anuraga aralithu
sarthakavayithu chinna ninna
video song | anuraga aralithu | dr rajkumarmadhavi. mp3
anuraga aralithu song lyrics: from the 1986 kannada movie anuraga aralithu. music by upendra kumar. lyrics by chi. udaya shankar. check out the lyrics here .
anuraaga aralithu songs download - listen kannada anuraaga aralithu mp3 songs online free. play anuraaga aralithu kannada movie songs mp3 by dr. rajkumar and download anuraaga aralithu songs on gaana. com .
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi .
anuraga aralithu kannada movie back. munjane moodida haage mududida thaavare aralithu. kannada movie online in hd. munjane moodida haage mududida thaavare aralithu. kannada movie cdrip all mp3 songs download. find and save ideas about kannada movies online on. love songs jukebox ll kannada .
anuraga aralithu - srikanta vishakanta kannadasiri. loading... unsubscribe from kannadasiri? cancel unsubscribe. working... subscribe subscribed ...
watch anuraga aralithu kannada movie back to back comedy scenes subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
a clarification. both mannan and gharana mogudu were remakes of a kannada film anuraga aralithu. so superstar is once again on the negative side this time. [: d ]
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi. the film starred actor rajkumar along with madhavi, ...
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi. the film starred actor rajkumar along with madhavi, geetha and pandari bai .
anuraga aralithu is a kannada romance, drama movie starring dr rajkumar, madhavi, geetha and directed by m s rajashekar. watch this movie legally on tv, tablets, online & smartphones .
watch anuraga aralithu kannada movie | back to back video songs starring: dr rajkumar, madhavi subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
download gangsta reggaeton instrumental mp3, gangsta reggaeton instrumental songs for free download. janaki albums, mp3 free albums, collections tracks free download in mp3 here. anuraga bandhana kannada movie songs. anuraga bandhana kannada mp3 songs download anuraga bandhana kannada. bollywood music download, indian mp3 songs, free hindi songs .
gharana mogudu (english: rogue husband) is a 1992 telugu - language action film directed by k. raghavendra rao. it is a remake of the rajkumar' s superhit 1986 kannada film, anuraga aralithu. .
anuraga aralithu is a 1986 kannada film directed by m s rajashekar, starring rajkumar, madhavi, geetha. the sound track has been composed by upendra kumar. the film is based on drama, family, romance .
there was a time when kannada movies used to be routinely remade in other languages. 70s and 80s were considered the golden period for a reason. tens of rajannna movies were remade in several languages. in fact, movies like anuraga aralithu gave new lease of life to chiranjeevi with its remake, gharana mogadu. he never looked back again after that, achieving mega star status. the tamil remake of anuraga aralithu was instrumental in helping out rajanikanth also .
на сайте urltoken вы можете скачать shree kanta visha kanta video song anuraga aralithu dr rajkumar. 1) - найдите песню, используя поиск. 2) - выберете и нажмите на кнопку скачать. 3) - следуйте инструкции и скачивание начнется .
anuraga bandhana kannada. kumar govind movie kannada. bollywood music download, indian mp3 songs. song download mp3 nani teri morni دا .
watch anuraga aralithu kannada movie. starring dr. rajkumar, madhavi, geetha and pandari bai. directed by m. s. rajashekar produced by parvathamma rajkumar music by upendra kumar. subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
mannan
was directed by p vasu and it featured vijayashanti and kushboo in the female lead roles. it is said to be a remake of kannada blockbuster
anuraga aralithu
starring late kannada icon dr rajkumar. madhavi and geetha played the female lead roles in the film directed by ms rajshekar .
baalu needalaagadavanu. rediment ganda kannada song anuraga bandhana kannada mp3 songs download mp3. 3gp, flv, mp4, wbem, mp3. sarayi _ devadasa _ kannada .
s rajakumara kannada movies mp3 songs download download link. kannada movie online in anuraga bandhana kannada mp3 songs download. kannada movie online in. kannada movie online in lamha bilal khan coke studio season 4 mp3 download hd. standing sing johnny mp3 download anuraga raga. bandhana kannada movie online. bhava bandhana song free download saibabaaartimp3 mon cholo .
super duper popular odia. a a a aa e ee aa dinagalu aadi aaditya aaha. anuraga aralithu movie. name hindi movie songs download, havina hede. goravanahalli mahalakshmi kannada songs free download. rajkumar jennifer kotwal free mp3 download. kadhal alivathillai mp3 songs download. comedy scenes bandhana. nanna thangi madhve aakasha gange aalemane aanandajyothi aaptha aaptharakshaka aarada gaya aarbhata .
sudeep hit songs from the latest kannada. from the film anuraga bandhana. visit us and download kannada movie absolutely for free. bhooshira mandira sundari lyrics. free music videos downloads stafaband mp3 download. noorondhu nenapu lyrics. kannada songs videos .
