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.

But unfortunately the film falls way below the expectations and just remains on the periphery without any kind of emotional depth and feel as required by the subject chosen by the master film-maker. In fact, I would like to add that the movie frankly fits no-where in the list of all the other notable achievements made by the director in his illustrious career.
Revolving around Rajat Kapoor & Rituparna Sengupta a newly-wed couple visiting Sikkim on a business cum pleasure tour, the film actually begins when out of a sudden Rajat Kapoor faints in a Buddhist temple seeing a lady monk saying her prayers, played by Antra Mali. His past has something to do with the lady which starts haunting him and he loses all his peace of mind due to that. The story then mainly deals with this love triangle between the three characters and it goes on to reveal many dark secrets of their past disturbing each one of them individually.

Truly speaking, Sandhya Gokhale’s story was fine having both the elements of love and surprise to shock the viewer. But her own screenplay ruins the idea completely as the film never pulls you in to share the trauma faced by the trio. Further, Amol Palekar’s direction also leaves you unmoved since the characters remain few fictional people moving on the screen and never give you the feeling of some real people as experienced in all the previous projects of the director.
Rajat Kapoor as the husband is fine but I couldn’t understand why he was made to speak Hindi in his few dialogues when the film was actually made in English. Rituparna Sengupta doesn’t look like a real life character as she is adjustable to simply everything happening with the couple. Due to this fact her portrayal of Rajat’s wife appears to be a fake. Antra Mali too is not able to make any kind of impact on the viewers with her bold bald getup as the lady monk. She mostly remains silent and expressionless throughout the movie. The actor playing Rituparna’s father has a great voice and fine dialogue delivery style but the girl playing their family friend has nothing much to in the film.

Musically, the project should have been a song less venture for sure. Still Amol very strangely puts in few songs (in English), having no melody in them, which were not required at all in the first place.
In all, The Bollywood Filim “And Once Again” has nothing to offer either to the classes or to the masses. The movie never makes you feel even once that you are really watching a film directed by the veteran Amol Palekar. May be he had his own reasons of making it this way. But considering its skillful cinematography, the film can be more enjoyed as a visual trip to Sikkim and its monasteries than a movie made for the theaters.

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.

The former half of this movie is the better with spectacular built ups but is not complemented with any good backup in the later half. With full of references to Brahmin ethos, rituals, mantras, and with plenty of flashbacks and sub lines, the movie digs up mysteries after mysteries which can be pretty confusing at times. Almost all the characters in the frame seems to be knowing Vedas or Black magic. And the script seems to be half baked and confused product with characters and happenings often defying any logic. Heavily inspired from the likes of ‘Manichithrathazhu’ and ‘Ananthabhadram’, the problem with ‘Drona 2010’ seems to be that the scriptwriter A K Sajan has taken the proceedings too lightly than was needed. The base thread of ‘Drona’ doesn’t have that zing to keep you hooked into the screen for most parts. The pace at which the confused product unravels and the length of this movie also makes you break into a yawn at several points of the narrative. And by trying chances in every genres, the movie ends up neither as a horror film, an action thriller or a mystic entertainer.
What holds the movie together is Mammootty who is brilliant as ever in both the roles. This is also a treat for all his fans, for his looks and performance as he breathes some life to a comatose script. All others including Thilakan and Manoj K Jayan manages to give their best. Navya Nair is featured in a small role while Kaniha seems misfit as the village belle. Youngster Dhanya Mary Varghese have a very special role in the movie.

The director in Shaji has worked fairly well than his recent outings. Naturally the technical side of the movie are also fine with Ekambaram creating some good visuals and Don Max, opting for only the needed cuts. Deepak Dev has done a good job in music while Rajamani’s BG scores are also fine.
Altogether, the movie ends up clarifying that no amount of gloss can substitute for an engaging plot lines. Prescribed only for the die hard fans of Mammootty, ‘Drona’ may find it hard to satisfy every type of audience.

By now the world knows that Karan Johar’s We Are Family is an ‘official’ remake of Hollywood flick Stepmom (1999). What many might not know is that even the original wasn’t absolutely original and derived its roots from a 1950 film No Sad Songs For Me or the 1995 American TV series The Other Woman.

Here you have a screenplay originally credited to five Hollywood writers and Indianized by two Bollywood counterparts. By Indianizing Karan Johar doesn’t intend to place the plot in India. The producer can’t get over the NRI fixation and this time stations his story in Australia. Also perhaps an Indian setting could have been less convincing for the fact that a sauteli maa won’t be as sought after as the successor for the kids in a country where extended joint families would be a better bet. The nuclear NRI family setup gives more significance to the being of a stepmom.
For the makers, adding own elements equates to populating the plot with three kids instead of two in the original. Of course director Siddharth Malhotra, an erstwhile assistant to Sooraj Barjatya, also appends a marriage ceremony as an epilogue to the narrative.
The story is about Aman (Arjun Rampal) and Maya (Kajol) who are divorced yet cordially connected for the sake of their three kids. Aman has found new love in Shreya (Kareena Kapoor) and wants her to warm up to his kids. Despite Shreya’s genuine attempts, the kids give her a cold shoulder. And Maya doesn’t want Shreya to be anywhere in the close vicinity of her children. Until she is diagnosed of cervical cancer! Having only a few months to survive, Maya’s prime concern is the future of her kids and suddenly she sees Shreya as her ideal substitute.

