Sri Divya Exclusive PhotoShoot With VikramPrabhu
Sri Divya Exclusive PhotoShoot With VikramPrabhu
Sri Divya Exclusive PhotoShoot With VikramPrabhu
Sri Divya Exclusive PhotoShoot With VikramPrabhu
Sri Divya Exclusive PhotoShoot With VikramPrabhu
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Kaththi Movie Images HD
Kaththi Movie Images HD
Kaththi Movie Images HD
Kaththi Movie Images HD
Kaththi Movie Images HD
Kaththi Movie Images HD
Kaththi Movie Images HD
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Kanika Tiwari (born 9 March 1997) is an Indian film actor working in Hindi Bollywood films. She is best known for her acclaimed portrayal of the sister of Hritihik Roshan in the 2012 film Agneepath (2012 Movie).
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Vishakha Singh Exclusive Images
Vishakha Singh Exclusive Images
Vishakha Singh Exclusive Images
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Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
Leena Kapoor Hot Photo shoot
MANESHA CHATARJI EXCLUSIVE IMAGES.
MANESHA CHATARJI EXCLUSIVE IMAGES.
MANESHA CHATARJI EXCLUSIVE IMAGES.
MANESHA CHATARJI EXCLUSIVE IMAGES.
MANESHA CHATARJI EXCLUSIVE IMAGES.
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Shriya Saran born 11 September 1982, also known by the mononym Shriya, is an Indian film actress and model. She has acted in Telugu, Tamil, Malayalam and Hindi language films, as well as a few films in English and Kannada. Saran was born in Dehradun and spent most of her childhood in Haridwar. In 2001, her dance master gave her the opportunity to appear in Renoo Nathan's debut music video "Thirakti Kyun Hawa", which brought Saran to become known by many Indian filmmakers.
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We earlier reported about the grand art direction being planned for 'Vijay 58'. We have more about the elaborate set work that is happening for the film, since the past 3 months.
The castle set, in which the first schedule of the movie will be cranked, is being erected in ECR's Adityaram Studios, spread over 18 acres. Around 750 technicians, also from neighboring Kerala and Hyderabad, are working for the past 10 days on the sets. It is said that the castle will be something new to Tamil Cinema.
'Vijay 58' will be a big test for art director Muthuraj, and looks like he is doing a great job. Sources close to the team say that the film would be a commercial bonanza, made with Indian sensibilities and an international canvas. The title of the film hasn't been decided and many fan-made posters are being circulated all over the internet by excited Vijay fans.
Nolan's films are not just stories that are made into films. It is his idea that's told through a medium called cinema.
If Memento was ambiguous, if The Prestige was smart, if Inception was deceiving, if The Batman Trilogy was a revelation, then Interstellar is hope-giving, inspiring, levitating, flabbergasting and more... It's a roller-coaster ride of transcendental thought process. Time as a relative theory, astrology as a whole, time-travel and lot other high level thinking is mandatory to go about the narration of this movie when our very little brain cells have a tough time differentiating between just a movie being watched in a cinema hall or being part of a galactic expedition.
CAST AND CREW
Production: Legendary Pictures,
Lynda Obst Productions, Syncopy
Cast: Anne Hathaway, Bill Irwin, Ellen Burstyn,
Jessica Chastain, Matthew McConaughey, Michael Caine
Direction: Christopher Nolan
Screenplay: Christopher Nolan, Jonathan Nolan
Story: Christopher Nolan
Music: Hans Zimmer
Background score: Hans Zimmer
If Memento was ambiguous, if The Prestige was smart, if Inception was deceiving, if The Batman Trilogy was a revelation, then Interstellar is hope-giving, inspiring, levitating, flabbergasting and more... It's a roller-coaster ride of transcendental thought process. Time as a relative theory, astrology as a whole, time-travel and lot other high level thinking is mandatory to go about the narration of this movie when our very little brain cells have a tough time differentiating between just a movie being watched in a cinema hall or being part of a galactic expedition.
