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brindaneer · 3 years

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Film-making, like almost every other creative endeavour, requires not just an incredible level of talent and hard work but also immense fortitude. Naturally, good films are hard to come by. Masterpieces, however, are rare. A movie is most often just a source of entertainment for viewers; at times, it is a medium of abstract communication with actors they admire. However, cinema truly becomes art only when it is able to stimulate the emotions as well as the artistic sensibilities of its audience. And Jodha Akbar does exactly that. It is without an iota of doubt, a masterpiece of the modern era that ought to be watched by art lovers across the world.

The words ‘Akbar’, ‘Jodha’ and ‘Mughal Empire’, whenever uttered in the context of Indian cinema, have been primarily associated with the all time classic ‘Mughal-e-Azam’. K. Asif’s epic directorial venture of 1960 has remained the benchmark of historical costume dramas in India since its release, not without any reason. Created on a budget of rupees 1.5 crore, considered mammoth six decades ago, Mughal-e-Azam continues to be the greatest Indian blockbuster of all time even today. It amassed roughly 11 crore rupees after its run at the box-office then, which is equivalent to about a massive 2000 crores now. Such is the film’s aura that substantial interest was generated among cine-lovers during the release of its coloured version even as late as in 2004 and 2009. Hence, those were enormous shoes that Ashutosh Gowarikar had to fit in; there was no way of escaping the comparison since the subject matters of both films were too closely related. And because it was Ashutosh Gowarikar, he succeeded.

Not only did he find the perfect story (courtesy of Haider Ali) and draft a soulful script with Haider Ali and K.P. Saxena, he also roped in musical maestro A.R. Rahman and poetic genius Javed Akhtar to take care of the ‘music and lyrics’, two attributes that were required to be absolutely flawless in a period film such as this. While Neeta Lulla’s costumes and accessories made every actor look the part, ace set designer Nitin Desai recreated the Agra and Amer forts at shooting locations with faultless precision. However, all of this could have gone to waste had Ashutosh not been able to get the perfect cast on board. Having Hrithik Roshan and Aishwarya Rai Bachchan as Mughal emperor Akbar and feisty Rajput princess Jodha respectively was nothing short of achieving an ultimate casting coup. And these two were going to be indispensable for the grand success of this colossal project, probably more so than anyone else, except the director himself.

Hrithik Roshan might have already established himself as a terrific nuanced actor in the industry by the time he signed Jodha Akbar but taking on a role which would draw comparisons with the iconic Prithviraj Kapur and the legendary Dilip Kumar himself was a challenge he was yet to undertake. Likewise, Aishwarya Rai Bachchan, despite being the undisputed claimant to the title of the ‘most beautiful woman in the world’ during that time (which she still probably is) had never had her talent and beauty measured against the ethereal Madhubala before. Naturally, the burden of expectations lay as much on their shoulders as their director’s. The task at hand was going to be difficult for both but even more for Hrithik since he would be setting foot into the world of period films for the first time. His co-star had had previous experience from Sanjay Leela Bhansali’s Devdaas and Doug Lefler’s The Last Legion. The Last Legion in particular, deserves to be mentioned in this context because the sword-fighting training that Aishwarya had received for her role in that film probably helped her in Jodha Akbar too.

Despite not having the advantage of prior experience, Hrithik, like a true artist, owned the character of Akbar, making it seem like he had been playing historical characters all his life. His body-language, attitude, diction, voice modulation and movements were so attuned to someone of Akbar's stature that it took real effort to remember that the latter was a separate person. In a promotional interview before the film’s release, Ashutosh Gowarikar revealed how amazing an experience it was for him to see Hrithik get into the skin of the most famous Mughal of all time with an approach that was a combination of preparedness and spontaneity. Aishwarya too gave everything to the role of Jodha, and made this her career best performance since ‘Provoked’. Anyone who has watched ‘Jodha Akbar’ will agree that it is impossible to even imagine other people playing these two characters. If praise of the common man is not credible enough, let it also be known that Dilip Kumar saab himself was impressed by Hrithik’s versatility as an actor after watching the film at a special screening arranged for him by Ashutosh. He also admitted that the film had rekindled memories of the Magnum Opus ‘Mughal-e- Azam’ for him. Aishwarya too received immense praise for her performance as Jodha from critics, audience and industry colleagues alike.

