Category Archives: Tamil Movies

Tamil Movie Reviews, news and gossips; Upcoming Tamil Film information, release dates, Interviews with Tamil film stars.

Tamil superstar Rajinikanth turns 62

Chennai, Dec 12 (Calcutta Tube / IBNS): Tamil superstar Rajinikanth turned 62 on Monday amid thousands of birthday wishes from his fans.

Rajini generally likes to spend this day with his family and fans.

A special puja (ritual) is arranged in the household of the actor on this day every year where the family members participate.

His fans send him gifts and flower bouquets that ultimately end up in flooding his house.

Wishing, Rajinikanth, Bollywood superstar Amitabh Bachchan tweeted: “Its Happy Birthday for Rajnikant .. friend and colleague and a humble gentleman, despite his immense following and cult iconic figure.”

Both the actors had shared screen space in films like ‘Hum’ and ‘Andha Kanoon’.

Earlier this year, Rajinikanth suffered from recurrent respiratory infection and gastro intestinal ailments and was advised complete bed rest. He was even taken to Singapore for treatment.

Rajinikanth was given a rousing reception at the airport by his fans when he returned from Singapore in July.

He enchanted his fans with his unique style and dialogue delivery in films like ‘Enthiran’, ‘Sivaji’, ‘Muthu’, ‘Moondru Mugam’, and ‘Mullum Malarum’.

 

NEWS-ENTERTAINMENT-RAJINIKANTH TURNS 62 (REPEATING)

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Superstar Rajinikanth turns 62

Chennai, Dec 12 (IBNS): Tamil superstar Rajinikanth turned 62 on Monday amid thousands of birthday wishes from his fans.

Rajini generally likes to spend this day with his family and fans.

A special puja (ritual) is arranged in the household of the actor on this day every year where the family members participate.

His fans send him gifts and flower bouquets that ultimately end up in flooding his house.

Wishing, Rajinikanth, Bollywood superstar Amitabh Bachchan tweeted: “Its Happy Birthday for Rajnikant .. friend and colleague and a humble gentleman, despite his immense following and cult iconic figure.”

Both the actors had shared screen space in films like ‘Hum’ and ‘Andha Kanoon’.

Earlier this year, Rajinikanth suffered from recurrent respiratory infection and gastro intestinal ailments and was advised complete bed rest. He was even taken to Singapore for treatment.

Rajinikanth was given a rousing reception at the airport by his fans when he returned from Singapore in July.

He enchanted his fans with his unique style and dialogue delivery in films like ‘Enthiran’, ‘Sivaji’, ‘Muthu’, ‘Moondru Mugam’, and ‘Mullum Malarum’.


sh/sb

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Singam Puli (2011)-Tamil Film Review

March 7, 2011 (Calcutta Tube): Singam Puli is a 2011 Tamil film directed by Sai Ramani with Jiiva, Divya Spandana, Soundarya and others in the cast. Read the film review at Calcutta Tube.

Singam Puli – A tiring experience

Director: Sai Ramani;

Cast: Jiiva, Divya Spandana, Soundarya, Ponvannan, Pandu, Santhanam;

Music: Mani Sharma;

Rating: **

There was a buzz around this movie, since people wanted to know how Jiiva would do in a dual role. Plus, being a debut film of director Sai Ramani, the question was whether he would be able to pull it off in the first attempt.

 

While Jiiva has proved his skill in handling the dual role, the debutant director has failed to come up with a convincing and interesting script to make optimum use of Jiiva’s talents.

 

The story revolves around Siva (Jiiva), a 12th standard dropout who takes to selling fish as a profession. His love interest is Swetha (Divya). He has a twin brother Ashok (Jiiva), a lawyer. The two live with their sister and parents.

 

Ashok is a chronic flirt and leaves no stone unturned to have affairs with women. But he covers his tracks well by pretending to be a good guy and manages to get away with his charm that fools people easily, including his own parents.

