#has a telugu interlude

[sir-ballister-boldheart]

Yo Goldenheart and Nimona nation, do i ever have good news for you!

Do you like homoerotic betrayals?

Do you like lovers best friends being torn apart upon finding themselves on the opposite sides of a war? Where each is burdened with the responsibilities from their chosen role?

Do you like couples where one half represents the oppressive regime and the other half embodies EVERYTHING the said oppressive regime hates? Where the one half, acting as a tool of violence and subjugation for the oppressive regime, has to HUNT DOWN and ARREST the other half who has sworn to attack the oppressive regime head on?

Do you like couples with opposing colour schemes? Where one half embodies a particular element and the other half embodies a contrasting element? Do you like couples who are each other's foils? DO YOU LIKE COUPLES WHO ARE THEMATIC PARALLELS TO EACH OTHER??

Do you like a story that's rich in symbolism? Rife with metaphors? A movie that you can rewatch again and again and STILL discover new stuff to lose your mind over?

Do you like a story where love shines brighter than the sun? Where love conquers all the hurt, anger, grief, heartbreak, generational trauma and violence? Where love heals? Where the sheer power of love changes the entire course of the narrative? Where love rewrites history itself?

Do you like movies that make you feel THE ENTIRE SPECTRUM of human emotions within its runtime?

Do you like gorgeous, jaw dropping cinematography? Do you like highly stylized action sequences?

Do you like banger music and a soundtrack that slaps HARD? Do you like a wonderful song and dance interlude in a movie as it shifts into the next act?

Do you like a character who is just the sweetest and the best and deserves everything that is good in the world and has BIG BROWN MASSIVE ADORABLE DOE EYES? And then proceeds to go through the literal WORST TIME ever?

Of course, you do! You like Nimona!

And ho boy, are you gonna LOVE RRR. Because this movie has got ALL of that and then some more. It's an epic, it's a war movie, it's a love story, it's highly symbolical, it's going to take your heart and rip it into two. And you will thank it for that.

Hmm, Enigma. But where can I watch it? 🤔

It's available on Netflix but only as the dubbed Hindi version. It's pretty good for a dub as the actors dubbed their characters themselves and the director oversaw the translation but! But! Listen! There is a magic in the original Telugu version and if you want to experience it, then thank @charcubed for this post where you can download the original Telugu version in crisp HD with English subtitles FOR FREE

There is a third option. You can stream it for free in Einthusan here. However, the quality of the Einthusan stream is not good, and if there is one movie that DESERVES to be watched in crisp HD quality? Trust me, it's RRR

So, what are you waiting for? Go watch it, RIGHT NOW. Seriously

[thescribbleddiaries]

Bollywood Vs The South Indian Cinema

Introduction to Bollywood and South Indian Film Industries

India is renowned for its vibrant and diverse film industries, with Bollywood representing the Hindi-language cinema based in Mumbai and the South Indian movie industry encompassing Tamil, Telugu, Malayalam, and Kannada films. Each of these industries has its own unique characteristics, cultural influences, and star power that have captivated audiences worldwide. In this article, we explore the dynamic landscape of Bollywood and South Indian cinema, delving into their historical evolution, box office impact, global recognition, stylistic elements, talent pool, evolving trends, and the challenges and opportunities they face in the ever-changing world of cinema.

Overview of Bollywood and South Indian Movie Industries

Introduction to Bollywood and South Indian Film Industries

Bollywood, the Hindi-language film industry based in Mumbai, and the South Indian movie industry, comprising Tamil, Telugu, Kannada, and Malayalam cinema, are two powerhouses of Indian cinema known for their unique styles and storytelling.

Historical Development and Growth

Bollywood traces its roots back to the early 20th century, while South Indian cinema has a rich history dating back to the 1930s. Both industries have evolved over the years, embracing new technologies and trends to captivate audiences worldwide.

Cultural Influences and Diversity in Bollywood and South Indian Films

Themes and Storytelling in Bollywood Films

Bollywood films often explore themes of love, drama, and family relationships, blending extravagant song-and-dance sequences with emotional storytelling that resonates with audiences of all ages.