Although comparisons between Mughal- e- Azam and Jodha Akbar were inevitable, it must be noted that both films dealt with very different aspects of Akbar’s life. While the older classic was about the aged Akbar’s conflicted relationship with his son Salim over the latter’s love affair with Anarkali, a courtesan renowned for her exquisite beauty, Gowarikar’s Jodha Akbar depicted the love story between the young emperor and his first wife, the Rajput princess Jodha. The similarity between both films, apart from Akbar and the Mughals, lay in the fact that the identities of both Anarkali and Jodha had been a matter of contention amongst historians since decades. However, staying true to his meticulous nature, Ashutosh correctly issued a statement explaining that it was not his intention to disrespect any one; Jodha was one among the several historically mentioned names of Akbar’s Rajput wife and it had been chosen in the film over the rest due to its considerable popularity among commoners. Ashutosh was also very clear about the love story between Akbar and Jodha being completely fictional since no such account had ever been documented in history. Basically, the film was a fiction set against a historical backdrop, and as far as that setting was concerned, Ashutosh tried to be as accurate as possible, building a story around events that had been recorded in the Akbarnama.

Now that we have given the prelude, it is time to experience the film all over again, and we hope that prospect excites our readers. ‘Jodha Akbar’ opens with the second battle of Panipat that took place in 1556 A.D. between Mughal forces led by the child Emperor Jalaluddin Mohammad’s regent, Bairam Khan, and King Hemu. After defeating the latter, the Mughals were able to recapture the throne of Delhi. The war scenes are all flawlessly directed, keeping in mind the period and style of warfare adopted during that time, something that is naturally expected from a director whose resume boasts of films like ‘Lagaan’ and ‘Swades’. By the time Hrithik appears on the silver screen in one of the most challenging roles of his life, six years have elapsed and Jalal is an adult. Demonstrating his terrific grasp of the character, Hrithik sweeps the audience off their feet as Jalal finally sends Bairam Khan away to Mecca after stopping him from beheading the unarmed defeated opponent, and effectively takes over the administration of ‘Hindustan’ ('Ab apne faisle hum khud lena chahte hain'). Hrithik’s portrayal of Jalal’s suppressed rage as well as authority in this scene was a delight to watch then, and remains so even after all these years. As Jalal plans to annex the entire Rajputana, we are introduced to the other half of the film’s title, princess Jodha. Adept at sword-fighting, having learnt the skill from her cousin Sujamal (played beautifully by the talented Sonu Sood), Gowarikar’s Jodha is the perfect example of ‘beauty with brains’. Aishwarya is as graceful at sword-fighting as she usually is while dancing and imbibes the exact body language required to play a Rajput princess aptly.

Staying loyal to historical facts, Ashutosh Gowarikar depicts Jodha and Jalal’s marriage just as it actually was- a politically motivated alliance. Troubled by Jalal’s over-ambitious brother-in-law Sharifuddin, Jodha’s father, the King of Amer, requests Jalal to marry his daughter so that Amer could obtain Mughal security (In the film, Raja Bharmal of Amer sees Jalal for the first time as he tames a wild elephant in a superbly executed action sequence. Hrithik obviously did it himself, and in order to ensure his safety, he used to feed the said elephant regularly before the shooting of this particular scene took place). Her father’s decision comes as a rude shock to the young Jodha who does not want to compromise her culture after marriage, and is therefore left devastated. Despite not being completely sure about the proposal initially, Jalal eventually agrees to it in front of the Dargah of Khwaja Moinuddin Chisti as he realizes that this inter-faith marriage may be of assistance in promoting religious harmony throughout the country. In a beautiful monologue, he admits to the Khwaja that religious differences were the reason why previous rulers had not been able to establish their rule over the entire ‘Hindustan’; he believes his marriage with Jodha shall solve that problem.

However, Jodha’s decision is yet to come. She is not a stereotypical submissive sixteenth century female, unable to stand up for her own rights. Instead, she is brave enough to summon the Mughal emperor to her tent and lay two conditions in front of him, the fulfilment of which, is mandatory for her agreement with this new association (the famous ‘Humari do maange hain’ scene). First, she does not want to be forced into giving up her religion and customs; second, she wants a temple to be built inside her room in the Mughal palace for her spiritual guide, Lord Krishna. Aishwarya is enthralling in this scene; her calm yet rigid posture and polite yet bold speech are worth watching. Hrithik is simply magnigficent here; no other adjective is suitable enough to describe his phenomenal performance as Jalal hears Jodha out and later recounts the two demands to her relatives and rest of the entourage. He obviously goes on to accept these demands, his respect for Jodha increasing in leaps and bounds at her fearlessness and simplicity (‘Amer ki Rajkumari ke bekhawf jasbe aur saadgi ko hum salaam karte hain’). Naturally, Jodha has no other option left other than agreeing to the marriage.

