Awards

As of 2005, there are 31 awards announced. There is a separate category of film-critics awards, decided by noted film-critics selected by ht committee rather than popular voters. This dual format generated some controversy amongst viewers and recipients. Awards are given in the following Divisions.

The winners received a cash prize of about 250,000 rupees ($5,555) each. Both films also saw their respective lead actors — Salim for “Adaminte Makan Abu” and Dhanush for “Aadukulam” — sharing the best actor award. “Aadukulam” won five awards including best screenplay, editing and choreography.

The best actress award was also shared between Saranya Ponvannan for Tamil title “Thenmerkku Paruvakkatru” and Mitalee Jagtap Varadkar for Marathi language title “Baboo Band Baja,” which also picked a best debut director award for Rajesh Pinjani.

Marathi cinema also saw a best jury award winner in female empowerment drama “Mee Sundhutai Sapkal,” while superhero caper Tamil title “Enthiran” won best special effects “for bringing of age a spectrum of visual special effects in Indian cinema.” Starring South Indian superstar Rajnikant, the film was also dubbed in Hindi as Robot and became one of the biggest hits of all time.

In contrast, the few winners among Bollywood Hindi titles included Walt Disney India’s live action debut comedy “Do Dooni Chaar” winning best Hindi film, while action caper “Dabbang” won “best popular film providing wholesome entertainment.” Gangster drama “Ishqiya” picked up technical trophies for best music, best female playback singer and best sound design.

“There were some truly great films from the south this year. They bridge the crassness of commercial cinema and the artistry of parallel cinema in a way that is reminiscent of Hollywood,” said jury member and advertising filmmaker Prahlad Kakkar.

Complete retrospectives of Gopalakrishnan’s work have been held at New York’s Lincoln Center, the Smithsonian in Washington, D.C., the Paris Cinematheque, and the Munich Film Museum. His many national and international awards include the National Award (the most prominent film award in India), which he has won nine times; the Dada Saheb Phalke Award (for lifetime achievement); the British Film Institute’s Sutherland Trophy; the International Film Critics Award (FIPRESCI), which he has received six times; and the UNICEF prize at the Venice Film Festival. The government of India has conferred on him its second highest civilian award, the Padma Vibhushan. France has honored him with the Légion d’honneur and the Commandeur de Ordre des Arts et des Lettres.

This CHASE for the truth ends in nail biting, tense and unusual climax which will leave you spell bound.
It is said that you are innocent till proven guilty, but what happens when the law is interested in punishing the accused without verifying his innocence or guilt? What happens when the law upholder are ruthless and have no scruples?
All these questions are answered in CHASE…

Think Fast…

Run Faster…”

Chase movie is based on the finding a truth. The movie theme revolves around a murder case in which Sohail is involved. He is monitored by Insp. Siddharth. In this scenario, Nupur Chauhan is Sohail’s close friend.
Chase Hindi movie revolves around the hunt for Sohail. The movie takes us through the streets of Mumbai in the search of truth with an exciting and thrilling CHASE. Finding the truth reveals the biggest truth about political system also.
Chase movie raises many questions about criminals and crimes also. The movie tries to give all the questions in a sequence of story.
Chase 2010 movie has introduced bike racing, crime, challenging thriller, action, politics and romance in the street of Mumbai.
Action of this Bollywood movie is very challenging just like Prince 2010 movie. Chase movie is based on the concept of “think fast… and run faster…” The movie has tried to introduce the race of life in the modern era.
Chase movie is based on the most popular game – CHASE, run after or hunt. The movie is just like a game of Chase where all players run after each other. We all know that Chase is an exciting game. The movie has also tried to introduce some excitement to the audiences.

Chase movie revolves around Sohail who is accused of a murder. Sohail runs from the law to prove his innocence. D.I.G. Ranveer Tyagi and Inspector Siddharth run after Sohail. Nupur Chauhan is involved with Sohail in Chase Hindi movie.

Conventional characterizations come up in the form of a standard sidekick friend (Shubh Joshi) who introduces Aman to Professor Pashupathi (Rahul Dev) who knows it all. Together they set out on a ‘soul’ searching journey and end up in long-lost village Dak Bungla where some Ramu kaka character is waiting for them. The girl gets in ‘grave’ trouble and lands in coma. The guys attempt to dig the past.
Absurdly, an electronic item number takes you into flashback mode narrating a raja-rani kahani and through tavees , tantra -mantra and Theban language, the spirit is traced. Finally a zombie emerges to spread havoc and has to be traditionally terminated. Vikram Bhatt’s treatment never goes away from his previous horror flicks like Raaz and 1920 and perhaps, for him, being in his ‘elements’ means switching from ‘fire’ to ‘water’. So while the spirit was set afire in the climax of Raaz , here its ashes has to be immersed in water

To an extent the horror in Shaapit is initiated through its story and Vikram Bhatt and Dhiraj Rattan sketch out an eventful screenplay. Aman’s stint in the library in the first half, Shubh’s time-travel in the past and the professor’s psychometry experiment are riveting experiences. But resorting to regular clichés like the heroine walking in white at midnight, carrying a lamp or the professor getting possessed in the climax dilute the impact. Vikram derives the period setting from 1920 and the contrived conflict of the heroine struggling for life in hospital in the climax is an exact replication of the climax of Raaz . The end of this Bollywood Filim stretched and could have been less exasperating.

