kuruthipunal ( film )
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kuruthipunal (river of blood) is a 1995 tamil action thriller film directed by veteran cinematographer p. c. sreeram .
kuruthipunal (river of blood) is a tamil action thriller film directed by veteran cinematographer p. c. sreeram. the film stars kamal haasan in the… | pinteres…
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this cast list of who was in kuruthipunal includes both lead and minor roles. (10 items )
kamal haasan is an indian film actor, who works mainly in the tamil film industry .
people looking for online information on action king arjun, kamal haasan, kuruthipunal will find this news story useful .
kuruthipunal cast list, listed alphabetically with photos when available. this list of kuruthipunal actors includes any kuruthipunal actresses and all other actors from the film. you can view additional information about each kuruthipunal actor on this list, such as when and where they were born. to find out more about a particular actor or actress, click on their name and you' ll be taken to page with even more details about their acting career. the cast members of kuruthipunal have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with .
so let’s take the time to celebrate 20 years of kuruthipunal, a true classic that’ll remain to be our favourite .
in spite of everything, this film never reached common audiences. this film is only a discussion among hard core movie lovers, critics and film fraternity .
this is a filmography of kamal haasan, an indian film actor who primarily works in the tamil film industry .
kuruthipunal is the first tamil movie to use dolby sound. the movie was a remake of the govind nihalani directed film drohkaal. the film was released in 1995. directed by p. c. sriram, the movie starred kamal haasan and arjun .
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kuruthipunal had its successful run at box - office and also earned a number of awards with the most prestigious being the official entry into 68 th academy awards for the ‘best foreign language film’ category. this was also the first film to use the dolby surround sr technology .
produced by raaj kamal films international, kuruthipunal hit the screens in 1995 and was a trendsetting action - drama directed by cinematographer pc sreeram. the film based on terrorism was an intriguing one and strictly not for the light - hearted .
kuruthipunal became the first indian film to enter into the 68th academy awards for the best foreign film category but did not get nominated. the film' s action sequence and the amount of detail which was used in the film cannot be found in many films even now. a film really which did justice to the plot and with much detail given to interrogation methods, especially the way kamal looks before he dies. such gruesomeness! the way he finishes the film is trademark kamal leaving an open question to the audience and a good social message to the government and the next generation. truly one of the best action films till date .
vaanam vasappadum is a 2004 tamil film directed by p. c. sreeram .
a tragic film, which was depicting the black sides of society and men .
thoongaavanam suffers from an identity crisis in its effort to come close to the original. when haasan decides to remake a film, one expects the product to be nothing less than excellent. this reminds us of the kamal haasan starrer tamil film kuruthipunal, which was based on govind nihalani’s drohkaal. now that is a faithful adaptation. although haasan bought the rights to the film, he ensured that both its versions were poles apart .
r. s. prasanna directed kalyana samayal saadham, a film about an arranged tamil brahmin wedding. he is currently in the process of making the film’s hindi version. would a film with such a strong cultural setting translate to another language? “beyond the setting, kalyana samayal saadham is a film rich in emotion. emotions are universal and will appeal to all as long as we don' t lose what we' re trying to convey in translation. in fact, one should look at a remake as an opportunity to make a better film. kuruthipunal, for instance, is better than its original drohkaal. ”
kuruthipunal (river of blood) is a tamil action thriller directed by veteran cinematographer p. c. sriram. it is a remake of the hindi film drohkaal by govind nihalani. starring ace actors like kamal hassan and nasser the film is about an infiltration operation which the police have on a terrorist organisation and how it turns out to be. as you may know if kamal acts in it then obviously there is a lot of influence on the direction and on the film as such. kamal hassan has also the credits for the screenplay and dialogues in the film .
makkal aatchi is a 1995 tamil language indian film directed by r. k. selvamani .
is another film where the plot is ambitious and paper work is good but falls short in execution. acting in most parts is acceptable but the film never manages to captivate its audience .
arvind krishna is an indian cinematographer, who has worked in the indian film and television industry .
a list of films produced in the tamil film industry in india in 1995 by release date .
every body who worked for this film did beyond the conventional, and created one wonderful movie .
arjun sarja (born 15 august 1962 as srinivasa sarja) is an indian film actor and director .
raaj kamal films international is an indian film production and distribution company founded and headed by kamal haasan .
urltoken is a website devoted to providing authentic bollywood news, box - office reports and film reviews .
kamal haasan (born 7 november 1954) is an indian film actor, screenwriter, director, producer, playback singer, choreographer, lyricist, philanthropist and dancer who works primarily in the tamil film industry .