 

He has a friend Buji Babu (Santhanam), who aids him in his affairs with girls. But when he goes one step too far and a girl Gayathri (Soundarya) dies because of his cheating ways, things get out of hand.

 

At the home front, no one understands the emotional outbursts of Siva and all of them believe that he is a bad guy. Siva is terribly upset with Ashok’s fraudulent ways and wants to put him behind the bars.

 

Ashok, on the other hand, is determined to counter his brother. He uses his charm and sophistication. Siva gets defeated at every step but his straight forward approach starts getting good results.

 

Ashok now sheds his pseudo soft postures and decides to use his links with goons to get rid of his brother.

 

Debutant Sai has chosen a dead old theme of fight between twins who represent good and bad. This could have been forgiven if he had worked up a good script to tell this tug-of-war between the brothers.

 

Apart from telling the story on expected and cliched lines the director makes it a tiring experience with the length (nearly three hours) that offers neither novelty nor interest.

 

A few second-half twists in the script fall flat.

 

Jiiva’s acting is the highlight of the film. He keeps you in splits in the comic scenes with Santhanam, but with too many double-meaning dialogues.

 

The heroines are more of eye candy with the mandatory songs. Divya Spandana has a beautiful face but her weight makes her less appealing. Soundarya in a brief role impresses.

 

The songs are just irritants. Mani Sharma’s music has nothing to write home about though two melody numbers with the two heroines are hummable. The song featuring Soundarya is spicy.

 

The film has some fun and a few entertainment elements, but the script is too mundane to relish.

Srijit Mukherjee

SRIJIT MUKHERJEE : PROSENJIT FELT THE SCRIPT WAS FLAWLESS (INTERVIEW)

Srijit Mukherjee

Srijit Mukherjee

KOLKATA/CALCUTTA TUBE: From Environmental Economics to a job in the Urban Transport and Pollution Sector with TERI, New Delhi, Srijit Mukherjee dropped out of his Ph.D. to join IRI Symphony, Bangalore as an econometrician and business analyst. After Bangalore, and a brief stint in Milan, he quit to actively pursue theatre and films. His first directorial film Autograph, has not only won critical acclaim and box office success, it has also made news for its original lyrics and music even before its release. Lines from a song in this film are the favourite ring tones, caller tunes on cell phones across West Bengal. How did this fairy tale story begin?

Is Autograph your first step into Bengali cinema?
As a director, yes. But I shifted from Bangalore a bit earlier. I wrote, directed and acted in Checkmate, a play in English, an account of Byomkesh Bakshi’s last case. I was assistant director, lyricist and actor in both Anjan Dutt’s Madly Bengali and Aparna Sen’s Iti Mrinalini. In 2010, I got my big break with Autograph.

Do you agree with those who say that Autograph is a contemporarised remix of Satyajit Ray’s Nayak?
No, I don’t agree at all. Nayak is a frame of reference as a film-within-a-film. While Nayak deals with one life as seen through the eyes of others and the hero’s conscience symbolized by the female journalist, Autograph is about three lives intertwining through reel and real space. Autograph both counterpoints and reinterprets Nayak at some places when we see decadence in values and ruthlessness of ambition in the hero. Autograph takes a more contemporary look at the persona of a Superstar.

What inspired you to title the film as Autograph?
Autograph signifies fame, power, success and individuality – themes which are germane to the narrative. It is a nice, catchy and smart title which elicits a lot of interest and curiosity. And it has struck the right note as you can judge from the success of the film at the box office.

As a director, what comments do you have about the magical lyrics and music of the film?
There are eight song tracks that are from varied genres in music. I use music for storytelling purposes. I do not use songs for their own sake never mind how beautiful they might be. They must either take the story forward, or be an additional sub-narrative, or have the potential to replace a scene full of dialogues to bring out the emotional state of characters realistically. I am not fond of item numbers or lip sync song sequences. In Autograph, I use songs on the soundtrack in the background. At times, they are circumstantially woven into the ambience, and enrich the story-telling. Debojyoti Mishra and Anupam Roy have together created a magical score.

