The world environment day on 5th June marked yet another day for the global buzzword environment to attract headlines and become the darling hashtag on social media platforms; industry spoke more on the subject than the lesser harmful street vendors and public in general. UNEP, the environment programme of the United Nations, dedicated this year to put an onus on minimizing illegal trade of wildlife while emphasizing on key areas of improvement, such as, maintenance of balance and harmony in ecological biodiversity and voluntary regulating checks on carbon emissions.
Brahmotsavam 2016 review Original: Brahmotsavam, the annual celestial festival organised to worship Lord Sri Venkateswara Swamy on the hill top Tirumala during September and October is a well attended event and occupies a sacred space in any Hindu individual’s calendar. Sreekanth Addala surprised many by opting to go with the sacred name for a movie though common sense would instruct us to look at any movie as it is supposed to be viewed. Tollywood responded positively when Venkatesh Daagubati and Mahesh Babu Ghattamaneni played out as brothers when they set themselves up to an eye-opener in a meaningful dialogue from their father Prakash Raj with the movie introducing greenery of Godavari paddy fields and a series of regulation dialogues inside a family environment. Sreekanth Addala is not new to experimenting with fluctuations in individuals and their emotions which introduce them as either introverts or extroverts before others. His themes are always classic navigators to making individuals happier than they already were. The recipes from his story kitchen so far received applause from both family and youthful audience as he went on to create a niche for himself starting with Kotta Bangaru Lokam in 2008. His left shoulder is the USP which made a grand entry with meaningful dialogues decked up at vantage points in story narration with little action on screen. His right shoulder rests on keyboard of Mickey J Meyer without having to worry as the latter is known for his class which can enthral mass on a regular basis. Mukunda took many by surprise for the cinema lover actually needed to gauge love, politics, and sentiment from purely philosophy of human nature wherein Rao Ramesh played in fact the role of hero! Now Brahmotsavam starring Mahesh Babu and Kajal-Samantha duo is being screened in not less than 1500 screens in Andhra Pradesh and Telangana jointly. The movie speaks of nothing more than happiness spread across a turf of blood relations and endeavouring joy. The story asks for restoring a sense of belonging among differently and vastly performing actors on life stage. Imagine a life canvass where artists simply walk and paint their themes. In simple sense, the director walked away from spreading infinite happy moments the world over, which he successfully established in Seethamma Vaakitlo Sirimalle Chettu (SVSC) with Mahesh Babu and Samantha in lead pair, to a well defined set of relations with a chain of blood groups! How the director wanted: Director’s movie is what we can comprehend from the story lines, without giving in to stardom of Mahesh Babu and, we need to appreciate the bold undertaking from the charming hero of Tollywood after NTR in his peak years before storming Andhra Pradesh assembly. Sreekanth Addala didn’t seem he was interested in making audience sit for casual mix up of melo drama and rather familiar family stories which owe a lot to mother of family blockbuster movies, “the” Kalisundaam Raa in 2000. Movie starts off with a marriage function and token introduction of characters with…
Love. Feel of a birth. Feel of a death. Feel of a survival. Summation of all emotions to the point of infinity. Is this love? Is that love? What is love? Is love extremely partial towards meeting desired specification in a man or a woman imbibed since birth, or built in for make over during middle stages, or structured along teenage to conquer lust? What is it that sets love between a boy and a girl apart from love of and among others? Truly, no one on this earth would have given you an answer as straight as a direct line in geometry. We hear of myriad stories, those ending nowhere and some of the thinking tales crossing line of acceptance, and some even bordering on resentment from both ends. Some stories are needless to mention by the apparent standards they seem to have adopted as well. It’s interesting to call for sense in love when all you get from love and communicate through it is emotion, fractionally higher or even more. Emotions are the baby steps which undergo transition from time to time as if in accordance to course curriculum of university graduation wherein the +2 student feels overwhelmed with daunting nature of contents added up as integrals on the first look though he never feels relatively newer versions of emotion a burden at all. It’s this kind of adding up of emotions – appropriate, relevant, or even those silly mistakes in order to maintain feel radar on its axis of rotation – taken as responsibility to understand the other person which makes this strange feeling look like it’s always strange. Refreshing. Slightly different from drama though! And the drama part in love is never short of making its impact felt all through the syllabus of love. As contemplated above, emotions emanate from spontaneity rather than from longevity of maintenance of feel, notwithstanding the accepted norm that it’s the longevity of spontaneous emotions that become inevitable in maintaining dignity of the other person, as also her maturity. Kumari 21F directed by Sukumar in Telugu made an attempt at diagnosing love and the understanding nemesis that surrounds the feel but I feel it ran short of curing the nemesis that engulfs men and women who could have just come out of colleges in pursuit of life and enjoyment it brings. Eye contact and emotions are inter-twinned that any deviation from originally thought out stance on the other person would result in change of body language!