yet another brilliant film from the mastermind kamal hassan. from story to music, everything was top notch .
pc sreeram says, “it is enriching to understand that audiences remember the film even after 20 years. this is the victory to art more than to an individual. we were very confident while making this film, but i am quite surprised with the kind of response it is garnering amidst audience even now. kuruthipunal is not a movie but a record of iconic performances of kamal, arjun, nasser, gautami and arvind krishna in close proximity of lens” .
nassar (also spelled nasser, naasar or nazar) (born mehaboob nassar) is an indian film actor, director and producer, known for his works in the south indian film industry, and few bollywood films .
nammavar is a 1994 tamil language film k. s. sethumadhavan and starring kamal haasan and gouthami in lead roles .
a historic period film, which depicts the olden sangam period of tamil and its different landscapes and people in it .
kuruthipunal had the legendary director viswanath playing an important role along with cameraman arvind krishna who was then the assistant of pc sreeram doing a cameo. the even more interesting trivia is, chiyaan vikram dubbed for john edathattil who did a role of narasimhan, nasser’s assistant commander .
ajay rathnam is an indian film and television actor known for playing supportive or villain roles in tamil films / television serials .
the cinema express best film award is given as a part of its annual cinema express awards for tamil (kollywood) films .
the filmfare best actor award is given by the filmfare as part of its annual filmfare awards south for tamil film lead actors .
as the film? s backdrop is goa, it gives us a feel of watching a dubbed hindi film. may be a typical north madras setup would have made it more beleivable. bubbly hansika looks cute and she shines in a well - written role .
while visaaranai may not necessarily be the best film india has submitted to the oscars, there’s not much doubt that it’s the best from tamil cinema. there are no forced love tracks, no item songs, no comedy tracks… the film is devoid of artificialities .
india has submitted films for the academy award for best foreign language film since 1957, a year after the incorporation of the category .
this film largely went unnoticed. it was a flop in tamilnadu and the dubbed version (iddaru - in telugu) is also a flop in andhra pradesh. this film raised controversy in tamilnadu for having the story of m. g. r - karunanidhi and jayalalitha .
andha naal (that day) is a 1954 indian tamil mystery - thriller film produced by a. v. meiyappan and directed by sundaram balachander .
gautami is an indian film actress whose main contribution to tamil films, she even appeared successful films in telugu, malayalam, hindi and kannada cinema .
drohkaal (times of betrayal) is a 1994 indian crime drama film directed and produced by govind nihalani which deals with india' s fight against terrorism .
k. t. balasubramaniem (born august 18, 1966) is a well - known cinematographer from karaikudi, tamil nadu who completed schooling and college in thirupattur under the tutelage of p. c. sreeram for nearly 5 years, he worked in award - winning films such as' thevar magan',' thiruda thiruda' and' kuruthipunal' .
movie title - - - kuruthipunal its ranked number 1 tamil movie in the year 1995 in imdb. cast - - nassar as badri nizhalgal ravi subhalekha sudhakar as suri movie details - - running time - 143 mins story - - two brave police officers infiltrate a terror group in order to bring it down. director p. c. sreeram directs actor kamal haasan for 1st time. director p. c. sreeram and music director mahesh mahadevan joins for 1st time. imdb rating - - 8. 6 mile stones - - the film won the cinema express award for best film tamil while kamal haasan won filmfare award for best actor tamil for his portrayal of adhi naarayanan .
kasinathuni viswanath (born 19 february 1930) is an indian film, sound designer turned director and actor known for his works in telugu cinema and hindi cinema .
mozhi is funny, emotional and had good screenplay. still this movie is underrated and also the director who directed this film (radha mohan) is unrecognized too .
to read my description, you might not think much of this film, but it is so incredibly good, that my words can only hope to do it justice .
but remakes come with their own challenges. says shaheed, “i had watched the original dozens of times and while i was working on chennaiyil oru naal, i realised that all the shots and faces from the original film were playing in my mind. i feel i faithfully recreated the film in tamil but it did not satiate my creative urges. ”
this movie was not in the theatres for even a week but later drew lots of appreciation from experts of the film industry. this movie marked the changing face of kollywood !
