oscars). Polanski’s An Officer and a Spy (J’accuse in French) received 12 nominations.
When his name was announced as the winner of the Best Director award, Adéle Haenel Portrait of a Lady on Fire actor who was nominated for Best Actress staged a walk out in protest.
A l’annonce du César de la Meilleure Réalisation pour Roman Polanski (“J’accuse”), Adèle Haenel quitte la salle.
Le meilleur des #César2020 > https://t.co/ipnVwouBeV pic.twitter.com/7xa0CTbU3H
— CANAL+ (@canalplus) February 28, 2020
The film, a French Italian historical drama eventually won three awards. Polanski, who fled the US in a bid to escape being prosecuted for the rape of a 13-year-old in 1978, has been accused of rape by another actress. Valentine Monnier has told the ‘Le Parisien’ that in 1975 Polanski ‘violently raped her’. The publication, according to Variety, “also spoke with several people who offered corroboration, saying she had told them of the incident shortly afterward. Polanski is not facing any legal action in France over this alleged rape since the country has a 20-year statute of limitations.”
The BBC reports that “César’s entire board resigned earlier this month amid the backlash. A general meeting is set to be held after the ceremony to elect a new board, which will look at implementing reforms and modernising the institution. France’s equality minister, Marlène Schiappa, had previously condemned the decision to nominate Polanski’s film, saying she found it “impossible that a hall gets up and applauds the film of a man accused of rape several times”. But the Césars defended the nominations, arguing that the body “should not take moral positions” in giving awards.”
Polanski was a no-show at the award because he reportedly did not want to be ‘lynched’ by feminists.
Forensic Review: A Middling Thriller That Uses Conventional Horror Tropes
Cast: Tovino Thomas, Mamta Mohandas, Reba Monica
Director: Akhil Paul, Anas Khan
*Spoiler Alert*
The tail end of Forensic, directed by Akhil Paul and Anas Khan, has a long-winded sequence which shows how the serial killer at the centre of the film executed his crimes. There is gore and distress-inducing music. And there are images of terrified faces of the victims﹣little girls picked up from various parts of the city ﹣and close-ups shots of the monstrous murderer grinning, staring right into the camera.
Unlike Indian crime-dramas like Raman Raghav 2.0 (Anurag Kashyap, 2016), unapologetically sadistic and dark, which used deeply disturbing images of violence to express a sense of hopelessness that pervades Indian cities and its inhabitants, Forensic’s approach to the material in hand is utterly exploitative, devoid of any deeper significance. Violence is used only to unsettle the viewers and stop them from diving into critical thinking.
The narrative proceeds as a cat-and-mouse chase between a police team led by Ritika Xavier (Mamta Mohandas), an IPS officer, and a serial killer who has brought Thiruvananthapuram city under the grip of fear. On the surface, there is no motive for the crimes. Other than the modus operandi, there seems to be no pattern that connects the victims. With the help of a young and abled forensic scientist, Sam (Tovino Thomas), the cops find clues that take them to the skeletons of a long-buried case.
The unconventional profession of the protagonist ﹣Sam is a medico-legal advisor to the police ﹣lends the film an opportunity to throw some interesting and cool trivia about the world of DNA analysis and forensic sciences. Sam is introduced through a scene that highlights his wit. In a matter of a few minutes, he breaks a seemingly solid alibi of a man accused of domestic violence and murder.
But it also poses to the film’s makers a serious challenge, to turn lab activities cinematic. In order to familiarise the audience with the terms and functions of the forensic sciences department, the film brings in a sub-character, an intern who, despite her confidence and educational qualifications, has to patiently listen to Sam explaining the fundamentals of his job every time they are in the laboratory.
The film’s overt dependence on dialogues isn’t just limited to the aforesaid situation. In the climactic part of the film, the chief antagonist explains to Sam and the audience why and how he did what he did. There is no intrigue, or rise and fall of tension. Just a bland monologue and an uninspiring showdown.
After the first set of clues emerge, Forensic takes the shape of a horror-thriller where instead of supernatural elements you have unusual malefactors ﹣children. The camera captures the juvenile criminals like possessed. One of them, Ruben, has always lived under the watchful eyes of the government, in juvenile homes and mental institutions, but has long unruly hair like a feral child. There are many typical instances of jumpscares and tracking shots where the camera follows a character, imitating the demon’s point of view, only to reveal something mundane and harmless.
This is perhaps the first Malayalam mainstream film to talk about the violent, antisocial behaviour in kids. It is startling to think that they are capable of committing heinous crimes. But it is even more unnerving to think that they could become puppets in the hands of dangerous adults. The film does a good job of creating intrigue and a sense of eeriness in the film’s second act, with ample help from two excellent child actors who outperform their adult co-actors.
Notwithstanding these novel ideas, the film doesn’t really rise to the realm of extraordinary because it uses archaic narrative devices. Right from the staging of the scenes of child abduction to the tinkling music used in scenes involving children and the dark dungeon from where the antagonist operates, everything reeks of cinematic cliches.