Had the director wanted, the wedding could have been an elaborate dramatic affair, but Ashutosh Gowarikar is not just another director looking for success through gimmicks. The grand wedding sequence lasts only for about a few seconds during which Jodha and Jalal wed each other as per both Hindu and Islamic traditions in an exemplary display of socio-religious amalgamation. Any extra time devoted to this would have been unnecessary and detrimental to the pace of the movie. After the wedding, a group of Sufi singers perform the utterly captivating ‘Khwaja mere Khwaja’, one of A.R. Rahman’s all time best compositions, in probably the most poetic Hindi film sequence of recent times. Such was its impact upon Mr. Bachchan that he termed it the ‘most apocalyptic moment’ in cinema since the great Stanley Kubrik’s ‘2001: A Space Odyssey’. It is not just the song that casts a spell upon the audience during this scene; rather, the direction and acting, in conjunction with the soulful music engender a near hypnotic effect among viewers which last in their minds forever. Hrithik’s expressions as Jalal experiences a spiritual epiphany and joins the Sufis in a trance are simply fascinating. He is a privilege to watch. The scene is an acting masterclass in itself and had he received every existing accolade for this moment alone, it would still not have been unfair.

Jodha and Jalal’s first night together is another instance of the subtlety that this film ceaselessly displays. Jalal, perceptive enough to understand that Jodha’s unyielding attitude towards his romantic gestures is not shyness in disguise, but unwillingness to be with him, has the perfect solution- she is free to leave him if that is what she wants. However, once again giving proof of her simplicity and honesty, Jodha directly confesses that she has no intention whatsoever of walking out of this relationship despite her inhibitions towards it; for her it is an unbreakable bond that shall last unto death. Respecting her wishes, Jalal vows to never be intimate with her against her will. Hrithik and Aishwarya’s acting styles truly compliment Ashutosh’s direction as is evident from this scene among many others in the film; without an ounce of melodrama, they are able to set the stage for an epic love story ridden not just with external impediments but personal inhibitions as well.

The rest of the movie is basically a collection of beautiful moments between the two leads, interspersed with an optimal amount of drama to propel the plot. The first sequence post their marriage that needs to be discussed in detail is the Deewan-E- Aam scene followed by the part wherein Jalal and Jodha see each other's faces without a curtain or ‘ghoonghat’ in between. As Jalal conducts his first hearing at the Deewan-E-Aam after his marriage to the Hindu Jodha, he, quite expectedly, faces opposition from the Ulemas of the court regarding his decision. However, before he is able to solve the problem at hand, the melodious voice of his newly wed bride distracts him, thereby interrupting the court proceedings. The expressions on everyone's face are worth watching as Jalal leaves his throne and begins to walk out of the court, clearly too engrossed to even officially dismiss everyone present. Realization hits him a bit too late, leaving him embarrassed in front of the entire Deewan-E-Aam, but he manages to salvage the situation by uttering an awkward 'Takliya'. This entire scene is once again a brilliant testimony to the skills of the director who expertly incorporates subtle humour in such a serious scene without overdoing any of it or making it seem farcical. Hrithik's performance here is admirable, his comic timing being absolutely flawless. Drawn by Jodha's entrancing voice, Jalal enters her 'Mahal' and they see each other for the first time in what was arguably the most romantic meeting sequence of Bollywood then and has been so since the last two decades. Ashutosh does not provide the actors with any dialogues here, who, therefore, rely completely on facial expressions to convey their feelings towards each other. Hrithik has been a master in expressions since he first entered the industry and in this scene, he is at his nuanced best. But Aishwarya is no less, and that is precisely why their interaction looks so natural and enchanting. With tiny eye gestures and body postures, they express admiration for each other's physical appearance, their eyes speaking a thousand words at once. The part where she wants him to put sindur on her, and he fails to understand initially, is such a wonderful portrayal of his willingness to understand and respect her culture that it strikes a chord with one and all.