CAST AND CREW
Production: Legendary Pictures,
Lynda Obst Productions, Syncopy
Cast: Anne Hathaway, Bill Irwin, Ellen Burstyn,
Jessica Chastain, Matthew McConaughey, Michael Caine
Direction: Christopher Nolan
Screenplay: Christopher Nolan, Jonathan Nolan
Story: Christopher Nolan
Music: Hans Zimmer
Background score: Hans Zimmer
The amount of study that has gone into the making of the film is equivalent to a new find. Be it the concept of dimensions, futuristic world, or the unexplainable topics to the laymen, this story from the Nolan brothers is rather simple than all their previous outings. Interstellar in simple words, is a film about a father-daughter relationship.
Taking the ‘Dust bowl’ as a primary setting for the story to have a beginning, Mr. Cooper is a farmer by choice but a trained pilot and engineer by profession. He is a single father who still believes the plight of their blight filled earth can be taken over by inhabiting another planet. His bright daughter Murphy doesn't want him to go on a NASA powered voyage fearing his return. Let’s stop it there on making a futile attempt of describing the story.
Interstellar has propelled itself to the pinnacle by an undeniably superior story, astute screenplay and stellar performances from the uncanny yet stubborn Mathew McConaughey as Cooper the pilot, Anne Hathaway as Amelia a committed scientist, Micheal Caine as Dr. Brand the chief and Jessica Chaistan as Murphy the abandoned daughter. Double Negative has taken up the herculean task of doing the visual effects for a Nolan film and has re-created unseen visuals of the wormhole, the outer space, inhabited planets of the other galaxy and of course the beautiful earth. The graphics and other digitally composited elements in the film are pretty much the life-line for the film, making the unseen portions of outer space look so convincing to us and not a compromised, make-believe platform. How will the engines of a space shuttle sound, how is sound transmitted in a planet that has only 80% gravity, how does a button sound when it is pressed by a finger that has astronaut’s gloves on it? Hans Zimmer can never get tired of writing top-class music scores. Be it the nail-biting sequence of the shuttle docking into the mother-ship or the take-off into the space or the scene where Cooper gets to watch a video sent from his family, the musical support in the film is a parachute like life-saver for such a hard-hitting story. He elevates the film and positions it to an unreachable height of excellence and creativity. Interstellar has been filmed with anamorphic 35mm and IMAX 70 mm to give a different visage for the story. Hoyte Van Hoytema’s (what word could you think of to describe his skill) cinematography will become a standard procedure on how science-fictions are to be shot.
Made on a whopping budget of 165 million dollars, Nolan almost returned 10 million after filming from the original allocated budget. Private corn fields were bought and cultivated to be used as a major backdrop. Special IMAX cameras were made to shoot the interiors of the cockpit. Exclusively Robots were made for the film. 100 hours for rendering a single CG powered frame and what not first-timer for a film. Interstellar has started a race of its own for generation of film-makers to follow.
Einstein’s general relativity, Morse code, rotating black-hole and lot other complexities are dealt in Interstellar, but it is an emotional tale about the cosmos of survival. This piece of writing has no spoilers and talks nothing about, how great the film is. It is just an immediate response…
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The more I speak about Vijay, the less it seems. My character has come out so powerful because of the chemistry we shared.
To start with he is a spectacular human being and that reflects in his work. He has a great understanding of emotions and that reflects in the characters he plays. He has played both the characters with such dexterity.
To start with he is a spectacular human being and that reflects in his work. He has a great understanding of emotions and that reflects in the characters he plays. He has played both the characters with such dexterity.
Secondly, the greatest quality of Vijay is that he also contributes greatly to other actors on the set. If it weren’t for Vijay, my character wouldn’t have probably shaped the way it has. My role didn’t need a co-actor who was going to try to one-upmanship a character. The best thing about Vijay is that he is very secure as an actor. He doesn’t think twice about giving away all the attention if that is what his co-actors require.
My father used to tell me that the more a tree starts growing and bearing fruits, the more it starts bowing down towards the earth. Vijay is the first person I’ve met in my whole life who is apt for that metaphor. For a man of his caliber, Vijay is spectacularly humble and for me, working with him was a great learning experience. He is like an elder brother to me.
Had Kaththi been a film with loftier ambitions, we might say it begins in medias res – but it does begin with a bang. A prison. An escape. A freeze frame. Then, a flashback, which contains one of those procedural depictions AR Murugadoss is so fond of. (If nothing else, it must be said that his films have some of the smarter masala heroes. There’s at least an attempt to think through a situation instead of just flexing a bicep.) The sequence has a cheeky finish, guaranteed to whip the hero’s (Kathiresan, played by Vijay) fans into a frenzy.
