The Hindi Filim Gullu Dada Returns is another of those no-frills comedies imbibed with the Hyderabadi flavour, whose key source of humour is the local dialect. It revolves round a young resourceful man Aziz (Aziz Naser), who wants to have a lavish wedding reception but doesn’t have enough money in his kitty.

His friends are too broke to lend him any money, so despite being the right-side-of-the-law kind of person, he is forced to borrow from the loan shark Gullu Dada (Adnan Sajid) – fully meaning to pay him back. Now Gullu Dada is a source of much terror for his borrowers. The rest of the story deals with Aziz’s repayment blues.
Gullu Dada’s antics – his attempts at romance, his extortion rounds, and his being outwitted by Aziz – are what lend this film the humour tag. Surprisingly, there’s much less comedy in this one than you’d expect. Maybe because it’s not too noisy – there is thankfully very little physical humour, no crude jokes, and a fair bit of situational and dialogue-oriented comedy.
However, how much you enjoy this flick depends on how much you live and love the Hyderabadi accent. The net result, for several, is a brief collection of mildly funny moments.
There’s visible effort in weaving out an actual story instead, and make things more conventionally filmi – imagine a half-hour-long depiction of a traditional Muslim wedding, right from the engagement to the Walima.
Adnan Sajid dominating the script does well for the flick, since he puts in an energetic show. Aziz Naser has a mix of scenes that’ll make him look good as an actor – including a heavy-duty emotional one. The rest of the cast is amateurish, however, especially the women. The real focus here is on the accent, though – needless to say, everyone gets that right.

The dull cinematography and the technical values keep the flick out of the reach of any new patrons – it’s ultimately only those who’ve watched the crew’s earlier work who’ll end up watching it. The wedding sequence consists of interesting dholka he geet but otherwise, the soundtrack has a number of ’80s-’90s film songs accompanying the comedy on display.
In sum, Bollywood Movie Gullu Dada Returns is decent and light-hearted enough to cool off, but if you’re unaccustomed to the franchise, there’s not much you’re missing.

Let’s get this straight – Hindi Filim Kites is no masterpiece. Rakesh Roshan comes up with a story which dates back to the Kati Patang era. Romance is brewed amidst Bollywood clichés where the heroine invites hero to dance in rains while leaving inhibitions behind or the hero lends his coat to the heroine when she is drenched. The characterizations are conventional and the plot is predictable. What still keeps you attached to Kites is Anurag Basu’s sublime direction where he binds you emotionally with the sheer intensity of this heartrending love story.

Jai (Hrithik Roshan) earns his livelihood in LA by taking Salsa classes and doesn’t mind some extra bucks by crooked means. Luck comes knocking at door when one of his students Gina (Kangana Ranaut) falls in love with him and he gets to know she is daughter of a millionaire, Bob (Kabir Bedi). His pretentious affair with Gina introduces him to Natassha (Barbara Mori), fiancée of Gina’s brother Tony (Nicholas Brown).

Jai and Natassha hit it off instantly and discover true love in their lives, much against their manipulated relationships. Together they elope inviting the angst of Tony who is out to get them at any cost.

Woody Allen’s Match Point is evidently the reference point for the core correlations in the film. But come to think of it, thematically Kites isn’t much different from Rakesh Roshan’s decade-old flick Koyla where Shah Rukh Khan elopes with the fiancée (Madhuri Dixit) of the antagonist (Amrish Puri) who is out to get them. Also writers Robin Bhatt and Akash Khurana seem to draw from Deepak Tijori’s character from their first script Aashiqui for the friend’s character (Anand Tiwari) here who helps them on the run.

However director Anurag Basu scores in inciting sparkling chemistry between the lead pair as Hrithik Roshan and Barbara Mori take to each other naturally. Despite being unfamiliar with each other’s languages, they communicate through symbols and connect through momentary monosyllables establishing that love has no language. While the freshness of Barbara’s face is well-tapped, at the same time there is also a desi streak in her looks that wins her a familiar stamp of approval. She appears cute while speaking in broken English and radiates a stimulating smile that brightens up even the most mechanical scene. The palpable passion between Hrithik and Barbara when they come close for the first time is almost a reconstruction of a scene from Anurag Basu’s Life in a Metro where forbidden lovers Shilpa Shetty and Shiny Ahuja share a moment of intimacy. The final frame of this Bollywood film is visibly derived from that of James Cameron’s Titanic and its then that you realize that the two films also share similar character conflicts – the hero winning villain’s fiancée.