Regional Diversity in South Indian Cinema

South Indian cinema, on the other hand, boasts a diverse range of genres and storytelling techniques across its different language industries, showcasing rich cultural traditions and narratives unique to each region.

Box Office Success and Market Reach of Bollywood vs South Indian Cinema

Box Office Performance of Bollywood Films

Bollywood films have a global appeal and consistently dominate the Indian box office, with big-budget productions and star-studded casts drawing massive audiences both domestically and internationally.

Market Dominance of South Indian Cinema in Regional Markets

While Bollywood enjoys a wide reach, South Indian cinema holds sway in its respective regional markets, with loyal fan bases and a steady stream of hit films that cater to the diverse cultural preferences of audiences in the South.

Impact of Bollywood and South Indian Films on Global Cinema

International Recognition and Film Festivals

Both Bollywood and South Indian films have garnered international acclaim, with entries in major film festivals and recognition for their unique storytelling, performances, and technical brilliance that transcend cultural boundaries.

Global Box Office Influence

The global popularity of Bollywood and the rising profile of South Indian cinema have expanded the reach of Indian films on the world stage, influencing trends in filmmaking and attracting a diverse audience eager to experience the magic of Indian cinema.# Unique Characteristics and Stylistic Elements in Bollywood and South Indian Movies

## Musical Elements in Bollywood Films Bollywood movies are known for their infectious songs and dance sequences that range from emotional ballads to energetic dance numbers. These musical interludes often become chart-topping hits and play a significant role in the storytelling of the film.

## Action and Visual Effects in South Indian Cinema South Indian cinema, particularly in the Tamil and Telugu industries, excels in high-octane action sequences and cutting-edge visual effects. From gravity-defying stunts to larger-than-life fight scenes, South Indian movies set the bar high when it comes to adrenaline-pumping action on screen.

Talent and Star Power: A Comparison between Bollywood and South Indian Film Industry

## Superstars of Bollywood vs South Indian Cinema Bollywood boasts of iconic stars like Shah Rukh Khan, Salman Khan, and Aamir Khan who have a massive global fan following. On the other hand, South Indian cinema has its own galaxy of superstars including Rajinikanth, Vijay, and Prabhas, who command immense popularity and loyalty from their fans.

## Emerging Talent and New Faces in the Industry Both industries are witnessing the rise of talented newcomers who are making a mark with their fresh acting skills and unique personas. Whether it's Bollywood's Sara Ali Khan or South Indian sensation Rashmika Mandanna, the influx of new talent ensures a dynamic and evolving film landscape.

# Evolution and Trends in Bollywood and South Indian Cinema

## Technological Advancements and Digital Impact With advancements in technology, both Bollywood and South Indian cinema are embracing CGI, VFX, and digital filmmaking techniques to enhance the visual appeal of their movies. This digital revolution has revolutionized the way films are made and consumed, opening up new possibilities for storytelling.

## Changing Audience Preferences and Genre Shifts Audiences' tastes are constantly evolving, leading to a shift in the kinds of films being made in both industries. While Bollywood is exploring diverse genres beyond traditional romances and dramas, South Indian cinema is experimenting with unconventional narratives and pushing the boundaries of storytelling.

# Challenges and Opportunities for Growth in Bollywood and South Indian Movie Industries

## Piracy and Copyright Issues One of the major challenges faced by both industries is piracy and copyright infringement, which affects the revenue of filmmakers and producers. Finding effective ways to combat piracy and protect intellectual property rights is crucial for the sustainable growth of the Bollywood and South Indian movie industries.

## Collaborations and Co-Productions for Global Reach To expand their reach and appeal to a global audience, collaborations and co-productions between Bollywood and South Indian filmmakers are becoming increasingly common. By joining forces and sharing expertise, the industry can leverage international markets and create content that resonates with a diverse audience worldwide.As we conclude our exploration of the Bollywood and South Indian movie industries, it is evident that both have made significant contributions to the world of cinema, showcasing diverse storytelling, cultural richness, and immense talent. While Bollywood's global reach and iconic status continue to shine, the South Indian film industry's regional dominance and unique offerings are equally noteworthy. With ongoing evolution, emerging trends, and the constant pursuit of excellence, these industries stand poised to shape the future of Indian cinema and captivate audiences for generations to come.