pudhupettai (2006): a raw gangster film that shows the transition of a school boy who ends up being a ruthless gangster. what makes this movie interesting is how the main character changes, the lives of these gangsters and how gangsters are used in politics. although the film is quite violent it also has its moments of humor (especially the “yaar ya bomb pottadhu” scene which was absolutely brilliant). the film underperformed at the b / o though ironically that was one of the most accurate depictions of a gangster’s life. m
kamal haasan’s latest outing thoongaavanam, an adaptation of the french thriller sleepless night, is easily the most stylish tamil film one has seen in a long time. there are absolutely no second thoughts about that. in fact, the film is so stylishly presented that it’s almost at par with the original. however, in its attempt to one - up sleepless night, the film has ended up imitating the french original quite literally. thoongaavanam, helmed by haasan’s erstwhile assistant rajesh m selva, doesn’t quite qualify as the actor’s best work so far .
vetrimaaran, the director of visaaranai (india’s submission this year), when once talking to me about the appeal of kaaka muttai, said, “the more ethnic a film, the more international its appeal. ” in other words, make films drawn from the stories of your world. make them fiercely local. this can’t quite be said of a few of our films over the years. the climax of kuruthipunal, india’s oscar submission in 1995, has kamal haasan playing a cop, saying, “shoot me… shoot me, my man. it’s a bloody order! ” in an accent that’d put an englishman to shame .
vikram dharma (born as r. n. dharmaseelan in 1961) was an indian fight master / action choreographer in the tamil film industry (also known as kollywood) in indian cinema .
wanna get famous? want to share your analysis about a star or film? urltoken invites you to write about your favourite films, stars or anything bollywood! check out more details here .
one needs to be careful about choosing a film for a remake. success cannot be the only criterion. “ subramaniapuram, for instance, despite being a great movie, cannot be successfully remade elsewhere, ” feels rosshan. “it’s a film so true to its south tamil nadu setting that one cannot replant that story in another land. in comparison, themes like love or horror are easier to adapt. ”
its almost the end of 2017 and after a list of many disappointing films for several months aruvi 2017 has cleared the dry spell with its completly fresh screenplay and crisp storyline. except for lakshmi gopalakrishnan all the cast members are debutants but we don' t get this feeling while watching the movie. actually, in half way through the film i could understand that this could never be a work of a seasoned director but i think the way the director tells the story (which needs a special mention because of the non linear way the story goes forward), the attention he has given to detail (to pull the logic for the story line) and finally how he has made things relatable tells that he knows his craft. i watched this film several times, not only because it was that good, but i could find new elements in the film which supports the events. it is quite difficult to give an absolute simple plot of the film without telling spoilers. but i can tell how the plot goes about in the film. th…
technically, cinematography by sr sathish kumar is good while editing by nb srikanth could have been better. many portions needed trimming and a better editing style would have helped for the film? s pace and flow .
mani ratnam who is regarded as one of the finest film makers with films nayagan, bombay, roja etc. , not only evolved as one of india' s best but also went on to gain international exposure .
kuruthipunal (1996) is a tamil drama and action film directed by veteran cinematographer p. c. sriram. the film starts with two sincere police officers adhi narayanan (kamal hassan) and abbas (arjun). abbas sends two secret vigilance officers, named anand and shiva on an operation called operation dhanush, to mingle with a terror group headed by badri (nasser), with the task of providing updates about the movements of the group, then later sending it back to abbas. in an accidental encounter, adhi happens to get the opportunity to arrest a terrorist even without being aware that the captive is none other than the terrorist head badri. there is an interesting mental battle between adhi and badri. threatening to bring harm to adhi' s family if kept in police custody, badri displays his power by demonstrating how he is able to sneak in members of his group anywhere, including police protected headquarters. adhi, afraid for his family' s safety, gives in and lets badri escape .
visaaranai, the first tamil film to be submitted at the oscars this millennium, stands a strong chance because it is devoid of the frills of indian commercial cinema. of course, the oscar panel also generally laps up stark ethnic tales .
the first question is usually get ,
how did you get into bollywood ?
that answer is pretty easy. like many of you, i' ve spent years seeking out films from all over the world; asia, europe, south america, you name it, i was trying to find the local flavor. one day it occurred to me that the one nation on earth with the biggest film industry was completely foreign to me, so i popped in a film called
rosshan andrrews, the director of how old are you and its tamil remake 36 vayadhinile, feels producers have begun to rely more on the creative team behind the original film. “every film has a soul and people who’ve worked closely on the original version understand the importance of staying true to it. good remakes aren’t mere frame - by - frame copies for a new audience. they need to be treated with the same sincerity as an original. my first film udayananu tharam, which was a superhit in malayalam, failed as velli thirai in tamil. at times, we assume we know what the audience wants. but nobody knows what will work and what won’t. all one can do is be faithful to the script. ”
producer g. dhananjayan goes even further. he believes remakes should retain their original directors. “both papanasam and 36 vayadhinile were directed by those who made the malayalam versions. even when krish was retained to remake vedam to vaanam, the film proved successful. when a person not associated with the original begins working on a remake, they bring in their own ideas and assumptions on how to adapt it. in this process, the film loses the essence that made the original a hit. ”
bommai (1964): s. balachander the veena vidwan directed a lot of crime movies most notably “andhal naal”. bommai as the title suggests is about a doll which moves from one person to another and a couple’s attempt to find this doll. quite a suspenseful film and probably one of the most interesting credits i have with the director introducing all the cast and crew who worked on this film (note a young kj yesudas who actually sang his first tamil song in this movie) .