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

Evidently designed as a project to glorify his heroism, Salman Khan is the single reason you sit through the film. Sadly Salman can’t solely substitute for the abundant ambiguities in the film. Writer Shaktimaan fails to develop Salman’s story into a compelling screenplay falling prey to outmoded clichés and the film merely ends up being a love story between two warring families with the age-old revenge angle thrown in for good measure.
With shot-takings derived from Jodhaa Akbar ‘s battlefield sequences, the film starts on an interesting note. But the pace soon drops as an uninspiring love story takes precedence and too much of time is expended in song and dance. Though the narrative in first half doesn’t move beyond their redundant romance, the chemistry between the couple is palpably missing.
Half a dozen character artists are stuffed in the Pindari community, though none of them are established or contribute competently towards the war. Like many of those histrionic action sequences from the film where the hero makes a late entry to win instant applause, the film picks up pulse in the latter reels. The swayamvar sequence (derived from Dharam Veer ) and the climatic combat between father-son (inspired from Mard ) makes way for some dense dramatic moments. But Veer is excruciatingly long at a runtime that doesn’t justify its frail storytelling.
Action director Tinu Verma does a decent job in directing the stunt sequences but at several instances the rope tricks show off. Cinematographer Gopal Shah adds the requisite regal touch to the film, as his camera hovers vibrantly in action and battle sequences to capture accurate animated frames. Sanjay Dhabade’s art direction and Anna Singh’s costume designs somewhere fuses the period feel with a contemporary touch. Sajid Wajid’s musical score is pleasing to the ear and goes in sync with the period setting.

Salman Khan takes absolute precedence amongst everything else and roars through a powerful performance. The warrior character befits his stud and sturdy image and he doesn’t have to try too hard. Prominent in every frame of the film, he overshadows everyone else so much so that supplementary actor-brother Sohail Khan doesn’t even get one consolation solo scene. That thankfully moderates the trauma since all Sohail does is his brand buffoonery. Mithun Chakravarthy is the only one who stands on his own other than Salman Khan adding life to his character. Zarine Khan is a replica of Katrina Kaif and using the same dubbing artist only adds to the analogy. Lisa Lazarus is absolutely wasted in a two scene role. Jackie Shroff repeats his humdrum villainous act. Puru Rajkumar is unintentionally funny in his accented English.

The Bollywood Filim Veer doesn’t offer variety. But if you are a veracious Salman Khan fan, Veer is watchable

Expectedly our hero Immi (Shahid Kapoor) lands up at the spot and wins Priya’s heart through his premeditated ways by sneaking beforehand into her personal dairy. Love blooms and soon goes kaboom. Both part ways leaving it on destiny to make them reunite. Three years later both are individually engaged to someone else. But like all archetypal love stories of Bollywood, in the climax, both the hero and heroine are destined to run away from their respective marriages and run into each other.
While too many coincidences in any screenplay is a sign of weak writing, the story of Milenge Milenge relies so much on destiny that it employs flukes of fate as its USP. While writer Shiraz Ahmed uses references from several films like Maine Pyaar Kiya (cigarette scene), Ishq (fake principal scene) and Shola aur Shabnam (boys in girls hostel scene) while penning scenes in the first half, the actual story unfolds in the second half and is directly derived from Serendipity . How one wishes the proceedings in each protagonist’s hunt for the other was more eventful rather than Immi sobbing before a bank manager and Priya broadcasting her love on radio stations in vain. Rather the continual near misses remind the viewer of Boney Kapoor’s earlier production Sirf Tum.
When Himesh Reshammiya exercises his shrieky vocal chords every now and then in the background, you wonder whether watching him onscreen is a comparatively easier task? The theme track ‘ Kuch Toh Baaki Hai ’ which keeps repeating through the film is a fatal mixture of ‘ Dil To Pagal Hai ’ and Atif Aslam’s ‘ Judaa Hoke Bhi ’ ( Adat ). Director Satish Kaushik tries his best to add charm to this romantic-comedy but the comedy doesn’t click and the romance is left to destiny. Rather he amuses more as the comedy sidekick mouthing his trademark gibberish dialogues.
Both Kareena Kapoor and Shahid Kapoor are earnest and their chemistry is credible. But why do every other character artist in the film from Satish Shah to Delnaz Paul end up hamming. Panini Rajkumar (yesteryear actor Rajkumar’s younger son) is plastic personified. Aarti Chhabria and Sarfaraz Khan lack screen presence.

Watch it only if you are just interested to see Kareena Kapoor when the term size zero wasn’t coined. Else The Bollywood Movie Milenge Milenge doesn’t score too much above zero.

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.

