Movie Review Kalaya Thasmai Namahaa

‘Kalaya Thasmai Namaha’ is the famous statement in Sanskrit that describes time will decide everything is symbolically used for the life of hero and heroine in this film. Destiny in store no one knows. As for as possible the safe life is very important – falling in love is easy but forming a life after that is difficult. Love in the teenage is the most dangerous thing in this world.

The whole film is based on the above observations of the director. Madhu (Madhubala) from an orthodox family falls in love with No.10 (Yogesh). She is at the tender age of 17 years. She does not study whereabouts of No.10. After falling in love and walking away with him she realizes that she has done a great mistake in life. After coming out from home she is absolutely unhappy. Kept in the hospital for the time being that is surrounded by seriously ill people. She feels very sorry for falling in love.

Why No.10 does like that? That is because he goes against to the advice of his boss Rangayana Raghu. Love is not the factor for people in nefarious activities – advice does not reach him. No.10 does not care. He comes to Bangalore from Mysore looking for job. Out of desperation he takes up a killing of a boy in the college. Further trouble in the life of No.10 develops.

No.10 decides to leave Madhu to her father place and say good bye to love. That is not an easy task. No.10 and three friends are now in the eyes of Police and underworld don of Bangalore Ravi Kaale.

No.10 and his three friends are killed in the shootout and Madhu goes back to her house.

The film is lengthy and scenes are lengthier. In his second film director Chandrasekhar Srivatsav is good in some places. He consumes lot of time to say what his seniors have told from mid 90’s in Kannada cinema.

This film major drawback is the length. There are of course some delectable scenes and shots from the director. That is not enough to keep the interest of the audience going.

Those who are in underworld touch have no fruitful life. Underworld activity personalities should not fall in love – has become an obsolete theme for the Kannada audiences. They are fed up of watch same subjects. In this ‘KTN’ director Chandrasekhar Srivatsav consumes time and drags the scenes.

In the first half of the film a few killings and love blossoming with a few songs and second half is killing field added with sad end with lack of novelty in presentation.

The film in the cinematography, acting and music is a winner. The composed style of narration and songs quite often lifts the film but lack of good comedy in the film is once again strong pain in this two and half hour cinema.

Like almost all the senior colleagues this director Chandrasekhar Srivatsav concludes the same end for underworld boy falling in love. The thought of beyond that is the need of the hour. Making the life cozier and easier for underworld boys with different approach is what is expected.

In case it is love element for the underworld connected is it not possible to give a sophisticated and smooth touch?

Kannada filmdom has got a new heroine in Madhubala. She has left a strong note that she has come here to stay. In the debut film the dialogues coming to her help and maturity and variety in the role gives her a good standing in the days to come. She looks very sweet and just blossomed flower on screen.

For Yogesh collecting tears in the second half is not expected by his fans. Yogesh is a popular hero today and the scale of his roles and image building should happen for a long stay. He is made under dog. In this 21st century of cinema the hero upgrade from previous film is very important. This is not happened for Yogesh.

Rangayana Raghu from the comedy dose in his role has diverted to a serious role. That is once again a minus point of the film. Shanker Ashwath reminds his father Dr KS Ashwath at some places. His cool and composed performance is admirable. Ravi Kaale dubbing Kannada is difficult to hear. Veteran director Tiptur Raghu son Naveen is impressive in his debut.

Two major draws of this film are cinematography and music. Cameraman Cine Tech Soori at half a dozen places steals the hearts from his positioning of the camera. The low angle and top angle of Soori reminds in the memory.

AM Neel has given his best in ‘KTN’ – the song sung by Yogesh Khali Rodu…Onti Girlu…is for fans, Priti Andre Sullu Priti Andre Mullu, Preethi Eke Bhumi Melide, a song with numerical are impressive songs.

The editor is not quite impressive in this film. Had the editing department worked with high standards the film could have been sharp and quick.

Last but not the Least – Underworld Dons reform and then start falling in love. Falling in love look at your status!

Rating – 2.5/5
Cast – Yogesh, Madhubala, Rangayana Raghu, Shanker Ashwath, Naveen, Ravi Kaale, Raju Thalikote, Jayasimha Musuri, Nagaraj Murthy, Premalatha, Bhasker Pandavapura and others.
Cinematography – Cine Tech Soori.
Music – AM Neel.
Story, Screenplay, Dialogues, Direction – Chandrasekhar Srivatsav.
Producer – Maruthi Jadiyar.  

Movie Review Snehidharu Kannada 2012

‘Snehitharu’ is not just all about friendship according to the title meaning. It has greed, vengeance and anti national activities incorporated in it. Master Snehith growing in the house of ACP Suryaprakash (Darshan) is a very naughty boy.  He changes schools on his tantrums. Suryaprakash decide to give education to orphan Snehith in his house. In comes Anjali (Pranitha) as teacher. A don in black complexion who is very hefty in his size wants to marry Anjali. He appoints four youths (Vijaya Raghavendra, Srujan Lokesh, Tarun Chandra and Ravishanker Gowda). The don wants Anjali to say ‘I Love You’ to him.

The four youths on a mission freeloaders fall flat to the beauty of Anjali and the task they have is not that easy because Snehith is in the middle to foil their attempts. Meanwhile the kidnap of Snehith in the family leads to further complications when the terrorist gang leader enters. Four youths now make use of the situation and demand Rs.20 lakhs for the release from the clutches of terrorist gang. When that money is arranged by Anjali in the absence of Suryaprakash the four youths hunt for Snehith. When they find the hideouts they are shocked as they discover the gang of children kidnap is behind this nefarious activity.

Finally for the release of Snehith the exchange of a terrorist gang member from police is placed. ACP Suryaprakash enters the scene to demolish the anti national gang.

No doubt that the film is made luxuriously by producer Soundarya Jagadish. What is depressing for the sake of fun so many characters are added up especially when the film moves to road in the second half of the film! The characters of Sadhu Kokila, Sihikahi Chandru and Tennis Krishna gobbles more time and not result in refreshing comedy. The inclusion of Nikita Tukral for a song on the road again does not relate to the film.

Director Ramnarayan in his debut has done a neat and excessive job in the comedy department. He has looked at the terrorist gang rather carelessly. In the real life they are tough.

Challenging star Darshan image is also used for the film whenever it is needed. As a matter of fact the tantrums of Master Snehith are admirable. The four youths have done their job neatly but the first half length should have been pruned by 15 minutes.

For the tantrums of Snehith one or two incidents were enough. Adding more attention to Master Snehith also leaves an impression that producer son is given prominence in excess. The prominence to the heroine is also not appropriate. As a teacher Pranitha enters but she does not teach Snehith even one time in the film.

Director Ramnarayan has not clearly understood the delicate minds of the children. When the child is brought from orphan home, he makes a mistake in more than one occasion that injures the child psychology. A child adopted should not be again and again told that it is brought from orphan home.

Director Ramnarayan has told that he has taken the Mahabharat as inspiration for his subject. He has not taken any interesting thing from the epic. As a matter of fact there is no good story in the film. The narration depends more on the incidents.

It is yet another addition to the list of challenging star Darshan films. He does not have anything captivating.

Master Snehith steals the show. His dialogue delivery has to improve and his obesity comes in the place of acting. For Vijaya Raghavendra, Srujan Lokesh and Ravishanker Gowda it is interesting role. Tarun Chandra fails to open his mouth properly and deliver the dialogues.

Ramesh Bhat and Girija Lokesh are apt. Yet the senior couple on screen should have advised the director on the dialogues give to their portions.

As episode Tennis Krishna, Sadhu Kokila and Sihikahi Chandru portions are laughing stock. They do not add to the film flow.

Pranitha looks charming. Other than that she has not done anything.

Cinematography by MR Seenu is brilliant. The colorful locations, colorful costumes and lush greenery in the outdoor are treat to watch from this cameraman.

V Harikrishna has given three lilting tunes. One for Master Snehith sung by Adhi Harikrishna is with the yesteryears tunes of a few films. Yet it is enjoyable. The song of Sonu Nigam for the four youths and Pranitha is another melody tune in the film.

Editing is fast and never harms the continuity of the film. The makeup and costumes division are further additional values of this film.

Last but not the least – ‘Sneha’ – friendship is a moving ‘Ship’ in this world. Friendship comes and grows!

Rating : 3/5
Cast – Master Snehith, Darshan and Nikitha, Pranitha Vijaya Raghavendra, Srujan Lokesh, Tarun Chandra, Ravishanker Gowda, Sihikahi Chandru, Sadhu Kokila, Shobaraj, Ramesh Bhat, Girija Lokesh and others.
Cinematography – MR Seenu
Music – V Harikrishna
Producer – Soundaraya Jagadish
Direction – Ramnarayan  

Movie Review Ondhu Kshanadhali Kannada

Director Dinesh Baboo has caught hold of a miniscule story line in this ‘Ondhu Kshanadalli’. The storyline is as simple as the title of the film – a spur of the moment.