The film’s prologue, a flashback sequence that showcases the harrowing childhood and early teenage of an unnamed character, is an overfamiliar one in mainstream cinema. The several shots of the antagonists, children and adults, breaking the fourth wall and staring at the audience, flaunting their devilishness, is a lazy shorthand that says, “Look how evil we are!” Sure, it induces the intended creepiness. But eventually, the film drowns in its own unimaginativeness.
The hierarchy and power dynamics within the police force is hurriedly illustrated. Every time the hero makes a good point, his superior officer dismisses it out of hand and berates him for overstepping boundaries. This repeats with ritualistic fervour.
Sam’s initial scenes with Shikha (Reba Monica) are designed like the meet-cute instances in a regular romantic-comedy. She is haughty, yet adorable. He is young and desirable. Although the film refrains from developing their relationship into an awkward workplace romance, it doesn’t make an effort to flesh out its female characters.
The film invests an undue amount of attention on Sam, thereby limiting the scope of other characters, including Ritika who is the most affected party in the whole scheme of things. In actuality, a medico-legal officer’s scope of work might have boundaries, but Sam is an all-rounder who untangles the web of crime before anyone else in the police team does and physically takes down villains like a pro. Ritika, at the same time, is relegated to a poorly-written secondary role, of a jealous colleague and a short-sighted sleuth.
Tovino Thomas plays Sam with a lot of likeability. But one can’t help notice the out-of-place enthusiasm in his body language and voice when he is explaining his process or introducing a new device in his laboratory, like a model selling a product on television. Mamta Mohandas sleepwalks through a role that has come to be her comfort zone, where her natural sophistication and elan comes handy.
Forensic is spiritually similar to middling works such as Anjaam Pathira which places familiar cinematic gimmicks above great writing that takes the audience by surprise and smart filmmaking. And moreover, a striking sense of misanthropy overshadows the pursuit of justice at the core of these films.
The Forensic review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.
Taapsee At The ‘Game Over’ Press Meet
Kannum Kannum Kollaiyadithaal Review: Derivative, Dreary, All Over The Place
Cast: Dulquer Salmaan, Ritu Varma, Gautham Vasudev Menon, Rakshan
Director: Desingh Periyasamy
Kannum Kannum Kollaiyadithaal is faithful to the the film – Mani Ratnam’s Thiruda Thiruda – its title is inspired from. It might just be a little too faithful. It begins like a romance, moves over to scamster territory, involves hotshot police officers chasing a case, big money is pumped in, becomes a romantic film again, before moving into heist territory.
In the lead are two friends — Siddharth (Dulquer Salmaan) and Kaalis (Rakshan), the former an app developer and the latter an animator. Their introduction is strictly functional. Director Desingh Periyasamy wants to tell us that Sid and Kaalis have a lot of money with no liabilities. Not even families to care for or fall back on. They make the moolah and party a lot. So much that they wake up and rush to a party that begins at, wait for it, a little after noon.
The film doesn’t think big, neither does it take itself too seriously. Which is what Thiruda Thiruda did too, with two petty thieves on the run, some big money and law officers hot on their trail and a little love triangle weaved in. Desingh Periyasamy’s film doesn’t complicate matters — Sid falls in love with Meera (Ritu Varma) and Rakshan, by Tamil cinema commandment, falls for her friend Shreya (Niranjani Ahathian).
Like Thiruda Thiruda, Kannum Kannum too is all over the place. Unlike Thiruda Thiruda, it lacks the visuals and the music to save it. In multiple instances, the film insists that we are watching a distinctly Madras film, the director playing guess-this-place and guess-this-road every time, especially targeted at an upper middle-class demographic. But the visual palette is limited to that, the banal dialogues and trajectory of the script draining all the energy out of the film. The result is a mess of hot air.
Desingh Periyasamy thanks Rajinikanth at the beginning of the credits and peppers the film with Rajini references throughout. He even wants to ride on Dulquer’s stardom, directly referencing the star in his remodelled car’s number plate and a not-so-offhand mention of his stature in Kerala.
Kannum Kannum Kolaiyadithaal is derivative, in every department. It is drab at worst and inoffensive at best. We get a hastily put together love story, something straight out of 90s Indian cinema… the background score and the works. Meera has never known Sid but accepts his proposal after a single day of thought. Shreya, her friend and roommate, comfortably reciprocates Rakshan’s lust for her. Though Niranjani Ahathiyan’s resting bitch face is a thing of beauty.
They even casually toss in business and marital partnerships after weeks of dating, and the women lap it up. It all happens a little too easily but at least we get the reason later. Desingh throws in a twist in the end of the first half and I, for one, did not see that coming. It lifts the film by a few notches but thereafter, that’s all he relies on. His tricks have run dry and we are back to square one.
In the second half, it switches gears into a heist film where Desingh goes full Daniel Ocean. But with huge leaps in logic and plausibility. He also lets his women leads down as they take a backseat with Dulquer fully entrenched behind the wheel. The audience is scammed too, the film not delivering on what it promised at the midway mark.
Once again, things are simplified beyond measure and there is no real thrill in finding out what happens. The thrill is only in Goutham Vasudev Menon’s deputy commissioner of police act. Not the good kind of thrill. It is the thrill of watching someone try really hard. He jumps straight out of the scene in Kaakha Kaakha where, as an experienced encounter specialist, he advises Surya’s Anbuselvan and team.