it has been 16 long years since a tamil film was chosen as india’s submission for the academy awards. when it last happened, madhavan had just made his debut, s. j. suryah’s kushi had just been released, and prashanth was still ruling at the box office. just let that all sink in for a moment. in stark contrast though, during an earlier decade, between 1990 and 2000, as many as six films that had gone all the way to the oscars belonged to tamil cinema. if representation at the oscars is indicative of a film’s worth — a presumption many film personalities, including kamal haasan, are up in arms against — it appears that tamil films have somehow stopped being noteworthy since the dawn of the new millenium .
the following 41 films, all from different countries, were submitted for the 68th academy awards in the category academy award for best foreign language film (release at the country of origin november 1, 1994 - october 31, 1995, ceremony 1996) .
. this film has everything, and it is a perfect example of why i love indian cinema. these reviews will be peppered with editorializing, photos, video clips, and less than formal writing, but i hope that i can convey the joy that
the first and second half of the film is complete opposite of what you would expect, aadi succumbs to badri and there is a very good drama going on in the thriller. kamal proves once again his mettle, they way he is unable to confront his commander srinivasan (played by k. vishwanath) when he finds out that he is the traitor in the department and when he faces his friends death near the end of the film. at the end after a bloody torture he too to carry out the mission. it is really unlike for a film to take all the lead characters out both the protagonist and the antagonist, which proved to be really off - beat. very convincing performance by gowthami as aadi' s wife, very real and very authentic .
director hari' s debut movie and it is an amazing movie with plot, dialogues and comedy sequences. songs were also amazing but the film was not received well. clearly it is an amazing commercial movie and you will not be bored even in a single scene .
, and a new film coming in 2013. khan' s lovelorn rahul was a strange character in that he elicited more sympathy from viewers as a starstruck, sad, lonely boy in love than sunil' s hero did. this was among khan' s final villain roles in the' 90s before he took on the mantle of full - fledged film hero. khan' s success was a big bummer for sunny deol, who was supposed to be the sympathetic character, but deol' s wooden delivery and inability to emote sunk his performance in
the film starts with adhi narayanan (played by kamal hassan) and abbas (played by arjun), both honest police officer plotting a secret operation
dhanush
( not to be confused with the the one referring to the actual events) to infiltrate the a terrorist group, they train two men - aravind and siva and send them undercover. the story begins to unravel when accidentally badri (played by nasser), the commander of the terrorist group gets caught by adhi. the rest of the film is if the operation succeeds or not .
i really did not expect aadi to die in the end, up until that point i had a very strange thought in my head, why can' t kuruthipunal be a prequel for vishwaroopam, i mean it is a very strange thought but why not both the film had an agent and both had a lot of intriguing characters. wasim ahamed kashmiri, could very well be aadhi, i got this thought when i saw srinivasan die in the film, just before he commits suicide he says
you know nothing about me or what i had been through
a similar line in vishwaroopam. but aadi does die in the end. but i still could not shake the thought. then if you watch real closely, the last undercover agent siva could be wasim, yeah it is really preposterous right, but it makes sense in a way. wasim' s character in viswaroopam is one which is the most difficult to understand, one who has so much pain inside, i could find that same character in siva. he buries his two senior officials finally so thats should sum up what kind of hardships he goes through which i think is similar to wasim. just a theory! : d
dhananjayan adds, “even naadodigal (remade to hindi as rangrezz and in malayalam as ithu nammude katha) was not a story other audiences could relate to. it’s almost like conditioning. we’ve had so many films about friendship with the whole ‘nanbenda’ sentiment that a film like naadodigal becomes instantly relatable in tamil. similarly, when we adapted delhi belly to settai, we assumed that bringing the film’s comic elements alone would be enough for it to work here. but the audience were expecting the same explicitness as the original and they were disappointed with the sanitised version. ”
the entire film unfolds in a night club, fittingly called insomnia, and the plot revolves around a missing bag of cocaine and a few ‘grey’ characters. the good thing about the film is haasan, who is in terrific form and has been consistently reinventing his persona since vishwaroopam. he no longer plays to the gallery, prefers realistic stunts over exaggerated action blocks and doesn’t mind trading blows with the heroine either. in an outstanding fight sequence, haasan and trisha almost knock each other down. she’s terrific and holds her ground against the veteran actor quite confidently .