Returning from New Delhi after six years of education Shyam (Tarun Chandra) obliges to the demand of his mother (Sangeetha) for marriage with Shilpa (Sanjana). Because of health condition of his mother Shyam has agreed for this marriage. Now how to get rid of this marriage? Shilpa has the weakness in her life.  She is very possessive and she cannot even tolerate when mother of Shyam touch him.

Making use of this weakness to bail out of marriage Shyam hugs Divya (Bhama) in a temple and it is purposeful. As expected Shilpa sees this and she decides to get out of the life of Shyam. Shyam wanted this to happen.

Now the situation is different. Divya is the daughter of a village chieftain and her prestige is in stake. Her marriage also breaks from this Shyam hugging Divya.

Divya a college educated takes the case to herself and comes to the place of Shyam. Even Shyam was also looking for Divya because both wanted to prove that nothing is in between them.

When Divya takes Shyam to her village to explain everything to her father, the bus they are travelling meets with a major accident. What next is as everyone expected. Divya turns soft on Shyam.

Director Dinesh Baboo is decades old in his thoughts. Just because of embrace he has created embarrassing situation for the audience. Hugging is so common in social life. A college educated girl Divya says no one has touched her so far in life even after finishing her college life in the city.

Most of the Dinesh Baboo films are with wafer thin subjects not in tune with the age and stage. He just expands it and folds up the film in a small time and small budget. Senior producers like Jai Jagadish and Vijayalakshmi Singh should know the impact of such films.

Wishing good luck is hugging today. It has become so common when people meet of any gender. The director looks at the villagers rather rubbish. The village life in India today is advanced on various grounds.

The hullaballoo created for ‘Hug’ of Shyam and Divya is so stupid indeed. It turns out so senseless. The comedy that is always a package in Dinesh Baboo films is missing in this ‘Ondu Kshanadalli’.

A senior director and cinematographer at 100 plus films to his credit maintain the traditional grammar of cinema without any change. For example a song for Divya opening! What for she is singing. What is the purpose behind and the lyrics are unconnected. The dialogues after this between Divya and her mother in the field are also carelessness of the director.

A look at the accident spot looks so disgusting. In the entire bus no one has mobile phone is it? Just tying the wounded places makes the accident victims go sleepy. Next morning all of them crumble with pain.

Again in the climax he makes the Divya character not to marry anyone in life after so much of mistrust. When Shyam says he wants to marry her, she changes her mindset so easily. This is nothing but building the characters strongly and demolishing it in a fraction of second (the meaning of Ondu Kshanadalli).

PERFORMANCES –

Tarun Chandra is getting offers but he is not showing improvement. The second film of him releasing this week is good for nothing. Tarun should open up in his dialogue delivery first. Looking good is not that tolerable. Acting and dialogues should be supportive for good marks.

Bhama has done a cool and composed role. For Sanjana there should have been some attacking dialogues. She looks good and dances well. Jai Jagadish and Sangeetha are OK.

Sharan and MS Umesh in the comedy are taxing. Telling grandfather that he wants to see his end is crudity. Even for fun it is not right to say.

The eminent director Dinesh Baboo has not given work for editor in him. Dinesh Baboo has given many sharp films in the past. This one is dragging with no sharp editing. Time is money, time is precious – Dinesh Baboo knows it better.

Suresh in his camera is adequate. Giridhar Diwan in his music has done a good job. They are not going to be on top but melody is not missing from this youngster.

Last but not the least – This Baboo bash is baseless and meaningless!

Rating > 2/5
Cast – Tarun Chandra, Bhama, Sanjana, Jai Jagadish, Sangeetha, Sharan, MS Umesh, Satyajith, Sadashiva Brahmavar and others.
Cinematography – Suresh
Music – Giridhar Diwan
Producers – Jai Jagadish and Vijayalakshmi Singh,
Direction – Dinesh Baboo  

Movie Review Siddaganga Kannada 2012

Kannada film "Siddagana" cannot be categorised as a normal commercial film, though it has all the ingredients of a potboiler. The film highlights achievements of Siddaganga Mutt where more than 10,000 students from different communities study.

Director G. Murthy, who has already made award-winning films like "Kurunadu" and "Shankara Punyakoti", has written the story and screenplay of the film that deals with the struggles of a girl to educate her younger brother.

"Thanmayee", an established theatre artist, plays the role of the elder sister. Her father is an alcoholic who has no interest in anything in life.

In the film, when Thanmayee's mother dies, she realised that her irresponsible has not interest in their welfare so she decides to put her brother on the right path. She takes him to Siddaganga Mutt to ensure proper education and right uprbringing for him.

Finally, the boy gets good education and a deserving job. He gets a chance to serve the people.

Murthy could have made it in a documentary format highlighting achievements of the Mutt, but he ensures a good pace for the story.

Yes, there are sequences that highlight the contribution of the Mutt, but they are not extended beyond a limit.

Another positive aspect of the film is that it has a strong message, which overemphasizes the importance of good education. Murthy ensures that the struggle of the girl and her brother is narrated interestingly.

He has also been able to get the right people for the job.

Award winning cinematographer P.K.H. Doss does a great work behind the camera. Well-known folk singer Pichchalli Sreenivas has turned composer with the film and he delivers very good songs.

B.S. Kemparaj has also done a perfect job as an editor.

Thanmayee's performance is the highlight of the film. Master Manoj has also done a good job.

Puttaswamaiah as an alcoholic drunkard father role, while Veena Sundar as a suffering mother proves their talents.

Ramesh Bhat and Bank Janardhan have rendered justice to their respective roles.

Unfortunately, the film fans will have initial inertia to watch message-oriented offbeat films like "Siddaganga" especially when it is made without any big stars.

Yet audience's support to such good films will enable more producers to make films with a realistic touch.

"Siddaganga" is good enough for a pleasing watch.

Movie Review Kalpana Kannada 2012

Popular Southern filmmaker is a complete mass entertainer. It may not be logical or scientific, nevertheless, it engages the audience with all its commercial ingredients. "Kalpana" is a remake of Tamil and Telugu film "Kanchana", which was directed by actor-director and choreographer Raghava Lawrence. It was a huge hit last year.

The Kannada version is directed by Ram Narayan and is a perfect recipe for family and mass audience, with elements of comedy, horror, thrills and graphics mixed in right proportion.

The highlight of the film is the brisk narration after actor Sai Kumar, who plays the role of a transgender, makes an entry in the film. From this point it's Sai Kumar and Upendra, who excel in their histrionics.

Raghava is a youngster, who is scared of ghosts and even fears moving out in nights. He likes to play cricket. One day when his cricket team is sent out of the playground, he searches for an alternative and moves out to an abandoned field and sticks the wicket.

Little does he know that it the ground is haunted and three people were buried in the same place where he sticks the wicket. Strange things happen in his life after this incident.

His mother and sister-in-law see him behaving violently, though in reality he is timid. Raghava's mother is then told that a ghost is haunting the house. Finally the mystery behind the ground and Raghava's behaviour is unravelled.

Upendra has done a great job by giving his character different shades. He is utterly comical, lovable and even scary in some sequences of the film. His body language perfectly matches the characterisation. Sai Kumar who plays the role of a transgender, is very good in his portrayal too.

His dialogues in the climax sequence are quite meaningful and touching. Shruthi and Umashri are little loud in their respective roles. Shobharaj perfectly fits into the villain's role, while Achyuth Kumar and Sathyajith has done a good job.

Technically the film is superb. It scores in computer graphics and camera work. The graphics are sure to scare you in the first half of the film. And the comedy portions though, a little over the top, may please mass audience.

However, the negative part of the film is that post interval, until the entry of Sai Kumar's character, the film moves at a slow pace. Lakshmi Rai has little opportunity in the film and is just seen in song sequences and a few not-so-well written sequences.

If you look in totality, "Kalpana" is one thoroughly enjoyable film, particularly for children and family audience, despite it getting an "A" certificate.

The editing could have been sharper. Hari Krishna, who has set a benchmark with his music compositions in recent films, has however, gone a step below.

Movie Review Cyberyugadhali Nava Prema Kavya Kannada 2012

Comments
"Cyber Yugadol Navayuva Madhura Prema Kavyam" may have a long title, but it may not play long innings at the box office. Made by a team of youngsters, CYNMPK seems illogical and lacks any cinematic values. One can conclude that over enthusiastic youngsters failed to understand the grammar of filmmaking.

It may come as a surprise to viewers that its director Madhu Chandra had assisted a top director like Upendra during the making of "Super". But it seems he failed to learn nuances of making an interesting and engaging movie.

The major drawback is that he tries to tell so many things in his debut film and it just creates confusion. One fails to understand the concept of the movie.

It focuses on live in relationship and confusion about love among youngsters, but fails to narrate it convincingly.

Madhu Chandra's script fails to interest audiences. A youthful love story slowly becomes a tedious watch and dialogues do not make any sense and fail to connect with the main plot.

The film's trailers and songs created a lot of curiosity among viewers, but it doesn't live up to the expectations.

However, music director Vasu Dixit and Abhilash should be appreciated for their contribution.

Nothing could be written about camera or editing work in the film.