The same plain face with no expression or muscle movement. Menon gets a mass introduction as a no-nonsense police officer picked out of any Tamil masala cop film. I waited till the end for him to utter “Naa ore oruthan. Ennaku bayame kadayadhu”. Alas, it was not to be. Instead, the self-reflexive nature of the film goes elsewhere when it comes to Menon. Once again, I did not see this coming. Two high points, one unironic and another ironic, lasting a couple of minutes in an overlong drear fest.
The Kannum Kannum Kollaiyadithaal review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.
Several Vikrams Feature In The First Look Poster Of ‘Cobra’
The first look poster of Ajay Gnanamuthu‘s Cobra is out now. Bankrolled by Lalith Kumar’s Seven Screen Studio, the film stars actor Vikram and marks the Tamil film debut of Srinidhi Shetty of KGF fame. Cobra marks the 58th film of the actor.
The poster features a bespectacled, beefed up Vikram yelling in front of a mirror with his back facing the camera, along with six reflections of his on his sides. There’s a priest, a politician, a stout man, two suited up men and a casually clothed man with shades serving as his reflections.
We also find a reflection of mathematical equations and some coding in the mirror. It seems like the actor will be essaying various characters in the film, similar to what he did in Shankar‘s 2015 drama-fantasy I. An impressive poster from the team.
The film’s music director AR Rahman took to Twitter to unveil the first look.
Glad to reveal the first look of the Film #Cobra#CobraFirstLook #ChiyaanVikram @AjayGnanamuthu @7screenstudio @Lalit_SevenScr @IrfanPathan @SrinidhiShetty7 @theedittable @Harishdop @SonyMusicSouth pic.twitter.com/gKJ35WNyCw
— A.R.Rahman (@arrahman) February 28, 2020
The film features Irfan Pathan essaying the role of a Turkish Interpol officer while 13th Belief fame Vidya Lakshmi, KS Ravikumar, Shane Nigam, Super Singer fame Poovaiyar and Comali director Pradeep Ranganathan are playing crucial roles.
Earlier Sivakumar Vijayan was roped in as the cinematographer but has now been replaced by debutant Harish Kannan while Amaran is the art director and, Bhuvan Srinivasan is the editor. Dancer Sathish is choreographing the dance and Dhilip Subbarayan is choreographing stunts. The film is being shot in Chennai, Kerala, Kolkatta, Russia and various other places in India and abroad.
Last month, the team wrapped up with the third schedule of the film. Director Ajay Gnanamuthu also took to Twitter to congratulate cricketer Irfan Pathan on his retirement. Earlier, Vikram is said to have performed without a body double for a fight sequence shot in the rain in ECR, Chennai. A massive fight sequence is also said to have been shot in Kolkata.
@IrfanPathan See you soon sir!! 😬😬#Cobra #Schedulewrap pic.twitter.com/RBIIUBowlO
— Ajay Gnanamuthu (@AjayGnanamuthu) January 20, 2020
Cobra is touted to be an action-thriller, and the crew almost completed shooting. The film is slated for a May 2020 release.
Meanwhile, Vikram who was last seen in Rajesh M Selva‘s Kadaram Kondan, will next feature in Gautham Vasudev Menon‘s Dhruva Natchathiram and Mani Ratnam‘s Ponniyin Selvan.
Ajay Devgn Roped In To Reprise Karthi’s Role In ‘Kaithi’ Hindi Remake
Earlier, we had reported that actor Sanjay Dutt would reprise actor Karthi‘s role in the Hindi remake of Kaithi, one of the most critically acclaimed films of 2019. Rumour had it that even actor Shah Rukh Khan was being considered to play the lead. The makers have now officially confirmed that it will in fact be Ajay Devgn playing the role of ‘Dilli’, Karthi’s character in the original. Reliance Entertainment will be associating with Dream Warrior Pictures for the first time to produce the remake.
We are thrilled to announce that @ajaydevgn will be playing the lead in @RelianceEnt @DreamWarriorPic and @ADFFilms Hindi remake of #Kaithi. The film will release on February 12, 2021.@Shibasishsarkar #SRPrakashbabu @Meena_Iyer
— S.R.Prabhu (@prabhu_sr) February 28, 2020
Helmed by Maanagaram fame Lokesh Kanagaraj, Kaithi was originally bankrolled by SR Prakash Babu and SR Prabhu‘s Dream Warrior Pictures.
Earlier, producer SR Prabhu had said, “Kaithi is a film with no heroine, no songs and is a hundred percent action genre film. Despite all these odds, the film was released on Diwali and Kaithi turned out to be a box office blockbuster among the family audience down South. We’re delighted to join hands with Reliance Entertainment for the Bollywood remake. This high-octane film will surely entertain the audience pan-India.”
Shibasish Sarkar, Group CEO, Reliance Entertainment had said, “Kaithi is a gripping thriller and a tribute to all the celebrated cops-and-criminal actioners you can think of. And yet it is like none you’ve ever seen. I really look forward to this collaboration and coming together with a great creative team that would do true justice to the film’s Hindi remake.”