watch anuraga aralithu | | movie scene | | rajkumar star cast: dr rajkumar, madhavi, geetha, pandaribai, k s ashwath, thoogudeepa srinivas, parvathavani, brahmavar, sathish, shivaprakash, ashwath narayan, bhatti mahadevappa, shrungar nagaraj, ramesh, venkatappa, kannada raju, ellappa, kunigal ramanath, basavaraj, jr narasimharaju, pranaya murthy, seema, vijayalakshmi, vijaya, sumithra, jayalakshmi, sheela director: m s rajashekar producer: m s putta swamy music director: upendra kumar subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
watch anuraga aralithu kannada movie video song starring: rajkumar, madhavi, geetha, pandari bai, k. s. ashwath, thoogudeepa srinivas, kunigal ramanath, parvathavani, brahmavar, satish, shivaprakash, ashwath narayana, bhatti mahadevappa. directed by: m. s. rajshekar. producer by: m. s. puttaswamy. music by: upendra kumar. story by: h. g. radhadevi. cinematography: v k kannan. edited by: p. bhaktavatsalam. production company: bhargavi art movies. language: kannada. subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
watch anuraga aralithu kannada movie action scene starring: rajkumar, madhavi, geetha, pandari bai, k. s. ashwath, thoogudeepa srinivas, kunigal ramanath, parvathavani, brahmavar, satish, shivaprakash, ashwath narayana, bhatti mahadevappa. directed by: m. s. rajshekar. producer by: m. s. puttaswamy. music by: upendra kumar. story by: h. g. radhadevi. cinematography: v k kannan. edited by: p. bhaktavatsalam. production company: bhargavi art movies. language: kannada. subscribe to kannada / sandalwood no. 1 youtube channel for non stop entertainment click here to subscribe - - urltoken
vani lamha bilal khan coke studio season 4 mp3 download jayaram r n jayagopal anuraga. kannada movie mp3 songs download. watch jai jagdeesh rape aparna dr. madhu krishnamurthy on ee bandhana. watch video song adey bhoomi adey bhanu from. fighting scene nammura raj kannada. production release info writers plot. stars songs lyrics direction other details. with tuzmp3 you can search music listen and download online mp3 .
html public
- / / w3c / / dtd xhtml + rdfa 1. 0 / / en
urltoken
we use cookies to understand how you use our site and to improve user experience. this includes personalising content and advertising. by continuing to use our site, you accept our use of cookies, revised privacy policy .
html public
- / / w3c / / dtd xhtml 1. 0 transitional / / en
urltoken
privacy & cookies: this site uses cookies. by continuing to use this website, you agree to their use. to find out more, including how to control cookies, see here: cookie policy
the film has a wafer - thin story but this clean family entertainer will keep you entertained till it lasts. shivaraj urs (puneeth rajkumar) a rich nri a happy - go - lucky guy who does not know the value of money. he comes to india out of compulsion and it is love at first sight for him with shruthi (ramya), daughter of his office manager .
but sruthi a practical girl asks him to earn five thousand rupees out of his own hard work. arasu is taken under the wings of aishwarya (meera jasmine) a friend of shruthi. she gives him shelter and a job in her place of work. and slowly our hero comes to know the other side of life as he works hard to earn money and soon aishu starts loving him. she also reveals her love to shruthi. what happens in the climax ?
as usual puneeth excels in dance and fights. his dialogue delivery is cool and casual. it is meera jasmine who overshadows everyone in the film. when she is on screen it is a feast. ramya also takes the cake for good acting. komal provides some lighter moments while srinivasamurthy is adequate .
music by debutant joshua sridhar is average as lyrics take a back seat. camera is adequate. on the whole
the video you have requested has not been rated and may contain content intended for mature audiences .
babruvahana | ಬಬ್ರುವಾಹನ | kannada full hd movie | dr. rajkumar | b. saroja devi | historical movie
naa ninna mareyalaare
song by vani jairam & vijay prakash @ 53rd bengaluru ganesh utsava. .! !
goa dalli cid 999 1968 | feat. dr rajkumar, lakshmi | full kannada movie
kannada comedy scenes | dr. rajkumar surprised to see heroine' s photos | chalisuvamodagalu movie
top 70 songs of dr. rajkumar | p. b. sreenivas | one stop jukebox | kannada | original hd songs
mohabbat ki nahi jati mohabbat ho jati hai | udit narayan, sadhana sargam | hero no. 1 songs
aadisidaatha | kasthuri nivasa – ಕಸ್ತೂರಿ ನಿವಾಸ | dr. rajkumar, aarathi, jayanthi | kannada song
jayanthi comes to meet dr. rajkumar | kasthuri nivasa kannada movie | kannada emotional scenes
sorry, we just need to make sure you' re not a robot. for best results, please make sure your browser is accepting cookies .
sorry! ! no result found for
ok
. please press enter for search .
you have reached the maximum number of selection. you can select only upto 4 items to compare .
the images represent actual product though color of the image and product may slightly differ .
some parts of this page won' t work property. please reload or try later .
the
most anticipated indian movies and shows
widget tracks the real - time popularity of relevant pages on imdb, and displays those that are currently generating the highest number of pageviews on imdb .