Newcomers Gurunandan and Shwetha Srivastav dominate the screen space, but fail to make any impact. But some sequences show that Shwetha can be groomed into a good performer.

Veterans Sharath Lohithashwa, Veena Sundar and Nanjunda have given good performances.

"Cyber Yugadol Navayuva Madhura Prema Kavyam" tests your patience. Look for a better alternative than watching this film.

Movie Review Jai Hind Kannada 2012

This is a single handed war on terrorism. Commando in the Indian Army Bharath considers his nation as his mother. He does not want anyone to cut it like piece of cake. He is very strong and stubborn in his decision.

Captain Bharath is Salim, Captain Bharath is Jai Hind. In his first assignment to trace or trash the terrorist operation he round off terrorist Masood and hand over to the government of India. He gets Shourya Chakra for it. In a short span of time Masood is freed on a hijack of an Indian Air plane with Rs.200 crores demand set by terrorist gang.

Feeling ashamed of this Captain Bharath in his second assignment takes his own decision. He seeks the support of his doctor wife Anjali (Pooja Gandhi) in declaring him as dead. As Salim and as Jai Hind, Captain Bharath now with a clue of terrorist attack in prominent places in Bangalore put an end to terrorist activities and surrenders to the government.

For taking law in to his hand Captain Bharath is sentenced for life imprisonment. The public support Captain Bharath but judiciary is above all.

‘Jai Hind’ has some authentic elements tucked in the film. Thanks to Major Srinivas Pujar, story, screenplay writer and producer of the film.

Some of the shots and operations conducted in the army headquarters give a good treatment to the film. Secondly the film is convincing from the point of view of every Indian. Guilty and criminals should be punished. With proper records on hand giving protection to terrorist is not called for, the film ‘Jai Hind’ focuses. That is all right but what about the law. In this direction director of this film Venugopal also takes the right decision of sentencing Captain Bharath to life. Nobody is above law is what Major Srinivas Pujar has rightly described in the film.

The film so good in many angles falters at some places. When Captain Bharath is making his statement he refers to 6 crores of Karnataka people. Terrorism is the issue of this nation and universe. How come Major Srinivas Pujar has forgotten this issue?

The drastic step taken by Captain Bharath in seeking his wife Dr Anjali support to declare her as widow is the extreme thinking of a true and honest Indian. For such a honest person life imprisonment is inevitable in the constitution.

The screenplay of the film in the first and second half is engaging. The deadly spell of action in the first and second half is well composed by Thriller Manju.

For the standard of Kannada, the locations, production values, selection of artists and how it is presented this film is in a good standard. Kudos to Srinivas Pujar!

Actor Sandesh in his second film after ‘E Sambashane’ has improved very well. Actually this should have been his first film. This film has the power of an action hero. Every youngster would like to do this kind of role in the debut. Yet in his second film Sandesh a well educated guy never disappoints. He is good in dialogue delivery too.

Pooja Gandhi has nothing much to do. She looks pretty in the close up and Sarees. Ramesh Bhat is once again convincing as father. Srinivas Pujar in a short role is quite OK. Thriller Manju as CBI officer looks pale in the quantum of work done by protagonist.

There is some superb editing, cinematography departments. The flashback opening and closing plus scenes are not disjointed.

Cinematography of Suryakanth Honnavalli is in top standards. He has shown the characters look very good on the screen.

Krishnavardhana Kulkarni cannot get good marks because he has copied the songs from earlier Kannada film and Hindi film songs.

Last but not the Least – Mother is supreme, mother land is extremely important! ‘Jai Hind’

WELL ATTEMPTED – Score 3/5
Cast – Sandesh, Pooja Gandhi, Ramesh Bhat, Shobaraj, Thriller Manju, Srinivas Pujar and others.
Camera – Suryakanth Honnalli
Music – Krishnavardhana Kulkarni
Producer – Major Srinivas Pujar
Direction – Venugopal    

Movie Review Manjunatha B.A. L.L.B. Kannada 2012 Jaggesh Hit

This is the remake of Malayalam flick ‘Hallo’ of Rafi Macartin released in 2007. It was a super hit 150 days run Malayalam film on a drunkard lawyer and his life. The main focus here is Manjunatha a boozer and dozer. He is a double degree holder. He has given up taking cases after death of his life partner. Manjunatha (Jaggesh) holds his parents responsible for the death of his just married wife. He has a brother in the house who is an inspector. For this house comes Sneha (Reema Vohra) who is from a huge family that is multimillionaire.

Sneha pretends to her relatives that she is married to Manjunatha who is addicted to alcohol and lives with him. That is what disturbing for Sneha house inmates. They hatch a plot to usurp the property. In the plot Sneha is kidnapped by a person for a ransom of Rs.5 crores. The inmates of the Sneha family are behind it. Manjunatha studies the suspicious minds well. He assembles all and with two murders on his head Manjunatha unveils the wrong doer’s ulterior motive.

An actor like Jaggesh with good standing in his career should not accept this kind of role. It is not fit for him. Capturing the image of ‘Manjunatha’ earlier hit film of Jaggesh ‘Eddelu Manjunatha’ (get up Manjunatha) the film does not get up to give a convincing flick.

The first half is very boring and second half is very taxing. That is because of too many characters coming and confusing the audience.

What for Jaggesh agreed this kind of film? Throughout the film he is alcoholic. That is not a good image for him. He is good at dialogue delivery. That is also lacking. There are many silly and inconsequential scenes.

Releasing after five years of original in the development of screenplay and direction - actor turned director Mohan fails miserably. With inebriated condition of the protagonist and calling the father as ‘Loafer’ in the film – what kind of things we are telling the generation.

When Manjunatha has very scant respect for his parents why should he stay with them? This is the first question that arises. He is learned and self reliant. Holding the parents responsible for his wife death – he crosses all limits.

There is nothing absorbing from Jaggesh. In addition to it he looks very swollen. Only dialogues here and there are quite OK.

Reema Vora looks very charming in Sarees. She is taller than Jaggesh. Tabla Naani with broken leg taking on dozen villains is very silly.

Srinivasa Murthy, Girija Lokesh have given good support as parents. Spoorthi for the second time wife to Jaggesh (She was wife in Bodyguard) has given convincing performance.

Technically the film is not in high standards. Ashok V Raman camera is done hurriedly it seems. Vinay Chandra is also becoming another ‘Lifting’ specialist.

Last but not the Least – The crime of criminal lawyer in the film is addicting to alcoholism!

NOT APPEALING – Score 3/5
Cast – Jaggesh, Reema Vohra , Srinivasamurthy, Girija Lokesh, Chandrasekhar, Tabla Naani, Swasthik Shanker and others
Cinematography – Ashok V Raman
Music Director – Vinay Chandra
Producer – A Suresh
Direction – S Mohan 

Movie Review Naavika Kannada 2012

Soori (Manischandra) and Shanker (Shravanth Rao). Soori is rugged and his treatment to wrong doers is sudden and quick. Shanker younger brother is a cop who waits for the clue to round off the criminals.

Meanwhile Avinash Gowda (Shobaraj) has made two kidnaps – Sandhya (Swathi) who is the lover of Shanker and Shwetha (Janath Estar) girl friend of Soori.

It is Avinash Gowda who invites Shanker to his hideout. It is a miscalculation of the cop. Sandhya is a servant of Avinash and she stabs Shanker from behind. That is the end of Shanker portions. In the second half the mistaken identity of Avinash Gowda is revealed when his brother escape from the custody of Soori.

It is time for Soori to take revenge on his brother killers. How does he come to know the secret of his brother killers? This is a slightly interesting portion.

Director Sen Prakash has concentrated on the screenplay. He has partially won in his screenplay. There is no appreciable story. The selection of artists should have been better.

The main actors Shravanth Rao and Manishchandra should have trained properly to give convincing performance. Shravanth screams and high pitch and facial expression of Manischandra is not passable.

With a screenplay the film is possible. This is what Sen Prakash has shown but nothing else. He is a novice in direction. The developments on screen are not that appealing. Everything is easily to the guess of the audience.

The theory of cop and criminal brother we have seen from the days of ‘Deewar’ Hindi cinema. The thread is changed to the whims and fancies of the directors. Soori character indulges in killings but he goes free from the eyes of law.

Director Sen Prakash has divided the portions equally to Shravanth Rao and Manischandra. Except handling of revenge he has not showcased anything in this film.

The interruptions while watching this film in Anupama theatre (twice) further disturbs the flow of the film.

Shobaraj is the best actor among all in this film. Shravanth Rao and Manischandra do not fit the hero’s role. The comedy portions of Chidanand are fit for nothing. Especially when the child come and asks what is ‘Sex’ – a rotten joke indeed.

Estar Janath looks better in the close up. Swathi is again not a heroine material.

Technically also this film is substandard. Cine Tech Soori camera work shakes at places and out of focus quite often. One of the songs in the film Teli Hodhe Naa Yee Kshana…is impressive song from Raj Narayan.

Last but not the Least – It is difficult to sail (Navika) the boat without water! Water in this case is freshness and good performers.