The makers are yet to announce the rest of the cast and crew of the remake. The film is slated for release on February 12, 2021.
Kaithi is a non-commercial action-drama film that dealt with the challenges a former prisoner faces after unexpectedly encountering a policeman who has a duty to accomplish. Apart from the lead actor, the film also starred Narain, Vijay TV fame Dheena, Ramana, Baby Monica, Arjun Das, and Mariam George. Sathyan Sooryan has cranked camera, Philomin Raj has taken care of editing, Sam CS has composed music with Anbariv choreographing action sequences. The film is streaming on Hotstar.
Meanwhile, Lokesh Kanagaraj announced months ago that the team is planning a sequel to Kaithi. A source told Silverscreen that the sequel will revolve around the flashback that Karthi narrates in the film, the script book of which was completed once Kaithi was wrapped up. The director will reportedly work on it after he completes his current Vijay starrer Master, according to the source. Master will wrap up shoot with this week.
Thanx for the overwhelming response guys,.. loved every minute in sets and the entire process of making kaithi…will cherish this forever! Thank you once again prabu sir and karthi sir for the opportunity!..To answer all your txts and calls yes“ Dilli will be back”👍 pic.twitter.com/uZ6lWX24x3
— Lokesh Kanagaraj (@Dir_Lokesh) October 26, 2019
Read,
Lokesh Kanagaraj Interview: Kaithi Is About A Father’s Love And That Rare Bond Between Strangers
Meanwhile, Ajay Devgn who was last seen in Tanhaji: The Unsung Warrior, will next feature in Amit Sharma’s sports drama Maidaan, Abhishek Dudhaiya’s Bhuj: The Pride of India, and SS Rajamouli‘s RRR. He will also appear in a cameo role along with Ranveer Singh in Rohit Shetty‘s Sooryavanshi.
Watch the trailer of Kaithi here.
Thappad Movie Review: A Competent, Well-Made Film That Examines Happiness And Respect In A Marriage
Cast: Taapsee Pannu, Pavail Gulati, Ratna Pathak Shah, Tanvi Azmi, Dia Mirza
Director: Anubhav Sinha
The central scene in Anubhav Sinha’s Thappad is also among the film’s best scenes. Everything is going so well until then (by design no doubt), you want to actually root for this couple. You can see it’s an unequal relationship but it’s not without its moments, and the good ones seem to outweigh the bad ones… But when that slap eventually lands on Taapsee’s Amrita’s face, it doesn’t just happen all at once. Everything doesn’t come crashing down in an instance. It’s instead, all in slow-mo. You can feel the sting, you can sense the world slow down around her. You can feel her humiliation. Taapsee is rivetting in this party scene like she’s living Amrita’s life. As is Pavail Gulati as Vikram. And in all of the scenes that follow. He’s so self-involved, I was reminded of Scar Jo’s now-famous lines from Marriage Story; he’s so merged with his selfishness that he can’t even see it.
The film isn’t at all activist-y though it does have lines that take away from being about the people in the film. The trailer had me thinking maybe this is one of those court-room screaming matches, or one woman fighting for all women, kind of film. But it isn’t. It is about this woman and what she wants from her life.
Each day is the same in Amrita’s life as she endeavors in all seriousness to become the best housewife she can be. She takes care of her mother-in-law and is almost her husband’s assistant at home, as he prepares for the most important presentation of his life.
Everything is seemingly going well, even after the slap, but it isn’t… She feels all of the things he feels at work after being looked over for this promotion, the insult at being used and not taken seriously. When he says ‘put your foot down and make them respect you’, she hears it as a commentary of her own life. He should get her, ideally, but he doesn’t. Because he doesn’t see her.
Things don’t work all that well in the film whenever the camera veers away from these two people. The writing of nearly everyone else feels like convenient add-ons; like everyone is a bit ‘extra’. None of them feel fully authentic the way these two do. Not the help, not the neighbour, not the (again Marriage Story-like) lawyer (or her emotional crutch or husband), not her brother, sometimes not even her parents. All of them feel performative. Like a play to prop these two characters up.
Yet, the central story, of the woman and man at the heart of this tale, is enough to keep you watching the movie. Their story has weight. In some portions, the film reminded me of Arth but it never really fully reaches that artistic plane. That ‘this is cinema’. Perhaps because it endeavours to be more social commentary than art or cinema.
Maybe it’s a coincidence that in Soni in which a superb Geetika Vaidya plays a young cop disillusioned with the system has Amrita Pritam’s Raseedi Ticket given to her, and in this movie, she’s working in an Amrita’s house… and film ends with the recital of a poem titled Amrita. Here too, there’s disillusionment with the system. And women are fighting it to reclaim something simple and basic: dignity. Respect and happiness, as Amrita says.
The film’s biggest triumph is in showing the ways in which women are stifled, without any words ever being spoken by anyone. At least not harsh words. It’s in how we are brought up from when we are little girls. It’s what we are brought up for. For not inconveniencing anyone.
The Thappad review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.