Debutant director Abhinav Kashyap chooses to walk the road that makes a complete U-turn from brother Anurag Kashyap’s edgy, hard-hitting, realistic cinema and opts for a signature tune that re-invents the age-old formula in aaj ka idiom. Plot-wise, the film might make you cringe with it’s hackneyed tale of two squabbling step brothers who have the arduous task of keeping the great Indian family together. And guess who’s making life even more difficult for the parivaar? Who else but the local goon (Sonu Sood) who tries to play one brother (Arbaaz Khan) against the other (Salman Khan).
But all this brouhaha about a non-story is truly irrelevant, because there never was supposed to be a story in Dabangg. The only factor that was supposed to be there was Salman Khan, Salman Khan, Salman Khan…followed by some more Salman Khan. So just sit back and savour the star power of an actor who chooses to enunciate the role of a thoroughbred entertainer. Salman’s corrupt cop act as Chulbul Pandey, playing Robin Hood in a semi-rustic environment is so engaging, you are willing to forgive and forget everything else. As soon as you begin to realise the film hasn’t moved at all in terms of story, bingo! There comes Salman swinging his bare fists around, ducking bullets, spewing mischievous threats and abuses, making eyes at his girlfriend (Sonakshi Sinha), creating chaos in his dysfunctional family and breezily breaking the rules with his brattish ways. And in case you still tend to get a bit restless, there is the Pelvic! Watch him gyrate in sync with all those uproarious tunes and you’ll be down to your last coin, having flung all the loose change you have on chartbusters like Munni Badnam Hui….And finally, if you still want more, there’s the shirt-ripping sequence, where our desi hulk gets to showcase his sculpted torso without having to unbutton it. It simply tears on its own! Now didn’t we tell you Bollywood films have their own undefinable logic….

Dabangg is designed as a vehicle to showcase the star charisma of Salman Khan and the actor literally hits bull’s eye. He has a ball on screen and makes sure you join the party too. Aiding him are two special factors: the excellent action choreography by S Vijayan (watch out for all of Salman’s slow motion antics and the Matrix bends and leaps that are sure-fire taali-seeti fare) and the foot-tapping music score by Sajid-Wajid and newcomer Lalit Pandit. The locales of the film too are exotic and re-create the hinterland ambience that is becoming so popular in Hindi cinema today. Set in a small, sleepy, one-horse town in Uttar Pradesh, Dabangg creates an alluring canvas of decay and dissolution, even as it celebrates the ordinariness of the aam aadmi’s life.
In terms of performances, the show is definitely anchored by Salman Khan , but debutant Sonakshi Sinha too stands tall. As Salman’s silent, shy, yet gritty girlfriend, she has great screen presence and a spontaneous charm. Bad guy, Sonu Sood too ends up as an interesting adversary to our local Robin Hood while Arbaaz Khan articulates the angst of the underdog brother. But hey, in the end, Dabangg is not about theory and analysis; it’s only about the Zandu Balm effect of cinema: completely home grown, hybrid, purely desi stress-busting therapy. Period.

Gaurav Bajaj who earlier debuted with Phir Kabhi does a fair job. Nina Sarkar is impressive in her debut role. Veteran actors like Paintal and Daisy Irani have been literally wasted in this Hindi movie. Ace stand up comedian Naveen Prabhakar playing the comic goon Girgit and Delna Mody who plays Diana the female villain succeed in deriving a few laughs.

While the film does bring back the memory of Abbas Mustan’s Tarzan the Wonder Car made in 2004, it does hold some appeal for children. Let them watch it if they have nothing else to do.
The Bollywood Movie Vroom – Adventures of Smarty the magical car- Average entertainer

One morning when he wakes up a wound of gun shot on his arm after committing the extremely dangerous theft in the history all the time. The thrill of the film is observed from the beginning of the film when the leading character Prince (Vivek Oberoi) fails to recall his past and for his unanswered questions, he sets on a never ending track. When he follows the questions he is able to find his identity and his name to be ‘Prince’ and he used to work for a man Sarang.
For adding more confusion in story, three girls clam to be his girlfriend Maya and Prince is being chased by the secret services of India – the CBI, I Grip and the white collared criminal in world. After some time, Prince feels that his life is only for five days. Finally the whole story is about how the central character Prince manages to trap himself from the web of deceits and saves the world.