Where’s the story you ask? Somewhere in the second half (thankfully)! What’s the story you ask? A masala mix of several potboilers (thanklessly). Hetal’s father Batuk (Boman Irani) who is not on talking terms with his daughter ever since her love marriage decides to pay her a visit in London. A comedy of error follows as Aarush is mistaken to be Hetal’s husband. The conflict is as old as Rajesh Khanna’s Joroo Ka Ghulam (1972) to Rishi Kapoor’s Honeymoon (1992). More confusion ensues with the entry of Sandy’s brother, Krishna (Arjun Rampal) as a fake family is set up to win his consent for the marriage. The setting is as ‘familiar’ as Hrishikesh Mukherjee’s Golmaal to Rohit Shetty’s All The Best (with Arjun almost recreating Sanjay Dutt’s part) or the more recent TV sitcom Sajan Re Jhooth Mat Bolo . Further Arjun and Akshay play Sach Ka Samna until the moment of truth arrives in the climax amidst laughing gas.
While one doesn’t expect much from producer Sajid Nadiadwala ’s skills as a storywriter, the screenplay by Sajid Khan, Milap Zaveri and Vibha Singh is hugely disappointing for being patchy and contrived. One wonders whether the actors go overboard to make up for the weak writing (esp. in the first half) or whether the writing is intentionally shallow to allow the actors to clown around.
There are some genuinely funny moments in the second half esp. Boman Irani sleepwalking through his portrayal of Gujarati Sholay . Unfortunately it fails to salvage the harm caused by the bland, boring and banal first half. Also this time Sajid fails to show the finesse of Farah Khan in pulling off spoofs.

Shankar Ehsaan Loy come up with a peppy and foot-tapping musical score. ‘ O Girl You’re Mine ’ is a breezy number while the ‘ Dhanno remix ’ is refreshingly recreated. But what’s with the ludicrous lyrics? ‘ Volume kum kar papa jag jayega ’ only complements the loud comedy of the film and ‘ Aaja tujhe heaven dikhaoungi ’ is certainly not hell-uva material. Vikas Shivraman’s cinematography is menthol cool, Farah Khan’s choreography is graceful and Aki Narula and Shabina Khan’s costume designs are trendy.

Both Akshay Kumar and Riteish Deshmukh are regular in their comic acts. Arjun Rampal is cast in a serious role and does well with the straight-faced expressions that his character demands. Lara Dutta is alluring. Deepika Padukone looks stunning. Jiah Khan pales in comparison. The gorgeous Jacqueline Fernandez adds to the eye-candy. Boman Irani induces the real funny moments. Chunky Pandey hams. Lilette Dubey is a pleasant change in a character usually designed for Kirron Kher. Daisy Irani is wasted.
The Bollywood Movie Housefull ends up being a painful experience.

Let me start with a unique experience I had while watching “3 Idiots” paid premiere in one of Delhi’s leading multiplex on Thursday night. The house was full and everyone was pretty excited to see the last most awaited film of the year 2009. The show was to start at 7pm but unfortunately the print got stuck somewhere and there was a delay announced in the hall of about half an hour. Unusually the wait became long enough to complaint, and the show started 3 hours late at around 10pm. But not a single person in the theater abandoned the show and went back home. Everyone just stayed there in their seats waiting for three long hours along with their kids and family. The ambience made me feel the power, magic and expectations associated with two big names of Bollywood, namely Aamir Khan and Raj Kumar Hirani. And as the movie ended, everyone stood there clapping as refreshed as ever, even after they had spent more than 6 hours sitting in the cinema hall.

In few words, “3 Idiots” fulfills every promise it made and entertains the viewer completely with its engrossing and enlightening content based upon some real life happenings, we see and read about every day. Loosely inspired from Chetan Bhagat’s novel, “Five Point Someone”, it starts with the story of two friends, who are in search of their third adorable room-mate of the engineering college who actually helped them both in finding their own desired path in life. Commencing with a phone call to Madhavan, about their lost friend, the movie keeps shifting between the present & the past and majorly talks about the days they all spent together in the college studying engineering.
The first half is full of highly enjoyable moments which have a distinctive Hirani flavor and are sure going to be liked by everyone of any age or gender. The pants dropping humor may be a bit weird for some but the youngsters would not mind it at all for a change. However the engineering college campus and the in-class sequences in the movie do remind you of all the famous medical college scenes in Hirani’s debut masterpiece “Munnabhai M.B.B.S”. The entertaining first half ends on a mystery note, which straight away gets solved post intermission and then the story moves on towards the search of the third lost idiot, Aamir. Though the second half has got some dragging moments in the mid but overall, it makes a good impact on the viewer with a masterstroke used towards the climax having a pleasant surprise twist. And in the end, it makes you leave the hall clapping with a cheerful smile.