Malhotra’s storytelling is crisp and he doesn’t splurge any screen-time in elaborating the background account of Aman and Maya or what lead to their separation. You never know or wish to know what went wrong between the two but at the same time also wonder what makes them so amiable despite the divorce. But you surely wish to know what happened to Karan Johar’s Indian culture endorsement when, in a scene, the mother apologizes to her eldest daughter for being responsible for her uncool persona by not allowing her to booze or have fun with boys. A sequence straight out of Baghban (the Rimi Sen – Hema Malini sequence), it doesn’t go in sync with the family feel of the film but culminates more prudently.

The terminally-ill protagonist in the film evidently brings back memories of Karan Johar’s earlier production Kal Ho Na Ho. But this one doesn’t succeed in becoming as optimistic and cheerful as the earlier attempt. Though the dying protagonist in both films believe in living life to the fullest, the female patient in We Are Family largely shapes the film as a tearjerker unlike the lighthearted effervescence of SRK’s KHNH. Also unlike KHNH where the therapeutic procedure was restricted to a single hospital scene in the climax, here the medical ordeal of Kajol is prolonged in the second half. Thankfully Malhotra evades the inevitable death sequence like in KHNH but not before including a long-drawn-out family photograph sentimental scene.

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”.

Another director whose music is a craze is A.R Rehman. His music is great to listen to and very difficult to sing. He has delivered major hits like Chaiya Chaiya, Hamma hamma, roja etc. But the current heart throb is Himesh Reshammiya. It’s not a coincidence but every track which has been a hit in 2010 has been his track. This director not only makes good music but he is an exceptional singer too. Himesh sings and has a voice which sounds like he is singing from his nose but the beauty is that every word he sings touches the heart. Top directors this year are annoyed with him. Reason being even when Himesh was not signed on for some movies the producers requested him to do a special song. To the woes of many other directors everything that Himesh did turned into a hit.

Play back singing used to be the forte of a select few singers but now a days there are many players. To make it big in bollywood you either need to be star kid or you must have a godfather in the industry. Of late there has been a new way to make it big in bollywood and that is by participating in one of the reality shows. There are many shows like Indian idol and Sa Re Ga Ma Pa which are providing raw talent with a platform to make it big. Some of the recent finds have been Debojit and Abhijeet Sawant. These singers not only sing for movies they also perform in shows.

The words or the lyrics too have undergone a revolution. There was a time when the words of a song were censored very carefully. Nowadays the words are pretty weird at times. Movies like Lage Raho Munna Bhai have brought in a new style of writing. People dance to music which they enjoy and listen to music that they can sing. Gulzar and Javed Akthar are two lyricists who have magic in their pens. Every word they write not only does it touch your heart it will bring a tear in your eye or a smile on your face. The lyrics written by these lyricists on patriotism are often sung in schools and competitions. Songs like Ek Ladki Ko Dekha ., Tu hi re. and Dil se were so beautifully written that lots of Indian lads sing these songs for their loved ones.
Many musicals have been made in India and I don’t think there is any movie in the history of bollywood which doesn’t have music or a song at least. Even horror movies have songs. This is when the hero will see the ghost of a lady walking with a candle in her hands, wearing a white saree and will follow her. Music is like the life line of a movie. There are many movies which have extraordinary music.

Movies in India are basically made with a lot of spices. In India a movie has to have song, dance, romance, thrill, suspense, comedy, action, family drama etc. People in India work for ten hours a day and that too during the main part of the day and so many of them return to a home with no entertainment. The only available entertainment is movies. Whether a business tycoon or a cycle rickshaw driver all want to watch movies. So when a movie is made the makers have to keep in mind both the masses and the classes.

Indian cinema has improved drastically and now the audience is very mature too. They still want song and dance but not the running around tree sequences. So now there is a new market for item songs. This is where a nice fast track is made only for a great dancer to dance and increase the sales. Some of the top songs have been Babuji zara dhere chalo, khallas etc.

Movies were made particularly for the masses and the multiplex crowd. But now the viewers want to see good movies with great stories. Earlier the hero carried the entire movie on his shoulders but now the load is evenly spread. A movie will do well even if you don’t have a great star cast but have a great story and your actors do a job. A good example for this would be Khosla Ka Ghosla. There is nobody you can call the hero of the film but it’s realistic and humorous.

In three hours the audience wants to laugh, cry and be excited and so it’s a tough task for the directors but then hats off to all Indian directors as they come up with something spicy enough to fulfill the needs of all types of viewers.

Each movie has the main story and a lot of other small stories that build around it. At times in stories there may not be any scope for comedy. A lot of directors use other characters and bring in another funny plot. This comedy has no link with the movies. In the past people accepted this kind of comedy too but nowadays the audience accepts comedy only when it’s a part of the main story.

