April 30, 2010
"Prasthaanam" Movie Review
Prasthaanam starring Sarvanand, Saikumar and Sandeep is impressive political drama by director Deva (Vennela ifame) and takes lot of potshots at contemporary political happenings through the intrigues within one political family. It is well shot and carries your interest largely with some wonderful satire in the first half courtesy Jayaprakash Reddy and Jeeva. But the ending is predictable and violence stark and dark. Censor cuts mar forty per cent of dialogues yet enough punches are pulled off. If Star Power was higher, the movie would have sizzled at the BO. Yet, newcomer Sandeep and Saikumar and Sarvanand perform with aplomb and ease. Music by Mahesh Shankar is loud and its a pity one of the only melody songs is edited out to make the movie more serious in the second half.
April 27, 2010
"Darling" - Movie Review
Summer's big hero release Darling starring Prabhas scores pretty high in entertainment quotient. Finally, Prabhas gets the much-needed facelift in dances, stunts, drama, romance and comedy and the long-awaited hit after Chatrapathi. The movie rehashes some of the old story sequences of director Karunakiran's flagship comedy and romance scenes and even takes liberties with the audience's intelligences by bunking down some of the sequences as though they never happened. But the presentation is good and makes audience feel at home in comedy and romance. Songs, stunts and comedian Srinivas Reddy hit a new high- all three, sorry to mix them up in one sweep - do their bit in enhancinng the creative value of the film and make it worth watching. Kajol is cute while Prabhas takes the lap of honor in the film for his efforts - this will go down as his finest output in recent years.
April 15, 2010
Varudu verdict
Its difficult to pick a bone with the first half of "Varudu" after I watched it after a busy season of marriages. This being the season of marriages - Varudu - shines bright in the first half. There's impeccable settings, a demure heroine, some heart-tugging dialogues and some extra-ordinary recount of the typical Telugu marriage. This makes the movie mesmerisingly good till interval - then all hell breaks lose with the entry of Aryan - the villain. And the movie loses plot with weak characterisation, unconvincing villainy encouraged by impotent police and implausible subvention of the system by the villainy. Its here that Gunasekhar - who does a fair effort in comeback - goofs up. The villain part - the Ravana in the Ramayana piece of the movie - is overdone with unwarranted intensity and implausible sadism and cruelty. But for this which rankles the whole of second half, Varudu manages to strike a chord with everybody who believes in both arranged marrriages or love marriages. Allu Arjun tries hard but can't stand the onslaught of the intense-looking villain - Aryan - who charged a crore for the film. Two songs by Mani Sharma get you paisa vasool.
April 1, 2010
Missing something?
Heard that "Varudu" movie is not that great - has been made into a remix of Ramayana and Okkadu. Looks like Gunasekhar has not done much homework behind going into one set-wonders for each of his movies - the care he takes to make one grand opulent setting the centrestage and backdrop of his movies is not there in other aspects of film-making. This one may have been made for appeasing Allu Arjun.
March 25, 2010
Movie drought ends today
Finally, "Marocharitra" releases today ending the drought of big banner movies for the summer after the intermediate exams ended recently. Would be watching shortly to update on the review...And then over to "Varudu"! Talking about "Varudu", the audio has few great numbers but generally retains a repetitive tonality of Mani Sharma's earlier output. "Aidu Rojula Pelli" may become popular but looks dangerously close to that School prayer song composed by AR Rehman in "Merupu Kalalu". But Mani's music grows on you after the movie's release.
March 21, 2010
Book review: “Don’t sprint the Marathon” by V Raghunathan
This is one breeze of a book – in just under 170 pages, V Raghunathan, author of Games Indian Play has written a timely book for everybody wagging about reforming Indian Educational System. This one is a delightful read which exhorts parents to let children be childlike, creative, spontaneous and happily wanton in their pursuit of things in the years of growing up because V Raghunathan says life is not a sprint, a hundred meters race but a marathon with lots of ups and downs, curves and alleys and zig-zagging turns which require stamina, patience, hardwork, understanding and passion rather than short-termism, strength, roteful understanding, and exam-oriented competitiveness. He says children must be allowed to discover themselves and be intrinsically curious, follow their passions and follow their mojo - this alone makes them grow up as adults with dynamism, interesting personality and sure-fire accomplishments. Parenting geared toward sprint coaching will be dangerous and short-term because in the long-run, life is a great leveller. In driving home these points, he underlines many inter-related concepts which beautifully summarise the wisdom of approaching life like a marathon indeed instead of as a sprint. He draws many examples to illustrate how late-starters and not-so-lucky nor prodigious nor even smart alecks have made it big in the world of business, or any other field of endeavor. Examples include N R Narayana Murthy, Dr K Anji Reddy, G M Rao, Ila Bhatt, Ashwini Nachappa and others. What I like about the book is that enormous lifetime wisdom of the author has been capsuled in concise chapters, each well-illustrated and leading to the next chapter with a thought-provoking missive. The language is also amply elegant while accessible to anybody with a 2000 word vocabulary, probably less.
The book should be compulsory reading for all educators, parents and pupils and seriously anyone who thinks that the passport to sprinting ahead is to grab admissions into the best school, college or job as starters. In reading the book, the style of the author works to your advantage; its interesting, anecdotal and not really didactic, but drawing plenty from personal experience and knowledge. Having read the author’s previous books and also well acquainted with his own career – which has many interesting twists - Graduate at 17, Professor at IIM-A, Multiple stints in corporate world in Asset Management, Banking, and now with GMR, besides hectic lecturing, authorship, Masterly Writer on Financial Literacy, and one of the country’s biggest collector of locks, I can safely say Raghu is well qualified to talk about Outliers who make it in life never mind, lack of pedigree, initial push, luck or precocious academic dazzle. I have met him a couple of times in the last two decades, every time, I crossed his path, he went in a different direction creating a blaze, whether it is in First India Mutual Fund, ING Bank, IIM-A or CSR. In this smashing book which will not leave you untouched or uninspired, Raghu has delivered greatest value - if only that can be perceived by today’s generation and all those who believe in life after a rat-race. Read and Get Inspired!
For more about Raghu, visit : www.vraghunathan.com
March 14, 2010
Why do they increase the costs of Film?
A bird tells me that the collections of Leader have dwindled after the release of Yeh Maaya Chesaave. And producers are worried about the chances of recovery of more than Rs.18 crores gone in the film. One basic thumb rule that smart investors in films make is: What's the ratio of film exposed (negative) to the final reel output? It should be 1: 6 and exceptionally, 1:4. Sekhar has made Leader using 450,000 feet of negatives which means it has costed about Rs.1.125 crores for the film print itself. That's a humungous waste and probably exceeds all the unfinished output of Sekhar's previous and future films. When such a high fixed cost is incurred (film negative is paid for upfront), it badly affects the economics of the film for the producer. A frugal and well-planned director doesn't consume more than 1/4th of the film output by way of negatives. This is becoming the bane of modern film-makers and a nightmare for film producers. Bapu's Sundarakanda used up 87000 feet, Vara Mullapudi shot Vishaka Express with 67000 feet, and Krishna Vamsee used up more than a lakh feet just to give an idea of what some of the sensible directors do. This cost is virtually irrecoverable for AVM. We'll look at more such dynamics of film-making in days to come...
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