shaheed khader thinks differently. he was entrusted with the adaptation of the malayalam film traffic into tamil. he made chennaiyil oru naal, starring sarath kumar. he says, “i told rajesh pillai (the director of traffic) even during the scripting that i would love to remake it in tamil. i loved the script and as a director you have your own ideas on how to treat it visually. instead of making a carbon copy of the original, a director could choose to add his own elements by using the screenplay as the source material and not the film itself. ”
is a milestone in many careers, and one that everyone involved can look back on with pride. the film has everything a bollywood masala feature needs to succeed. it has strong leads, fantastic songs, beautiful locations, action, romance, violence, and plenty of sex and blood .
this film got 2 national awards, prakash raj as supporting actor (who was only 32 years old then) and santosh sivan for cinematography. every body including mani ratnam thought mohan lal would get national award for best actor, unfortunately he didn' t get it. he completely deserves it .
a police officer (kamal haasan) must choose between his family and duty, when members of a terror group take his wife and child hostage and pressure him to betray officers from his department. good thriller, arguably better than the film it was remade from, govind nihalani' s droh kaal .
visaaranai, thankfully, is as far removed from sivaji as hans zimmer is from deva. i still recall the palpable dread that held me prisoner as i walked out of visaaranai. vetrimaaran’s film made me feel exposed and powerless. suddenly, my eyes were opened to how vulnerable we are, how the system towers over us all; how injustice is egalitarian. while visaaranai may not necessarily be the best film india has submitted to the oscars, there’s not much doubt that it’s the best from tamil cinema. there are no forced love tracks, no item songs, no comedy tracks… the film is devoid of artificialities. it is, as vetrimaaran would say, ethnic. of course, it also comes with the added bonus of painting a sombre picture of life here, a depiction that is likely to be in sync with the west’s understanding. surely, we haven’t already forgotten the rousing success that was slumdog millionaire .
performance wise arya has given his best as an undercover cop and ruthless gangster. his cool dude attitude fits the bill perfectly. the way he is presented is one of the highlights of the film. also other artists like ashutosh rana, sudhanshu pandey, ramana and anupama kumar have done their job with sheer perfection .
ravanan (2010): not mani ratnam’s best work but i quite enjoyed this modern day interpretation of ramanayam. the visuals and photography in this movie are execptional and also has some really really good songs too. but for me the highlight of this film would be vikram’s performance and the amount of life he infuses into the character of “veera”
) - a wonderful, out of the box thinking done by the director, a time where the film contained 10 songs and running time of more than 4 hours, a bold attempt, which was not accepted well by the people at that time and the event of audiences starting to leave the theatres in the first scene, where the protagonist getting killed .
apart from making changes to suit a new audience, shaheed feels a remake presents an opportunity to fix mistakes spotted in the original. he says, “for instance, in traffic, we mentioned rain as a reason a helicopter cannot be deployed in a crucial scene. but the film looked very sunny. we shot a few scenes in the rain to fix that error in chennaiyil oru naal. ”
is a brilliant film than anyone can enjoy, and is easily among my top five favorite hindi films of the' 90s. it may not be the craziest, it is actually very well put together and avoids some of the more hyperbolic indian action i' ll tackle later in the column, but it is certainly one of the most engaging and entertaining films i' ve seen from india .
just like any other undercover mission, this one too is filled with intelligent treatment and unexpected twists but that is not adequate for an edge of the seat entertainer. the basic problem with the film is that everything is well written on paper but on screen, there are only few towering moments. most of the time, the screenplay looks shabby and the treatment doesn? t arouse any interest .
when rahul hears that sunil and kiran are engaged, he doesn' t take the news well. one day when they are out ring shopping, rahul takes a shot at sunil from what he believes to be a safe distance. unfortunately for rahul, he misses, and their are, once again, off to the races in one of my favorite cinematic chase scenes from any film, ever .