each title is ranked according to its share of pageviews among the items displayed. pageviews for each item are divided by the aggregate number of pageviews generated by the items displayed .
trippy indie madeline' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
want to share imdb' s rating on your own site? use the html below .
shruti seridaga is based on the novel by kumuda. it busts the myth of astrology. astrology charts mention first wife of dr murthy (played by dr rajkumar) would die within an year of... see full summary »
a inspector must find a girl who he has been traveling with, when she gets captured by a pimp and must rescue her .
sanskrit and upper - caste poet, kalidas, faces many challenges after falling in love with a low - caste woman, and being entered into a competition against a learned princess .
keralida simha is a 1981 indian kannada film, directed by chi dattaraj and produced by p h ramarao. the film stars dr dr rajkumar, saritha, srinivasamurthy, thoogudeepa srinivas, sathish, ... see full summary »
the plot summarizes the helplessness of a human being with relation to circumstances that surround him. this particular plot revolves around a boy who first runs away from his house only to... see full summary »
check out the indian movies with the highest ratings from imdb users, as well as the movies that are trending in real time .
explore popular sci - fi movies and tv shows available to stream with prime video .
encyclo. co. uk, online since 2007, is a search engine for english meanings and definitions. the website aims to publish all wordlists, big and small, on the internet, making it much easier to find the word you need. follow us on facebook
ensure your application gets content from any user, any device, anywhere in the world with filestack .
the feedback you provide will help us show you more relevant content in the future .
i believe there is a subtle difference between ‘misogyny’ and ‘anti - feminism’, at least in the context of film. imo, mannan belongs to the former because none of the female characters in the film exhibit feminist traits .
the film is grossly misogynistic in the sense that it follows the overused ‘taming an arrogant woman’ and ‘showing a woman her place’ templates .
the story is about the conflicts between a man - the caring son of a mother - and a man - hating woman - the only daughter of a millionaire father - ceo. the rest of the plot is woven around her attempts to take revenge on him (of course, by marrying him). but, as always, she ends up losing the battle and gets ‘reformed’ by her husband (the hero). in the end, the head strong woman ceo is merely reduced to a caring ‘lunchbox giving’ housewife !
this movie is a classic rajinikanth movie, his style and just his presence is magnificent .
the movie does portray a strong woman but she’s kinda an ass (yeah woman can also be assholes, equality yeah !), she’s ultimately tamed by thalaivar, yeah that comes out as anti - feminist, misogynistic even to some (honestly if you think this is misogynistic you shouldn’t watch old indian movies) .
summary - krishnan' s boss shanti is an autocratic, domineering woman and krishnan defies her many times. irked and revengeful, she manipulates his paralysed mother and marries him in a bid to control him .
) being announced as the number one industrialist in india. shantidevi is a rich and arrogant lady and rules her company with an iron hand. enters krishnan (
to see his mother. krishnan and shantidevi meet at the airport and their first meeting ends on a bitter note. krishnan learns that his mother is suffering from paralysis. krishnan quits his job in mumbai and decides to stay in chennai to take care of his ailing mother. his family doctor recommends krishnan to meet a renowned business man for his job. krishnan goes to meet the business man and on the way an elderly man, viswanathan, is beaten up by several men. krishnan helps him and takes him to a hospital and finds out that viswanathan is none other the business man whom he was going to meet. krishnan is asked to go to the factory only to discover that factory belongs to shantidevi who happens to be viswanathan' s daughter. shantidevi refuses to hire krishnan but later due to her dad' s compulsion she recruits krishnan .
) who is shantidevi' s secretary. meena is a very sweet and warm person who instantly falls in love with krishnan. in the mean time krishnan is elected as the union leader and shantidevi is not very happy about him as they have different views and ideas. they have frequent clashes due to this. meena decides to marry krishnan and reveals it to him. krishnan likes meena but advises meena to discuss it with his mother first. shantidevi on the hand decides to marry krishnan, but only to take revenge on him. she somehow convinces krishnan' s mother to get her married and krishnan obliges his mother. krishnan' s mother is not aware of shantidevi' s plan. shantidevi expects krishnan to stay at home post marriage but her plan back fires as krishnan continues as the union leader even after marriage. shantidevi changes a policy in her company which agitates all the workers and they go on an indefinite hunger strike, which is headed by krishnan. viswanathan realizes that his company' s image is at stake and takes over as the chairman. shantidevi is angered by this move saying that she has lost to krishnan. krishnan' s mother comes to know about their bitter relationship and dies immediately, out of guilt. shantidevi is being kidnapped by some of her business rivals, when krishnan saves her and ultimately she realizes her mistake. the film ends with meena being appointed as the new chairman and shantidevi as a homemaker leading a happy life with krishnan .
this new site reveals so much more. enter a name and state to begin .
the reports say that vijay will be starring in the remake of rajinikanth' s yesteryear hit movie
mannan
.
rumour has it that vijay, who is busy with his forthcoming movie
theri
, will be starring in the remake of rajinikanth' s yesteryear hit movie
mannan
.