Congratulations, dear Kanche movie makers, on winning the national award in best Telugu film category. And, quite not the movie of sorts from S.S.Rajanouli, Baahubali the beginning won the best film at the National Awards. While many have no objection to the national award being announced for the highest ever budget film in independent India, the award for Kanche movie has taken few like me by surprise not because it lacked intensity to be applauded but going by the assessment of adjudicating authority which only years ago garlanded Dirty Picture with “Best Make-up Artist”, “Best Costume Designer”, and also “Best Actress” because many felt the movie apparently shifted from its focus on highlighting issues of women entering silver screen to gaze south sizzling artist Silk Smitha in a rather poor light. Well, man makes mistakes but to what extent can they be excused is something that baffles us. Surely, the actress Vidya Balan deserved appreciation for showing no inhibition for exposure of skin besides extracting expressions of a woman craving for limelight and survival, but national award for the role is overrated. Coming on to the current edition of national awards, Kanche directed by Radhakrishna Jagarlamudi draws comparison between mass racist murders of second world war in Germany and humiliation of people back home in undivided India based on Manusmriti of the yore. While very few can attempt at comprehending Manusmriti, people at large though thoroughly well versed with experimental science can not even get answers they sought. Baahubali the beginning has created a number of records proprietary to the film unit. S.S. Rajamouli has always seemed to have got what it takes to beat around bush yet present in a way audience would have liked. Plot and narration have created a belonging of sorts but the screen play involving actress Tamannah has evoked mixed response from the audience. Even by the standards of B class and C class centres, the introduction of the title hero Baahubali and presentation of second half were overly delayed, thanks to the present Tamannah for you effect! Ramya Krishnan has drawn vast experience to the screen with her powerful enactment of drama and body language. Prabhas and Rana Daggubati led their roles comfortably in the end, but we don’t do any justice when we don’t mention Satyaraj who donned impeccable role of Kattappa.
I was in the national capital for a brief period in late February 2016. The cameo visit was official and personal as if it would have to resemble traits of my zodiac sun sign, and since I truly and firmly believed at that time, that I belonged to a middle class nuclear family of a developing nation-state in the making called India (preparation has been on since Jawaharlal Nehru unfurled the national pride in three symbolic colours on Lal Quilla in 1947!), which typifies customs the day time and embraces western the night time probably as repentance, and vice versa, I settled myself for travel on a third Air Conditioned class journey ticket. Wow, that’s air conditioned class, dude! I felt like that’s my maiden journey to the national capital though in reality I visited Mukherjee Nagar to meet my friend in 2004, and visited Karolbagh for an interview for faculty position in 2009. The details presented so far render themselves useless if they have no substance in the current discussion. My train reached New Delhi Junction, the destination junction, with a delay of 30 minutes in relay at Hazrat Nizamuddin Junction, the originating and destination junction for trains making upward and downward journey from southern states. Even if this doesn’t reveal why I mentioned railway itinerary and its relevance to the discussion, my English would have by this time made you identify that either a Madarasi or gult is on internet weaving a story out of nothing! If one goes by common sense and by adhering to Vaastu of biological body (well, mine is not astral body by the way!), journey for about 36 hours on Indian Railways should render any human worthless for at least a day, especially with the train making halts for boarding passengers at Nagpur, Bhopal, Gwalior, Jhansi. The berth adjustments criterion citing newly married couples be given first preference as if they would kiss for the first time in front of a waiting audience who might order curious teenagers to self censor (perhaps self control!), alteration of seat preferences while grand fathers and mothers would find it difficult to sip cups of coffee, food items seen as reflections of the great Indian diversity, languages that we would speak as if someone from other states should listen to, and so on did indeed become norm for accommodating co-passengers just as they do for us. Many of the passengers apparently belong to majority of nation but the very linkage of majority and minority to a geographic nation-state was something that I felt I should avoid for preserving common sense in me. My marks at the Senior Secondary Certificate (SSC) and Intermediate (BIE) are anything but extraordinary as I was never Sharmaji’s son or tried to impress the girl next door!