For Jalal, it is almost love at first sight. Though completely smitten by her, he knows instinctively that Jodha is going to take more time, no matter how impressed she is with him. In the next few minutes, Ashutosh shows Jalal and Jodha gradually treading the first steps of love with Javed Ali's mellifluous voice ringing in the background. 'Kehne ko jashn-e-bahara hai, ishq ye dekh ke hairaan hai, phool se khushboo khafa khafa hai gulshan mein, chupa hai koi ranj fiza ki chilman mein'. When the inimitable Javed Akhtar is in charge of lyrics, songs get transformed into dialogues and help the story to march forward. Jashn-e-bahara does just that, and does so exquisitely. It challenges the notion that romantic scenes must always entail physical intimacy, and proves that sometimes a look or a smile is worth much more. Most of the credit for this should go to Hrithik and Aishwarya who defy every existing idea about screen chemistry by making heartbeats race even through mundane acts such as walking side by side while glancing furtively at each other, or smiling in embarrassment as they sit miles apart in a garden. Who says old-fashioned romance is always boring? When two individuals are able to set silver-screens ablaze by just standing together in one frame, every trivial action becomes exciting.

Scattered in between their light-hearted romantic moments during this prolonged sequence are two ‘more important’ ones. The first one depicts Jalal in an angry mood as he admonishes Maham Anga’s son Adham Khan when the latter dares to insult Jodha; as his awe-inspiring authoritative ‘Khabardar Adham, Rajkumari ka naam adab se lo. Ye na bhulo ki ab wo Malika- e- Hindustaan hain’ echoes through the silent night and reaches Jodha, she understands the extent of his respect for her and there is an expression of happy pride on her countenance. The second is probably everyone’s guilty pleasure and inspired multiple ‘tele-serial adaptations’ back in the day; while Jalal practices moves with the sword bare-bodied, Jodha suddenly catches sight of his chiselled body and cannot stop staring. In a brilliant directorial move, Ashutosh makes her put the plate of worship down so that she can actually concentrate on the view better 😂😁🤩🤩. Aishwarya is terrific here, portraying Jodha’s attraction to her husband perfectly although in an extremely nuanced manner. Of course when the man in question is Hrithik Roshan, it helps. Jalal is shrewd enough to notice his ‘wifey dearest’ and catches her off guard by turning around suddenly after which the poor girl hastily draws the curtains. Hrithik’s mischievious look is a treat to eyes! But seriously, how mean of him to intrude upon his wife’s private moment of ‘adoring her husband’ that way?🤪🤪

Being one of the best directors in the industry, Ashutosh Gowarikar ensures that his film contains the right mix of romance and drama. The first instance of drama in the movie since the wedding is provided by Maham Anga, Jalal’s ‘Badi Ammi’ (played by the exceptional Ila Urun) a politically shrewd woman, whose possessiveness for her foster son and displeasure at the advent of a strong-willed intelligent Rajput princess into the fort of Agra makes her vindictive towards the said person. When Jodha decides to prepare authentic Rajput food herself after Jalal orders a ‘Rajputi Daawat’ on the day of ‘Peer’ in her honour, Maham Anga spews venom at her through harsh words and accuses her of trying to establish control over the kitchen, and eventually Jalal himself. Jodha, although shocked, gives her befitting replies, and ultimately completes the entire cooking by herself. The scene that follows could easily have been a disaster if it had been handled by an ordinary director; it could have been an excruciatingly slow and boring sequence testing the patience of the audience. The fact that it is one of the most interesting parts of the entire film is a measure of Ashutosh Gowarikar’s genius. Substantial credit must also be given to the actors including supporting ones without whom Ashutosh might not have been able to produce the desired outcome in this scene ultimately. However, this scene belongs to Aishwarya Rai Bachchan. Her shock at being insulted by Maham Anga when she asks her to taste the food before serving it to the emperor, rage as she turns to her husband for support, and suppressed anger as well as sadness when she realizes that there is no way out are nothing short of mesmerizing. Her genuine happiness when Jalal decides to have food from the same plate she has eaten and her sly look towards Maham Anga are a sight to behold. Truly, Aishwarya is probably one of the most underrated actresses in our industry; she is fantastic but does not always get the due credit for it. Most of the time, it is her beauty and personality that gets talked about. Nevertheless, she is a terrific actress too and we sincerely hope people acknowledge that more often. Hrithik supports her fascinatingly throughout the scene, his eyes showing anger, helplessness and embarrassment at his wife’s insult flawlessly. It is the mark of a great actor to allow his co-actors to soar when the scene requires so. In an old interview, while explaining why Aishwarya was his favourite co-star, Hrithik said that they had very similar working styles which made them more compatible with each other; according to him, both of them were more concerned with the larger picture, and did not care if they were being given importance in every frame or not. This particular scene is the perfect example of that working style he was talking about.

