The verdict is in, and Thani Oruvan is simply one of the best films of the year. The film is also becoming one of the biggest hits of the year. Jayam Ravi's career seems back on orbit and Arvind Swamy is on to win the statuette for best villain in Filmfare. Do not miss the phenomenon of the moment which is extended for an additional week.
Few films have a very positive word of mouth during an outing Thani Oruvan and can be seen as the latest in the public encouraged to visit. It's back in command for Jayam Raja Mohan as a director, but also the return of his brother Jayam Ravi under his leadership. The latter has also chained movies is disappointing mixed commercial success either nonexistent.
Real test for the brothers, they join here for a movie whose story is Raja himself, unlike all their previous collaborations which were remakes. Thani Oruvan is it a winning return for the duo? Mithran is a future police officer will soon launch into the deep. With some of his friends of the promotion, it exerts a mysterious activity at dusk. What's his ultimate goal?
Soon the viewer finds himself in the heart of the film and the execution scenes strongly contributes to this feeling. While the film takes off, a small passage in love with a few minutes more information about us on the personality of Mithran. Gradually the film gains in intensity and occurrence of Siddharth Abhimanyu definitely launch the movie.
If things fall into place quite quickly in the first part, it is a real face to face which takes place during the rest of the film, and the quality of scenario plays a key role in the success of the film. The scenes are effectively enforced, the dialogues are catchy and well crafted, and BGM perfectly supports the film. Although for the genre there is nothing new, the film offers scenes refreshing compared to what we've seen in recent months, and the confrontation between Jayam Ravi and Aravind Samy is simply a delight for the viewer.
Technically, the film is above average but has minor defects, especially at the assembly. The work of cinematographer is interesting and in some ways the music of Hip Hop Tamizha is an essential element of the film. The young composer is also distinguished with lovely songs and more musical themes that leave an impact.
Joking aside, after the two summer comedies, Vasuvum Saravananum Onna Padichavanga and vaalu, for some serious stuff with a new and exciting face to face! Indeed, the clash between Arya and remote Simbu, leaves room for a showdown in Thani Oruvan. Jayam Ravi Arvind Swamy face in this thriller that is offered by our partner Ayngaran France. The output of this film, VOSTA (English), is scheduled for August 28, 2015, with sessions taking place in the Mega CGR Epinay-sur-Seine, Evry and Torcy.
Directed by M. Raja, who is none other than the brother of Jayam Ravi and the author of numerous remake s bestselling Thani Oruvan seems to be his first original screenplay and that simple fact is worth it! Indeed, the man has 7 achievements in his filmography, and they are almost all, the remakes of Telugu films. So nicknamed the remake Raja in the middle. However, it remains an impressive series of successes (a near flawless) and in the end that's all that matters. At deuce, originality, in an industry where only, the laws BOX OFFICE count!
The film relies on an unpublished duo since Jayam Ravi and Nayanthara share the poster of a film, for the first time. If Jayam Ravi chained minor disappointments and other projects, it's a different story for Nayantara remains one of favorite actresses public and enjoys enormous popularity, even after 12 years of career. But quite honestly, the main attraction of the film is neither the hero or heroine, but the wicked, camped here by the very class that Arvind Swamy unfortunately sees very little.
In memorable classics like Roja and Bombay, Swamy had stopped at the height of his fame in the early 2000s, to pause and take care of family matters. In 2013, with his Maniratnam mentor, he is a flamboyant turn in disappointing Kadal. Although the film is considered the worst of the career of the illustrious director, Arvind Swamy manages to hold its own game and gauge his popularity. People have not forgotten and better, after 13 years of absence, he has lost none of its charm and charisma.
That, I can tell you about the music composed by the duo Hip Hop Thamizha, a group of underground music, which stood out on the radio and on YouTube, or photo film that must be the chef Ramji operator but Thani Oruvan marks the return of the excellent Arvind Swamy and it is there, the only argument of the film.
Regarding benefits, retraining Aravind Samy is impressive, and although it is currently a fashionable Kollywood to give the role of bad guy to chocolate boys 80 and 90 years, Aravind Samy is more than credible and his performance is remarkable. Jeyam Ravi course is also suitable for the role, his build and his expressions and his' dialogue delivery "are appropriate for the film. It is very comfortable in the action scenes, sadness and love, and demonstrates that it is an actor who can express a range of expressions.
A mention for the other secondary characters (Nayantara, Friends of the promotion) and especially Thambi Ramayya who fulfill their role perfectly. In conclusion Thani Oruvan is a return winner for the combo-happy Jeyam Raja Mohan, and is among the films not to miss the year. His script and causing the duel between good and evil as a metaphor through Aravind Ravi Samy breath and hold us and guarantee a successful film.