Must watch in INOX theatres only for better sound and experience. Devisri Prasad made violin play with ease throughout the movie. A fitting climax in the end should take the movie forward in competing with industry’s number game in revenue. What happens when you turn an object anti clockwise? Will that have an impact on material stuff or on fellow human being? Or corresponding emotions of the object will have a say on emotions of the man? What will you do to outsmart a man who you believe had outwitted you in your burgeoning business? Will you be a nice man and do the opposite – teach a pervert his lesson? Yes or No will depend on corresponding emotion!
Preview Anushka Shetty needs no introduction of her fame and characteristic diversity. When she first announced she would like to don a role of a chubby girl with extra weight, there appeared a sense of belonging in her approach as right candidate for highlighting woman issues. Teasers released later on gave us a hint of what’s in store for us – teaser of emotions with unearthing of sentiments of fatty women who find it difficult to cope up with being labelled a burden on parents. Postures of Anushka alongside Arya tried to make this one a block buster. Music by M.M. Keeravani enticed audience. And finally, was the story by Kanika Kovelamudi written to highlight issues pertaining to weight loss and subsequent marriage sufficiency or just a marketing trick to woo audience?
Santhosh, ScoopLense. Introduction The message is simple from Sukumar from Kumari 21F directed by his student and assistant Surya Prathap. Sukumar had earlier directed Arya, 100% Love, and Nenokkadine (One) to a very good applause from class and mass audience and as one could see in presenting emotions he appeared set to stand out from the rest of the cut, and so it’s expected from Kumari 21F a symbolism of womanhood as the title itself speaks of an unmarried female at age 21. The female lead in the movie talks about maturity on numerous occasions and lack of cohesion in applying mind to unconditional love. In this age of liberalization, privatization, and globalization (LPG), it’s quite uncommon to find purity in love and bonding, especially between two adolescents with no blood relation, chief thanks to competitive edge forcedly imposed on human beings to an extent of becoming robots aided by fast food culture and misuse of technology. Message from the movie – Mathematics, Chemistry, and Physics of understanding The relationship between two adolescents falling in love must be invariable. Mathematically speaking, the love channel is directly proportional to the level of understanding of fluctuations of the said minds, and chemically speaking it’s about enhancing the bond angle between two minds dying for each other, and quantum notionally any loss of energy in trust in the partner would automatically result in spiralling path of en electron into nucleus (call it potential energy or increase in kinetic energy as the electron moves closer to nucleus). The theory that an electron would have crashed into nucleus was rejected straight away by observers of quantum as the theory of black body radiation was developed. And Modern Physics took birth with eventually many suspicions experimentally proven practically wrong. Basic point here is that theories of understanding of nature may be infinite, and, as one reduces contradictions and confrontations one by one with results that can lead to insights which are open to testimony one enters into realm of pattern with which nature was operating since time immemorial. And that’s what you see in science. As Richard Feynman, the century’s best theoretical physicist put forwarded the view in his famous Feynman’s Lectures on Physics that Mathematics and love are not science to prove them wrong or right as test of their validity is not an experiment, we can say that love is neither science nor fiction. Sukumar wanted something to establish and we’ll see how his director traversed the path. Was he successful in establishing his writer’s theory? Plot and Screenplay A female named Kumari proposes the moment she spots a joe named Siddhu, who dreams of making it to Singapore as chef. She says that love at first sight surfaces as a result of a chain of chemical reactions as catalysts in brain of an individual trigger these only and only (iff condition) when their eyes sport an intriguing person of such an intensity – all within 0.2 seconds. Hero Siddhu reveals this phenomenon to his friends…