The ‘Rajputi Dawat’ sequence changes something between Jodha and Akbar; they have managed to cross that initial threshold of hesitation towards each other. However, just when they are gradually coming closer, circumstances and people pull them apart. When Adham Khan murders one of Jalal’s most trustworthy ministers, Shamsuddin-Muhammad-Atgah-Khan, and intrudes into the emperor’s personal premises with a sword, the latter tackles him and orders royal guards to throw the traitor with his head downwards into the ground below. When he is only half dead after the first fall, Jalal, showing his cruel side, orders his soldiers to bring Adham up to the roof so that they can throw him down again. Future generations will remember Hrithik for this scene among many; he is spectacular here with a stance that is completely majestic and a face that exudes rage and grief in equal measure. He was actually able to generate tangible fear amongst the audience back when the film had released; we still remember the collective gasp at the theatre during this scene. This is also the first time Jodha gets acquainted with Jalal’s darker side. Until this moment, she had known him as a gentle, understanding young man; now she sees him as capable of being cruel to someone. Aishwarya’s portrayal of fear is spot on and subtle with no melodrama whatsoever, for which the director also deserves praise.

The next scene had actually been deleted from the movie to manage its length but we genuinely feel it should have been included due to its significance. Horrified at Jalal’s action, Jodha confronts him in a terrific angsty sequence only to realize that Jalal is mourning the loss of a father figure in Shamsuddin-Muhammad-Atgah-Khan. Hrithik is superlative as Jalal breaks down and confesses to his wife about being orphaned again. This is the most tender moment both have yet experienced, and that realization is clearly etched upon Jodha’s face, who gives her heart-broken husband sound advice. She understands why he killed Adham, but asks him to apologize in front of Maham Anga, despite all the troubles the latter has created for her. We surely would not have minded sitting in the theatre for a few extra minutes to watch this brilliant scene Mr. Gowarikar!

The scene wherein Jalal explains his behaviour to Maham Anga is one of the most important sequences in the film for multiple reasons. Firstly, the acting is phenomenal; emotions have always been Hrithik’s forte and what do we say about Ila Urun? We are probably not qualified enough. So, its better to just bow our heads in respect and keep quiet. Second, this is when Maham Anga is able to instigate Jalal against Jodha by feeding him false information. She shows him a container of poison that her spy had extracted from Jodha’s personal belongings earlier and lies that his wife may be planning to harm him. In reality, Jodha’s mother had given her the poison so that she could kill herself if she feared of being dishonoured by her husband after the marriage. Maham Anga also misleads him by talking about a letter that Jodha has written to Rajkumar Ratan Singh, the Rajput prince, she had been betrothed to since her childhood. This letter had actually been written by Jodha to her cousin Sujamal, who had left Amer after being denied the throne. In the letter, Jodha had requested him to rescue her from being married off to the Mughal emperor. However, she had never sent it. After finding it in Jodha’s room, Maham Anga sends it to Sujamal, to take advantage of the situation and create a rift between Jalal and his wife. Unfortunately, this diabolical ploy works because of Jalal’s blind trust in his ‘Badi Ammi’. Upon receiving the letter, Sujamal believes it to be genuine, and goes to the Agra fort at night without caring about the risk. Jodha comes out to meet him, surprised at this sudden visit, but assures him that she is happy with Jalal. To her misfortune, her husband, who has never seen Sujamal or Ratan Singh before believes the intruder to be the latter and sends soldiers to capture him. Sujamal escapes, but only after thinking that Jodha deliberately called him there to be arrested. Meanwhile, Jalal accuses her of plotting with Ratan Singh behind his back. Outraged and shocked at this humiliation, Jodha tells him that Maham Anga is the one who has caused this entire misunderstanding. When Jalal refuses to believe her, she asks what punishment he has in mind. And, he tells her to go back to her parental house! Jodha naturally feels terribly insulted at his decision, and decides to leave him and protect her self-respect! This is a wonderfully executed sequence with the two leads reacting to each other masterfully, and turning it into one of the best angsty interactions ever. This was also the moment that Ashutosh chose as the point of intermission, a sound decision obviously because to be very honest, by this time the audience was indeed in need of some food and drinks 😄😄. On a serious note, this was a watershed moment in the lives of our two lead characters, and a perfect opportunity to take a break and come back refreshed.