Agar Thakur Singh has raped and murdered a farmer. A brave inspector (Dalip Tahil) will therefore bring him under lock and key. The Thakur let the police kill - before the eyes of his two sons. The smaller, Brijesh kills, takes the murderer. Agar henchmen Lawrence and Peter, who hired the killer, take Brijesh to live with him. Many years later, has become of Brijesh (Sanjay Dutt) a crook. His brother Avinash (Jeetendra) has meanwhile worked his inspector who leads with his wife Sudha (Jaya Pradha) and his daughter a happy life.
Now he is put into a new place, but on the way he meets Brijesh. He realizes that he has his brother in front of him, but is so intimidated that he throws him off the train. Arriving at the destination Brijesh is held for the new inspector. Soon the thief grows into his role. But when his girlfriend is kidnapped Chhanda (Madhuri Dixit), he knows that he has an opponent: Agar Singh. The Aghar Singh, who killed Brijesh's father and Chanda's mother because she is the daughter of a farmer. And so all come together for vengeance without that they know that the Thakur eh has long been their nemesis.
Thanedaar, Dil and Kishen Kanhaiya were three of the major hits of the year 1990 and all played a major role by Madhuri Dixit. Beauty was four years after their debut already at a zenith of her career. And on "Thanedaar" it is actually one of the few Highlights. The film itself is 08/15, an action thriller in Scheme F. But Madhuri illuminates every scene in which she appears. Sanjay Dutt also is not bad, but the rest of the players can be hard to distinguish.
Madhuri's superiority is particularly in the dance numbers expressed in which they all play prances on the wall up to Sanjay. In Thanedaar there is a surprising amount of music for a film of this genre. Jeena Hai Toh occurs three times, has a sweet refrain, but is otherwise average. Laddu Laddu Yeh is a pretty funny staged number with good Madhuri dance in the pouring rain. Zulmi Saiyan and Aur Bhala Kya are misplaced. Thanedaar Aaya is okay, but Madhuri dancing like a little goddess. Jab Se Hui Hai Shaadi is an amusing swaying song and Tamma Tamma Loge is staged in the style of 80's music videos. The song is quite racy and Madhuri / Sanjay dance well but Gosh these clothes. These hairstyles! This lighting! Yuck!
Since the songs always interrupt the rhythm of the film, he can not build large voltage. This is of course on the predictability of the story. Thanedaar is routinised Bollywood cinema without big highlights and without palatability. But Madhuri fans probably such trifles actually not care.
I is a Tamil romantic epic fantasy film, features Vikram and Amy Jackson produced and distributed by Viswanathan Ravichandran under his production company, Aascar Films. Diwali and Pongal, in addition to being the two most important Tamil festivals are also synonymous outputs for major films. For Pongal 2015, the Kollywood film "I" has been out in theaters.
The colossal budget, the three years of making, the different avatars of actor Vikram without forgetting the presence of the director Featured Shankar Shanmugam have raised a very important expectation from the public and the press. Since his debut in "Gentleman," Shankar is known to be a filmmaker with a certain social sensitivity beyond its grand and rich vision. His productions have always had a social message.
Film after film, his rise was exceptional, blending aesthetics and commercial cinema, the director has made a name throughout India. His two collaborations with Rajinikanth allowed him to become the first director tamil exceed the 100 crores in Kollywood . Written ten years ago, "I" is one of the most ambitious projects of the director, but lack of resources and technical accuracy, the project was shelved. If this project had not been titled I, I would have probably thought of calling it Aanazhagan.
To interpret this famous role, Shankar went to get a Vikram in search of success, and that meets the needs of a film with an actor able to comply with exigencies the script. After Kamal Hassan , Vikram was probably the only choice of Shankar. In addition to Vikram for ardent fans of cinema, "I" marks the return of veteran chief operator PC Sreeram absent and filming studios for several years. For this occasion, remember that he is the "Guru" as DOP Santosh Sivan KV.Anand or Jeeva . Orphaned of his favorite screenwriter and writer Sujatha Ranganathan , Shankar has partnered for the first time with the writer duo Subha and Suresh Balakrishnan.
Lingesan (Vikram) is a bodybuilder living north of Chennai who aims to become Mr.India. However, the latter has a adoration for the beautiful mannequin Diya (Amy Jackson). After several events he finds himself embarking on the vicious modeling world. What will happen to him? How is his relationship with Diya? Before starting this film criticism, one point must be clearly stated. The judgment of this film will not stop only with the provision of Vikram.