Santhosh, ScoopLense. Some situational dialogues for your understanding..(in Telugu) First. కమల్ భార్య భర్తని, “ఇప్పుడు టైం ఎంత అయ్యింది?” మొబైల్ ఫోన్ చూసి చెప్పేలోపు అటు నుంచి ఇంకొ ప్రశ్న, ” వాచీ చూసి చెప్పొచ్చుగా?!” కమల్ వాచీ ఎడమ చేతిలో వుందన్న విషయాన్ని మర్చి మనలో చాలా మందిలాగే చేయటం ఆయన అర్థాంగికి నచ్చదు. భార్య ప్రేమతోనో మరే భావనతోనో అలా మాట్లాడటాన్ని భర్త బయట జీర్ణించుకోలేడు. అదొక చిన్న సంగతే కానీ మనస్తత్వ విశ్లేషణ చేసేవాళ్లకి ఆ సన్నివేశ సంభాషణ నచ్చుతుంది. Second. కమల్ భార్య భర్తని కోప్పడుతూనే, “వాడు నీ కొడుకేగా” “అది నాకు డౌటే లేదు” ఇటునుంచి కౌంటర్ వెటకారం. Third. నైట్ లైఫ్ నడుపుతున్న ప్రకాశ్ రాజ్ క్లబ్ లో బాగా మత్తెక్కిన వ్యక్తి, ” సార్, ఆ సినిమా మనకి నచ్చలేదు డిస్ట్రిబ్యూటరుగా. అందుకే రిలీజ్ అడ్డుకున్నాను. ఇప్పుడూ నువ్వు పెద్ద హీరోవే, ఒప్పుకున్నాం, నువ్వు పెద్ద హీరోవే. అయితే మాత్రం మెసేజ్ ఇవ్వడానికి నువ్వెవరు? నువ్వు చెప్తే నేను వినాలా? ఏవో కొన్ని ఫైట్లు, సాంగులు, డ్యాన్సులు చేసుకో, ఎంజాయ్ చెయ్య్. A bit about Kamal’s roles … Universal hero Kamal Haasan has been a mercurial man with the greatest sense for cinema as is evident from the diversity of characters he portrayed so far. He surpassed his own generation and is a stiff challenge for current generation artists even after hovering 60 plus, chief thanks to articulation in roles and specialization of each cinema without ever worrying about its box office records. His stints in various movies as comedian, stint master, classical dancer, freedom fighter with revenge, orthodox rookie, country labourer, to name a few, have been universal. Vishwaroopam has been rated as one of the wonderful movies ever watched by former home minister of India Mr. L.K. Advani. Now that the hero is on a mission to complete Vishwaroopam II, the current movie Cheekati Rajyam is apparently a lower bite of his professionalism though managed to get closer to his perfect past. Movie is about an officer of Narcotics Control Bureau involving in a covert operation to identify backstabber in the department and as he just manages to get clues, Prakash Raj kidnaps the boy and the rest of the operation is about how Kamal goes hand in hand with affection for his son and passion for his duty. His wife in the movie is as casual as one could see in neighbourhoods. Madhu Shalini looked as if she were partnering Kamal in lip lock tentatively, and Asha Sharath played the substance of a divorced wife who would maintain contact with ex-husband just for boy’s sake. Abburi Ravi made conversations involving sensitive relationships look easy and Kamal himself did the dubbing part, while Ghibran’s rendering was good mostly. Of course, this is from Kamal Haasan! Before moving over from here, wish you a happy weekend as we’re in the first quarter of two days for refreshing souls! Rating: Want some illustration of acting? Go and see with family members!
Kanche 2015 Telugu – War is universal solution for every petty mind to all problems. CC: Indian Caste Inc.
Preview Well, that’s how Jagarlamudi Radhakrishna, fondly called as Krish, thinks of making a movie. And yeah, before moving on to script and screen play, let’s see which all productions milked bucks in 2015 which has so far given successes for waiting doors of makers and lovers of Telugu movies. Recent success of Nani’s flick Bale Bale Magadivoy at box office has yet again marked dominance of simplicity of content and hype-free screen play over eulogized heroic acts and video gymnasts. Temper, Pataas, Gopala Gopala, Srimanthudu, and Rajugari Gadi bagged decent scores at box office while much hyped Baahubali didn’t cut ice with expectations having run so high. Rudramadevi and Bruce Lee are a disappointed lot and Chiranjeevi’s cameo didn’t sound too alluring to stamped audience as well. Against this back drop came Kanche, meaning fence, which revolves around racism of European and Indian back home while constantly drawing parallelism into think tanks of pre-Berlin era and pre-independent community plague in India. Story and screenplay