Any analysis of Gowarikar’s Jodha Akbar is bound to be elaborate simply because it is impossible to designate any scene from the film as unimportant or bad. It is not for nothing that we termed this film a masterpiece at the beginning of this blog. Every second of it is still a pleasure to the senses and deserves mention. However, for the purpose of your sanity and ours (not to mention the time constraint), it is vital that we take an ‘interval’ too, and analyse the second part of the movie in a separate blog. Don’t worry, we will not take too long. So au revoir as the French say ; hopefully you will bestow your good wishes upon us once again like you have till now.❤️❤️

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A. R. Rahman Net Worth 2022: Age, Height, Weight, Wife, Kids, Bio-Wiki

A. R. Rahman Celebrated Name: A. R. Rahman Real Name/Full Name: A.S. Dileep Kumar Gender: Male Age: 55 years old Birth Date: 6 January 1967 Birth Place: Madras, Tamil Nadu Nationality: Indian Height: 1.65 m Weight: 70 kg Sexual Orientation: Straight Marital Status: Married Wife/Spouse (Name): Saira Banu Children/Kids (Son and Daughter): Yes (Khatija Rahman, A.R. Ameen, Rahima…

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bigyack-com · 3 years

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Navarasa Review: Netflix Anthology Makes A Fair Fist Of Delivering A Range Of Cinematic Moods