Why do you think did Prosenjit accept this role in a slightly off-the-track film than the ones he usually features in?
He felt that the script was flawless. He is perpetually hungry for good roles as he is underutilized as an actor in mainstream cinema that has mainly banked on his star value and box office potential. He had never played a superstar before. The character of Arun Chatterjee had the right mix of arrogance and humility, of humour and seriousness, of altruism and vindictiveness to impart a very real shade of grey to the character. This additional layering of playing another superstar, slightly different from Arun in the film-within-the-film, appealed to him.
Shoma A. Chatterji

Nadunisi Naaygal (2011)-Tamil Movie Review

Feb 21, 2011 (Calcutta Tube): Nadunisi Naaygal is a 2011 Tamil movie directed by Gautham Vasudev Menon with Sameera Reddy, Veera, Ashwin and others in the cast. Read the film review at Calcutta Tube.

‘Nadunisi Naaygal’-an unimpressive show by star director Menon;

Cast: Sameera Reddy, Veera, Ashwin and others;

Director: Gautham Vasudev Menon;

Producer: Photon Kathaas;

Cinematography: Manoj Paramhamsa;

Editor: Antony;

Art Director: Rajeevan;

Rating: ** 1/2

Menon, who floated his own production house Photon Kathaas, is out with his first venture as a producer. ‘Nadunisi Naaygal’, a psycho-thriller, is directed by Menon himself. The film has no big star, except Sameera Reddy, music, songs or picturesque locations and is certainly a bold step by the director.

Trade sources are amazed at the opening the film has managed to receive, but ‘Nadunisi Naaygal’ is not Menon’s best work.

Samar aka Veera (Veera) transforms into a deadly psycho-killer because of his womanizing father’s sexual exploitation during his childhood. It’s not something we haven’t seen earlier and it’s not wrong on our part to have expected Menon to do a better job in depicting this. The childhood days of Veera are handled immaturedly.

The Southern film industry has witnessed erring and immoral fathers on screen earlier but they way Menon’s film shows Veera’s father indulging in ‘orgy’ and making his own son a ‘sex-worker’ defy logic. The base for Veera’s supposedly ‘psycho’ avatar is so weak that the rest of the sequences fail to make a lasting impact on viewers.

Samar’s ‘forced act’ with the neighbouring girl Meenakshi (Meenakshi), who redeems him from the hell, is shocking. But it is hardly convincing to see her helping Samar even after seeing his violent behaviour. She even becomes victim of his behaviour still she doesn’t want to treat him but help him lead a ‘normal’ life.

There are many questions are answered such as – What is Meenakshi’s background? How does she have an imposing house in Chennai? How Veera is able to carry out all the crimes without anyone’s help? How does he create a mechanism to put the corpses? How does he get pistols?

Menon doesn’t bother to address these questions.

Samar’s abduction of Sukanya (Sameera) and the subsequent events move at a breezy pace. The way Meenakshi’s ‘presence’ has been shown in the house is laudable. Antony’s slick editing makes the movie move faster.

Veera, an erstwhile assistant director of Menon, has done a good job as an actor as he shuttles with equal ease as Samar and Veera.

His portrayal is convincing and one cannot say that this is his first film. Sameera is perfect as she brings out the pain and agony of a woman subjected to physical and mental torture.

The actor playing police officer could have acted better. Meenakshi has done a wonderful job, especially after the accident.

Manoj’s cinematography is great especially because the maximum film is shot during night. However, the usage of cliched top angle shots to show mentally disturbed person is irritating. Menon’s courage to avoid songs and background score is noteworthy.

The filmmaker’s concern for increasing sex-related crimes against women and children are reflected by the psychiatrist and in the message at the end. But the concern doesn’t translate into a engrossing film as Menon has failed because of the weak screenplay.

Despite having some engrossing moments ‘Nadunisi Naaygal’ turns out to be an unimpressive show, as it is neither convincing nor appealing.