Director Rajkumar Hirani brilliantly writes all his scenes along with the talented Abhijat Joshi and the experienced Vidhu Vinod Chopra. The ease with which he showcases serious issues like Suicides by Students, Ragging in Colleges, Faulty Education System based on memorization and the unnecessary competition creating tension is simply commendable. He politely gives his own message through many comic and hilarious sequences in the movie which also have much bigger hidden indications for the society. Further, he goes on to humbly remind you that Are you doing the job you always wished for? Or you also have just compromised and bowed down to the demanding needs of your greedy surroundings and still regretting the major decision of your life.
To be straight, “3 Idiots” is a director’s movie completely. Though it has been more publicized and awaited as an Aamir Khan project, but it would be completely unfair to treat it at par with the perfectionist’s earlier movies where he is in full force as a solo hero. In fact, every big and small character in “3 Idiots”, strongly makes his presence felt, which in turn restrains anybody from calling it an Aamir Khan movie alone. Having said that, I would also like to add that with “3 Idiots” Aamir once again proves his unmatchable understanding of the medium and willingness to work better with a team spirit. He consistently delivers another flawless performance of his shining career under the expert direction of Raj Kumar Hirani. His commitment towards the works shows from the unbelievable slim physique he gets into for the role of a college student after the famous body building act of “Ghajini” and comes out as a clear winner.
After Aamir, the next best act comes from Sharman Joshi who very convincingly portrays a complex character of a student caught in a dilemma. It’s unarguably the toughest role and Sharman’s the best performance of his career till date. A truly award winning act by the young lad in the Best Supporting Act Category this year. The third idiot, Madhavan equally impresses in the role of an engineering student, wishing to become a wild life photographer from heart. Madhavan, never makes you feel his huge star status in the south and impressively plays his part with a quite conviction. Boman Irani is superb as earlier seen in the similar role a University professor. Actually, he has mastered this particular kind of character by now and looks great in his messy get up in the movie.

Kareena Kapoor hasn’t got a big role in the script, but she still manages to catch your attention through her new look with the glasses. Mona Singh is cool in her few scenes but Javed Jaffery is wasted in a two scene role. The actor playing the studious friend of the 3 Idiots is first rate and Parikshit Sahni thankfully is there with a controlled act. Cinematography is worth mentioning especially in the scenes where the three friends meet at the top of a high rise structure, the beautiful roads in the mountains and the climax scene shot along the blue water lake of Ladakh. Shantanu Moitra’s music is not worth buying as an album, but it impresses and leaves a mark after you have watched the movie in the theater. The song “All Izz Well” keeps growing on the mind, once you understand the real meaning of its lyrics in the movie. Background score suits the mood of the script well and is used creatively in the scenes.
Summing up, there is no doubt that “3 Idiots” is one of the finest movies of 2009 and will be a great success at the box office, but at the same time I would like to share a few points I have in mind about the movie :

Firstly, the basic format of the movie remains very close to Hirani’s debut venture “Munnabhai MBBS”. It has many similar (not identical) scenes of college classrooms, lectures and exams (though the subjects are different). The interaction between Boman and Aamir is on the similar lines of Boman and Sanjay Dutt. There is also a Hospital Sequence of Sharman getting paralyzed and Aamir curing him with his miraculous ways (quite identical to Carrom Board Sequence in Munna Bhai). And lastly as there was “Jaadoo Ki Jhappi” in Munna Bhai and “Gandhigiri” in “Lage Raho”, similarly here we have a new phrase “All Izz Well” used in 3 Idiots to woo the audiences. So I somewhere felt the basic framework of the movie written around the same commercial elements used in Munna Bhai.

Secondly the pregnancy sequence of Mona Singh, where Aamir has to perform as a doctor on the online guidance of Kareena, was visibly deliberate, filmy and quite far from reality.
And thirdly, I couldn’t appreciate the way, Hirani hilariously treated the poor family of Shaman Joshi and the character of his paralyzed father. He mercilessly used the poor character as a comedian and made the audience laugh at his helpless situation which I didn’t find very amusing. This particular part was not as per the standards set by Hirani himself through his earlier two masterpieces and was an avoidable patch on an otherwise brilliant and highly entertaining flick from the master craftsman.
Despite of the above mentioned points, the talented trio, Rajkumar Hirani, Aamir Khan and Vidhu Vinod Chopra have a sure shot winner in their hands, which will be unanimously liked by all the section of the viewers together and should turn out to be a big success. It is an important Bollywood movie for all youngsters since it teaches them to follow their inner dreams and desires. And it gives them an ultimate message that “You should first aim at enjoying and achieving brilliance in your work and then success will automatically follow”. A must watch for all.