Navarasa Review: Vijay Sethupathi in a still from the anthologyCast: Suriya, Arvind Swami, Vijay Sethupathi, Siddharth, Atharvaa, Gautham, Vasudev Menon, Prasanna, Revathi, Prayaga MartinDirectors: Arvind Swami, Bejoy Nambiar, Gautham Vasudev Menon, Karthick Naren, Karthik Subbaraj, Priyadarshan, Rathindran Prasad, Sarjun, Vasanth SaiRating: 3 starsThe toughest aspect of Navarasa, a nine-film, five-hour anthology that brings together some of the brightest names of Tamil cinema, isn't its length. It is the erratic and arbitrary manner in which the nine emotions of Indian dramaturgy have been translated to the screen. But to be fair, barring an exception or two, Navarasa, streaming on Netflix, makes a fair fist of delivering a range of cinematic moods and colour palettes, if not the intended spectrum of emotions.Produced and presented by Mani Ratnam (who also contributes a story to one short and a screenplay to another) and Jayendra Panchapakesan, Navarasa was conceptualized as a means to support film industry workers impacted by the Covid-19 lockdown. None of the short films, however, factors the pandemic into its storyline. In fact, three of the films are set in the past.Two of the entries, Project Agni and Roudhram, strike a chord, one for its audacious flights of fancy, the other for its sharp delineation of place, time and people. Two others, Edhiri and Inmay, grab attention thanks both to the performances of the lead actors (Revathy and Vijay Sethupathi in the former, Parvathy Thiruvoth and Siddharth in the latter) and the emotional layering they impart to the stories.The opening film, Edhiri (Enemy), directed by Bejoy Nambiar, is about karuna (compassion). It raises hopes with a horizontally split screen opening, revealing the two principal characters, played superbly by Revathy and Vijay Sethupathi. But eventually, it isn't so much about compassion as about anger, violence, and penitence.The story of Edhiri, credited to Mani Ratnam, portrays pent-up rage and its repercussions on two people - a murderer (Sethupathi) and the wife (Revathy) of the victim (Prakash Raj in an impactful cameo). The twist is provided by the transference of the feeling of remorse from one to the other, but the shift is too sudden and too facile to pass muster.The biggest letdown in Navarasa is Priyadarshan's Summer Of `92: Hasya/Laughter. A successful Tamil cinema comedian visits his school to inaugurate its centenary celebrations and proceeds to reveal how much trouble he got into with his teachers.Navarasa Review: Suriya in still from Netflix anthologyApart from being unfunny, the film wastes two good actors - Yogi Babu, playing a version of himself, and Nedumudi Venu, in the role of a school principal looking for a match for his daughter (Ramya Nambeesan). About the only takeaway from Summer Of `92 is a dog left behind by a late Christian priest and weaned on tamarind rice from a Hindu temple. The four-legged creature leaves a quirky mark on a film that is otherwise devoid of genuine humour.Project Agni: Adbhuta/Wonder, directed by Karthick Naren, comes the closest to the emotion that it is out to evoke. The short film is at least partly a tribute to Christopher Nolan. An outlier (Arvind Swamy, who directs one of the better films of the anthology) invites a friend (Prasanna) who works at ISRO to share with him the findings of his research on the human subconscious and the origins of mankind.The researcher admits that "an obsession to see beyond our intelligence is never a good idea". But the director does not pay heed to that warning and plunges headlong into a twisted, mind-bending plot that, besides Nolan, touches upon the Mayan and Sumerian civilizations, an advanced alien race, alternate realities, past and future, Doomsday, the world of the subconscious and the notion that all human life is pre-programmed. Doesn't that sound like mumbo-jumbo? Well, it does but is delivered with delightful playfulness.The fourth film in Navarasa, Vasant S. Sai's Payasam: Bheebatsa/Disgust, invokes American poet and naturalist Diane Ackerman to assert that "disgust is danger to our soul" and then tells a story that does not quite get to the point.Set in 1965, Payasam unfolds during the wedding of a Brahmin's daughter, which is sought to be disrupted by the envious uncle (Delhi Ganesh) of the bride's father. The uncle has a widowed daughter (Aditi Balan) whose presence at her cousin's wedding is a talking point for the guests, but it is her father whose behaviour pushes things over the edge. If you are looking for the truly disgusting, Payasam isn't your bowl of dessert.Karthik Subbaraj delivers Peace: Shantih, at 28 minutes the shortest and the paciest of the nine films. The action takes place around an LTTE bunker in no man's land during the Sri Lankan civil war. A boy on the run from a village under army attack seeks help from the Tamil Tigers to rescue his brother.One of the rebels (Bobby Simha), stirred by memories of the personal losses he himself has suffered, agrees to risk his life to save another despite advice to the contrary from Master (Gautham Vasudev Menon, who has a directorial work in the mix). The film emphasizes peace even as it points to the dangers inherent in letting one's guard down.Like all the other shorts in Navarasa, debutant director Arvind Swami's Roudhram: Raudra/Anger opens with a quote. It likens "the venom of anger" to "a forest blaze that destroys everything". The film tells the story of a poor family of three - a woman (Geetha Kailasam) and her two children, a boy and a girl (Rhythvika) - whose lives spin out of control when the hot-headed son (Sreeram) strikes a man with a hammer.As the attacker is interrogated in police custody, the reason for his rage is revealed. But the film does not stop there. The social drama delivers a swift, surprise ending that alters all that has gone before. Director of photography Santosh Sivan gives the film bright splashes of colour, which provide a contrast to the bleakness of the lives portrayed. A.R. Rahman's music is an apt embellishment for the soundtrack of Roudhram.Rathindran R. Prasad falls back on Rumi - "What is fear? Non-acceptance of uncertainty" - and a musical score by Vishal Bhardwaj as he puts together Inmay (Devoid of): Bhaya/Fear, an intriguing vengeance saga that straddles fear, misgivings and horror in the same sweep.The two actors who flesh out the key characters - Siddharth and Parvathy Thiruvoth - throw all their skills into this story set in a swish, aesthetically designed Puducherry bungalow in which a male visitor and the mistress of the house discuss calligraphy and Islamic art. But under the calm surface of their conversation is a volcano waiting to erupt.Navarasa Review: Siddharth in still from Netflix anthologyThe director skillfully couches this story of great violence and surprise revelations in a beautiful bubble that bursts in face of pinpricks of a troubled past that ties the man's fate to that of the woman.The penultimate film, Sarjun KM's Thunintha Pin (Beyond Courage): Veera, is scripted by Mani Ratnam. It examines the definition of valour from the standpoint of a new police recruit (Atharva) who, within a week of finishing his combat training, is caught in a jungle ambush by Naxalites that leaves many men in his division dead.The young man is charged with the task of driving a wounded Naxalite leader (Kishore) back to the police station on the edge of the forest. It is a make-or-break chance for him to prove his mettle. Does he have it in? The rookie will discover soon enough, but the film leaves his pregnant wife (Anjali) in the lurch after allowing her a couple of scenes to assert her own brand of courage rooted in unwavering stoicism.The last film in the anthology, Guitar Kambi Mele Nindru (Tugging at My Guitar Strings): Sringara/Love, is Gautham Vasudev Menon's ode to amour. A 32-year-old Chennai singer (Suriya) lives with his mother (Tulasi) and dreams of leaving for London to become a world music composer and performer.He is about to jet off when he meets Nethra (Prayaga Rose Martin), a younger crooner who steps into his studio to record a song. The laws of attraction kick in and the man's plans go out the window in a flash. Having found his Muse and with love taking roots in his heart, the musician goes all out rediscover his voice.The actors look good and the director, as is his wont, crafts pretty frames, but the writing falls a bit by the wayside. The manner in which the film delves into the blossoming of love is undermined by the cliches of the genre.Navarasa is an uneven, bewildering welter: two are pretty good, two others are passable, and the rest are patchy. Avoid binge watching. Too exhausting. Space it out: watch two or three at a time. Read the full article