the buzz says that sivaji productions has decided to remake its own
mannan
and cast vijay in the lead role. ace filmmaker ks ravikumar has been assigned the responsibility of directing the proposed project .
the makers want to begin the movie in april 2016 and the film is likely to have its muhurat on tamil new year, 14 april. the industry insiders feel that ks ravikumar is the ideal man to direct the movie, given the success rate that he has in churning out mass entertainers .
reports say that vijay will be doing a movie with bharathan before taking up ks ravikumar' s movie. it looks like the actor will be working on two projects simultaneously in the coming year. the makers are yet to confirm the news but if it is true, then it is the first time that vijay is remaking a rajinikanth film .
the telugu version, titled
gharana mogudu
, starred megastar chiranjeevi, nagma and vani vishwanath in the lead roles. it was also remade in bollywood as
laadla
starring anil kapoor, sridevi and raveena tandon .
vijay busy with
theri
currently, vijay is busy with
theri
. the talkie portion has been completed with a few songs pending to be shot. the makers have plans to shoot it in january and the movie, which has amy jackson in the female lead role, might release in the month of march, 2016 .
details production release info. vs pritam pyar tu mera. find and save ideas about kannada movies online on. madhu krishnamurthy on ee bandhana. dear fans of kannada. stars songs lyrics direction other. download songs yaava hoovu yaara mudigo. see more about movies online, watch free movies online and movie downloads. mp3 download only for review course, srinath kannada old songs .
beduvenu jogi kannada movie video song hd shiv. list of old kannada movies. raksha bandhana new kannada mp3. venkatesh, jayanthi, dwarakish, jayashri, ashwath. shre kanta new film song downlod free mp3. free ee bandhana adey bhoomi adey bhanu kannada. oho garala kantha mp3 .
download jogayya kannada mp3. currently running downloads. download jogayya kannada songs mp3. anyways people who are living abroad here is the glimpse of the songs below. gunna gunna mamidi dj video song folk dj songs. click to download button to generate hd quality mp3 file for download .
list of old kannada songs. mp3 songs by various, various kannada songs, various top songs. love endhare yaaru bidisadha. kannada albums by various, download. noorondu nenapu kannada old song bandhana kannada movie songs. download rajkumar ngs mp3 songs and play. direct download via http available .
the plot summarizes the helplessness of a human being with relation to circumstances that surround him. this particular plot revolves around a boy who first runs away from his house only to end up in a child labor camp and then in prison. later when he reunites with his sister he is unable to let her know that he is actually her long lost brother .
a worker in a factory marries the lady owner of the factory where he works. he tolerates her boorish behavior to keep his aged mother happy but upon the latter' s death, decides to teach his wife a lesson .
it was again re - made in hindi as laadla in which anil kapoor and sridevi played the lead roles .
it was also remade as mannan in tamil starring rajinikanth, kushboo sundar, manorama, pandari bai, goundamani, vijayashanti and visu .
duplicate god, wrong no. with english subtitles. full hd 1080p (www. switchplanes. com )
comedy kings | gowtam butler english jabardasth comedy scene (take. took. . taken... . )
hasiru thorana 1970 | feat. dr rajkumar, bharathi | full kannada hd movie
gaana yogi pachakshra gawai | saavirada sharanu | kannada video song | dr. rajkumar | kannada
remake lu, chinnappudu manam chadhavakunda vellinappudu exam raayadam rendu okate. script okaridhi, execution manadhi. indhulo rendu rakaalu unnai .
1. as it is ga unnadhi unnatlu pakkanodi daggara paper laakkuni dhincheyadam. 2. just side headings chuskuni, mana style lo manam raaskovadam .
chiranjeevi garu maximum second concept ne follow ayyi original kanna peddha hit lu kottina rojulu unnai. mottham thana career lo 10 blockbuster remakes unnayi. oka look eskondi mari .
5. prathibandh - ankusham (debut in bollywood can’t be better than this. )
chaala rojula tharwatha malli mana bossu thera meedha ‘katthi’ remake, khaidi 150 tho kanipinchabothunnaru. repu release ayyaaka aa movie kuda idhe list lo join avvali anni mai bhagavan ko prayer karthaa hoon .
also, do subscribe to our youtube channel to get more awesome video content delivered right into your inbox .
despite the streaming platforms. here’s why rangasthalam’s 100 days is a huge success for tollywood
from a cement godown to a beautiful set. here’s the set of largest crowd - funded telugu film
reliance jio’s giga fibre is finally announced. and there are a lot of surprises for users
what if. . bb - 2 contestants were authors? here’s how their books would look like. part - 2 .
unfortunately, kfi has been at the receiving end over the last several years. remakes have supplanted great scripts and writers. producers find it easier to remake rather than do the hard work and develop great stories. 60s, 70s and 80s were great because we developed great writers and used novels to produce great movies. there are just way too many to list .
to make matters worse, the kfi market size has shrunk from its peak of about 800 to 1000 theaters to about less than 400. other language movies have made huge inroads into karnataka. hindi and telugu movies are running rampant in north karnataka. movie like dhoom 3 and krrish 3 were released in 80 and 67 theatres in north karnataka .