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLXXXIX

Murad (Ranveer Singh) lives in Dharavi and writes rap lyrics about his life and the inequalities he experiences. When he meets MC Sher (Siddhant Chaturvedi), he is introduced to Mumbai’s rap world and takes it by storm. Meanwhile, he deals with his secret and possessive girlfriend Safeena (Alia Bhatt) and his father (Vijay Raaz) bringing home a second wife.

Gully Boy is a Bollywood vision of the rap culture in India. As a coming of age movie, it is quite good. However, it is completely divorced from the political aspects of rap in India. Also, Ranveer Singh’s skin was darkened for the movie, presumably so that he would seem more “authentic.” It is a good movie, but does not deserve to be India’s pick for the Oscars. Here is a good review about the problems with Gully Boy. Favorite songs are Jingostan and Mere Gully Mein (and the original).

NTR Kathanayakudu essays the acting career of N.T. Rama Rao (Nandamuri Balakrishna) from his leaving a government job through his rise to stardom to his decision to found the Telugu Desam Party. NTR Mahayanakudu follows his rise to Chief Minister of Andhra Pradesh, his ousting by Indira Gandhi and the Congress party, and his eventual return to his position. It also deals with his wife Basavaramatarakam’s (Vidya Balan) cancer and eventual death. 

While it was interesting to learn about a piece of Indian history that I knew nothing about, both NTR Kathanayakudu and NTR Mahayanakudu were over 2 hours in length each, making both films boring and dense. It is clearly Nandamuri Balakrishna’s vision of his parents and they both come off as idealized versions instead of real people. Favorite songs are Kathanayaka, Bhantureethi Koluvu, and Ramanna Katha. None of the songs have subtitles.

Havaldar Ishar Singh (Akshay Kumar) is transferred to head the communications post of Saragarhi between Forts Gulistan and Lockhart. When there, he works to get the men stationed there into shape. Meanwhile, the Orakzais and Afridis (two Pashtun tribes) unite to take over the forts, beginning with Saragarhi, the strategic point between the two.

Kesari is interesting because it takes a literal last stand that doesn’t have much documentation, and speculates about the people involved and the actual events of the battle. The movie is best when focusing on this, especially the high paced events of the battle, as depicted in the movie. When it doesn’t though, the movie is lackluster. I really didn’t like the depiction of the Pashtuns as religious fanatics when the actual cause of the tensions was the British rule that the Pashtuns were rebelling against. Favorite songs are Ve Maahi, Deh Shiva (audio only), and Teri Mitti. Ve Maahi and Teri Mitti have transliterated Hindi subs.

[bollywoodirect]