And then, all the air begins to leak out of the narrative. Murugadoss has never been an economical storyteller, but even by his standards, the early portions of Kaththi are remarkably flabby and dull. Instead of surprising us by cutting to scenes directly, he keeps laying them out for us, he keeps explaining them. Consider the stretch where Kathiresan returns to an old-age home and experiences a shock. Why have the lead-in scene where his friend (Sathish) tells him what he’s going to find? How much better if we find out what’s happened along with Kathiresan? The ideas are snappy – the reveal of the person injured in a shootout; the identity of a couple of television reporters – but the staging is shockingly flat. Worse, more time is wasted on what must surely be one of the most uninspired romantic tracks of all time. Samantha plays the heroine… No, scratch that. She plays an emoticon. Happy face. Sad face. That pretty much covers her contribution to the proceedings.
The story is the old one of a crook who grows a conscience – this happens when Kathiresan is faced with the plight of farmers whose lands (and the water in those lands) are at the point of being usurped by a multinational. (Neil Nitin Mukesh plays the villain… No scratch that. He plays another emoticon. Frown face. Angry face.) And because two heroes are always more fun than one, Kathiresan finds himself assuming the role of Jeeva (Vijay again). This avatar is even smarter – not only does he come with an MSc in Hydrology, he’s able to explain communism with the help of… an idli. Clearly, Marxist philosophies are best digested with a spoonful of sambar. It’s the old Naadodi Mannan template, shaped with a relevant, burning social angle. Along with MNCs, Kaththi indicts the mainstream media that cares more about goosing city viewers with sensation than giving villagers a voice. Jeeva, therefore, is their only voice. “En uyire ponaalum vivasaayatha vidaatheenga,” he tells the villagers, after being beaten up by corrupt cops, MNC stooges. The scene is framed so that we see him as a messiah, a deliverer addressing weeping believers – he carries their cross.
Part of the problem with Kaththi, then, is that its concerns are too heavy, too real, to accommodate Vijay’s lightweight, I’m-too-cool-to-care star persona. (That’s why Thuppakki, the earlier Murugadoss-Vijay collaboration worked as well as it did. Its defining characteristic, even as bombs threatened to obliterate cities, was its pulse-quickening coolness.) The other problem lies in the characterization. Murugadoss doesn’t opt for the path taken by Dhool – another masala movie about villagers and their water problems. There, the hero hailed from the village. He was a son of the soil and when he came to the big, bad city to fix things, the transposition carried a charge – we were never in doubt about the intensity of his feelings, the extent of his indignation. Kathiresan, on the other hand, is a creature of the city, a criminal to boot – and his transformative arc needed to be traced more convincingly. (His background, which is revealed late into the film, could have been used to shape his character more empathetically, but it’s tossed off in a line or two.) And without this anchoring, the film gets into a slightly dangerous (and queasy-making) zone where we begin to feel that it is exploiting the horrifying reality of farmers for the sake of a few masala kicks. A scene in which farmers commit suicide is chilling, but a minute later, we question the validity of our response. This is, after all, the kind of film that has its hero claiming that cell phones are an extravagance in a country whose farmers are dying without basic needs – but not before shaking a leg in a lavishly shot song that goes… Selfie pulla.
But the film gets better as it goes along, mostly because Murugadoss rediscovers, midway, the soundmasala instincts that had apparently abandoned him earlier. A fight sequence where Kathiresan uses a bunch of coins is a superb bit of imagination. The impact comes not just from the action choreography, but from the emotional resonance imparted by those coins – they were donated for Jeeva’s cause by displaced farmers who are now laboring as sewage workers and employees in sleazy wine shops. So when Kathiresan uses these coins against the goons employed by the MNC, he’s really drawing from the villagers’ struggles – he’s really fighting their fight. Later, he invokes the names of Periyar, Mother Teresa and Mahatma Gandhi and launches a civil disobedience movement. What a grand idea. And what a grand masala movie might have resulted had these concerns percolated into the story at every level, had this film been as attuned to serving its premise as its hero and his fans.