Ilaiyaraaja To Compose For The Tamil Remake Of ‘Children Of Heaven’
Earlier, director Samy of Uyir, Mirugam, Sindhu Samaveli, and Kangaroo fame had obtained the official Tamil remake rights of the 1997 Iranian family drama Children Of Heaven written and directed by filmmaker Majid Majidi. The film titled Akka Kuruvi comprises newcomers and is being bankrolled by the director along with his friends under the Madurai Muthu Movies and Dream Factory banners. The latest is that the film will have music and background score by composer-singer maestro Ilaiyaraaja.
Speaking about the composer’s arrival on board, director Samy said, “I had approached him to compose for the film and he asked me to bring the output altogether. After I completed the shooting, I screened the film for him and he instantly agreed to work on it. He has also begun the re-recording process now.”
Children Of Heaven is about a brother and sister and their adventures over a lost pair of shoes. It was nominated for the Academy Award for Best Foreign Language Film in 1998. The film has since been considered a classic.
Speaking about taking up the film, director Samy said, “The films I’ve done so far do not define who I am. I am going to make such films only hereafter and I’d like to begin with this one. Once my sister had visited me and we decided to watch Children Of Heaven with my kids. That’s when we witnessed how they enjoyed the film thoroughly and wondered why such films haven’t been made in India. I decided to take it upon myself and do this film down south.”
He adds, “I had decided to retain the time period, the 80s, in which the story takes place in the original and scouted locations accordingly. I finally landed on Poombarai in Kodaikanal. The houses in this village are more than 500 years old. I felt it would suit the tone and mood of the film and shot the film entirely in this village.”
The film is being made in Tamil and Telugu with debutants Mahin and Daaviya reprising the roles of the 11-year-old brother and 7-year-old sister. Their selection took place after the screening of more than 200 child artistes. Tara Jagadamba, a classical dancer, will essay the role of the mother and Senthilkumar will play the role of the father. (A pair of shoes have also landed a significant role in the film.)
The audio launch of Akka Kuruvi will be held next month. The makers are planning to invite the director of the original, Majid Majidi, for the occasion.
Watch the trailer of Children Of Heaven here:
Interesting To Work With Ritu As A Co-star; She’s Acting In My Next Film: Gautham Menon
Kannum Kannum Kollaiyadithaal, the Dulquer Salmaan–Ritu Varma–Gautham Vasudev Menon starrer releases today. The cast and crew of the film met the press to speak about their experiences.
The lead actress, Ritu Varma, who is making her debut with this film, was quite happy with the support she has received. She said, “I don’t speak Tamil very well and this is my first film. My co-stars and I as well as the crew have given a lot to make this film what it is. I really hope the audiences respond to our efforts.”
Gautham Menon has recently been seen on screen a lot, and he seems to be quite happy with this new direction his career is taking. He said, “A new journey has begun for me and it was completely unplanned since it was SJ Suryah who was supposed to play this role. I’ve enjoyed the rushes that I have seen so far. It’s been interesting to work with Ritu as a co-star, since she is acting in my next film.”
Another person making a first impression in Tamil cinema with Kannum Kannum Kolliyadithaal is the film’s director, Desingu Periyasamy. He had already envisioned Dulquer Salmaan for this film, and is happy that he could sign him on for the movie. He said, “I’ve faced the typical hurdles that all debutants do. I am so happy that Dulquer agreed to be a part of this film. He really inspired everyone’s confidence. Everyone I have worked with has been wonderful to me, and I am so happy that I got this chance.”
The leading man of the movie, Dulquer Salmaan said, “It’s so good to know that I haven’t been forgotten in Kollywood. This film has a wonderful script, and even though the film is mostly newcomers, I was pleasantly surprised by the talent and dedication. This film has shaped up to be a fun and interesting movie. I really hope that the audiences love this film.”
Produced by Viacom18 and Anto Joseph, Kannum Kannum Kollaiyadithaal features music by Masala Coffee and Harsha Vardhan Rameshwar, costumes by Niranjani Ahathian, editing by Praveen Antony, art direction by RK Umashankar, and stunts by Supreme Sundar.
Shilpa Shetty At JITO Closing Ceremony
Pandrikku Nandri Solli Trailer Starring Nishanth, Vijay Sathya, Balaji Rathinam
Pandrikku Nandri Solli Cast & Crew :-
Cast : Joe Malloori ,Nishanth , Vijay Sathya , NakkalaitsChella, Viyan ,Baskar, Balaji
Production : Head Media works
Producer : Vignesh selvaraj
Co – Producer: Viyan
Written & Directed by: Bala Aran
DOP: Vignesh Selvaraj
Music: Suren Vikhash
Editor: Ram ,Sathiesh
Art Director: Santhosh FNT
Starring: Nishanth, Vijay Sathya, Balaji Rathinam, Chella, Viyan, Baskar, Joe Malloori, Auto Chandran
Lyrics: Suren Vikhash, Arul Theeran, Vignesh Selvaraj, Bala Aran
SFX: Sethu C
Sound Mix: Siva Kumar
Publicity Designer: Karthikeyan Maddy
Colorist: Suresh
PRO: Nikkil Murugan
Release: Sri Vaari film. Ranganathan
Dulquer Salmaan, Ritu Varma At The ‘Kannum Kannum Kollaiyadithaal’ Press Meet
I Made My Films With Hope And It Paid Off: Mysskin
Director Mysskin has said in a statement recently that he’s elated with the response he has received from audiences for his previous films – Pisasu, Thupparivalan, and now for his latest release Psycho which completes 35 days today. He claims that the audience’s response is unconditional love. He attributes this to the content of his films that comprise strong emotions, something an audience always connects with.