i remember when an english friend of mine once insisted on accompanying me to a screening of shankar’s sivaji (2007). i was hesitant, unsure if the film would paint a wrong picture of indian cinema. after some thought, i relented. shankar’s one of our most reputed filmmakers, after all; rahman, one of our best composers; and rajinikanth is, well… rajinikanth. i quickly noticed that my fears were unfounded — the englishman, to my astonishment, seemed to thoroughly enjoy the film. as we were walking out, he said as much. i brimmed with pride, and pointed out that shankar was indeed known for making entertaining films, that veteran filmmaker balachander had dubbed him our own james cameron. the englishman looked a bit taken aback. “wait, sivaji isn’t a spoof? ”
remakes have become a staple diet for bollywood these days. we have seen quite a lot of bollywood films, that are officially remade from south films and have become superhits. but we have little knowledge about bollywood films that have been an inspiration for the south film industry. koimoi reader arindam kar wrote to us an interesting compilation of bollywood films that have resulted in remakes in the south. take a look :
and i was hooked. since then i' ve been digging deeper and deeper into the cinematic culture of india. there are thousands of gems waiting to be discovered by film fans in the west, and i' ve only scratched the surface myself. this column seems like a good way to explain why i love these films so much, and also, a way to help answer the second question i get most often .
is also very easy to find, as the film is available via the streaming service mela, on youtube for a small rental fee, and also on netflix streaming in the us. pretty much everyone has access to one of those, i' d think, and if not, just buy the damn thing, bollywood dvds are super cheap. i will, however, suggest that if you want the full experience, yash raj released
cast: dhanush, sneha, sonia aggarwal, bala singh, azhagam perumal, bala singh etc. plot and summary: pudhupettai is a tamil gangster drama flick directed by selvaragavan. it is about the life of' kokki' kumar, his rise from a beggar to a political leader told as a retrospective from a jail cell, the film starts with kokki kumar' s (dhanush) narration. kumar is a school kid who returns one day to find his mother murdered by his dad, afraid of his dad he flees his home and starts to beg in a railway station. suddenly he is caught by the police for cocain trafficking, which leads him to join anbu' s (bala singh) gang. the rest of the film follows kumar' s life, how he transforms from a kid, to a man who is respected and feared by all and finally into a mad man .
the interrogation which aadhi has with badri forms the most pivotal part of the film, introduced as an interrogation expert aadi' s conversation and the way he gets truth out of badri is quite interesting to watch, i would say such kind of scenes where unheard of even now. but kamal hassan' s touch to the dialogues and the subject he chooses to speak with nasser is what makes this really unique. we know that kamal is know for introducing his point of view on matters regarding to god, ideology and social issues in his films and he does it so well that we believe that this is part of the character her personifies. the way he discusses the ideology of the terrorist leader and how his followers who are just mear disciples of television and not an idea as such (the word he uses - sidhantham, proves to be typical kamal). there are some dialogues which have become really timeless from the film
aval appadithan (1978): kamal hassan, rajinikanth and sripriya at their casual best. the film was shot in the 70’s and it has a documentary style vibe to it but the performances (notably the conversations between rajini and kamal are soo natural it would relate to us when we talk with friends). some of the themes and content such as women’s liberations, feminism, sexism etc were addressed in this movie and it definitely should get more attention than it has .
selvaraghavan’s mayakkam enna is one such underrated film. the emotional trauma and journey of a boy door - next door in pursuit of his dreams which the movie dealt with was indeed path - breaking. laced with a blissful background score by gvp, the movie was one of a kind. the sad part is that it didn’t get due recognition and appreciation from the audience it deserved at the time of it’s theatrical release in terms of both box - office numbers and critical acclaim .
adhi narayanan (kamal) and abbas (arjun) take up ‘operation dhanush’ to curtail and excavate the terrorist activities plaguing the society. nasser in the role of badri, the head of the organization pulled off a great performance of a horrifying villain. the film was praised for its dialogues, explicit content, action sequences, suspense elements and of course the ending. written by kamal himself, mahesh composed the music and the story was by govind nihalani who originally directed it in hindi titled drohkaal .
shaheed, on the other hand, made changes to both the acting style and the dialogues. “our dialogue writer ajayan bala gave us three to four variations for every dialogue from the original, and we would choose one. since the original lines were imagined by malayali writers for malayali characters, we needed to re - imagine them for tamil characters. apart from making certain scenes dialogue - heavy, actors too were asked to be a bit more dramatic for it to feel like a tamil film. ”
what about the underwhelming jeans — submitted in 1998 — in which prashanth and aishwarya inexplicably dress up as michael jackson at the end, and dance with a skeleton to a track that sounds suspiciously similar to ‘blood on the dance floor’? even worse in the same film is that patched up tyrannosaurus rex, seemingly inspired from jurassic park, that wishes the couple a happy married life. if you listen carefully, you can still hear echoes of the laughter that no doubt once filled the halls of the academy awards nomination complex .
