It’s pure entertainment Superstar style. Suspend all logic and watch Sivaji for the sheer fire a legendary actor can create on the silver screen. He’s an enigma, a rock star and an uncrowned king of Indian Cinema. Sivaji is Rajini all the way and you will love it.
The movie is a must watch for all ages. The youth can certainly imbibe the social message which director Shankar packs so glamorously in all his movies. And the older lot can simply indulge in Rajini’s pure celluloid panache.
Sivaji (Rajinikanth) returns to India with a lot of money made in the US to set up a hospital and university to help the poor. But his goodwill is thwarted by the system that thrives on bribery and corruption. Sivaji tries to resist them but gives in to serve the larger cause. Its Shankar’s skill in using humor that keeps you in splits during all these routine scenes. Though Sivaji relents he is outwitted by the powerful businessman Adiseshan (Suman) the down played villain who reduces our hero to a pauper and leaves him with a one rupee coin as alms.
The toss of this coin will decide Sivaji’s future. The rest is revenge and romance with Tamil Selvi (Shriya) at her glamorous best. The songs take you to a world of fantasy and Rajini’s tribute to Sivaji Ganesan, MGR and Kamal Hassan in a cameo underlines his perfection. Take a bow to all the stylists in the film for their tasteful creations.
Sivaji is one more film which emphasizes the Superstar’s magic, Shankar’s control and the global impact of Tamil cinema. In Sivaji, Rajini rocks. What else matters! Cool!!!!
Tuesday, June 26, 2007
Thursday, January 18, 2007
Guru – Memorable!!!
(And Mani Sir is a south Indian… hence the review)
Celluloid - biography. Abhishek plays the role of Gurukanth Desai a villager from gujurat who goes on to build “hindustan ka sabse bada company”. The movie unfolds with Guru leaving to Istanbul in search of fortune. His early days in Istanbul are recreated to perfection and well spiced up with Mallika’s item number. He returns back to his village to start his own business and the journey heats up from here. He meets the teary Sujatha (Aishwarya Rai) who is trying to elope on the train. This scene was a let down compared to the directors earlier films where the hero and heroine meet in a very interesting sort of a way… be it Agni Nakshatram, Roja etc; Nevertheless, the rest of the chemistry in the film is captured well. After his marriage to Sujatha they arrive in Bombay with his Saala in hand to partner in the new business venture. He meets Mithun, who is done a commendable job as the owner of a national newspaper. It is indeed a very dignified re launch for an actor of his caliber. Thanks to the director. Gurus climb to success is narrated with slick photo shots as he goes on to build the polyester empire in India.
The second half slows down with the new characters of Madhavan and Vidya Balan, too big a star cast for people inconsequential to the film. Well Madhavan can how ever be excused as he added some youthful zest as the representative of the old mithun as the anatogonist. But Vidya Balan is totally lost in this capitalist war but nevertheless trying hard to justify whatever little part she got her way. The progress towards the climax was slow but moving. The eternal optimist Guru crushed and lying lost on the hospital bed wouldn’t have touched you if not for Abhishek’s convincing performance… the most important thing holding up the film.
The climax was good with great performances from Abhishek and Ash… but the story does not justify completely. It dampened the spirit of moral cinema leaving us with an unsettling dilemma. But at the end Guru is a memorable film. I doubt the mass appeal but will certainly go down well with the classes.
Celluloid - biography. Abhishek plays the role of Gurukanth Desai a villager from gujurat who goes on to build “hindustan ka sabse bada company”. The movie unfolds with Guru leaving to Istanbul in search of fortune. His early days in Istanbul are recreated to perfection and well spiced up with Mallika’s item number. He returns back to his village to start his own business and the journey heats up from here. He meets the teary Sujatha (Aishwarya Rai) who is trying to elope on the train. This scene was a let down compared to the directors earlier films where the hero and heroine meet in a very interesting sort of a way… be it Agni Nakshatram, Roja etc; Nevertheless, the rest of the chemistry in the film is captured well. After his marriage to Sujatha they arrive in Bombay with his Saala in hand to partner in the new business venture. He meets Mithun, who is done a commendable job as the owner of a national newspaper. It is indeed a very dignified re launch for an actor of his caliber. Thanks to the director. Gurus climb to success is narrated with slick photo shots as he goes on to build the polyester empire in India.
The second half slows down with the new characters of Madhavan and Vidya Balan, too big a star cast for people inconsequential to the film. Well Madhavan can how ever be excused as he added some youthful zest as the representative of the old mithun as the anatogonist. But Vidya Balan is totally lost in this capitalist war but nevertheless trying hard to justify whatever little part she got her way. The progress towards the climax was slow but moving. The eternal optimist Guru crushed and lying lost on the hospital bed wouldn’t have touched you if not for Abhishek’s convincing performance… the most important thing holding up the film.