Happy Birthday, Pankaj Kapur. Pankaj Kapur (born 29 May 1954) is a theatre, television and film actor. He is the father of actor Shahid Kapoor with his first wife, Neelima Azeem. He has appeared in several television serials and films. His most acclaimed film roles to date have been that of Inspector P.K. in Raakh (1989), Dr. Dipankar Roy in Ek Doctor Ki Maut (1991) and Abba ji, (based on Shakespeare's King Duncan) in Vishal Bhardwaj's adaptation of Macbeth; Maqbool (2003), all three roles which got him National Film Awards. In the 1980s, he became a household name through the TV series Karamchand, a comedy television series in the detective genre. And in the millennium, Office Office, a comic satire on prevalent corruption in India. He made his film debut with Shyam Benegal's film Arohan (1982). Following that he played the role of Mahatma Gandhi's second secretary, Pyarelal, in the Richard Attenborough film Gandhi in 1982. Later he dubbed for Ben Kingsley in the Hindi version of the film. Thereafter he appeared in a string of art films that came under the parallel cinema category, with leading art films directors, starting with Shyam Benegal's Mandi (1983), Kundan Shah's comedy Jaane Bhi Do Yaaro again in 1983. This was followed by Saeed Akhtar Mirza satirical Mohan Joshi Hazir Ho! (1984), Mrinal Sen's Khandhar (1984), and Vidhu Vinod Chopra's suspense thriller Khamosh in 1985. He appeared in many art films, many of which went on to win National Film Awards. In 1986, he switched to television, with the role of Karamchand jasoos(detective) in the detective-comedy, Karamchand, also starring Sushmita Mukherjee. Over the years he has been seen in numerous TV serials, including, Kab Tak Pukaroon (Doordarshan) Zabaan Sambhaal Ke (a remake of the English TV series, Mind Your Language), Lifeline with Vijaya Mehta, Neem ka Ped and finally comic interludes in Philips Top 10. Meanwhile, his tryst with art cinema continued, as he starred in films like Chameli Ki Shaadi (1986), Ek Ruka Hua Faisla (1986), and Yeh Woh Manzil To Nahin (1987). In 1987, his comic side was visible again in the commercial action film Jalwa, also starring Naseeruddin Shah. His first National Film Award came with the 1989 film, Raakh, which also starred Aamir Khan. He starred in the classic Punjabi film Marhi Da Diva (1989). He featured in the 1992 Mani Ratnam film Roja directed. (Roja was made in Tamil and later dubbed in Hindi, Marathi, Telugu and Malayalam.) In 2000 he returned to television with the serial Office Office a satirical take on the prevalent corruption in India. In 2003 he appeared in Maqbool, Vishal Bhardwaj's adaptation of Shakespeare's Macbeth. His antagonistic performance as the short-statured, potbellied, shuffle-footed Abbaji in Maqbool got him the 2004 National Film Award for Best Supporting Actor. Meanwhile, he released films like The Blue Umbrella (2005), Dus (2005) and Halla Bol (2007). In 2006, he started to be seen again on TV. In the TV series, Naya Office Office, a sequel to his previous series Office Office.

[madrasbook]

SPB, Simply Phenomenally Bountiful

SPB’s death has caused immense grief. When Steve Jobs died, his step sister Mona Simpson said, “We all die medias res—in the middle of a story.” What makes SPB’s passing an inconsolable mourning is that he died in the middle of a beautiful melody—in the midst of a music career that would have gone on and on. The philosophy that life on this earth is not permanent seems to offer solace. Some stalwarts push us into a delusion of immortality. And we thought SPB could never die. He was hearty, radiated warmth and remained jolly good. Ageing never seemed to have happened to him. His voice still generated awe and even at 74, he was amenable to music. That’s surely a rare gift that God bestowed on him. But slightly probing to see the effortless ease with which he went about his art, he made it possible only by winning over all the ordeal he had to endure—multiple surgeries on this vocal cord, bariatric surgery, and numerous ailments that kept coming to him, small and inconsequential. God had given him another gift that his voice was not cracked by any surgery. He kept making remarkable recoveries and comebacks. He was able to preserve his voice through time and multiple strains. But it was also a gift for which he didn’t do anything special for his voice. The deadly coronavirus finally infected him, snatching him away from us, and perhaps that was one time he rather gave in to the illness against his will.

SPB’s personality remains surreal as how someone can lower himself to such remarkably humble levels. Vinayam is one way to greatness and it was a so natural part of him. He was no doubt a phenomenal talent, evident by his five-decade-long career in music. He traversed the careers of genius composers and lyricists and sang a mindboggling 45,000 songs in 16 languages, probably an unsurpassable achievement. His popularity is not restricted to Tamil cinema. He was equally feted in Telugu film world, where he was the Ghana Gandharva, and more appropriate as Telugu was his mother tongue. And in Kannada, he was not far behind in popularity and also gave memorable numbers in Hindi (even as the Hindi world didn’t welcome him with open arms to begin with and it is to the credit of ace director KB that he debuted in Hindi with Ek Duje Keliye). And that repertoire extends to several other languages. 

He embellished his talent with being extraordinarily human, which pulled even people on the fringe to his fan circle. Initially very outsider to his fan circle, soon I jumped in, dissolving in his melting voice that kept my company on many long nights at my desk. Maybe he was so contented with his gifts that he never saw the faulty side of humans. As Kamal Haasan said, he simply swallowed every insult and harboured no ill will. If God is love, he was all of love. His demeanour defied his impossibly tall achievements. It used to be asked of Charles Dickens if he never slept or rested that he just churned one work after another. Rarely went a day when SPB didn’t sing perhaps. His corpus of work not only shows his versatility and talent but also his dedication to work. To surpass every possible singer on earth in terms of numbers is a feat that he seemed to have achieved with felicity. Behind it lies hours of hard work and unmatched sincerity to his art. Though he created history, he didn’t receive public felicitation for his achievements. He consciously refrained from it. Maybe, if he were alive to give us 50,000 songs, he would have agreed to a felicitation. His exemplary manner kept all his genius under wraps, but can passing clouds hide the blazing sun? And his manner was as sweet as his music. Grace and humility a part of his persona that just endeared people to him. Big or small, those who knew SPB also knew his generosity of spirit and his warm way of treating others with dignity and respect.