i observed a moment of silence, as it dawned on me that he’d enjoyed the film, thinking it to be a hilarious spoof on bad commercial cinema. “so, when that hero throws his gun in that song and it boomerangs back to him, that’s a serious scene? ” no, i said, that was meant as a joke. “what about when his hairstyle changes as he shakes his head near the interval? that’s a joke too? ” i’d had enough and gave up on trying to make him understand our commercial cinema .
starring madhavan and sangeetha in lead roles, it depicts the day to day routine of a lower middle class family in chennai. madhavan is a honest person who does not yeild to the demands of the wrong - doers. being a banker, he gets angry when a higher official uses illegal means to secure the loan, gets angry when asked to give a bribe to the munipal corporation guy to provide water and so on. sangeetha being irritated with his behaviour and the way it causes problems in the family urges him to stop ranting and if he really has problem with the people to sort it using authority and force. his mind undergoes a change in perception and he tries to take the matter in his own hands by using violence against the everyday happenings. the igp played by siman finds madhavan not to be on the wrong side. in an attempt to save the face of the city police, the commisioner orders him to execute madhavan and with a heavy heart siman executes him when he is on his way to meet his family. a brilliant film with exceptional acting by the star cast that portrays a day to day happenings in a common man' s life and the conflict of interests that springs up. watch this film if you have not done till now .
while the happy couple has been off forgetting their woes, rahul has been back at home trying to figure out where exactly they went. he befriends kiran' s brother and through some rather devious means he learns of their honeymoon in the alps and decides to join them. when he turns up at their hotel, he is surprised to find that kiran recognizes him from school and welcomes him to join in some of the festivities. his identity safe so far, rahul decides to take a chance and ask kiran to dance, a request to which she happily acquiesces, resulting in the most famous piece of music from the film, the delightfully creepy
welcome to masala madness, a new column at screenanarchy in which i give regular folks a peek at some of my favorite crazy indian films. i' ve been writing about indian cinema here since 2010, and i' ve gotten a lot of the same questions over and over again, and this column will be my way of answering those questions. indian cinema is as varied as any other regional cinema in the world. if you want action, romance, thrillers, horror, drama, they' ve got it, and most likely all in the same film. i don' t hesitate to answer questions when they are posed to me, but i thought that this column would be a better way to both give out recommendations and shine a light on the best of indian films .
thoongaavanam, on the contrary, is neither satisfactory nor excellent. it falls somewhere right in between. most scenes in the film for instance, have been lifted from the original and have been recreated for the indian setting, lacking the creative touch that haasan usually brings to his projects. in one of sleepless night ’s best scenes, a young boy is kidnapped and held captive in a room with a leaking roof, from which water drips into a champagne bucket placed below. at regular intervals, we get a glimpse of the bucket filling up, highlighting the passage of time. it’s disappointing too see that whole scene being lifted as is in thoongaavanam, especially when haasan has taken credit for penning the screenplay. although the makers were adamant about calling this an adaptation, in reality it’s a frame - by - frame remake .
this movie is a masterpiece. the screenplay is pacey and excellent by the fact that the entire movie revolves around the sufferings of police men. you can catch the best of india' s finest actor (kamal hasan). equivalent to kamal' s performance, naser' s performance will be breathtaking. he plays the perfect role of a rebel leader. the most important part of the movie is when kamal pleads his fellow cop who acts as a rebel and ask him to shoot himself in order to keep the secret identity of dhanush. though the end is sad, the way it has been handled is touching. all credit goes for the director of the movie for choosing such a fantastic script. it is a true classy film and a must watch for all classical movie lovers. watch this movie and enjoy the experience of thrill ...
i' ve always wanted to check out bollywood, but there' s just so much, where do i start ?
well, you can start here. i was a reader of screenanarchy long before i was a writer for the site, so i think i have a pretty good grip on what we like. the films i feature in masala madness will be the best, craziest, most absurd and / or best of indian cinema. bollywood, kollywood, tollywood, they' ll all be represented here. i' ll try to seek out the best of all of the industries, and highlight independent films when appropriate. india cranks out upwards of eight hundred films every year, so i know it can be intimidating, but let me be your guide, and i' ll help make the impossibly overwhelming a bit more doable. if you' re avoiding indian cinema, you' re missing out on a wealth of fantastic film, and i can' t have that .