TOLERABLE NARRATION – Score – 2/5
Cast – Shravanth Rao, Manischandra, Shobaraj, Swathi, Janath Estar, Tennis Krishna, Ninasam Ashwath and others.
Cinematography – Cine Tech Soori
Music – Raj Narayan
Producer – Binocular Productions
Direction – Sen Prakash  

Movie Review Rambo Kannada 2012

‘Rambo’ is a film that surrounds around a trickster. That is Kitty (Sharan). He has a mother in the house. He has a maternal uncle to his company Premkumar (Tabla Naani).

In a way it is ‘Varahavatara’ from Kitty to his car broker business. He catches the sentiment in the society that any vehicle should not dash against a Pig or a Pig should not dash any vehicle. The superstitious belief is that it would smash the further life. No one is ready to take this danger in life.

Using the Pig, Kitty was very cool in his set up to take the cars to custody for his business. In one of the cases a black color car owned by Umesh is demanded by a Swamiji. The deal comes to Kitty and Premkumar. With this further danger also follows the two. When they open the dickey they find a dead body. This body is chased by a terrorist gang and the same car is also chased by former minister Annappa (Rangayana Raghu) as it has Rs.25 crores in it.

Knowing about the dead Kitty wants to hand it over to the party who demanded it and he finds a murdered person. In the later course of time they finds it belongs to a minister and the money inside make them greedy. In such a situation Kitty wants to know why terrorists are behind that body in his dickey. He scans the body and finds a pen drive tucked inside. That explains a terrorist gang is up to a major demolition of peace.

Kitty comes straight to DC Vijayalakshmi (Shruthi) and becomes a good citizen with handing over everything to the government.

In a comedy film lacing the good contents and spreading it across in two hours plus is the tough task this team has done successfully.

Very attractive thought of this film is Golden Star Ganesh commentary in the background with lord Ganesha idol shown whenever his voice appeared. The dialogues given to Ganesh are well written.

Of course there are unnecessary and unwanted situations that drag the film but overall effort is quite convincing.

Director Srinath for this film has done a studious work with Tarun Sudhir, Sharan, cameraman Krishna and others. That is evident because the surprises are unveiled at regular intervals.

The first half moves in a brisk pace and keeps audience to wait and watch. When the second half opens up there are some more surprises that makes the expectations go wrong. It is the screenplay that is the winner in this film.

In addition to it the mother sentiment, love and comedy never missing makes this film worth watching. The selection of cast in this film, the placement one good song pre and post interval is also well driven thought of this film team.

The 100th film of Sharan a joint venture with Atlanta Nagendra who made 100 days film ‘Joke Falls’ a few years ago has all the elements of a worthwhile film.

In the first half the ‘Test’ that Kitty makes when he goes for a match could have been updated instead of a physical test. That looks stupid. In the past a few of the Kannada films thought of this medical certificate of boy and girl before marriage definitely needed a new treatment for the year 2012. Thank god the physical test the protagonist makes is not shown on the screen to approve the girl.

The film ‘Rambo’ ending with a song in which all those who worked behind right from muhurut shot is a good respect to the film team.

Sharan is brilliant actor. There is no doubt about it. Knowing his limitations he has adjusted very well to give a very convincing performance. In the Navarasas of acting Sharan has left the ‘stunts’. That is once again a good decision. His dialogue delivery and quick reflexes are trump card of this film. In any given role so far in 100 films Sharan never disappointed.

Table Nani as his maternal Uncle in the film should have got more dialogues. However his performance has some standard and appeals to the B and C centers.

Madhuri after a few years of stay in Kannada cinema has got a right role. She has to cut down weight and increase in performance in the coming films.

Rangayana Raghu with Dakshin Kannada accent of Kannada and Sadhu Kokila as beggar on wheel gives laughter whenever they appear on screen. Kuri Pratap has been sidelined in this film. Umasri the national award winning actress is once again peerless in this kind of role.

The dialogues written are superb. That is always very important in a comedy flick like ‘Rambo’. Even in songs the words are very good. That is especially when a sorrow song comes up.

S Krishna the expert in cinematography has never fallen back in giving his best. The frames are colorful. The editing is in high standards. The music department from Arjun Janya is successful in giving two peppy tunes and one sorrow song.

There is grand production value. The film is no doubt a ‘Ladoo’ for masses from Ladoo Creations!

Last but not the Least – Cashing on sentiment cannot be peppermint. It can be only dejection!
GOOD ENTERTAINER – Score – 4/5
Cast – Sharan, Tabla Naani, Madhuri, Umasri, Kuri Pratap, Sanketh Kashi, Rangayana Raghu, Sadhu Kokila and others.
Cinematography – S Krishna
Music – Arjun Janya
Producers – Sharan, Atlanta Nagendra
Direction – MS Srinath  

Movie Review Shiva 2012 Kannada

‘Shiva’ is a revenge saga. For the killing of parents – hero Shiva (Shivarajakumar) and heroine Julie (Ragini) makes a combined effort in evaporating the trio – Ravishanker, Rangayana Raghu and Gurudut.

Shiva is the son of honest Jockey – played by Ravi Kaale, while Julie is the daughter of an honest journalist played by Suchindra Prasad.

Julie is under the impression after 15 years that Shiva is the son of Adhikeshavalu (Rangayan Raghu) one of the three tormentors. So she takes revenge in the grave yard against Shiva in the pretext of love. Later she realizes the mistake she has done. They have common enemies of trio gang that is very dangerous and possess international links.

Julie and Shiva jointly trace the hidden secrets in a computer and they escape miraculously on a motorbike. Later Julie is kidnapped in a helicopter in return of documents. Shiva arrives on the scenes and hundreds of heads roll in front of Lord Shiva idol.

That is the end of the good versus evil in ‘Shiva.

It is exhilarating in exhibiting developments in the first half. The second half becomes monotonous. The issue based in the first half is the new look of the director – the honest and educated youngsters getting the job of cops, children business via begging are although unconnected to the cinema, it heightens the image of the protagonist.

In the first half Shiva going behind Julie and pressurizing for love is not heard in the previous films of Shivarajakumar.

When Shiva is told that he is not the son of Adhikeshavulu, he gets the full support for his operation from a prison that too from one of the three that Shiva is looking for – this is not justified. He gets the support of one of the trio but even that person (played by Gurudut) joins the dreaded two Ravishanker and Rangayana Raghu.

In the speed, production values, dialogues, action, music, acting the film is much stronger. These are the elements worth bringing audience to the theatres.

The screenplay of director N Om Prakash Rao is not different indeed. He has picked a few scenes from various films. For the regular reviewer this could be easily traced.

For example the protagonist coming in truck loads of injured and pouring in front of the villain to show his power is seen in many films.

In the commercial cinema the hero escaping from hundreds of pistol attackers is something very difficult to digest. The three pierces to the stomach of the hero from a very sharp weapon by heroine Julie and hero escaping from death is something very common on silver screen.

The making is good and enacting is powerful. ‘Shiva’ is just a treat for the fans of Shivarajakumar in the ‘damal-damil’ style of N Omprakash Rao.

Full marks to Shivarajakumar for fulfilling tough responsibility. In action, dance, dialogue delivery, funny scenes he is too good. No one can say that he is 50 in age. He looks like 25. When Shivarajakumar says in one of the dialogues that he wants to be in one of the pages of history – it makes a good sense.

The film has some special dialogues for Shivarajakumar that connect to the Kannada cinema industry colleagues and the family of Dr Rajakumar.

Ragini is brilliant as heroine. She has done a character that has not come to her so far. She looks beautiful, danced well and proved that she is a better actress. In a few of the costumes Ragini looks very glamorous.

Among the tormentors – Ravishanker with powerful dialogues and high BP style of dialogues is usual; Ranganaya Raghu delivering Telugu dialogues making it comedy in his performance has not much of challenge. Gurudut is fit for the role in the second half.

Ravi Kaale is a soft guy in this film; Suchindra Prasad is cool in his short presence. The laugh riot comes from Shobaraj and Bullet Prakash as Malavalli brothers.

The stunts handled by three action directors – Ravi Verma, Palani Raj and Different Danny are wonderful. In fact this is the treat for the fans of Shivarajakumar. The sword fight, chase and rolling shots are mind blowing.

The editing of this film could have been better as the songs appear without giving any clue at one place. The connectivity is missing.

Sathya Hegde top angle shots are very absorbing. Holding the action portions is also a difficult task for any cameraman. Sathya Hegde covering the huge areas in the camera at several places shows his ability and strength.

Gurukiran is back with a few good melodies – Shille Hodi Shille Hodi….Oosaravalli…..Nee Odi Bandaga….Kollegaladalli….are good and racy. They are well shot with good production values.

The graphic work here and there for the film adds extra power and it is attractive from the fans point of view.