“I made these films with hope and it paid off. I always believe that having blind hope and searching for one’s true soul are things inherent in our lives. In fact, my protagonists Siddarth (Pisasu), Kaniyan Pongundran (Thupparivalan) and Gautham (Psycho) embraced these mantras, which I believe worked as takeaways for the audiences.
Read: Thupparivalan Review: Sherlock Holmes For The Tamil Audience
He adds, “I thank the entire cast and crew of these films, the film fraternity and audiences for filling my mark sheets with the distinction mark. I want to continue my journey entertaining audiences to the best of my abilities. You will hear from me soon about my new projects.”
Mysskin had recently made it to the headlines for his unique gesture to promote Priya Krishnasway’s Baaram. The director had stuck posters of the film staying true to his statements made during the press interaction of the film a few weeks back.
Mysskin sir continues to work his magic for Baaram.
Thank you so very much, sir!!https://t.co/kXJENEwxC2
— filmmakerwithoutborders (@priyadarshinik) February 22, 2020
His last film Psycho deals with a psychopath who kidnaps and slaughters women owing to a bad childhood. It stars Udhayanidhi Stalin, Nithya Menen, Aditi Rao Hydari, director Ram, Rajkumar Pitchumani, and Singampuli.
Read: Psycho Tamil Movie Review: A Heavy Yet Rewarding Mysskin Film
Watch the trailer of Psycho here.
Netflix Expands Anime Roster With Six New Creators
Netflix has just announced a collaboration with six Japanese creators to develop original anime shows for fans around the world. The streaming site has said that this is a “part of the company’s continued effort to build on its best-in-class anime originals with deep creative roots in Japan”.
“The six creators CLAMP (Cardcaptor Sakura), Shin Kibayashi (The Kindaichi Case Files), Yasuo Ohtagaki (Mobile Suit Gundam: Thunderbolt), Otsuichi (Goth), Tow Ubukata (Mardock Scramble) and Mari Yamazaki (Thermae Romae) are a mix of manga artists, novelists, screenwriters and filmmakers who have each played an integral part in the exploding popularity of anime around the world today,” the statement said.
These partnerships, according to Netflix, are part of a growing commitment to anime and the local industry in Japan. Last year, the streaming giant entered into partnerships with five Japanese animation productions: Production I.G, bones, anima, David Production and Sublimation, and with this announcement Netflix will continue to expand the creative and production process of some of the most ambitious, and highest quality anime. In addition to the new originals that will be developed, together with the creators, Netflix will also explore ways for members to engage with these new shows off-screen through publishing and consumer products.
Taiki Sakurai, Chief Producer, Anime at Netflix said, “we’re excited to work with these extraordinary creators to bring best in class anime to Netflix. These partnerships are part of our broader investment strategy to support Japanese anime – giving creators the ability to tell bold, innovative stories and giving them access to fans all around the world, because storytelling is boundless in the world of anime”.
What the artistes say
Nanase Ohkawa, CLAMP, said, “We are very pleased to be welcomed into this brand new initiative. We look forward to the day our shows created with Netflix reach fans across 190 countries.” Shin Kibayashi said, “It is rewarding to be part of a Netflix show that reaches audiences worldwide as a Japanese creator. I am thrilled to be working on entirely new characters, worlds, and storylines.” Yasuo Ohtagaki, added, “As a creator, it is such an honor to be given this opportunity to reach a global audience. From my home ground in Japanese manga into the global major leagues — it is a thrilling time for me to believe in my craft, and aim for new heights.” Otsuichi added, “For me, it takes a lot of determination, to be part of a Netflix show. I imagine streaming shows to 190 countries all at once will feel somewhat like joining the world championships of content creators. The mere thought of a global audience hungry for new shows blows my mind.” Tow Ubukata has said, “It is a proud moment to join Netflix’s group of world-class creators! With this partnership, I am excited to start working on larger-than-life, space sci-fi shows that fans around the world will love!” Mari Yamazaki said “I can’t wait to see how fans around the world will respond to our shows. Those responses will help me become a better creator and inspire my next creations. It is important to me that shows transcend cultures, and touch the hearts of Netflix members across the world.”
Priya Anand At The ‘LKG’ Press Meet
Wish It Was On Me: Shankar On ‘Indian 2’ Crane Accident
Director Shankar has finally broken his silence on the accident that left three people dead in Indian 2 sets. A crane on which a heavy duty light was mounted came crashing killing three. Atleast nine were injured. The crew of the Kamal Haasan film was in EVP Film City in Nazarathpet.