watch drohi full movie, starring kamal haasan, arjun, nassar, gouthami, geetha among others. directed by p. c. sreeram and produced by charuhasan, kamal haasan. music composed by mahesh mahadevan. click here to watch more videos, kamal haasan movies: urltoken arjun movies: urltoken talking movies with idream - exclusive interviews - urltoken trending videos - urltoken click here for more latest movie updates, ►subscribe to our youtube channel: urltoken ►like us on urltoken ►access idreammedia app on your mobile: ►iphone users: urltoken ►ipad users: urltoken ►android users: urltoken ► for your movie promotions and promotional interviews please call @ + 91 7093 162 162 (or) email us @ promotions @ urltoken
drohi telugu full length movie | | kamal hassan, action king arjun | | dvd rip. .
picking ten standouts from 30 years worth of cutting edge performances is a thankless task. to figure out how subjective this list is, check out a very short list of the films i’m leaving out :
( 1996), which won kamal his third national award. and more .
the list is obviously subjective, not definitive. it is influenced by personal taste. in some instances, it has even been influenced by what i glimpsed of his work behind the scenes .
whatever. it is my list. and your turn. pick your favorite kamal movie (s) and
perhaps, between all of us, we will manage to capture a feel, a flavour, of a unique talent .
while bollywood veers off from remaking tamil films after underperformers such as gabbar is back, shortcut romeo, pizza and holiday: a soldier is never off duty, the trend of remakes shows no signs of slowing down in kollywood. recent releases 36 vayadhinile and papanasam have become hugely successful and have cleared the decks for future releases, which include the much - hyped remake of the malayalam blockbuster bangalore days. so what, really, does it mean to make a remake ?
while translating dialogues from one language to another might be critical for the success of a remake, directors feel sensible alterations need to be made to suit local culture. rosshan andrrews says, “ 36 vayadhinile is about 20 minutes shorter than how old are you. i felt the tamil audience prefers a more direct approach to storytelling, compared to the slower, heavy - on - detail narration style of malayalam. ”
hyderabad: while refusing to grant stay on the decision of the telangana government to reorganise the districts in the state, the hyderabad high court on thursday made it clear that any further action of the state government with regard to formation of new districts in the state would be subject to final outcome of the petitions pending before it .
justice a rajasheker reddy was dealing with a petition by g padmavathi, chairperson of gadwal municipality, and others challenging go 366 and form - i notification to proceed with formation of mahbubnagar, nagarkurnool and wanaparthy districts .
the petitioners’ counsel told the court that gadwal area is bigger than mahbubnagar with 1. 50 lakh population and there was a long pending demand of the area people that gadwal should be made as a district. there was more than 200 acres of government land available in the area to establish the government offices and a railway line was also in existence since last 100 years, they added.
kuruthipunal ( river of blood ) is a 1995 tamil / telugu neo-noir action thriller film cinematograph and directed by veteran cinematographer p. c. sreeram . the film stars kamal haasan in the lead role , with arjun and nassar in supporting roles . the film featured songs and the background score was composed by mahesh mahadevan . produced by kamal hassan , the story is a remake of govind nihalani 's hindi film drohkaal , the film met with critical acclaim upon release and became a trendsetter for action films during that period of time . the film was india 's official entry for the 68th academy awards best foreign language film category , but was not nominated . the film was simultaneously made in telugu as drohi . 
kuruthipunal (river of blood) is a 1995 tamil / telugu neo-noir action thriller film cinematograph and directed by veteran cinematographer p. c. sreeram. the film stars kamal haasan in the lead role, with arjun and nassar in supporting roles. the film featured songs and the background score was composed by mahesh mahadevan. produced by kamal hassan, the story is a remake of govind nihalani's hindi film drohkaal, the film met with critical acclaim upon release and became a trendsetter for action films during that period of time. the film was india's official entry for the 68th academy awards best foreign language film category, but was not nominated. the film was simultaneously made in telugu as drohi.
kuruthipunal (river of blood) is a 1995 tamil / telugu neo-noir action thriller film cinematograph and directed by veteran cinematographer p. c. sreeram. the film stars kamal haasan in the lead role, with arjun and nassar in supporting roles. the film featured songs and the background score was composed by mahesh mahadevan. produced by kamal hassan, the story is a remake of govind nihalani's hindi film drohkaal, the film met with critical acclaim upon release and became a trendsetter for action films during that period of time. the film was india's official entry for the 68th academy awards best foreign language film category, but was not nominated. the film was simultaneously made in telugu as drohi.