Release Date : Sep 2020Cast : Vijay Sethupathi, NayantaraDirector : Vignesh Shivan
Kaathu Vaakula Rendu Kadhal is a Tamil romantic movie direction by Vignesh Shivan. The movie has Vijay Sethupathi, Nayanthara and Samantha in the lead roles. The movie produced by Lalit Kumar. The title poster of the movie was revealed on Feb 14, 2020.
Venky Kudumula, who made his directorial debut with a 2018 romantic comedy Chalo, is back again with yet another breezy entertainer, Bheeshma, where he sticks to the basics. The film doesn’t try too hard to impress and the result is a surprisingly fun outing. It’s like playing a low stakes game of blackjack, where the player is smart enough to know when he should quit instead of betting big, hoping to win a jackpot. And when the stakes are so low, everything about the film, whether it’s the conflict or the emotional graph, feels quite simple. Yet, Bheeshma works quite well because of its tone and comedy quotient.
The story follows the journey of Bheeshma (Nithiin), a singleton, whose repeated attempts to fall in love often end on a bad note. When he eventually falls in love with Chaitra (Rashmika Mandanna), his life takes an unexpected turn when he gets noticed by Bheeshma (Anant Nag), the founder of an organic farming company. The rest of the story is about how the two are related, and how Bheeshma wins Chaitra’s heart.
Throughout the film, the lead character, Bheeshma doesn’t take himself seriously and we are expected to follow the same path. So, when he says that his hobby is making memes and that he has been trying his luck to fall in love all his life, you know where this film is going. The template of the story feels quite similar to some of Adam Sandler’s films like Billy Madison and Mr. Deeds, although the lead character in Bheeshma isn’t as goofy as those played by Adam Sandler.
It’s also interesting to note how Venky Kudumula, writer and director, pays homage to Trivikram Srinivas’ brand of cinema, sans the philosophical trappings, which blends comedy with a subtle message about our way of life. The underlying theme of Bheeshma is the choice one has to make about how we treat the soil and the ongoing debate over organic farming and the usage of pesticides. But that just remains in the background, acting as a catalyst every time the character needs to be heroic. Otherwise, he is who he claims to be – a meme creator, whose quotations like – “If you touch me, I poke you. If you poke me, I scratch you” – shock people around him.
There are plenty of references to popular Telugu films like Nuvvu Naaku Nacchav (the first time Nithiin meets Sampath), Athadu (the fight in the field), Khushi, and to an extent even Malleswari (where Nithiin warns Jisshu Sengupta to mend his ways), but Venky Kudumula also leaves his mark, especially in terms of his writing and how he weaves humour into the story. For instance, there’s a scene where a frustrated Vennela Kishore looks for a water spray-can to water the plants on Raghu Babu’s shirt, leaving the latter dumbfounded.
Another scene, where Nithiin talks about his philosophy of how teamwork can build the company is hilariously handled. Full credit to Venky, and the supporting cast, led by Vennela Kishore and Raghu Babu, for keeping the film on a lighter vein. But then, there are a few glaring issues with the film, especially in terms of how it makes fun of people based on their colour and weight. It’s high time filmmakers start asking themselves if they really need to resort to such derogatory remarks in the name of comedy.
In the end, Bheeshma is a good comeback film for Nithiin, who makes it obvious that he had fun playing the role. His body language and mannerisms suit the character quite well, and as the story unfolds, you also see the character evolve into a more serious person who takes control of the proceedings. Rashmika shines in her role too and her onscreen chemistry with Nithiin is palpable. Anant Nag hits the right chord with a matured performance as a gentle and a kind-hearted agricultural scientist and he’s the moral compass of the film. Sampath, Brahmaji, and Naresh deliver fine performances in their respective roles, and Vennela Kishore & Raghu Babu steal the show with their comic timing.
For a film that aims low, Bheeshma packs in plenty of laughs and, at the same time, manages to keep itself relevant with its discourse on organic farming. After all, the film adheres to one of the crucial principles of Telugu cinema — When you have a decent enough script, all you have to do is try hard enough not to ruin it.