hindi and telugu and tamil movies have penetrated even into c centers of karnataka reducing potential for kannada movies. dhoom 3 made rs. 37 lakhs in the first week from one theater in mangalore (big cinemas. it made rs. 26. 3 laks in week from satyam mysore and it made 1. 13 crores from pvr orion in the first week .
the best first week gross for a kannada movie at pvr orion is 24 lakhs for gaja kesari. at satyam mysore, it is about 11 lakhs for anna bond and in mangalore just about rs. 6 lakhs for anna bond. kfi is not even close to big movies from hindi in our own backyard. if we do not widen the audience pool, it will be very tough for kfi. producing quality original movies would be the first step towards achieving it .
dhoom3' s first week share was about rs. 60 lakhs in mysore city. final mysore city business was about rs. 1. 32 crores in just 4 weeks. only jackie, anna bond, hudugaru and raam have a bigger gross in mysore city than dhoom3. jogi did rs. 1. 3 crores in 2005. in 2013 value, it would be over rs. 3 crores .
in 2013, both chennai express and dhoom 3 grossed over rs. 1 crore just in mysore city .
anyway, kfi should adopt the malayalam industry model to an extent. while their home state market is only 50% of that of karnataka, malayalam industry has been steadily growing due to their quality products. they rarely remake movies due to abundance of talent in their industry. kfi would have to produce more mass movies compared to them due to the differences in audience tastes between kerala and karnataka .
as don indicated in some other thread, let us get those talents that penned fine scripts like drishyam elsewhere to write good original scripts for our movies. in fact there is historical precedence for that. salim javed were brought in to pen raja nanna raja and premada kanike in the mid 70s during their peak. if this was done during an era when kfi had an abundance of talent in karnataka, it certainly can / should be used now .
ol: .... easily the industry which is making maximum number of remakes in indian film industry... . 30 remakes in 2013 - 2014
irony is in karnataka most of the people blame kfi for not expanding the market... .. at the same time they watch and enjoy the remakes saying they want entertainment... .
dhoom 3 total first week gross from just 14 multiplexes in karnataka: rs. 6. 33 crores
the grosses of cinepolis, rockline, drc, laxmi pride & other smaller multiplexes are not reported. if you include those, dhoom 3 first week gross in karnataka from just multiplexes is about r. 9 crores .
in 2013, four (4) hindi movies have crossed rs. 10 crore gross in karnataka. krrish 3 – rs. 10. 5 crores, yjhd – rs. 13. 5 crores, chennai exp. rs. 15 crores and dhoom 3 – rs. 23 crores
while telugu and tamil affect the kannada movie grosses on single screens, hindi is a much bigger threat. telugu and tamil don’t even make 10 to 15% of hindi multiplex grosses in karnataka. so kfi has to truly market to multiplex audiences .
even financially, it makes perfect sense to market kfi for multiplexe audiences, due to the high ticket rates. dhoom 3 sold 35, 520 tickets at pvr orion in the first week. at a single screen, it would have yielded about rs. 24 lakhs using a unit rate of rs. 70 / ticket. dhoom 3 grossed rs. 1. 13 crores which is about 4. 5 times more than what a single screen would have grossed. while rates for kannada movies are lower currently, they certainly could match once the audience pool grows exponentially .
i would like to mention few telugu remakes of kannada movies. kannada movies per se have lesser collections as they have a smaller market compared to the telugu movies. so most of the remake movies have had a better run than their originals .
( 1972). it was directed by legendary kannada film director puttana kanagal. the film was critical acclaimed in kannada, but went on to become one of the well known films of akkineni nageswara rao .
( 1971). it was remake of school master. it gave the legendary actor ntr a fresh lease of life when he was running with series of flops .
( 1962). this comic drama film starring ntr & anr was remake of kannada film mane thumbida hennu .
( 1992) is arguably one of the biggest blockbusters in megastar chiranjeevi’s career. it was first south indian movie to cross 10 crore
. ironically, this telugu movie had a very long run at karnataka box office also .
( 1993). this classic family drama was remade multiple times in different languages. it was a remake of kannada movie mallammana pavada (1969) which was inspired by the novel of the same name. the novel inspired telugu movie with similar story line ardhangi (1955). it was remade 8 times across different languages. irrespective of the story origin abbaigaru was the biggest hit among all the remakes .
was a musical hit. it had retained the kannada song
enneno janmala bandham
from the original kannada version -
( 2003). yes. sometimes kannada films also provide unique ideas to balagaru such as pulling the chair and moving the train like spiderman. strangely, the original kannada version was a box office failure .
in late 90s, we can see a reversal of sorts in the trend where most of telugu remakes of kannada super hit movies not doing commercially well where as kannada remakes of telugu movies finding success even after ‘straight telugu movie releases’ in karnataka .
exclusive royalty - free music library for video and film projects. find your music track in seconds !