FABULOUS I HALF USUAL SECOND HALF – Score -3/5
Cast – Shivarajakumar, Ragini, Ravishanker, Shobaraj, Bullet Prakash, Rangayana Raghu, Gurudut, Suchindra Prasad, Suchitra, John Kokkin, Chitra Shenoy, Ravi Kaale and others.
Cinematography – Sathya Hegde
Producers – Shrikanth and Kantharaj
Music – Gurukiran
Direction – N Om Prakash Rao  

Movie Review Challenge Kannada 2012

Seven persons inhaling the Pentene gas go unconscious. When gain consciousness they are suffering from short term memory loss.

Why Achuyth Kumar, Dilipraj, Harish Raj, Sanjana Singh, Nishanth. Kalabhavan Mani plus wounded Riyaz Khan are located in the old factory go down? That is interesting part of the film. After they get conscious they are not able to identify each other because of short time memory loss. The attempts to get out of the factory is not possible as it is locked from outside. There is no other way.

In the second half via Kalabhavan Mani the flash back opens. It is a drug mafia connected story line. The king pin in the drug mafia case assemble all these at one place because Riyaz Khan a cop has got the clue. The supply of drugs in the food packed is done in the hotel of Harish Raj and his wife Sanjana Singh. The two doing this job for the sake of money are Achyuth Kumar and Dilip Raj.

Nishanth is the son in law of drug mafia lord and drug packaging in his old factory is not known to him. This is how all the seven are connected.

The outside operator is Dharma a cop. He is in connivance with Kalabhavan Mani supervising the smooth drug racket.

The flash back clears all the doubts in the minds. At this time all the six now – Riyaz Khan a cop is dead from bullet hit – gain their memory. Thus the drug lord enters the scene. It is Achyuth Kumar who takes the final course of action. Three are killed in this – drug lord, Dharma and Kalabhavan Mani – all connected to drug mafia. Why Achyuth Kumar taken this drastic step is what you have to know in the theatres.

The first half of the film is a big question mark in the minds of the audience. Second half is loaded with answers.

The six characters in the film struggling to know who they are ‘Yaaru Naanu’ – was a subject of one of the experiment Kannada cinema ‘Yaaru Nanu’ directed by Bheemeshwara Rao Mujaluru played by Manu of yesteryears.

After a hit to the head the protagonist Manu questions ‘Yaaru Naanu’. When he meets with another accident he  regains his memory.

In ‘Chellenge’ it is short term memory loss from inhaling the Pentene gas!

Ganesh Kamaraj in his debut film (it is done in Tamil and Malayalam) has shown high degree of skill. He is intelligent. He knows how to make it captivating in ‘Challenge’. The major flaw in him is the second half that strains the nerves.

For the film audience come to take entertainment but not to write examination is what Ganesh Kamaraj should know. He overflows with intriguing moments in the second half. He should have divided the film precisely.

All those who come from training institutes have this problem of Ganesh Kamarajan. They go bookish. They do not think on the lines of how audience feels.

In answering his questions of the first half Ganesh Kamaraj gets full marks. It is only in releasing the load he fails to give relief.

Coming to the contents Ganesh Kamaraj has taken up urge to become rich over night is the main focus. What costly mistake from such decisions in life, the answer is given convincingly by Achyuth Kumar character.

The friendship is another factor the film focus is well defined. The sacrifice point the friends reach in the second half is admirable.

This is absolutely the career best performance of Achyuth Kumar. He is the real hero of the film. The different shades his role carries – his ability to fulfill all has come out well. Achyuth Kumar should get an award for apt performance.

Harish Raj, Dilip Raj, Kalabhavan Mani, Nishan add to the value of the film. Riyaz Khan and Sanjana Singh have nothing much to do.

The cinematography deserved to be high class for this kind of film. The darkness is more and it is not crystal clear to the eyes. Kannan title song is not appealing but ‘dhaba’ song is OK. There is no lapse in the editing as the main important factor of continuity is not missing. At some places dialogue writer Shaan shines.

‘CHALLENGE’ IS CAPTIVATING! – Score -3.5/5
Cast – Achyuth Kumar, Dilipraj, Harish Raj, Kalabhavan Mani, Dharma, Nishanth, Riyaz Khan, Sanjana Singh, Thirtha, Jayaprakash and others.
Cinematography – Magesh K Dev
Music – Kannan
Producer – Sridhar
Direction – Ganesh Kamaraj  

Movie Review Sagar Kannada 2012

The Kannada film ‘Sagar’ is a family package and some mischief that leads to various complications. Returning from Australia Sagar (Prajwal) is not interested in his relative Priyanka (Haripriya) marriage and so is Priyanka. Unless the love blossom how can we marry is the question of both.

To escape from the family members who are forcing for this marriage Sagar seeks the support of his friend in Australia. Sanjana sends photo of her friend making some mischief in the photo shop. This is of course with permission of Kajal (Radhika Pandit). In the family everyone accepts Kajal when Sagar lies. Sagar father Rajasekhara Murthy a big industrialist (Avinash) ask his son to get Kajal to Bangalore from Australia. Kajal comes to Bangalore but her intentions are different. She has escaped from the clutches of international don Sonu (Dev Gill). Sonu is mad about Kajal and he wants her to get marry at any cost. Heads in the family of Kajal roll and she escape for safety.

Kajal coming to Bangalore and Sagar showing the photo of her as his lover coincide. In the huge family of Sagar the times comes for Kajal to tell the truth. When Kajal tells the truth she becomes very close to the family. That is because Kajal is the daughter of doctor couple well known to Rajasekhara Murthy father of Sagar.

International don Sonu comes to Bangalore in search of Kajal. It is time for Sagar to take on the don and break his bones.

At this time Priyanka almost falls in love with Sagar. She sacrifice it because Sagar and Kajal both love easy other immensely.

This is another very lavish venture from Ramu Enterprises. The color, glamour, action, romance, family sentiment, lovely cinematography and two tolerable songs from Gurukiran all make this film a passable one. Of course there are some routine aspects fed to the audience.

Director MD Sridhar knows the commercial formula of cinema. He has fed it on screen like a teacher. The support of good artists selected for this film has come as the first benefit. Producer like Ramu investing on the grandeur is another advantage for director MD Sridhar.

The new aspects of let us find out roaming around whether love develops between the two – Prajwal and Haripriya is a concept made for the present time.

The first half of the film is cool and second half is as usual. There are routine thing of Chocó boy beating up an international don Dev Gill. From where the power for Prajwal come!

For the family audience there is good stuff as Avinash joint family in the film is very lively and supportive for good causes.

Director MD Sridhar could have avoided the word ‘Rape’ from children. Likewise Radhika Pandit telling come and rape was also not in good taste.

Dev Gill coming to Kannada for the first time and putting down the senior artists like Sharat Lohitashva, Adhi Lokesh could have been made in a different way.

The fine aspect of sacrifice in love is important and love cannot be sacrificed. KS Kumar as story writer has brought the situations here and there for this script.

It is very difficult to believe Prajwal in action roles. He is good in romantic roles and as a liar boy and lover boy he is good.

Among the three obviously the best is Radhika Pandit. Her ability to emote and participate in song situations, costumes for her gives her easily the No.1 position very shortly in the Kannada cinema industry.

Haripriya looks gorgeous in modern outfits. Sanjana has nothing to score. Dev Gill is misfit. Sharat Lohitashva and Avinash are agile actors.

Music director Gurukiran has not only scored two good tunes but also follows the trend created by V Harkishna. Baiku Hattidare Sonta Balasidare….love Agutha…is typical Harikrishna style of song. Gurukiran dubbing for Dev Gill is convincing.

The pleasure for eyes from Krishna Kumar is on a higher range. The Australian locations and indoor shots are pretty good from this blemish less cameraman.

Sounder Rajan editing pattern is also on a higher grade. The shots cutting and adjusting in songs are terrific indeed.

Last but not the Least – Love and Life interdependent in journey on this earth!

‘SAGAR’ – FAMILY PACK – Score 3/5
Cast – Prajwal Devaraj, Radhika Pandit, Haripriya, Sanjana, Avinash, Dev Gill, Sharat Lohitashva, Vinaya Prakash, Kishori Ballal, Rekha Kumar, Swayamvara Chandru and others.
Music – Gurukiran
Cinematography – Krishna Kumar
Producer – Ramu
Direction – MD Sridhar







Movie Review Sagar Kannada 2012, Kannada Movie Review, Saagar Kannada movie review

Movie Review 12 AM Kannada 2012

A murder mystery filled with horror, good verses bad, pure love all form the contents of this unique title ’12 AM Madhyarathri’ - A student of Medical College Shalini (Divya Sridhar) inspires the heart of a politician son. When the politician son misbehaves Shalini slaps him from the sandals she is wearing. Next is the revenge at 12 in the night. When Shalini is coming with her four friends she is beaten badly. Out of fear friends back out. Shalini is in love with Trishul (Abhimanyu). She comes as devil and lives with Trishul. Unless a temple episode comes no one knows that Shalini is a ghost.

Shalini witchcraft continues and she wants to take revenge on four friends who ditched her when she was killed. Trishul at this point of time urge to forgive the friends who were put in bad condition at that point of time. Shalini ghost is not interested in this plea.