Rocky is a Tamil revenge action drama movie directed by Arun Matheswaran. The movie produced by C.R. Manoj Kumar under RA STUDIOS. The movie stars Vasanth Ravi and Bharathiraja in the lead roles while Raveena Ravi, Rohini essay supporting roles. The soundtrack was composed by Darbuka Siva. The cinematography and editing was handled by Shreeyas Krishna and Nagooran respectively.
Jail is an upcoming action film written and directed by Vasanthabalan. The film is being produced by Sridharan Mariadhasan under the production banner of Krikes Cine Creations. The film stars G. V. Prakash Kumar, Abarnathi, Radhika Sarathkumar, Yogi Babu, and Robo Shankar in the lead roles. The film will be released with Hindi and Telugu dubbed versions. G. V. Prakash Kumar has composed music for the film. The film is edited by Anthony.
Finally, SS Rajamouli has spoken about his upcoming film RRR with Telugu superstars Ram Charan and Jr NTR. Many rumours about the film were floating about on social media ever since RRR was announced. The Baahubali director, who was worried about such baseless reports, called for a press meet and revealed a lot of details about the film including the new cast members and the budget of RRR.
After wrapping up Baahubali: The Conclusion, it was said that Rajamouli will direct a movie based on the Indian epic Mahabharata. Later, it was said that he is making a pan-Indian film named Garuda on a budget of Rs 1000 crore. But with the announcement of RRR, the director squashed all such rumours.
Ever since RRR was announced, fans were wondering what Rajamouli was up to this time. However, for someone who was able to keep the secret ‘Why Kattapa killed Baahubali’ for about two years, holding on to the details of his upcoming movie was just cakewalk. Yet, Rajamouli seems to have sensed the need for revealing the basic information and the outline of the film. Finally.
Thappad Story: Amrita’s (Taapsee Pannu) world comes crumbling down when her fiercely ambitious husband, Vikram (Pavail Gulati), lands a mighty slap across her face at a party that was supposed to celebrate his success in the corporate world. Will Amrita, whose life so far has revolved around Vikram’s needs, wants and dreams, stand up and speak up against this humiliation in public? Or will she brush it off as a one-off incident, forgive him and move on? Or will this shake up her own beliefs about life and marriage?
Thappad Review: Hailing from a loving and supportive family in Delhi, and trained in Indian classical dance, Amrita’s life could have taken a different course but she harboured the dream of being the best housewife ever, even if that meant giving up on her passion for dance. Vikram is a go-getter, and has his mind and heart set on his goals and he will do everything in his capacity to achieve it. But, in a moment, he realises that his big dreams are about to get shattered, blame it on office politics. Vikram does the unthinkable — his pent-up frustration finds an outlet in his committed wife, in the form of a thunderous slap that’s witnessed by loved ones from both sides. And, this sparks the beginning of an ugly, emotional battle which goes beyond domestic violence. While the uncalled for incident makes Amrita delve upon and question her life choices and their marriage, Vikram continues to live in denial and wonders how ‘just one slap’ is turning out to be a life-changing moment.
Anubhav Sinha’s 2 hours and 21 minutes-long social drama, which is made for a society that rarely talks about the emotional and psychological effects of domestic violence, is set to spark debates and discussions on various ground. One stress-fuelled slap at a party takes the form of a full-blown conversation pertaining to the unsaid rules of marriage (where women are constantly reminded ki ghar zyada zaruri hain and that their actions will always be determined by log kya kehenge) and if it is acceptable for a husband to get away with what he considers one ‘casual thappad’ because he was fuming with anger.
The film takes its own sweet time in expressing the dynamics of Amrita-Vikram’s arranged marriage and how the two of them manage to blend in well with each other’s financially-imbalanced, yet likeable, families. Sure, Vikram loves his wife, but he has made a monster out of his career goals, which the better half supports and harbours with all her heart. Even before the conflict arises, you can see an uber happy Taapsee making plans of a ‘big blue door’ at their future London apartment. Naturally, when the slap happens, her world turns over and even both sides of the family are divided on what is right, what is wrong and how much is too much, and the protocols of marriage in our Indian setting. Irrespective of various views thrown at her, Amrita is fiesty and resolves to channel the inner fighter in her and stands up for what she truly believes in — that even one slap is outrageous and not okay.