The movie gives a big disappointment from the very beginning. The plans are good but the execution of those is awful and immature. Nothing is interesting to see in movie and neither comedy nor the action is good and sometimes you bang your head in full frustration. The acting in film puts almost you to sleep. There is nothing special for three actresses Nandana sen, Aruna Shiels and Neeru. Their look is ok but actingwise there is not any idea. So you watch the movie, if you are die-hard Vivek Oberoi’s Bollywood Movie.

At the end, there will nothing define as WHO WAS WRONG and WHO WAS RIGHT? It is just as it happened with Akira Kurusowa’s RASHOMON. The ultimate decision about the right judgment lies in the hands of no one, but you. Might be for the situation, there may be few debates popping up sooner after the show is over as few people may advocate for Beera, while others Raghini and Dev.
Unlike other films, it’s best to make few points on the technical aspects. This is outstanding and you could have guessed it just with the list of the technicians. First of all, Manirathnam’s ability to shoot major portion of the film besides, inner and nearby locations of waters has to be appreciation. The backdrops of locations maybe different, but the continuities have been strictly followed as audiences may not feel the difference anywhere.
In fact, the story’s proceedings are mostly happening over there. You would not have found any sequences related to an unexpected character proposing the ladylove in water. Yes, the scene where Abhishek Bachchan expresses his love for Aishwarya between the waters is simply superb and for sure there are possibilities of audiences keeping quiet with shock or may freak out raising for applauses.
For the performance, Abhishek Bachchan is exposed in a completely different manner from Manirathnam’s yesteryear films Yuva and Guru. Try to grasp on his performance of Aishwarya Rai, the victim trying to attack him and yet he reciprocates with a different gesture. But the man who steals the show is South Indian actor Chiyaan Vikram. He is fit and more perfect and this one does not look like debut film in Hindi. He is so well versed with dialogues. His introduction is not as formal as it happens with his previous Tamil films.
When it comes to dialogues, Aishwarya Rai gets more footage just as she emotes well wedged between confusions on finalizing her life’s way.
The supporting actors like Ravi Kissan and Priyamani (one of the important characters in this film) have done the best performances. But some of the conversations pertaining between every character look like a stage play. Vikram’s body language speaks more than his dialogues while yesteryear actor Govinda has got far away from those clownery acts. Every character has its own definitions and conclusions as director Manirathnam does justice to the roles he has designed.
More than songs, the background score by A.R. Rahman will surely receive more welcome as the musician has well performed enhancing the breathtaking shots of Santhosh Sivan. But it’s weird to see that Manirathnam’s ‘GURU’ climax shot of freeze-and-frame is used at more sequence. For exemplification, the ‘KATA KATA’ has similar shot that causes a sort of pain in the neck. It could have been done even without it. Sreekar Prasad’s editing is crisp as before as he doesn’t try anything new. But the best of all picturing is ‘BEHNE DE’ that has everything superb – music, camera, lyrics and performing levels of actors.

There are some emotional criteria involving Abhishek Bachchan and Priyamani and their heart-binding scenes at certain portions will attract the audiences of all centres.
On the whole, Hindi Movie Raavan is a great movie at Indian standards that will be regarded as the best flicks of contemporary period.
Overall the movie is a good one and will give satisfaction to the viewers… Mani Rathinam can relax for some time and let me appreciate he and his team for the good work.

In this Hindi Movie Aisha, Sonam is far more in control of her character’s misguided emotional compulsions. The fact that the young actress knows this label-centric designer world of chic shenanigans so well, helps Sonam master and contour her character’s art of self-deception in a way the original author of the character would have approved.
Sonam’s world harks back to Jane Austen’s giddy-headed British gentry class where match-making was not an idle chatter. It was religion. When placed in the neo-rich spiced-up politically-charged atmosphere of Delhi, Jane Austen’s characters seem to come alive in unexpected spurts of sassy splendour and unbridled joie de vivre. You can’t help laugh at these young, often-aimless, people’s self-importance.
Let’s not forget that Jane Austen had applied great intellectual strength to her frail and shallow people. Aisha converts Austen’s world into a frail feisty frolicsome fashion fiesta shot with an empowering affection for the natural light that bathes these somewhat affected people.
Debutante director Rajshree Ojha gets into this world of titillating trivia and designer dreams with a wink and smile that goes a long way in building a showcase around these metropolitan mannequins on a single-minded match-making prowl.

The casting is as dead-on as it can get. While the guys Abhay Deol, Cyrus Sahukar and Arunoday Singh play the Brain, Nerd and Hunk with absolute relish, it’s the girls who keep you chuckling and tch-tch-ing.
Neha Dubey and debutante Amrita Puri put in pitch-perfect performances as sahelis bullied into alliances that seem manipulated on earth rather than arranged in heaven. They have a bright future ahead, single or not.
But the film belongs to Sonam Kapoor, make no mistake of that. She makes the best of a rather rare opportunity for an Indian leading lady to be part of a Bollywood film that salutes Victorian mores and Delhi’s elitist affectations in one clean cool sweep.
Engaging and endearing – Aisha makes you wonder if there’s anything more important in the world than finding the right match.