The climax was good with great performances from Abhishek and Ash… but the story does not justify completely. It dampened the spirit of moral cinema leaving us with an unsettling dilemma. But at the end Guru is a memorable film. I doubt the mass appeal but will certainly go down well with the classes.
Sunday, December 3, 2006
Indian Cinema - What a Pity!!!!
One of the main reasons behind this blog is the 36th International Film Festival of India held at Goa, which has agitated me to no end. Being a film professional in India it really pains to see bollywood becoming synonymous to Indian Cinema. No doubt bollywood churns out big budget films catering to bigger markets, but Indian cinema does not end there. And this is something the organizers of IFFI should wake up to. If ever their narrow perspective dares to widen and look beyond their own constricted world, they can see an industry that churns more number of films with far more superior stories, gripping screenplays and phenomenal actors... and that is the South Indian film industry.
Its ironical that bollywood which endlessly chants Ram Gopal Varma’s success mantras, honors Mani Ratnam’s intelligent films and worships Ravi K Chandran’s Cinematography has failed to trace that such genius has originated from the south.
Bollywood is so lost in its shallow glamour and narcissist glory; it is blissfully ignorant of any brilliance outside of it. And IFFI is a sample of this vanity.
Consider the plight of Malayalam Director Albert whose film Kanne Madanguka was screened in the feature film section of Indian Panorama at IFFI. "I myself had to stick posters of my film as the organizers didn't bother to. Bollywood posters are put up everywhere, leaving no space for other films” he complains in vain.
IFFI’s disregard does not end with the ‘god’s own country’ it callously ridicules the Kannada Film Industry as well.
Dr. Rajkumar was the legendary actor of the kannada film industry. He has acted in more than 200 films ruling the industry for 50 years. He won ten filmfare awards in the best actor category, which happens to be the second highest in the history of Indian Films. He is the recipient of Padma Bhushan and Dada Saheb Phalke awards from the Government of India. And innumerable state awards for his contribution to Indian Cinema. Now with what audacity did the organizers of IFFI print the picture of the veteran Kannada Director Girish Kasaravalli instead of the iconic actor Rajkumar in the obituary written for him in their brochure?
It not only dishonors the memorable actor but also Mr. Girish kasaravalli who is the youngest recipient of the "Swarna Kamal" (Golden Lotus) for 'Best Feature Film', from the Government of India.
Indian Cinema will continue to glorify bollywood unless South Indian film professionals and audience propel the change. True we don’t want to stoop down and fight but also don’t want to lie down and be walked over.
-Vidya Reddy
One of the main reasons behind this blog is the 36th International Film Festival of India held at Goa, which has agitated me to no end. Being a film professional in India it really pains to see bollywood becoming synonymous to Indian Cinema. No doubt bollywood churns out big budget films catering to bigger markets, but Indian cinema does not end there. And this is something the organizers of IFFI should wake up to. If ever their narrow perspective dares to widen and look beyond their own constricted world, they can see an industry that churns more number of films with far more superior stories, gripping screenplays and phenomenal actors... and that is the South Indian film industry.
Its ironical that bollywood which endlessly chants Ram Gopal Varma’s success mantras, honors Mani Ratnam’s intelligent films and worships Ravi K Chandran’s Cinematography has failed to trace that such genius has originated from the south.
Bollywood is so lost in its shallow glamour and narcissist glory; it is blissfully ignorant of any brilliance outside of it. And IFFI is a sample of this vanity.
Consider the plight of Malayalam Director Albert whose film Kanne Madanguka was screened in the feature film section of Indian Panorama at IFFI. "I myself had to stick posters of my film as the organizers didn't bother to. Bollywood posters are put up everywhere, leaving no space for other films” he complains in vain.
IFFI’s disregard does not end with the ‘god’s own country’ it callously ridicules the Kannada Film Industry as well.
Dr. Rajkumar was the legendary actor of the kannada film industry. He has acted in more than 200 films ruling the industry for 50 years. He won ten filmfare awards in the best actor category, which happens to be the second highest in the history of Indian Films. He is the recipient of Padma Bhushan and Dada Saheb Phalke awards from the Government of India. And innumerable state awards for his contribution to Indian Cinema. Now with what audacity did the organizers of IFFI print the picture of the veteran Kannada Director Girish Kasaravalli instead of the iconic actor Rajkumar in the obituary written for him in their brochure?
It not only dishonors the memorable actor but also Mr. Girish kasaravalli who is the youngest recipient of the "Swarna Kamal" (Golden Lotus) for 'Best Feature Film', from the Government of India.
Indian Cinema will continue to glorify bollywood unless South Indian film professionals and audience propel the change. True we don’t want to stoop down and fight but also don’t want to lie down and be walked over.
-Vidya Reddy
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