SPB’s career started in the music world that was already filled with stalwarts of the era. If MSV and Kannadhasan combo was ruling Tamil cinema, TMS and P. Susheela were their favourite crooning pair for romantic numbers. TMS had perfected the music voice of MGR and Sivaji Ganesan. S. Janaki was another popular singer giving her nectar-filled voice to many a heroine. And then Yesudoss just had broken into this talent pool. Into this heady mix, SPB made his entry with a two-year wait after debuting in Telugu (that’s because MSV asked him to perfect his Tamizh). SPB’s first song in Tamil happened to be a non-starter for a film called Hotel Ramba, which wasn’t released. But his next two numbers (Iyarkkai Ennum Ilaya Kanni for Gemini Ganesan and Aayiram Nilave Vaa for MGR) made him a household name. After then there was no stopping him.

With no formal training in classical music, his remarkable ability to turn into a musical voice for the MGR and Sivaji generation and then for the Rajini and Kamal generation turned the tables for him. He could modulate suitably for different actors and infuse variation into his singing style to suit their personality and voice at some level. This proved to be a clincher for him right down to Vijay, Ajit and Dhanush, the fourth generation of actors in his long career. If Vaali was a permanent fixture as a lyricist in Tamil cinema until death, SPB etched his place with equal ease for also his unique ability to offer emotions inside songs. He would giggle, laugh, cough and emote all inside a song to give that ‘feel’. And his romantic interludes and modulations just made lovers seek their sweethearts by just singing his numbers. He was a constant in the musical dreams of youngsters hopelessly in love.

His camaraderie with Ilayaraja, hailed as the god of music by his fans, was special and the duo gave Tamil cinema vintage songs that still accompany many a fan on their car travel and at night. Perhaps fans still relish the memorable and melodious numbers this combination made for Mic Mohan, who shone in film world for a short time, that are inerasable by time. SPB hits composed by Ilayaraja is an indelible chapter in Tamil film music. His romantic numbers for Kamal and opening songs for Rajini were special treats to fans of both stars. He also gave musical voice to the present-day stars Ajit, Vijay and Dhanush. 

SPB just captured millions of hearts by his melting voice, another plus to his talent. And as melting was his voice, equally pleasing was his manner, which proved to be a magnet for people to get attracted to him. He propounded love of unmatched proportions. He loved life, loved people, loved music, loved everything in life. As he knew no hate, no one could hate him.

He left the world in tears more than anyone in recent memory. It looked that a day will never come when we would sing eulogies for him. For someone immortalized already by his songs, his passing is just the end of his bodily frame and pleasing manner. We would miss his live concerts where he would greet the audience with a bow and extol people who gave him life to heights of glory. His pat on the back for many upcoming talents was all the boost they needed in affirmation of their abilities. He may not be there to do all this but his songs will still float in the air waves for many many years to come and he will die only when his last standing fan would pass on, and that would be seven generations from now, as Kamal Haasan said.

But a man in whose music we soaked in left us soaking in tears too!

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLXXXV: The Mollywood Takeover Part XXVII

Ten year old Vicky (Sidharth) goes to his grandparents’ home in Kerala to attend his grandfather’s (Thilakan) funeral. As the sixteen day funeral observances proceed, tensions rise between the various family members, even as Vicky befriends his cousins Kannan (Rejosh) and Manikutty (Arathi Sasikumar) and Roja (Vyjayanthi), the girl who works there and longs to return her mother.