To escape from Shalini attack Trishul and friends seek the support. They approach a mantric in Kerala who can solve the crisis of friends.

In the battle between Shalini as ghost and Mantric the evil ends. Shalini atma is satisfied when Trishul says he immensely loves her even to this day and forever.

This is a sound full cinema. Rajesh Ramanath gives the stunning sound to the ears. The graphic effect is not that chilling. There are many better films already in Kannada and non Kannada languages with horror and graphic elements.

Debutant director Karthik gives a passable first half and second half is bit stretched and boring. At least half an hour of second half is trimmed it would be better.

The portions of Kashinath giving lecture on God and no Ghost. It is just a hallucination is repeated quite often in the film. When it is told once it is enough. This is taxing to the audience at frequent time.

When the character of Kashinath decline on believes of God and Ghost, it should keep away from the eyes of audience. There is no point in coming often and finally going back on his words.

The element of suspense is carried well in the first half. The revenge aspect in the second half surprises the audience.

Doing a film with no songs is difficult task to commercial films today. In that way deleting the songs the length of the film is as it is. There are so many unwanted scenes that a senior director, producer and actor Kashinath should have looked at audience point of view. How to give a crisp film – Kashinath needs a training.

Abhimanyu and Divya Sridhar have given a neat performance. Divya Sridhar as ghost is even better. Kashinath as professor of medical college gives relief but often counseling was not needed. The actor who played Shastri role is very good.

The film trump card is technique. The horror elements are less but background score by Rajesh Ramanath is striking. The sound is very important in this film. It is very well taken care.

Cameraman Umapathi shooting in the night time never misses the objects on silver screen in darkness. His top angle shots are splendid. Showing the road reverse is another striking work.

Editing needed some expert hand. Goverdhan gives a passable first half and second half he has stretched with many unwanted scenes.

Last but not Least: God and Ghost is like Hero and Villain!

IT IS PROTRACTED – Score 3/5
Cast: Abhimanyu, Divyasri, Kashinath, Theju, Mamatha Raut, Ravikumar, Basavaraj, Mithun, Nakshatra, Sushma and others.
Music: V Manohar and Rajesh Ramanathan
Cinematography: Umapathy
Direction: Karthik

Movie Review 18th Cross Kannada 2012

This was a film started nearly six years ago, but could not see the light of the day for so long mainly because of the death of its producer Chikkanna in between. Later his wife took over the production responsibility of the film.

Had the film released in time, it would have marked the acting debut of Radhika Pandit, who is currently the reigning actress in the Kannada film industry.

The fact that the present musical sensation Arjun Janya had composed the music for the film also fuelled some interest in the film. Naturally for any person interested in seeing this film, there may be a sense of inertia mainly because of a nagging feeling that the film may be outdated.

 The story goes like this - Jeeva is being wrongly implicated in a murder by the police. But as it is known later, his opponent Benne Krishna, who has masterminded this murder, frames Jeeva. An enraged Jeeva wants to come out of this web and decides to be the king of underworld.

 Meanwhile, he is also in love with Punya, a middle class girl who is in awe of him. When the battle is on, Jeeva wants to marry Punya and run away from the locality. He tells her to come to the 18th Cross when police ambush and kill him in an encounter.


Surprisingly despite being outdated, "18th Cross" is not all that bad and there are quite a number of interesting sequences. But it can't be called a good film either.

The reason? Director Shankar has just tried to cash on the success of many successful underworld films in Kannada. There has been a quantum leap in the technical values of films in general in the Kannada film industry and rich production values have become a common feature when action sequences are shot. Also, there has been a big shift in the way even ordinary stories are narrated on screen these days.

Therefore it would be difficult to digest the narrative mode of "18th Cross". There are a few entertaining elements in the film, which ends on a tragic note.

Radhika looks cute on screen while Shishya Deepak has done justice to his job of executing the ordinarily shot action sequences.

The first half is slightly better, but the second half is full of gory violence and tragedy-filled sequences. The film fails to engage the audience in the second half.

Vinaya Prasad and Ramakrishna have performed their roles with ease.

Janya has composed two lovely tunes for the film. "Thirugi thirugi" and "Modhala minchu" are melodious numbers.

Overall, an average fare.

Movie Review Gouriputra Kannada 2012

Although it is inspired from Tamil film ‘Raman Thediya Seethe’ it is about the perfect match for the protagonist. It takes curious turns after Ganesha (Akshay) is rejected by Ranjitha (Nikitha Tukral). Ganesha is very modest and he wants everything in right perspective.

Ganesha is dejected because on the marriage day the bride Vidya (Sowmya Sankalp) run away. For overcoming his dejected mind Ganesh accidentally meets Shekar Nag (Nagashekar) a blind RJ and he incorporates some changes in his life after hearing the flash back.

Now Ganesh marriage responsibility is taken by Vidya father (played by Ramesh Bhat). He is taken to Hiriyur for a match. In this place Ganesha finds the girl who he wants to marry is liked by an auto driver. He gives up his choice and shocked to find Vidya in a pitiable condition. Ganesha helps Vidya who is pregnant now and brings her to the hospital where Ranjitha is working as a staff. It is the duty of Ganesh to convince Vidya father who had come with him for a match that is Nandini (Roopika).

For immense good nature of Ganesh this time a police inspector Jayanthi (Manasi) is another girl. This time Ranjitha realizes the fault she has made and approves Ganesha as her partner in life.

ANALYSIS –

Manju Maskal Matti has done a neat job for this film ‘Gowri Puthra’. His narration style is so good that it reminds us of the 80’s and 90’s era. The social films of versatile actor Ananthnag, Vishnuvardhana and Shashikumar reminds us. Even to some extent this missing things are found in some of the good quality films of Shivarajakumar.

The girls missing for protagonist to match is interesting. The twists and turns are interesting. In the technical wise and dialogue dubbing this director has not taken care.

Especially the dubbing of Nikitha is so peach. Even the dubbing done to Roopika case deserved to be better. Actor Akshay should have watched a few of the Ananthnag films. The smile in him is missing. The smiling roles of Ananthnag should have definitely come to his support.

The required racy pace is missing. Although it is a guess work for the audience it is something long drawn out. Director Manju Maskal Matti instead of narration across the table and then going for flashback should have gone for a voice over in the beginning and left the cinema to tell everything.

The pre climax scene where Ganesha comes to see Inspector Jayanthi on the spot of her work and becoming a target of her Lathi – the fight there after was not necessary.

In the ‘Gundu’ table narration consumes some time and it is a jaded style. In the selection of characters, music and locations there is some good work from the director.

The film talks about the fate and truthfulness. Fate or destiny is not in any one hand. Truthfulness in life is in one’s hand. For the protagonist the ‘Truth Star’ image given in the title card is fit.

The character of Ganesh losing everything goes on gaining sympathy for him.

PERFORMANCES -

Akshay underplaying the character has lived up to the expectations. He should have taken some tips from previous Kannada films. Compared to his ‘Ganga Cauvery’ debut film this one is better.

Nikitha Tukral in an emotional role is quite OK, Roopika and Sowmya Sankalp are impressive. Ramesh Bhat renders good support. Rakesh as newcomer is OK. Manasi does not fit the cop role. The pair of Nagashekhar and Nivedhitha is surprise for the audience. Both have done well. The portion of Nag and Nivedhita gathers good attention.

TECHNICALITY –

Cameraman PL Ravi has done his job neatly but a few shots in the outdoor are not up to the mark. Milind Dharmasena after ‘Yogaraja…Bhat’ has given two melodious tunes.

The song for Nagashekhar and Nivedhitha – Yarige Yaro Serisuva Premave…and a song on Nikitha Tukral and Akshay Modha Modhalu Nanna Edeyolage…are good in melody. Devadasa nanna chaplili Hodi…is a timely song for actor Rakesh.

Editing done for this film is not bad. The background score has some routine beatings.

Last but not the Least – Marriages are made in heaven – people come down to earth for match!

TOLERABLE FILM – Score 3/5
Cast – Akshay, Nikitha Tukral, Nagashekhar, Ramesh Bhat, Sihikahi Geetha, Pawan, Nivedhita, Roopika, Manasi, Sowmya Sankalp, Malathi Sardeshpande and others.
Music – Milind Dharmasena
Cinematography – PL Ravi
Producer – Sowmyasri
Screenplay, Direction – Manjunath M Maskal Matti  

Movie Review Gouriputra Kannada 2012, gowriputra kannada movie review, review gouryputra kannada movie, Kannada Movie Review

Movie Review GodFather Kannada 2012

Real Star Upendra's latest venture GodFather is hitting the screens and quite hard i must say. The movie will see Namma Uppi Dada in 3 different avatars, well yes guys he is triple role. Godfather is a remake of the tamil megahit Varalaru which feautred Thala Ajith in the lead. The movie was a runaway success, and Ajith's role won him many acclaims. Similarly Upendra too steps into the shoes of Ajith to create history. The movie was shelved for years together due to technical errors and faulty scripts. And it was actually when director Sethu Sriram approached Upendra to do this movie, that things all fell in correct place.