series in telugu. it is difficult to say if it was better than the original, but chiranjeevi made the two movies immensely popular .
the liberal prognosis of teleological triumph appeared vindicated when the soviet union collapsed days before the end of 1991. if we take the reductionist logic of the cold war between the united states and the soviet union as ‘capitalism vs. communism’, one ideology established a nonpareil. the hegelian dialectic supposedly reached its apotheosis when the foremost communist state splintered, marking the so - called ‘end of history’. triumphalist interpretations declared that liberal democracy and neoliberal capitalism prevailed to bring to eschatological fulfillment the enlightenment project. however, the cataclysm also interred the dream of a working - class utopia; the world was lost for the proletariat .
this regional narrative also captivated a national market through multiple adaptations across india’s major film industries. a telugu remake starring tollywood megastar chiranjeevi, gharana mogudu (‘rogue husband’, 1992) was a blockbuster and spawned a hit remake in hindi as laadla (‘beloved son’, 1994) starring bollywood’s top stars at that juncture, anil kapoor, and sri devi. a comparative reading of all three films reveals laadla to be a more faithful remake, whereas gharana mogudu is heavily inspired by mannan with major changes made to the plot to suit the star persona of chiranjeevi. there are talks of an updated tamil remake this year to coincide with the 25th anniversary, with a number of kollywood stars vying to reprise the roles of the original’s ensemble cast .
yet, two and a half decades later, mannan remains an under - studied text despite lending itself to rich and variegated interpretations from a spectrum of perspectives. a retrospective textual analysis must deal with both a literal reading in light of conventionalized interpretations and a second - order reading of the film’s connotations. gendered interpretations long held to be second - order analysis have now become the de rigueur denotative readings based on popular cultural memory .
intending to rekindle debates about the film, an alternative second - order marxist reading is proposed. the lesser known urtext also provides an informative starting point for reading the film. looking at mannan, through the lenses of contextualization, historicization, and concatenation, a sublated interpretation can be extrapolated. by retrieving the idiom of class struggle as the primary animator of narrative tension, a more complicated image of the semantic field mannan exists in emerges consonant with the polysemic nature of the text .
above all, mannan shows that power is determined not by gender but by power over production and power over human capital. rather than seeing the dialectical process as resolved, given the global context at the time of the film’s release, mannan reasserts the dignity of labor and the importance of working class mobilization to resist unfettered capitalism and dehumanizing competition. rather than suggesting prescience, it is more appropriate to see mannan as a palliative for the beleaguered left holding on to the hope of a society based on cooperation, between genders and classes, instead of competition. to the filmmaker’s credit, mannan marks out a cultural space for itself in ways that the remakes do not .
the narrative of mannan is prima facie a taming of the shrew - esque plot updated for' 90s - era india showing the power struggle between a beautiful young and successful industrialist and her corporation’s rambunctiously charismatic working - class hero. we are told in the film’s introduction that as managing director shanti devi (telugu cinema’s ‘lady superstar’ vijayashanti) has just made her company india’s ‘number one’. shanti manages her corporation with an iron first: dissent against her solipsistic vision is not tolerated. union elections in shanti devi & company are always walkovers - - no one has dared to compete against her candidate, the company’s sycophantic production manager secretly in cahoots with her main business rival .
that is until krishna (played by tamil screen legend, ‘superstar’ rajinikanth) challenges her totalitarian management as the company’s chief mechanic and popularly elected union leader. shanti feels threatened by the influence krishna has over the factory’s blue - collars, which she once monopolized in the labor - intensive manufacturing factory. after successfully manipulating his ailing mother to gain her approval that he does not transgress, shanti marries krishna. through marriage, she intends to either domesticate him or undermine his clout with the proletariat who would see him as the capitalist’s husband and not their comrade .
yet, shanti fails to defang krishna, who outsmarts all of her machinations. things come to a head when krishna exercises his influence as the union leader and calls for a hunger strike, which paralyzes the company. shanti has a nervous breakdown that she vents on krishna. heartbroken at witnessing the dispute between krishna and shanti, krishna’s mother dies. blaming herself for her mother in law’s death, shanti is on the verge of suicide. her main business rival takes the opportunity to try to murder shanti and her family but krishna saves everyone in a spectacular climactic fight scene. finally, an intenerated shanti tearfully admits defeat and begs for her husband’s forgiveness. in the last scene, we see her as a housewife. her secretary takes over as the boss .
south asian feminists lambast mannan as a misogynistic text perpetuating male - chauvinistic gender roles by valorizing a hetero - patriarchal worldview. they castigate the negative stereotyping of shanti as an emasculating castrator, antithetical to the more benign female characters who fulfill traditional gender roles. feminist interpretations about tamil cinema inveigh against the portrayal of shanti in mannan as bumptious because she is a powerful independent - minded woman. such fulminations resort to abridged designations of shanti’s complex character and tend to fixate on shanti’s conversion or her being tamed into a housewife by krishna. a recent article encapsulated this type of feminist critique :
rajinikanth exemplified the ultimate taming of the shrew in mannan, in which he puts his arrogant rich wife vijayashanti in her place - - the kitchen and the bedroom .