Shankar tweeted today, “It is with utmost grief, I’m tweeting. Since the tragic incident, I’ve been in a state of shock & having sleepless nights on the loss of my AD & crew. Having missed the crane by a whisker, I feel it would’ve been better if it was on me. Heartfelt condolences & prayers to the families.”
Those fatally injured include Assistant Director, Krishna (34), Production Assistant Madhu (29) and Art Assistant Chandran (60).
Earlier, Kamal Haasan announced financial aid of Rs 1 crore to the kin of artistes who died in the accident on Indian 2 sets.
“This amount is not enough for those who have lost their loved ones,” he said, “Accidents do not differentiate between rich and poor. I don’t want to discuss this today, but I would have also joined them (pointing inside the hospital). I was very close. Just four seconds before that the director walked ahead. The actress and I were very close by. Every single employee in the film industry must have insurance. What is the point of movies making 100, 200 crores if our people don’t have safety and insurance?”
It is with utmost grief, I’m tweeting.Since the tragic incident,I’ve been in a state of shock & having sleepless nights on the loss of my AD & crew.Having missed the crane by a whisker,I feel it would’ve been better if it was on me. Heartfelt condolences & prayers to the families
— Shankar Shanmugham (@shankarshanmugh) February 26, 2020
Following this ‘Lyca’ Subhaskaran announced Rs 2 crore compensation to both kin of those who died as well as those who were admitted in the hospital for treatment.
On 22 February Kamal Haasan wrote a letter to Subhaskaran about his deep sense of anguish at the loss of lives, and missing the accident by a few seconds. He asked the producers to perform an audit. He also said that the production had to ensure the safety of people involved in the film.
Read the full letter here:
‘Mahanati’ Director Nag Ashwin To Work With Prabhas Next
Mahanati fame Nag Ashwin is all set to direct Saaho star Prabhas in his next film. The film will be bankrolled by Vyjayanthi Movies which is celebrating its 50th year in the movie business. The announcement came from a tweet from the production house.
Proud to associate with #Prabhas for our prestigious project directed by @nagashwin7.https://t.co/WYEptLI3MF#PrabhasNagAshwin
— Vyjayanthi Movies (@VyjayanthiFilms) February 26, 2020
Going by the words ‘Epic Journey’ that featured in the announcement video, rumour has it that the movie could be a period film just like Prabhas’ 2015 magnum opus Baahubali. The rest of the cast and crew are yet to be revealed.
While the production house had earlier said that the film would go on floors in September 2019, the announcement came only today.
We Are Building Something Big!!!
Calling Visual Artists, Designers & Writers to come on-board for this exciting new journey.
The adventure begins in Sept 2019.
A Film by @nagashwin7
Get in touch – vymtalent@gmail.com pic.twitter.com/VaP0AAcMIm— Vyjayanthi Movies (@VyjayanthiFilms) August 7, 2019
Prabhas was previously seen in Saaho helmed by Sujeeth Reddy alongside Shraddha Kapoor. He played an undercover agent who tracks down a crime lord. The trilingual was one of the most expensively shot Indian films with a budget of more than Rs.350 crores. It opened up to mediocre reviews from critics and audiences, faring poorly in the box office. The film is streaming on Netflix.
Read: Saaho Review: Things Are Not What They Seem… Bang. Boom. Pow. Yawn.
He is currently filming for his 20th film with director KK Radhakrishna Kumar alongside actress Pooja Hegde. Prabhas 20 is being bankrolled by UV Creations. Recently, the actor took to Instagram to say that the team has commenced with the next schedule.
View this post on Instagram
Elated to share that I’m resuming shooting for my upcoming film. Looking forward to a fun schedule.
Meanwhile, Nag Ashwin recently received the National Award for the Best Feature Film Telugu for Mahanati. The film also won the Best Actress Award (Keerthy Suresh) and Best Costume Design Award (Indrakshi Pattanaik). It dealt with the life of legendary Indian actress Savithri.
Watch the trailer of Saaho here.
Shoot of Pelli Choopulu’s Tamil Remake, Starring Harish Kalyan-Priya Bhavani Shankar, Wrapped Up
The shoot of as yet untitled Harish Kalyan–Priya Bhavani Shankar film, an official remake of the 2016 Telugu rom-com Pelli Choopulu, was wrapped yesterday.
Helmed by debutant Kaarthikk Sundar, a former associate of director Vijay, the film is being bankrolled by Koneru Satyanarayana of Studios LLP and Havish Pictures, with execution by SP Cinemas. The film marks the first association of the lead actors.
Harish Kalyan took to Twitter to announce the news this morning.
Its a WRAP! Whattte team,whattee fun! Officially wrapped my next film directed by my bestie @KaarthikkSundar starring @priya_Bshankar & many others. Lovely team work. So happy to have done this film. Updates abt Title,FL.. Coming soon! @thespcinemas @DoneChannel1 @SureshChandraa pic.twitter.com/9gn6DxHIzV
— Harish kalyan (@iamharishkalyan) February 26, 2020
Peli Choopulu helmed by Tharun Bhascker Dhaassyam starred Vijay Devarakonda and Ritu Varma in the lead roles. The film is partly based on a true incident that took place when a couple with aspirations met at the ‘Spitfire BBQ’ food truck.