"I" is probably the most original film Shankar: for the first time in his career, the filmmaker has abandoned some elements to the point that one wonders if he is not lacking signature. But do not worry, the grandiose effect of music videos, breathtaking waterfalls, not seen landscapes are present in "I". One of the qualities of this film is surely impressive visual creativity of its author. Probably what separates it from other Tamil directors, and currently earned him one of the best Indian filmmakers. Unfortunately, this creativity is found only in clips or in some scenes. Unlike Endhiran where the special effects, the grandeur and presence of Rajinikanth masked the deficiencies of the script, "I" fails to reverse the trend. But why?
For the first few minutes, we are introduced to the character of Koonan kidnapping the beautiful Diya? If the trailer made us think about the role or roles of Vikram, the film reveals almost everything after ten minutes. The fault is due to a non-linear narrative with a large number of returns in the past and the present. Why choose this type of narrative, when we know that the story itself does not really include a large turnaround? The public begins to lose interest long before the denouement. Although the first part was used to set the scene, at times, a perpetuation sensation is felt in some scenes. A bad choice of editor? Or write an approximate writers? Both certainly have their share of responsibility.
"I" suffers from several significant items. This is due to too clumsy work screenplay for a film of this caliber. The dialogues have nothing of a film Shankar, who is known to have poignant replicas. A write nonexistent characters resulting in lifeless antagonists, the latter being irritating, too clichés. We are far from the role of Suman in Sivaji or a Raghuvaran in Mudhalvan. The double connotation dialogues that were rare in Shankar found place in "I". By cons, teasing against transsexuals could have been avoided. In parallel, the "I" also includes touching and endearing scenes, but they are still insufficient among the many unnecessary scenes. Sold as a romantic thriller, this film hardly satisfy both genres. Too predictable script has trouble captivate us and takes away any suspense to the film. In a word: shame.
Despite a sequence of negative points, "I" is not a bad film because two artists probably did the best work of their careers. These are Vikram and PC Sreeram. Whether as Lingesan, the body-builder Lee mannequin or Koonan the hunchback, Vikram delivers a perfect performance in this film. Despite the makeup for the role of the hunchback, the actor has managed to highlight his emotions on screen. Abandoned by its director, it is the asset of this film. The actor has managed his comeback after the failures of Rajapattai , Thandavam or David. But the feeling that prevailed at the exit of the room is that the major efforts made by the actor were not fully exploited by the team.
The second hero of this film is the director of photography PC Sreeram or PC.S. It was a moment that we had not had such a stylish photography. Besides having a beautiful image, the technician follows the vision of the director without imposing its presence. The lighting work in clips made the difference on the final rendering. It would not be surprising to see him nominated again, although it is too early to talk of a potential National Award. If the fairly high saturation effect of the trailer is not present in the film.
The most amazing array of Shankar in "I" was probably Amy Jackson. But contrary to what was thought, the is a real surprise. Despite a rather rough lining, it came out beautifully in important scenes. Unlike Tamil actresses, Amy is very comfortable in this role model and these costumes. The best choice for this role.
As for the rest of the cast, they struggle to be remembered. If Santhanam relaxes the atmosphere in the first part, it appears only a few minutes in the second half. The actors Upen Patel, Suresh Gopi and Ramkumar are limited by their characters without depths. The role of the doctor is predictable from the beginning to the end.
Collaboration Shankar & AR.Rahman continues with "I". The album of the film is surely the least successful combo even if they end up listening. As usual, Shankar excels in creating images of the pieces. Ennodu Nee Irundhaal stands out with the concept of beauty and the beast. Whether or Ladio Aila Aila, the clips are worthy of what is done in the United States! Not to mention the work of WETA Workshop in Mersalaayitten, Shankar at the great creativity. The film's background music is good without being great.
Regarding assembly, Anthony is as much at fault as the writers, many lengths in the scenes. In addition, many back and forth between past and present confusing at times. The work of makeup for the role of Koonan came from abroad must be mentioned, hus the stylist and the head of the costume film. I is one of the best Kollywood movies at this level.
Finally "I" is probably the least successful Shankar work. As said before, the film suffers from his script. The absence of Sujatha is really felt in writing. Of course, this film is not as bad as the other disappointments we have experienced recently. But from Shankar, we expected a lot more
Auroni Taukhon, a riot hit, epic saga love story starring Prateik Babbar, Paoli Dam, produced by Rahul Kapoor and directed by Saurav Chakraborty.
thiruthani
