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Reviews
Drishyam (2013)
Keeps up the Malayalam cinema flag flying high
I have to start with saying that I am not a Malayalee, but a great fan of Malayalam cinema. Over the years, the time I spent on watching old and new Malayalam cinema was well worth the language barrier.
Drishyam - once again only gives us the essence of the characters, like any well executed film, you don't see the stars behind them. The stars and actors are embedded and you move through the story feeling bit by bit.
It is a bit difficult to say who is the right, and who is wrong in this movie, but it is not at all difficult to see who takes what stand, and the script has done well to have both sides represented well, albeit basing the audiences sympathies with the hero, even though he is concealing the truth against the law. Not the first movie of this type of course, but this whole transformation is made out quite well.
I liked Mohanlal of course, as always he did a splendid job.. but in fact, the script and direction were good enough, that even if someone like Srinivasan acted in it, it would have been equally good. In fact in films like "Oru Naal Varum" you see a similar role (of escaping from law) played by Srinivasan to some extent.
My full marks to the script and direction... Mohanlal, has played much more weighted roles in the past, but this at the right time proves his talent after a gap - and is a welcome in his career as well. Meena didn't disappoint, and so didn't the lady who played the IPS officer.
overall, decent watch.. My bet to not go for a Telugu movie (my mother tongue) instead, paid off well. Now I am interested in seeing all other previous movies of this director.
Maharshi (1988)
If you like variety you should not miss this
Superb characterization, so much different from the usual movies, and way ahead of its times.
If you don't care about following the herd, and can appreciate the true genius of a different kind of movie, watch it.
This is a story of a lover turning into an obsessed and finally going to the point of mad about the girl he loved, to the point of losing everything he had in life, money, friends, and finally the life itself.
As you walk into the movie, your expectations would be normally low because of the not so popular casting, and it is a good thing. You'd slowly get into the characters themselves (and not the actors so much - which hardly happens in modern Telugu cinema). You'd feel with the characters, feel happy and sad about their status if you watch it close enough.
Real kudos to Vamsy for a breathing another fresh air into the world of Telugu cinema.
Dasavatharam (2008)
True world class film.
Kudos to Kamalahasan, it is an excellent film, comparable to any one else worldwide. In terms of action and plot, I was reminded of Syrianna (By George Clooney, which also seemed to have some basis of chaos theory) and Rush Hour (Jackie Chan), but when it comes to interweaving it with the Indian mythology and the belief system, we get a unique film never before attempted.
I did write off Kamala hasan earlier, I thought he was done and out, but here comes a true master piece, ingenuous in both planning and execution. May be giving away the direction to someone helped here, compared to movies like Hey Ram or Virumandi.
Too much wishful thinking, may be, but I do hope Kamal gets his due for both action, and even if not for action, for his Screenplay for this movie. Are we seriously headed for an Oscar for this movie for India? It is so exciting even to think about such a possibility after a long time. The genius of Kamalahasan evolved after so long, back in full form. It is really heart-warming, to note that he was looking fresher, and did his homework well for this magnum opus.
One interesting point is, even for a genius work based on rationalism and scientific theories.. there is always an undercurrent of mythological and reincarnation based line which brings so much of Indianness (read originality) to the movie. Most earlier Kamal movies are Indian rendering of an imported theme (Nayakan, Kurudippunal etc.). Dasavatharam is the truly original film which adds so much to its credit.
Nuvvu Nenu (2001)
old wine with an additive in new bottle.
Rich boy poor girl story with a touch of college youth based storyline, and in a way a trend-setter for various other films of this genre with bunch of students making fun and fool of their college lecturers.
Sunil is a find with his brand of his comedy and hasn't looked back ever since as a comedian in Telugu movies. Uday Kiran established himself in a wave before going down after a brief sun shine for a couple of years.
Passable movie with some way of storytelling that carried it to be a big success in Andhra in its first release. RP Patnaik was another big find in this movie with songs like "Gajuwaka Pilla" that became instant hit.
Michael Madana Kama Rajan (1990)
Simply the best comedy in Indian movies
I might have watched this movie 40+ times, in Telugu and Tamil. Each time it makes me laugh and wonder about the genius of screenplay (Kamalahasan) and direction (Singeetham) behind.