#Anthology #Cinematic #Delivering #Fair #Fist #moods #Navarasa #Netflix #Range #Review

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nokunstudio · 3 years

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Hey guys and girls, here's the 2nd fan poster of Mahesh Babu and also Kanna Hashimoto for Nokun Studio's Van1tha Project, Budget : INR 200 cr (USD 30million) Language : Telugu,Tamil,Malay,Hindi,Japanese, English Duration : 159 min (130 min without song) Director : David Leich & Lokesh Kanagaraj Music : Jack Trammell, A.R Rahman, Nine Inch Tails Release Date : TBA Production Company : Nokun Studio, GMB Entertainments, MRC, Skydance, Original Films, Toho Productions, Nikkatsu, T-Series, Sri Venkateshwara Creations, Lotte Entertainments Distributed by : Paramount Pictures / Viacom18 (India) Synopsis Suresh Chandrapathi Naidu, and Nizam Nazmi Mokhtar, 2 NRI that resides in Japan were neighbors in Odaiba flat. Suresh have a Japanese wife, Tomoko Nishiyama, and Nizam have Suika Amami as his girlfriend, one day, their wife and girlfriend gets kidnapped mysteriously, as they were grief for the incidents, Soon, they realize that not only them, but more than thousands having the same tragedy. Even police can't do anything for them due to abundance of reports about the case, the only thing they can do are finding by their own. Along their journey, they discovered the twists by twists moment of what,how,why,when and where their loves one are, which that includes who are their loves one #instasketch #anime #manga #tamil #telugu #india #superstarmaheshbabu #maheshbabu #animeart #mangasketch #mangaart #mangaman #kawaiiart #kawaiimanga #pixiv #sketch #drawing #animegirl #maheshghattamaneni #mangadraw #mangadrawing #animedraw #animesketch #ssmb #kollywood #tollywood #van1thaproject #malaysian #maheshbabufans #kannahashimoto (Odaiba Tokyo, Japan) https://www.instagram.com/p/CI4CvqblL2P/?igshid=wmrtko5rkuxi

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todaybirthday-blog · 4 years

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Mithoon Biography, Age, Weight, Height, Friend, Like, Affairs, Favourite, Birthdate & Other

This Biography is about one of the best Professional Singer of the world Mithoon including his Height, weight, Age & Other Detail… Biography of Mithoon Real Name Mithoon Sharma Nickname Not Known Profession Music Director, Singer and Lyricist Physical Stats & More of Mithoon Height in centimeters- 170 cm in meters- 1.70 m in Feet Inches- 5’ 7” Weight in Kilograms- 70 kg in Pounds- 154 lbs Body Measurements - Chest: 40 Inches - Waist: 32 Inches - Biceps: 12 Inches Eye Colour Black Hair Colour Black Personal Life of Mithoon Date of Birth 11 January 1985 Age (as in 2020) 35 Years Birth Place Mumbai, Maharashtra, India Zodiac sign/Sun sign Capricorn Nationality Indian Hometown Mumbai, Maharashtra, India School Not Known College Not Known Educational Qualifications Not Known Debut Music Debut: Bas Ek Pal (2007) Family Father- Naresh Sharma (Film Score Composer) Mother- Not Known Brother- Not Known Sister- 1 Religion Hindu Hobbies Travelling Controversies He had a verbal spat with Salman Khan during the 2014 Star Guild Awards. Favourite Things of Mithoon Favourite Actor Not Known Favourite Actress Not Known Favourite Musician Madan Mohan, Mohammed Rafi, Oscar Peterson, Miles Davis, Laxmikant-Pyarelal, M.M. Kreem, Viju Shah and A.R. Rahman Girls, Affairs and More of Mithoon Marital Status Unmarried Affairs/Girlfriends Not Known Wife N/A Money Factor of Mithoon Salary Not Known This Biography Written By Read the full article

#mithoon11

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tuinstrum · 5 years

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[Latest News] Flower Mound, Texas News

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Flower Mound, Texas News

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Nevada man ‘kidnapped, beat, burned, choked his girlfriend – forcing her to eat lye – for 16 DAYS’

Posted: 08 Oct 2019 11:38 PM PDT

Authorities say Benjamin Obadiah Foster, 33, forced his girlfriend to eat lye while holding her captive in her own Las Vegas apartment for 16 days before she escaped on October 2