needless to say, the narrative reinforces gender polarities. krishna’s infirm mother, parvati amma (played by yesteryear actress pandari bai), and meena (played by' 90s starlet khushboo in yet another girl - next - door role), krishna’s love interest and shanti’s personal secretary, conform to traditional expectations of femininity. parvati amma is the archetypal “loving mother” of tamil culture who is “the ultimate image of the ‘good woman’ within popular film narratives”. unlike the usual' 90s rajinikanth - vehicle that opens with a high - octane song - and - dance number, the first song in mannan is a gentle paean to mothers and motherhood, which serves as a leitmotif repeated at various points to emphasize krishna’s devotion to his mother (source: sundar kaali, “narrating seduction: vicissitudes of the sexed subject in tamil nativity film” in making meaning in indian cinema, 2000) .
similarly, the moment romance blossoms between krishna and meena, she pines for the day he will marry and domesticate her. with dramatic irony, it is meena who becomes the boss of the corporation at the end of the narrative. the conservative meena is the figure of the “self - sacrificing tamil woman” who forsakes her romance with krishna for her boss whom she admires. yet she continues to take care of his stroke - afflicted mother - - a surrogate traditional wife. meena is also the surplus heroine who enhances the hero’s masculinity and virility, she gets a foot tapping fantasy duet with krishna (source: premalatha karupiah, “hegemonic femininity in tamil movies: exploring the voices of youths in chennai, india” in continuum: journal of media & cultural studies, vol. 30, no. 1, 2016) .
while traditional womanhood is valorized through parvati amma and meena, the hardline feminist tycoon shanti departs from these expectations. when she is interviewed on national television for being the boss of india’s top corporation she proclaims that women are superior to men. she proceeds to inform the female television reporter that men should be domesticated and women left to run the country. she concludes the interview by proposing her vision of conjugality in which she will be ‘number one’ and her husband will be the inferior ‘number two’. at work, the perfectionist shanti slaps a male factory supervisor for productivity shortfalls and yells at her male production manager multiple times for ineptitude. shanti humiliates a business rival who proposes a marriage union between his scion and her. her first meeting with krishna when they accidentally collide at the airport also leads to locked horns .
while there is some truth to these ruminations, it' s also fair to levy the charge of decontextualization or cherrypicking on feminist readings that are more popular cultural memory than thorough textual analysis. they criticize the legacy rajinikanth leaves behind for making female characters subordinate to his heroes in his action - masala films. while rajinikanth - vehicles do demonstrate a male - centeredness as phallocentric fantasies, mannan is less straightforward. popular memory has pigeonholed the film into excerpts, ignoring that it also condemns violence against women by showing krishna’s initial deployment of force against shanti as fruitless and promotes female empowerment to ensure that women remain in the most powerful position in the narrative. at the heart of mannan is the conceit that domestic violence, physical and emotional, is a civil war of attrition that inevitably hemorrhages both parties .
when krishna tries to save shanti from an industrial accident at the factory by carrying her away, absolutely livid at the physical contact, she slaps him. in retaliation, after a quick - fire sermon about traditional womanly virtues in tamil culture, krishna slaps shanti back (the sound engineer for mannan seems to have ensured that every slap or fingersnap in the film, whether from shanti or krishna, reverberates like a gunshot). rather than subduing shanti, as is expected of masculine aggression against women in action - masala films, krishna’s retaliation only emboldens her. when the camera catches her expression after the altercation, she is smirking; far from being cowed, she is invigorated by the clash .
shanti escalates her own aggressive maneuvers against krishna and he responds in kind setting in motion a vicious cycle of conflict. unlike the hackneyed taming of the shrew - esque tales in tamil cinema, the physical and emotional violence in mannan is neither asymmetrical nor decisive. shanti manipulates, traumatizes, and abuses krishna just as much as he does. this is to the extent where she overturns gender conventions in tamil cinema by laying a connubial trap for him. here the rajinikanth - vehicle departs from his established star persona as the angry young man of action, to realize the limits of using violence on his nemesis. instead, for the rest of the film, he uses his smarts to expose the contradictions of shanti’s business empire. only after a bloody and bruising dispute for both sides does she concede, albeit a pyrrhic victory for krishna. in retrospect, vijayashanti may have provided the most formidable adversary to the hero in a rajinikanth - vehicle ever .
the extratextual star economy only reinforces the textual analysis. the casting coup that gave rise to mannan prepares the audience for a gender war that will not be a foregone conclusion. consideration of the star economy in indian cinema is essential to the more balanced reading proposed. before this film, vijayashanti began establishing herself as a heroine in “female - centred action films” where she would routinely beat male villains to a pulp. in her analysis of the genre in indian cinema, film scholar lalitha gopalan suggests that vijayashanti managed to “corner some of the most spectacularly aggressive roles in indian cinema” as the avenging woman. unlike other heroines who play second fiddle to the hero, in her early' 90s - era heyday, she became known as “the amitabh bachchan of andhra pradesh” emulating the preeminent bollywood legend. as an action heroine, vijayashanti was an indian film legend in her own right (source: lalitha gopalan, “avenging women in indian cinema” in making meaning in indian cinema, 2000) .