Manjadikuru is a lovely film about childhood, while also dealing with familial issues and grief. It is wonderfully made and really inhabits its setting of Kerala in the 1980s. Each of the family members has their own story fleshed out without distracting from the focus of the film. All of the child actors were good, but Vyjayanthi was outstanding in her role. Favorite songs are Manchaadipenne Vaadi (no subtitles), Chaadi Chaadi (no subtitles), and Maargazhi Manjil (English subtitles). 

Stammering Shekhar (Dulquer Salmaan) falls in love with blind dancer Radhika (Dhansika), but their families have objections. Justin (Anson Paul) is rescued by veterinarian Trilok (Dulquer Salmaan) after a car crash and discovers that the woman (Arthi Venkatesh) whose death he was involved in four years earlier was Trilok’s wife. Siva (Dulquer Salmaan) raises his brother Siddhu (Rohan Manoj) after their mother (Asha Jayaram) after their mother leaves them with their abusive father (Peethambaram Menon). When their father is killed, Siva tracks down his killer, Mumbai crime lord Vishnu (Prakash Belawadi), and Siddhu tags along. Lt. Rudra Ramachandran (Dulquer Salmaan) and Akshara (Neha Sharma) are madly in love, but they are separated when Akshara is sent to Australia for college. After not communicating for four years, Akshara is about to marry Alok (Manit Joura), and Rudra goes to the engagement to fight him like he did with all of Akshara’s other suitors. 

Solo is an anthology based on the various facets of Shiva and the elements associated with them. I liked all four stories for their merits, but my favorites are World of Shekhar and World of Shiva. Solo really highlights Dulquer Salmaan’s acting abilities as it showcases him as the main character in each story. Favorite songs are Oru Vanchi Paattu, You (audio only), Aal Ayaal, and Sita Kalyanam. Only You has subtitles, but they are wrong.

When Savitri (Keerthy Suresh) is found in a coma, Madhuravani (Samantha Akkineni) is assigned to write an article about her. As Madhuravani delves into Savitri’s turbulent past, she learns of Savitri’s rise to fame in Tamil and Telugu cinema, her initially secret marriage to Gemini Ganesan (Dulquer Salmaan), her alcoholism, and her philanthropy.

Mahanati is a good biopic that could have been better. While it does a good job portraying Savitri’s rise and her marriage, it glosses over her financial troubles and health problems in her later life. Additionally, it begins with a mystery as its premise to get Madhuravani interested in Savitri, and then it never solves the mystery. I did enjoy how they remade scenes from Savitri’s movies and the film was true to the period. Keerthy Suresh is amazing as Savitri and is really the star of the film. Favorite songs are Aagipo Baalyama, Mooga Manasulu, and Gelupuleni Samaram. None of the songs have subtitles.

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLXVII

Godse (Nandamuri Balakrishna) wakes up after being in a coma for 18 months. Unable to believe that he is who everyone claims he is, he goes to Hyderabad in search of the truth, only to discover that he is actually a CBI officer named Bose and his new life is a ploy created by CM Bharadwaja (Prakash Raj) to keep him from investigating the previous CM’s suspicious death.

Lion only picks up in the second half. The first half is quite boring and the comic aspects of the film were actually quite annoying. Prakash Raj was the high point of the film with his extreme villainy, which he does extremely well. I wish the romantic aspect of the film had been resolved one way or the other, but it wasn’t. Overall, the film had an okay story and never really managed to capture my attention. Favorite songs are Akasam and Aisa Ambani Pilla. Neither song has subtitles.

After the death of his wife Phaguniya (Radhika Apte) on the mountain that separates his village from the nearest hospital, Dashrath Manjhi (Nawazuddin Siddiqui) vows to make a path through the mountain.

Manjhi: The Mountain Man is a dramatization of Dashrath Manjhi’s life and his work to create a path through the mountain that caused his wife’s death. The film is really a vehicle to exhibit Nawazuddin Siddiqui’s acting skills and he performs spectacularly. He is quite believable in his role, both young and old. Radhika Apte also performs well opposite him. I enjoyed the non-linearity of the film as it allowed us to see Dashrath’s motivations for breaking the mountain whilst returning to the act itself periodically. Favorite song is O Rahi.