The urban comedy set in Hyderabad opened to positive reviews from audiences and was critically acclaimed. It won the National Award for Best Feature Film (Telugu) and Best Screenplay – Dialogues. It was also remade in Hindi as Mitron (2018) and in Malayalam as Vijay Superum Pournamiyum (2019).
Adithya Varma fame Anbu Thasan is playing an important role along with stand-up comedian Abishek Kumar. On the technical front, Vishal Chandrasekhar is composing music, cinematography is by Krishnan Vasant and G Anusha Meenakshi is on the costumes.
The film will hit the screens in summer of 2020. The makers have also announced that the first look posters and title will be unveiled soon.
Meanwhile, Harish Kalyan will also feature in Krishna Marimuthu‘s Dharala Prabhu, Chimbu Deven‘s anthology Kasada Tabara (the film has six editors, music directors, and cinematographers), and in a supernatural action entertainer by Dhanusu Raasi Neyargale fame Sanjay Bharathi. The trailer of Dharala Prabhu was recently released. Read our review here.
Watch the trailer of Dharala Prabhu here:
Loved Improvising Scenes With Irrfan Khan In ‘Angrezi Medium’: Deepak Dobriyal
The Angrezi Medium trailer features some fun repartee between two brothers, played by Irrfan Khan and Deepak Dobriyal. Speaking of the crackling chemistry between the two actors, the film’s director, Homi Adajania says, “Their characters are a couple of endearing loons who will make you laugh and cry, but it’s magical to watch the way they feed off each other as co-actors.”
The brothers are seen in the trailer as two siblings who love to fight and fight for love, which is basically all sibling relationships. The moments between them are laced with quirky humour.
Talking about reuniting with Irrfan, Deepak says, “I haven’t worked with an easier co-actor than Irrfanbhai who is an institution in himself. He was extremely supportive and I loved improvising scenes with him. Our off-screen chemistry and love has translated wonderfully on-screen as well.”
While the film is a slice-of-life story of a father-daughter relationship, it also celebrates the bond of brotherhood. A bittersweet rivalry between brothers who are constantly harassing each other until someone else threatens one of them. Deepak and Irrfan will be sharing screen space once again after their successful outing Hindi Medium.
The movie also stars Kareena Kapoor Khan, Radhika Madan, Ranvir Shorey, Dimple Kapadia, Pankaj Tripathi and Kiku Sharda in pivotal roles. Angrezi Medium is produced by Jio Studios and Prem and Dinesh Vijan, directed by Homi Adajania; the film releases on 13 March 13.
Hotstar Blocks Latest Episode Of John Oliver’s ‘Last Week Tonight’ Critical Of Modi
Over the last few days riots have raged on in the national capital, Delhi, even as Indian Prime Minister Narendra Modi and the US President Donald Trump met. Despite a high profile visit, when security is expected to be at its highest, Delhi saw large scale anti-Muslim violence, the kind it hasn’t seen since the anti-Sikh riots of 1986. Modi and Trump though have carried on with business as usual. While Prime Minister Modi hasn’t even acknowledged the violence, Trump said in his presser that he’d spoken to Modi about religious freedoms in India.
Several late night shows that air in the US, have spoken about Trump’s India visit. Trevor Noah for instance spoke about how Trump could not pronounce any of the Indian names and words in his speech (like Vivekamanunund instead of Vivekananda).
The most critical video from a late night host though came from John Oliver. A searing commentary on the anti minority hatred that is raging across India with the blessings of those in power. After 19-minutes on demonetisation, lynchings, CAA, NRC and pogroms, Oliver ends his piece with this, ‘India, home to this enduring symbol of love (Taj Mahal) frankly deserves more than this temporary symbol of hate (Modi).’
Here’s our piece from last night on India’s Prime Minister Narendra Modi…https://t.co/uEfwMDdB6g
— John Oliver (@iamjohnoliver) February 24, 2020
Hotstar which broadcasts Last Week Tonight every Tuesday in India has not yet posted the video.
There have been talks of Indian streaming services self-censoring earlier as well.
Read, Will The Bold Run Of Indian OTT Platforms Come To An End Soon?
Hotstar has not issued any clarification on why it has not aired this episode yet. According to a Bloomberg report the I&B Ministry has issued a clarification that it has nothing to do with this.
The video, in full, however, is on YouTube and has been trending since the day it was released.
Nayae Peyae Trailer Starring Dinesh Kumar
Dance Master Dinesh
EDITOR GOPIKRISHNA PRESENTS
Directed by: Sakthi Vasan
Produced by: Gopikrishnna, Dr.Revathi Rangaswamy
Music: NR Raghunanthan
Cinematography: Niran Chander
Editor: Harish Reddy
Art: Subbualagappan
Lyrics: Sakthi Vasan
Stunt: GN
Executive Producer: G Sakkarathalvar
Choreography: Dinesh – Dina
Co-Director: V Senthilkumar
Stills: Mothilal
Pro: Nikil
Production Manager: Askar Ali, Vijaya Kumar
Publicity Designs: NTalkies
Co Producers: Hiren Patel, Nirav Patel