Well, fans will be in for a mega surprise as Mr.Upendra is on a  publicity spree and all we can hear now in sandalwood is the buzz about GodFather and Real Star Uppi. And to add it up to all the movie features Musical Maestro A.R.Rahman's touchy and peppy music. Yes guys first time in the history of sandalwood A.R.Rahman has composed fresh tracks for a movie, when asked about this the humble man just said he can't say no to somebody of  Upendra's caliber. GodFather will also see the talents of Soundarya Jayamala, Sada, Bhumika Chowla giving the viewers a run for their Money. Godfather in all its form is a mass entertainer in the making, so do not miss out on this one.

So how the GodFather story progresses, well, Upendra plays a billionaire father and he has two sons again played by Upendra himself. One of the 2 is on wheel chair due to physical illness, while the other one leads a posh life enjoying every bit of life. Things are all fine till here, but eventually when the elder son visits a village and fall to the beauty of Nidhi Subbaiah and wanted to get married to her. But as and when the marriage gets close by there appears drastic changes in his behaviour and leave the whole family in a dilemma. His activities goes to the extends of bumping his own father. He is scene constantly taking a dip at his father, well, why is such strange behaviour ? why he wants to pull the blood out of his father ?, forms the rest of the story and is a super suspense.

well and a small split-up into his characters that will enthrall you all the way...

Upendra No.1)  A billionaire elegantly dressed, strict and shrude father.

Upendra No.2) Stylish, yet cunning modernised.

Upendra No.3) A man with extreme liking towards dance and a born performer, with a twisted character.

The movie has all the elements of a superhit in the making and will clinch audience on to their seats. The movie will appel to the masses in particular, and the music too is extremely interesting, ofcourse how can somebody like A.R.R get it wrong, isn't it. Well, watch the movie this weekend without fail. And donot forget to catch upendra on Aithalakkadi morning on bangalore's favourite Radio City 91.1 on friday from 7.30 till 11.00. Well you can even win tickets to the movie, and upendra's costumes too might come your way from the movie godfather. So its a blockbuster weekend in the making. Catch up for the latest fun.


It is father’s admiration to son on the one side and son’s sympathy to the mother. All the four characters are connected in which three are Upendra and one is Catherine.

‘God Father’ has no connection to Hollywood cinema. In this Shiva is the ‘God Father’. He gives utmost needs for his son. He is on a wheel chair. He is a top man in the city. The hiccup is to his son Vijay (Upendra) from Ajay (Upendra). One is growing with father a ‘God Father’ and the other one is growing with ‘Mad Mother’. For the situation of his mother Ajay wants to take revenge on his father. So he troubles Vijay in his marriage.

When the situation goes to the extent of killing ‘God Father’ that is ‘Shiva’ he gets up from the wheel chair to open his third eye. This Shiva flash back is the biggest draw of the film. One of the rarest characters Shiva behaves like a female character. He is an excellent dancer. In the village he is considered as impotent and eunuch. Sujatha looking the dance video of Shiva agrees for marriage and she comes straight to the marriage hall. The height of insult that Shiva faces makes him gutsy. He rapes Sujatha in her room. The result is the birth of twins – Vijay and Ajay.

In the climax Ajay is sick and he wants to kill his father Shiva and he barges to the marriage where he is revealed the truth. ‘God Father’ is gunned down at this place.

ANALYSIS -

A tough film to make has come out superbly from debutant S Sriram. He is too good in his cinematography. There are minor corrections he should have made at some places.

For Upendra playing triple role and each one is filled with fire is a treat for his fans. The ‘Real Star’ he is called is proved in this film.

Director Sriram has brought down the original film by half an hour but still this looks lengthy. The surprise he reveals for the new audiences (who have not seen Varalaaru Tamil) this is an engaging film. The film opens with softness around, it boils up at the interval and it continues the heat and curiosity in the minds of audience till the end.

The gunning down of ‘God Father’ happens in the marriage hall – no one knows the reason behind. One has to imply that he is enemy of God Father.

The film ‘God Father’ giving importance to father, mother and sons is narrated in a tricky style with confusions in the minds of the characters.

In the makeup department there is mistake on the part of director of this film. Catherine as mother to Upendra is unacceptable. Catherine skin structure does not change even after the son is 25 years of age. The actress getting good makeup was very much needed.

Secondly the creation of confusion – taking the Vijay character to psychiatrist loses its relevance when seriously the film is looked at. At this point – before interval it appears ‘Arakshaka’ of the recent Upendra is bouncing back in ‘God Father’.

PERFORMANCES -

The glorious part is Upendra as ‘God Father’. On a wheel chair, dancing moments and action portion – he is excellent. It is a right selection for Upendra – he is a growing actor, thinking actor and absorbing actor and besides that the director in him always alert gives the best out of him in this kind of film.

The role of ‘God Father’ – Shiva – Upendra learning Bharathanatyam moments and changing his style completely deserves full compliments. The other two roles of Vijay and Ajay are routine for him. In style Upendra is scintillating.

Kannada cinema industry has got a bonus on this Varamahalakshmi Day – that is via Soundaraya Shreyasi – daughter of Dr Jayamala.

The role is short for Soundaraya but she has great screen presence. In the naughty moments, emotional situations and dancing moments she has given a complacent performance. She has a great future ahead. For Catherine there is more scope and not knowing the language is a hindrance for this good looking actress.

Among the supporting roles – Ramesh Bhat is in highest standards. Satyajith, Shwetha, Sudha Belawadi also gives some good support.

TECHNICALITY –

When Ustaad of film music is around there is no short fall. That is true. AR Rahman three original tunes and two fresh ones are in top standards.

The song Sanchari Manasu…..Alapane…..are superb. The mother song Laali Laali Amma….the lyric of K Kalyan in this song is peerless. The background score meeting the moods of the characters is well conceived.

Director Sriram is also cameraman Sriram. It is 75 percent of marks for his direction while 85 percent of marks out of 100 for his cinematography.

The editing at places falls short. The scene one on place abruptly ends. That is not a major fault. The art direction – selection of outdoor locations and interior designing of the house done for the film is marvelous.

The dialogues of Upendra another winning point of this ‘God Father’.

Last but not the Least – God Father is Great and Grand ‘God Father’ for Kannada audience!

IT IS A SPECTACULAR PACKAGE – Score 4/5
Cast – Upendra (triple role), Soundarya, Catherine, Shwetha, Ramesh Bhat, Sudha Belawadi, Kuri Pratap, Siddaraj Kalyankar and others.
Music – AR Rahman
Producer – K Manju
Direction and Cinematography – S Sriram    

Movie Review Preetiya Loka Kannada

Love getting obstacles from the elders is the ancient thought while reputation and status very important in love is the present thought of this director. The boy growing up from bad luck to a comfortable status of owning a restaurant Chetan (Vinay) struggle is in the last 15 years. He loses his father for no mistake of his while his mother dies of brain tumor.

After owning a restaurant he is happy in life. When he sees Anu (Archana) he feels very happy. Anu also responds to his love because of the humanity in Chetan. When everything is good, the elders decide this match is not right. Anu’s father Ramesh Bhat is brainwashed for getting a boy of his status in the society.

Anu in the later reels agrees for the request of his father who is everything to her in life. She marries the choice of her father and ends her life. Chetan is dumbstruck with this development. He jumps with Anu to the river and dies. That is the end of ‘Preethiya Loka’.

Real life conductor Nandan Prabhu for the screen has not driven the film properly. Nandan Prabhu was driver and now a conductor in Bangalore Transport Service.  He needed to fine tune his script. The requirement of some wild moments from him as an actor is missing.

Nandan Prabhu looks in the long shot look like Upendra, super star of Kannada cinema. He should have made use of this strength in him. He has not performed as a proper villain. More fire added to this particular role would have brought some strength to the film.

Secondly the newcomer Vinay role is not properly groomed. There are good dialogues for him but practice on his expressions and some hair cut was needed. Thirdly the second heroine of this film Lakshmi who comes to Chat center of protagonist looks much better than the heroine. Some scope for this role and changes in the script for ‘Preetniya Loka’ was needed.

The stunner was possible from the limited characters Nandan Prabhu has thought. Where is the content he said that he picked from daily routine route in the Bangalore Metropolitan Transport Corporation? The elder characters in the film moves in their cars and protagonist father in the flash back there is a bus reference and in the beginning when children are waiting for bus the young Chetan stops the bus standing in the center of the road.

The most important factor which director Nandan Prabhu described in the media meets is that he is inspired from Rajanikanth, Tamil Super star who was once Bus Conductor in Bangalore. For the inspiration from a great actor and human being like Rajanikanth, there is no reference in this film. Nandan Prabhu has in fact in the advertisements and in front of the Kapali theatre has misused the legendary Tamil super star Rajanikanth.

‘Preethiya Loka’ is more than three years old cinema coming now to the theatres. The director checking the audience expectations was needed. More the surprises the film fills it is a plus point for the film.