Every character in debutant director Akshay Shere’s funny, bitter and violent ode to the road movie wants money. Sometimes they also crave for sex. For example, there’s this incidental character (the film has drug dealers, racketeers and criminals crawling out of every frame) who’s force-doped by Ravi Kishen, who is very at home playing the revved-up psycho.

The zonked-out sociopath asks Kishen, “Koi launadiya milegi, kya?”

You hope for his sake he never runs into Kalki Koechlin. There is one very smart and manipulative woman in this wicked and wacky road movie. Koechlin seems to enjoy herself playing the woman on the run… She ain’t no nun.

And boy, does she have fun! She is the casino-owner Abhimanyu Singh’s mistress. But happily gets kidnapped by the extortionists Ranvir-Vinay duo (yes, they are back together again!). Then when she runs into Mohit Ahlawat and his backseat wealth, she snuggles up to him as though she was Marilyn Monroe on speed.

Speed is paramount to the mounting tension in “Emotional Atyachar”. Everyone is in a hurry to get to the end of the road. Short-cuts are most welcome. The characters range from the strange to the deranged. This is quintessential Quentin Tarantino territory soaked in the oozing blood of Vishal Bharadwaj’s storytelling.

Add a dash of cruel humour — for sintance a fat man dying on the backseat whose friend, played by Jimmy Viryani, cuts open an artery while trying to remove the bullet. And you have a work that gets its target audience charged up and ready to go.

A hurried impatient narrative edited with brutal austerity, “Emotional Atyachar” is not every one’s cup of tea. Really, one doesn’t see people rushing for this strange tale of blood, gore and vendetta situated in the greyest moral zone of the modern wounded civilization.

While the screenwriting (Bhavini Bheda) and dialogues (Kartik Krishnan, Bheda) are quite often funny in a weird and quip-friendly kind of way, the performances are uniformly engaging. Ravi Kishen and Abhimanyu Singh are the pick of the lot. But the unknown theatre actor Anand Tiwari, who makes the mistake of offering the wounded Ahlawat a lift on the deserted Goa-Mumbai highway, and who plays the only morally conscious character, is outstanding.

The plot is self-consciously complicated. The wheelerdealers who swish in and out of the plot charting a bloody course are not quite the people you want to meet at a party let alone on a deserted highway. They don’t seem to know the knack of quitting while they are ahead.

It is a very good Bollywood Filim Directed by Akshay Shere

Chennai, 17th Dec 2008… SUN TV Network Ltd One of India’s largest entertainment conglomerate today announced that it would be producing the movie titled “ENDHIRAN (The ROBOT)”. “ENDHIRAN” is India’s biggest project in terms of grandeur, splendor and Star Cast. It is Superstar Rajinikanth’s next live action movie.

This Multi crore project is to be directed by Shankar, Music is by AR Rahman and Aishwarya Rai stars along with Rajinikanth. The film will be released simultaneously in Tamil, Telugu, Hindi and other languages by the end of next year.

Sun Pictures, the movie division of Sun TV Network Limited will be handling the production. This project promises to be the first of its kind in terms of CG (Computer Graphics), Special effects and Stunt Sequences. Top Notch technicians from Hollywood are being roped in for this movie making this project truly global.

Sun Pictures today officially announced the project with Superstar Rajinikanth, Mr.Shankar and Sun TV Network Limited’s Chairman and Managing Director Mr. Kalanithi Maran. Sun Pictures Chief Operating Officer Mr. W Hansraj Saxena and the cinematographer of the film Mr. Rathnavel were also present.

Mr. Kalanithi Maran said “This is a big moment for Sun Pictures as we feel this is going to be India’s biggest movie. We are very happy and proud to be associated with Superstar Rajinikanth, Shankar and A R Rahman. With this Sun Pictures shall scale greater heights internationally”. Mr. Shankar said: “I am proud to be associated with Sun Pictures and join hands with Mr. Kalanithi Maran, working with super star Rajinikanth is a pleasure. Already there are high expectations for this project and by joining hands with Sun TV the hugeness of the movie will be further highlighted”

Mr. Rajinikanth said: “This is India’s biggest movie and I am very happy and honored to work with Sun Pictures and Mr.Kalanithi Maran”.