Maharaj Braj Singhdeo (Saurabh Shukla) has trouble selling his Upper village because it lacks a water source. He decides to send his son Raj Singdeo (Kunal Kapoor) to the Lower village in order to seduce the village leader Kharu Pahelwan’s (Gulshan Grover) daughter Paro (Radhika Apte). The Maharaj hopes that this will somehow end with the Lower village coming back to be subjugated by the Upper village, but he doesn’t count on Paro and Raj falling in love.

Kaun Kitney Paani Mein is a fun, satirical movie that comes up with excellent concepts, like watery as a form of money. There are excellent dramatic moments, like the background for the feud between the two villages. I quite enjoyed everyone in the movie because they all acted their parts with aplomb, especially Saurabh Shukla. As a commentary on class barriers and water scarcity, it also makes an impact.  Favorite song is Chala Murari (no subtitles).

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLXV: Not Bollywood, that’s for sure

Sisir Roy (Soumitra Chatterjee) facilitates interactions between the people he meet in the park who seem to be able to help each other in some fashion. These include typist Biswanath (Rahul), software engineer Sananda (Radhika Apte), teacher Saswata (Kaushik Sen), petrol pump worker Reena (Nina Chakrabarty), recently married Ahana (Sohini Sarkar), and her husband Prasit (Gourab Chakrabarty).

Rupkatha Noy is a wonderful movie about how a willing ear can lead to much more than anyone anticipated simply because of a desire to help improve others lives. I also enjoyed how the movie has aspects of romance and thriller, but it still feels real and that the events in it could have occurred as depicted. All of the actors were great at portraying their characters, but I especially enjoyed Soumitra Chatterjee, Radhika Apte, and Nina Chakrabarty. Favorite songs are Ichhey Korey Hariyechhi and Saradin aar Sara Raat. Neither song has subtitles.

When Krishna (Nandamuri Balakrishna) returns from abroad, he gets involved in incidents that threaten to lead him back into the blood feud his family has with Jitendra (Jagapathi Babu). Meanwhile, Krishna learns about his older brother Jaidev (also Nandamuri Balakrishna) and the origins of the feud.

TW for movie: human trafficking. Legend is very pretty and the action scenes are pretty good. Otherwise, the script is terrible and the dialogue is very obviously a vehicle to help Balakrishna’s political goals, as also reflected in the story. Overall the movie is boring but pretty and has some fun explosions and fight scenes. Favorite songs are Tanjavuru and Nee Kanti Choopulloo. Neither song has subtitles.

Vetri Selvan (Ajmal Ajmeer), Ananthakrishnan (Mano), and Ganesh (Sherrif) escape from a mental asylum and are under suspicion for murder. While on the run, they get odd jobs and meet lawyer Sujatha (Radhika Apte) who falls for Vetri. When the police catch up with them, the truth comes out and Sujatha works to free them and find the real murderer. 

Vetri Selvan is a poorly made movie with good intentions. Based off a story about an organ trafficking ring run out of a mental asylum, the movie just doesn’t live up to its promise. The first half is a fairly irrelevant to the meat of the story. The second half has its points, but oftentimes falls into melodrama and doesn’t do what it needs. The actors are good but can’t save the movie. The songs, while nice, do nothing for the story. Favorite song is Megathile (no subtitles).

[amongxylophonesandglockenspiels]

Bollywood Movies Part CXXXIX

Chotu (Prabhas) was kidnapped from his parents by Chidambaram (Makrand Deshpande) and brought up to beg for him, but discovered he could earn money by turning in criminals when he helped the police catch Chidabaram. He becomes a bounty hunter for the police. He meets Sameera (Kangana Ranaut) while arresting her brother Chandu (Sravan), who works for crime lord Johnny Bhai (Sonu Sood), and falls in love with her. 

Ek Niranjan is okay. The main plot sort of makes sense, but the comedy track is not relevant at all and doesn’t really work. The performances are pretty good, but they don’t make up for the plot. I’m most upset about the film promising the occurrence of a certain event, but it doesn��t happen by the end of the movie. False advertising, I tell you. Favorite songs are Ek Niranjan and Gundello.

Tony Khosla (Irrfan Khan) is held hostage by a sniper (Sanjay Dutt) in a phone booth and told to confess his wrongdoings. 