People who want to watch emotions are very particular about the quality of the emotions too. If you can’t cry or deliver the dialogues properly the audience rejects the star immediately. The stars have to be convincing enough. This is where the director’s ability is tested. The comedy has to be timed properly and the tears have to be realistically shed.

Movies in India have been made with a lot of respect for family values and traditions. Every movie which shows any function has to do it in the right way. If there is a wedding song in a movie it not only becomes a hit. It becomes a part of every Indian wedding. Movies like Hum Saath Saath Hain and Hum Apke Hain Kaun have been very very big hits because each and every scene of the movie is actually what happens in joint families and in weddings.

A movie when made in India has to be made in such a way that both a 5 year kid and an 85 year old grand father both have to enjoy it. It has to have a great story, touching performances, lovely music, breath taking locations, great dance steps and of course a really bad villain whom the hero has to bash up even if he is on the death bed.

This is true bollywood ishtyle where anything can happen. The hero can beat up any number of guys. The heroine can cry without glycerin. The villain is always ugly to look at. The police will never reach on time to save people. It’s only up to the hero to do all the running around, saving and bashing up. The heroines will always be wearing great makeup even if its in the middle of the night. Mother in laws can’t be good and the daughter in law will only worry about everybody else’s happiness and not hers. This is apna bollywood with all these errors but still it is the biggest film industry in the world. Nearly thrice the number of movies is made each year than the number of days in a year. If you are a movie buff then there is no place like bollywood because there is nothing that you can’t find here.

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Asin was the face of the year in 2005 every movie which came around Diwali had her. She starred with Surya in Ghajini, Vikram in Majaa and with Vijay in Sivakasi. All the three movies were hits. Sandhya made her debut with the film kadal and walked off with the best actress award for the film. Gopika has impressed everybody with her simplicity and great eyes. This actress is going places without exposing anything at all. This year was a major year for Nayantara. This actress used act with the senior stars as she too was big built and looked good with them. Look at her this year she has shed off all the extra pounds and is looking sleek in Vallavan and E. Both the movies have been hits this year and she is riding high.

Movies in India are basically made with a lot of spices. In India a movie has to have song, dance, romance, thrill, suspense, comedy, action, family drama etc. People in India work for ten hours a day and that too during the main part of the day and so many of them return to a home with no entertainment. The only available entertainment is movies. Whether a business tycoon or a cycle rickshaw driver all want to watch movies. So when a movie is made the makers have to keep in mind both the masses and the classes.

Indian cinema has improved drastically and now the audience is very mature too. They still want song and dance but not the running around tree sequences. So now there is a new market for item songs. This is where a nice fast track is made only for a great dancer to dance and increase the sales. Some of the top songs have been Babuji zara dhere chalo, khallas etc.

Movies were made particularly for the masses and the multiplex crowd. But now the viewers want to see good movies with great stories. Earlier the hero carried the entire movie on his shoulders but now the load is evenly spread. A movie will do well even if you don’t have a great star cast but have a great story and your actors do a job. A good example for this would be Khosla Ka Ghosla. There is nobody you can call the hero of the film but it’s realistic and humorous.

In three hours the audience wants to laugh, cry and be excited and so it’s a tough task for the directors but then hats off to all Indian directors as they come up with something spicy enough to fulfill the needs of all types of viewers.

Each movie has the main story and a lot of other small stories that build around it. At times in stories there may not be any scope for comedy. A lot of directors use other characters and bring in another funny plot. This comedy has no link with the movies. In the past people accepted this kind of comedy too but nowadays the audience accepts comedy only when it’s a part of the main story.

People who want to watch emotions are very particular about the quality of the emotions too. If you can’t cry or deliver the dialogues properly the audience rejects the star immediately. The stars have to be convincing enough. This is where the director’s ability is tested. The comedy has to be timed properly and the tears have to be realistically shed.

Movies in India have been made with a lot of respect for family values and traditions. Every movie which shows any function has to do it in the right way. If there is a wedding song in a movie it not only becomes a hit. It becomes a part of every Indian wedding. Movies like Hum Saath Saath Hain and Hum Apke Hain Kaun have been very very big hits because each and every scene of the movie is actually what happens in joint families and in weddings.

A movie when made in India has to be made in such a way that both a 5 year kid and an 85 year old grand father both have to enjoy it. It has to have a great story, touching performances, lovely music, breath taking locations, great dance steps and of course a really bad villain whom the hero has to bash up even if he is on the death bed.

This is true bollywood ishtyle where anything can happen. The hero can beat up any number of guys. The heroine can cry without glycerin. The villain is always ugly to look at. The police will never reach on time to save people. It’s only up to the hero to do all the running around, saving and bashing up. The heroines will always be wearing great makeup even if its in the middle of the night. Mother in laws can’t be good and the daughter in law will only worry about everybody else’s happiness and not hers. This is apna bollywood with all these errors but still it is the biggest film industry in the world. Nearly thrice the number of movies is made each year than the number of days in a year. If you are a movie buff then there is no place like bollywood because there is nothing that you can’t find here.