All characters were tightly interwoven including the 4 played by Kamal himself in one of the slickest screenplays ever written for an Indian movie. Take it from the motives of the different characters, their characterization, level of wit, and even small events like a goon getting hit on the hand in the beginning, and appearing all the way through the rest of the movie with a bandage-- are all taken care of impeccably.
And of course, Kamal himself gave a tower of performance -- in fact, make it 4 towers for the 4 roles he played. Very few other actors in the world, and definitely no one in India not only in the contemporary scene but in the entire history itself would have played 4 characters without giving the viewers in such way -- when other actors play even a double role, viewers all the time get confused who is who also -- but here is Kamalahasan playing 4 roles in a movie with no mix up between characters to give you an impression that it might actually be 4 different people from very different backgrounds!! Kudos to his performance.. but for being a comedy or more like a tickling farce kind of one --- this deserves accolades for Kamal's action more than many of his other more serious ventures like Vichitra Sodarulu (Apoorva Sahodarargal), Nayakudu (Nayagan), Vasantha Kokila (Moonram Pirai) and Kshtriya Putrudu (Devar Magan)..
But as he is, Kamal is an entertainer at heart, and he made serious films and entertaining films in tandem throughout this career, this one being the very best of his comedies in terms of both planning and execution. Thanks are due to Rajashri for bringing the original Crazy Mohan dialogues to life in the translated Telugu version. Kamal is also fortunate to have none other than SP Balasubrahmanyam telling his dialogue in Telugu, which made him a superstar in Telugu without even many direct films.. specially this one where there is a great amount of variation in dialogues between the 4 characters he played.
All in all, its my all time favorite in Indian movies and a classic which would be hard to beat for a long time to come. If you think the main purpose of films is entertainment, you should not miss this movie.. But its not a silly story either, even though a very improbable one but who cares? -Ramarao
Tagore (2003)
Old wine in old bottle
There are some Indian movies which need you to know history of the star's growth to appreciate. This is indeed not one of them, and credit should go to Chiru for making it largely refreshing without carrying his weight too much in (like Kamalahasan does these days).
Having said that - it is a pity that serious movies cant stay consistently so in Telugu. Glamour, songs and street fights are still required to keep the Telugu Tempo for a movie where the hero is a rebel trying to change the society with his radical ways? Or is it that only some key industry people think so?
Why can't a guy of Chiranjeevi's stature, take small risks with movies like this, and make it sound an authentic rebel movie? If he can't who else can? Why is it that such seriousness can only be possible in Kannada or Malayalam, why Telugu soul is being sold for commerical interests so much?
Virumandi (2004)
Too much violence, overaction & Innovative screenplay but spoit theme
This movie is different and off-beat. Already with the way of innovative story telling (as a flashback narrated by two different people with opposite interests) which is a very BIG plus point, the recipe is spoilt with overthinking on Kamal's (the director) part to add a "message" to the film. The message (to abolish capital punishment) is a disjoint, not even fit as an appendix to this movie.
This is really a story of one person, and should have been left like that - no need to add universally applicable messages. After all deeds done by Kamal and his villain, even those opposing capital punishment would feel these 2 guys deserve it. It is not important though made deliberately noticeable, that the villain got only life sentence whereas Kamal got death sentence. One couldn't care less.
Its like - a spoilt recipe in the end which started innovatively with a brillant screenplay, and ran well though most of the film. Also, Kamal shouldn't have acted in this film - he should have just directed it - someone like Mohanlal would have lived in this movie, with much less (just adequate) action in some scenes. May be even Vikraman would have done a great job.
Mukthi (1988)
Pressures in the life of a civil servant in India
The way the story was built-up, slowly starting from a happy young district collector transforming into a troubled man with everyone around him bringing pressures onto him -- is truly amazing.
Wonder why these kind of regular stories don't find their place in most other Indian languages - Malayalam seems to uniquely enjoy these kinds. Following sub-titles was so touching -- I wish I knew the language also, would have appreciated the movie better.
Kauravar (1992)
Action - sentimental mix: The variety you'd expect in Joshi
Pretty good sentiment between a convict and the cop who was responsible for his capture. Convict wants to take revenge on the cop but is prevented by his own daughter raised by that cop as one of his children. Finally the love wins over the hate and convict turns against his accomplices to prevent their revenge towards the cop and his family.