Knock Out tries to bring to light injustice, but it’s method of righting that injustice is very suspect. The performances were wonderful, but the plot was filled with holes and lacked any sort of logic. Some of it was fun to watch, but it didn’t really work. I’m fairly certain there weren’t any songs in the film because the only ones I’ve been able to find are for promotional material.

Kia (Kareena Kapoor Khan) wants to be a successful businesswoman instead of supporting a husband. Kabir (Arjun Kapoor) wants to be like his mother, and take care of a household. The two meet and are drawn to each other, leading to their highly unconventional marriage.

Ki & Ka is adorable and also successful at twisting gender roles. The film was more episodic than a continuous story. I liked this because it gave me snapshots of the relationship as it evolved over time. The story was quite good overall and the acting was superb. I really liked Swaroop Sampat as Kia’s academic mother. Favorite songs are Most Wanted Munda and Ji Huzoori. Neither song has subtitles.

When Kali (Anshika Shrivastava) goes missing, her stepfather police chief Shoumik Bose (Ronit Roy) immediately tries to find her father struggling actor Rahul Kapoor (Rahul Bhat) at fault as she with with him before she went missing. The two try to outwit one another while looking for her and others try to profit from Kali’s disappearance.

TW for movie: attempted suicide and domestic abuse. Ugly truly shows the ugliness that can be in people: the greed, the opportunism, and the hate. I enjoyed it for what it was, which was a stark view of humanity wonderfully portrayed, but I don’t like the assumption that people in general are bad. Favorite song is Papa (no subtitles).

[amongxylophonesandglockenspiels]

Bollywood Movies Part XCV

Prasad (Venkatesh) is obsessed with finding a wife for himself. He happens upon Malliswari (Katrina Kaif) and proceeds to attempt to woo her. When she is attacked by goons, he helps her flee. What he doesn’t know is that Malliswari is the heiress to the Raja of Mirjapur and that her uncle wants her dead.

A Tollywood (Telugu) movie. I thought that Malliswari was a fun romp, but I didn’t really find it to be anything new, even though it was in a different language. Favorite songs are Janma Janmala Varami Ee Kalayika and Nuvventha Andgattivaina Antha Birusa.

When womanizing doctor Samir (Salman Khan) falls in love with Sonia, he tells her he is getting divorced from his nonexistent wife, as the wife is a lie he has built with his numerous affairs. He convinces his assistant Naina (Sushmita Sen) to pretend to be his wife, not knowing that she is also in love with him.

TW: attempted suicide. Based on the 1969 Cactus Flower. Maine Pyaar Kyun Kiya was silly. I most enjoyed Sushmita Sen as Naina, and Naina’s machinations. I also enjoyed Sonia’s interactions with Naina. Favorite songs are Teri Meri Love Story (song is twice, once with English and once with French subtitles) and Sajan Tumse Pyar (no subtitles).

Giri and Ranjit (both Nandamuri Balakrishna) are the twin sons of Major Chakravarthy (Puneet Issar). When their father is imprisoned, they each take different paths. Giri is a layabout and Ranjit becomes a hard working police officer. Ranjit tries to put a stop to criminal G.K. (Mukesh Rishi), not knowing that G.K. is involved in the Major’s imprisonment.

Allari Pidugu was pretty bad. There isn’t much to redeem it, but I didn’t hate it. The story was just cliched and poorly done. Favorite songs are Ongolu Gittharo and Nede Eenade. Neither song has subtitles.

Aditya (Akshay Kumar) seems to be happily engaged to Sonia (Bipasha Basu), but when in Canada for work, he keeps running into heiress Jia (Katrina Kaif) who has come to Canada to prepare for her wedding to Karan Oberoi (Anil Kapoor). Over the course of their encounters, the two fall in love, but an article is published containing information Jia only told Aditya.

Humko Deewana Kar Gaye is a cute love story. The first pairing of Akshay and Katrina. I enjoyed the film for the cute love story but found it really weird that Anil Kapoor played Karan. Even though Jia and Aditya are the main focus, the Sonia/Aditya bits were pretty funny and cute. Favorite songs are For Your Eyes Only (has song twice, first with English subs and then with French subs) and Mere Saath Chalte Chalte.