Making the film a tragedy was also not necessary because the heroine who shows such a daring nature to love Chetan is also very close to her father in the house. In one of the dialogues she says her father is aware of her love affair. These days the girls are very fast and they come out with straightforward nature.

In the debut film Vinay who is an engineering graduate has struggled hard. He needs to trim his hair and looks should be altered by practicing before a mirror. The long shot heroine is Archana. She has performed well in an emotional scene in the house of Chetan. Lakshmi a television actress looks very sweet and she is a heroine material indeed.

Ramesh Bhat is convincing as supporting actor. Nandan Prabhu has the strength but he has not used it properly.In the comedy department Kuri Pratap and another fatso have done well to tickle the funny bones.

The cinematography is average. There are no memorable shots from Krishna Sarathy. He has not disturbed the film in any place. Two songs from Saikiran are melodious. Baanalli Telidha Swarga….and Yee Priti Bandakshana Tanuvalla Romanchana…..are well captured in the camera. Editing and background score is less than average.

Last but not the Least – For product on hand preparation is very important!
MEDIOCRE FILM – Score 2/5
Cast – Vinay, Archana, Lakshmi, Nandan Prabhu, Ramesh Bhat, Kuri Pratap and others.
Music – Sai Kiran
Cinematography – Krishna Sarathi
Producer – S Madhav Reddy
Direction – Nandan Prabhu  

Movie Review Romeo Kannada 2012

What is the definition of ‘Romeo’ – a lover who roams, careless guy and remain long lasting in his love? That is what the protagonist Ganesh in ‘Romeo’ to some extent. When the love has to be won by materialistic gain on the one side he changes his attitude that even melts the heart of lover Shruthi (Bhavana). You are with money now. If I come back it is not good says the female protagonist.

Ganesha is a gas bag. He lives in a poverty stricken family with his parents. He acts like Ambani or Mallya to win his lover heart. He is not aware that he is doing a costly mistake. He marries Shruthi making her to believe that he is an aristocrat, the regional manager in the bank Shruthi agrees. Ganesh and Shruthi marry in registrar office. Shruthi father is against to this match.

When Shruthi is brought to the house of Ganesh the fact reveals. She feels disgusted with Ganesh and walks out of the house to her father place. The divorce paper is also signed. In the mutual consent at court Ganesh and Shruthi separate.

After this set back in life Ganesh grows to become rich. He meets Shruthi again. This time Shruthi clearly says in a choked voice that her father had looked for a match in USA. Knowing the inner heart of Shruthi, Ganesh enact another drama and he is admitted to the hospital. This time Shruthi in the Airport returns to see Ganesha. That is the curtains down for happy ending.

Director PC Shekar in the process of telling that ‘Love’ is eternal has missed out a few things. He has missed some points and his taken for granted attitude is uncalled for.

Firstly he is inspired from a few of the Tamil star Dhanush films. A film in Kannada ‘Anthu Inthu Preethi Banthu’ of Aditya Babu and Ramya (Divya Spandana) had the same theme of rich and poor barricade. In this film Shekar has added a lot of carelessness to the protagonist to grab the youths and Ganesh fans.

Look at the problems that the director is locked to himself. Firstly he says uttering lies should be only at places. This is a wrong signal to the youths. This is the carelessness of the director.

Secondly the uttering of lies is OK according to times is told from the senior characters. This is again a wrong signal to the elders of the society. A refine thinking was needed.

Look at the divorce papers signing in the court and separating. Those who signed the divorce papers rejoin once again. What is the answer they give for the court of law that sanctioned divorce? Can they take law for granted?

Cinema should be seen as cinema. In the present day cinematic angles are aped in the real life. It is good that both the lovers have joined. There was no need to give the sanction from the court. The couple could have been asked to wait for some time. In that way rejoining would have meaning and law is also respected.

Once again Ganesh film is not well measured. PC Shekhar said something and he has done something. He has declared that he thought of doing a film after seeing ‘Mungaru Male’ in 2007. In that case he has not studied the graph of Golden star Ganesh. Ganesh as action hero has failed in ‘Bombaat’. The crispy and lengthy dialogues with romantic mood, chiding others are his trump card. Who likes to see Ganesh in sober mood and collecting tears?

Once again the box office formula of showing the hero with certain qualities is not followed. In the very first scene Ganesh is slapped on the face by his father. These are not small issues. The hero getting such slap, harsh words etc is not a box office formula. It is not tasteful for the fans.

Ganesh sitting on a drink for a few times and smoking is not in good tune. It is the Ganesh voice at the beginning and at the interval says ‘Doomapana Arogyakke Hanikara….Madhyapana is also bad. When the hero himself does it in the film, what does it mean?

The only lovely song of the film Alochane Aradhane Ella Nindene….is placed at a wrong point in the film. The lyrics written in this case does not match the situation. Just for the sake of fixing a song, director followed the routine formula.

There are some scenes not jell well to the Kannada atmosphere. One is the old ladies singing on a terrace. The film is quite good in the dialogues department. Sadhu Kokila episodes are in excess.

Golden star Ganesh has good dialogues in the first half. He needs to follow the principles correctly when he performing a role. For example driving without helmet and on a cell phone is irresponsibility. He is not fit for action image.

Bhavana has acted well but it is the dubbing that has lifted her character. Avinash is as usual with grit; Rangayana Raghu is also as usual with wit. Sadhu Kokila comedy is not going to hit. It is in excess.

Sudha Belawadi, Giri and others are OK. The character played in the end – a lover to comedy actor Giri gets noticed for her looks.

The best song of the film is ‘Alochane Aradhana….but there are two peppy tunes for the masses. In the rural areas the womenfolk might enjoy the old ladies in song number.

Vaidhi is impressive in his camera. The small lanes, outdoors the posh places are very clear in his work. Editing is quite OK. Nataraj in the dialogues is a real winner from this film.

Last but not the Least – In first half ‘Romeo’ is a Rascal – in second half he is typical.
PARTLY GOOD – Score – 2.5/5
Cast - Ganesh, Bhavana, Rangayana Raghu, Sadhu Kokila, Sudha Belawadi, Avinash, Giri and others.
Cinematography – Vaidhi
Music – Arjun Janya
Producers – Naveen and Ramesh Kumar
Screenplay, Direction – PC Shekhar  

Movie Review Modhala Minchu Kannada

It is based on the famous Kannada film song – Preethi Madabaradhu, Madidare Jagake Hedarabadhu…of V Ravichandran ‘Prema Loka’ cinema.

A servant in the house of village head (played by Doddanna) Ravi (Abhi) is a poor guy. He is fond of everyone. He is intelligent. In the marriage of village head family – daughter Mala, arrives Divya (Supritha) as one of the friends. It is a love interest for Ravi. Divya studying medicine is engaged to Rakesh (Sharath) a businessman. Divya does not like the erratic and ego behavior of Rakesh. She falls in love with Ravi. Ravi and Divya faces hurdles. Rakesh shoots at the lovers. They jump from a height and fall in the running water. They are not injured in no way falling from such height. Pure love wins.

Shouldering the nine responsibilities Wesley Brown has not worked perfect in anyone field. The poor work is from the camera. Many of the shots are not up to the standard. The digital cinematography has not come to his help.

The first half is a big bore. The second half is expected. Wesley Brown seems to have not seen the present day of Kannada films and other language films. The convincing screenplay and good script is what lacking mainly.

This is very ordinary cinema and as a newcomer Wesley Brown has not left any promise. He should have taken the expert opinion before deciding on the digital camera. Even today the negative used is the best says the cinematography department. In such a situation digital camera result with his availability of resources Wesley Brown should have studied.

He has not told anything to any actors in the film. A few of the unwanted characters creep in. They do not add to the film. It is a burden – for example the eunuch dressed character with two friends to rob all the properly on the marriage day. Michael Madhu role and excess of Sadhu Kokila portion, the opening shot of prayer at ‘Thulasi Katte’ – there are some more like that not precisely handled.

The main drawback is the lack of experience in Wesley Brown. At a good screening place Renukamba Digital studio the screening is so poor means then think about the fate of audience at the poorly maintained Menaka theatre. It will be still horrible result.

Debutant Abhi has to take training. He has not made an attempt to act. The character defining for the hero is made as underdog. Supritha looks charming at places. The power is not added to this quite a good actress.

Sharath as villain is OK, Sadhu Kokila is a pain, Doddanna is wasted. A song in which ‘Entedhe’(he has worked in eight divisions of the film) Wesley Brown appears is not inspiring. The song itself was not wanted.

Technically the film is not sound. The budget constraint might be the reason for it. But the result is not appealing what the audience can do?

The editing, cinematography and choreography needed improvement. The one shot song and slow motion thousand frames song is not very appealing that Wesley Brown boasted so much.

Last but not the Least – Jack of all masters of none!
DESERVED TO BE BETTER – Score 2/5
Banner – SR Talkies
Cast – Abhi, Supritha, Sadhu Kokila, Doddanna, Sharath, Wesley Brown and others.
Music – Ashle Abilash
Producer, Choreography, Story, Screenplay, Dialogues, Direction, Camera – Wesley Brown

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