‘Thappad’ is not just a film aimlessly ranting about borderline domestic violence; it brings to light the years of conditioning that a woman is subjected to by her own family and the society that she lives in. Other than the aforementioned couple, there are other women in focus, too — one who is bearing the brunt of a family’s name and legacy, one hung up on the idea that marriage is the ultimate destination, one coming from the poorer section of the society who is compelled to believe that getting thrashed by the husband is the norm, and one who has loved and lost a fine husband and is now struggling to find a replacement who outdoes the former. Sinha manages to intertwine all these stories and juxtaposition them with one another at right junctions, without being too in-your-face about it. The subtly works beautifully, as the stark contrast in their lives unfold.
Taapsee, as the submissive wife, who suddenly undergoes an ocean of change within her, is a firecracker of a performer in this drama. In one scene, where she bids goodbye to a crucial character, Taapsee delivers a speech that is cathartic to its very core. Her portrayal is restrained but at the same time, in every scene she exposes a gamut of emotions — pain, disgust, regret and rage — without saying too much. If that is not a stupendous performance, we don’t know what is. Pavail Gulati, as the determined corporate-slave with very intense life goals, pulls off a brilliant performance. You will want to hate him for his flaws, but his character is no less complex than the rest of them. Kumud Mishra stands out as Amrita’s father — an ardent supporter of his daughter — and at most times, he is the only one who sticks up for her. Mishra’s character reinstates why for a lot of daughters their father is their hero. Tanvi Azmi and Ratna Pathak Shah, as Amrita’s mother-in-law and mother respectively, play their roles to a T — that of being the torchbearers of matriarchal mentality and trying to instill the same in the women of the house. However, Maya Sarao, who plays the high-profile lawyer Nethra Jaisingh, is the weakest link in the film. Not that she is bad, but others are so good that she gets overshadowed by some real power-packed performances.
The music of the film (by Anurag Saikia) is beautifully melancholic in tone and blends in with the narrative. It is safe to say that Anubhav Sinha has rendered his career best in this strong-worded social drama. He deserves an applause for the depth-handling of the various characters in the film, their greys, complexities, dilemmas without ever getting too loud, overbearing or trying too hard to make a statement. Yet, the film drives home a solid point and leaves you with enough to ponder upon. The fine and nuanced writing, by Sinha and Mrunmayee Lagoo, deserves a special mention as that is what takes the film notches higher.
To sum it up, ‘Thappad’ is a silent slap on our society’s age-old belief — shaadi mein sab kuch chalta hain. But, honestly, should it be that way? And that is what we need to start talking about… now!
The first trailer for Alia Bhatt, Sanjay Dutt-starrer Sadak 2 is out. The film also stars Aditya Roy Kapoor and Pooja Bhatt and is directed by Mahesh Bhatt. Shadowing Sadak that came out over two decades ago, Sanjay Dutt’s character has lost the reason to live after the death of his beloved (Pooja Bhatt). Arya (Alia Bhatt) comes in his life as a breath of fresh air. As the two along with Aditya leave for a road journey to Kailash mountain, a self-styled guru (played by Makrand Deshpande) is out to kill her.
The Sadak 2 trailer came amid reports of Sanjay Dutt being diagnosed for lung cancer.
MaaManithan is a Tamil drama movie, directed by Seenu Ramasamy. The cast of MaaManithan includes Vijay Sethupathi.
VETTAI MANNAN is a multi starrer action movie with hilaurious comedy track. Simbhu acting along with jai, simbhu plays the role of gangster.
SynopsisAlaiye Alaiye is a Tamil romance movie, directed by Manikanda Kumar. The cast of Alaiye Alaiye includes Ranjith,Ankitha.