Storyline: A crook finds his conscience when faced with the plight of farmers
Bottomline:A lot of flab, but some solid masala moments
Anybody who has watched at least two of all the Tamil films directed by Hari knows that they are usually a hodgepodge of racy scenes written with the primary aim of providing unfussy entertainment. Poojai comes as no shocker; in fact, quite the opposite. Even a math professor couldn’t provide you with something as formulaic in nature. The scene structure is usually as follows: a fight scene, a comedy scene, a love scene, a duet with a skimpily clad heroine, a villain scene (cue to a fight scene again). Occasionally, a family sentiment scene is inserted into this mix too. These scenes follow each other dutifully. In fact, you’d be surprised at how often you can accurately predict, say, an incoming comedy scene.
The problem with Poojai is not that it’s a commercial, formulaic film, but that it is no Saamy or Singam. The songs aren’t as memorable, and the interactions between the villain (Mukesh Tiwari) and the hero, Vasu (Vishal), don’t sputter with the tension of say, showdowns between Prakash Raj and Suriya in Singam, or Kota Srinivasa Rao and Vikram in Saamy. Also, the seeming lack of deep thought put into each scene makes you feel quite disconnected with the characters on screen and their relationships. For instance, a a love song plays right after Divya (Shruti Haasan) wipes some gravy off Vasu’s shirt.
No, really. Surely, it must take more than some gravy wiping to induce feelings of intimacy? In any case, you’re later shown that Divya hasn’t yet fallen in love with Vasu, making you question the whole purpose of the previously shown duet that has the couple dancing in each other’s arms. In another scene, when you’re shown the reason behind Vasu’s estrangement from his family, you can’t but frown at the rather flimsy nature of it. Parents usually put up with a lot more from their children than a simple, uncontested accusation of a secret hug. Vasu is also shown convincing an eloping couple to return to their homes. His arguments, despite being hardly persuasive, manage to convince the couple of their ‘folly’. The couple may be, but you’re not.
Successful Hari films, while being a lot about the brawn, are also about some brain. In Saamy, for instance, Aarusamy (Vikram) is practical enough to acccept bribes from the villain before bringing his wrath down on him. Poojai, however, is all crash, bang, wallop! It is one jeep-flying glass-shattering bone-breaking billhook-slashing fight fest.
Realistic, relatable characters are those who are occasionally vulnerable, and open to the possibility of failure. At one point in Singam, for instance, Dorasingam (Suriya) is frustrated enough to consider returning to his hometown after being rendered powerless by Mayil Vaaganam (Prakash Raj). Vasu in Poojai, however, is Thor incarnate. After a few fight scenes, you realise nobody’s strong enough to hurt him, let alone kill him. In fact, you catch yourself wondering why the villain even persists. It’s clear that he could come armed with a group of 15,000 men with sickles and guns and yet, be decimated by the fist-flailing flying phenomenon that is Vasu.
Poojai, despite not being Hari’s best, could still be successful in the B and C centres, and affirm his bankability. The writing is generally not well thought out though. It seems almost like groups of imperfect scenes were put together in the hope that they’d somehow come together to form a riveting, entertaining whole. Poojai then is a refutation of Aristotle’s adage that states that the whole is greater than the sum of its parts.
Lyca Productions presents Ilayathalapathy Vijay in Kaththi.
An A.R.Murugadoss Film.
Produced by: A. Subashkaran, K. Karunamoorthy
Starring: Ilayathalapathy Vijay, Samantha, Neil Nitin Mukesh
Music: Anirudh
DOP: George C. Williams
Editor: Sreekar Prasad
Art: Lalgudi N. Ilayaraja
Stunts: Anl Arasu
Executive Producer: Sundarraj
Label: Eros Music
An A.R.Murugadoss Film.
Produced by: A. Subashkaran, K. Karunamoorthy
Starring: Ilayathalapathy Vijay, Samantha, Neil Nitin Mukesh
Music: Anirudh
DOP: George C. Williams
Editor: Sreekar Prasad
Art: Lalgudi N. Ilayaraja
Stunts: Anl Arasu
Executive Producer: Sundarraj
Label: Eros Music
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KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official KATHTHI Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo Selfie Pulla Official Song Promo
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