moreover, an india today report from 1992 revealed that vijayashanti was the highest earning actress in indian cinema. her remuneration surpassed that of her peers in tollywood and even in bollywood. by the time mannan was released, vijayashanti had also established a major fan base and an immense reputation in the cinemas of south india. between the a - list of indian cinema’s action - masala genre, the report also established rajinikanth and chiranjeevi as higher earners than amitabh bachchan. in the ensemble cast of mannan, vijayashanti’s reputation as ‘lady superstar’, of course, positions her on par with tamil cinema' s ‘superstar’. braggadocio from both krishna and shanti is, therefore, to be expected. the star economy ensures that there can be no easy resolution that would too severely damage the dignity of either character, which would upset their fans. the star persona of both leads makes it difficult for the audience to anticipate the outcome .
at the end of the movie, the heroine becomes the submissive housewife, but the hero is not the boss of the firm. the way the denouement plays out overturns expectations that krishna would take over his wife’s role. instead in meritocratic fashion, meena takes over as managing director with hundreds of men under her charge (while laadla retains this, gharana mogudu completely abandons this progressive angle altogether). in fact, throughout the film, shanti is shown to be a highly successful captain of industry who earns the envy of her male rivals for her business acumen and for succeeding in the world of men. made the year after india' s economic liberalization, it is optimistic in its postulate that with the market being freed, women will also be released from domesticity to help power the country' s economic development. here mannan is progressive in suggesting that a woman could be a capable boss, which was still a rare development in south asia at that point in time .
if anything, shanti’s ‘type a personality’ appears to stem as much from her industrialist father’s deep regret at not having a male heir (as shanti’s nanny remembers) as it is from her competitiveness (it is only after she takes over from her father that the business becomes india’s best). we are told that her hotheadedness and self - righteousness also causes her to take umbrage at injustices, both personal and social. meena, shanti’s father, and shanti’s nanny, all point out similarities between krishna and shanti throughout the film. with many redeeming qualities, shanti seems designed to be a misunderstood anti - heroine set in not - so - diametric opposition to the tamil hero, whereas uma devi in gharana mogudu or sheetal jaitley in laadla, are caricatured as stock female villains .
australian folk duo luluc follows their breakout album passerby with a more ambitious sound that inspires reverence and awe on sculptor .
an unexpected collaboration between joseph arthur and peter buck produces a great summer record of noisy, dark garage - pop .
black salvation is a band that works the psychedelia into the hard rock with skill, and it makes for a very listenable album in uncertainty is bliss .
in a new interview, liz phair looks back on her first four albums, the legacy of exile in guyville, and being an inspiration to today' s female songwriters .
back on the road and determined to take the country by' storm', zz ward belts the blues and prepares to hit the high notes at her top tour stop. (second in a series on
women who rock
. )
martyn' s voids is reflective of an artist who has survived a life - changing trauma and, in doing so, visited the very darkest places a mind can go .
whatever anger has landed on her heart in the jungles of trumplandia, patti smith consistently performs the miracle of putting it down, as seen in her recently published prose - poem, the new jerusalem .
gorillaz' s sixth album is damon albarn hunched over his instruments, reflecting on the king kong he' s created .
the talent and diversity of early spanish synthpop music are downright astonishing, as the second interferencias volume proves .
in the development of television ,
color wars
are analogous to the adoption of vhs over betamax and blu - ray over hd - dvd technologies. murray' s study shows how the adoption of standards in media technology directly impact audiences to this day .
© 1999 - 2018 urltoken. all rights reserved. popmatters is wholly independently owned and operated .
html public
- / / w3c / / dtd xhtml 1. 0 strict / / en
urltoken
discussion about kannada films, actors, actress, technicians, news, music, reviews, previews .
last edited by goodman on tue jul 07, 2015 12: 32 pm, edited 1 time in total .
gopanna wrote: premada kaanike remakaa... . which one? ?? ?? ?? ?? ?? ? ?
the story for the movie was written by salim - javed. [ 1 ] [ 2 ] the film is loosely based on' justice viswanathan (1971). [ 3 ]
shreyas wrote: film nodkond bandmele listening to kele cheluve song again and again. . smitten by radhika chetan
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi . the film starred actor rajkumar along with madhavi , geetha and pandari bai . it was directed by : m.s. rajashekhar . the music director and composer was upendra kumar . song lyrics were by chi . udaya shankar . the film was highly successful at the box office . it was later remade in tamil as mannan , in telugu as gharana mogudu which is a bigger hit than original version and in hindi as laadla . 
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi. the film starred actor rajkumar along with madhavi, geetha and pandari bai. it was directed by: m.s. rajashekhar. the music director and composer was upendra kumar. song lyrics were by chi. udaya shankar. the film was highly successful at the box office. it was later remade in tamil as mannan, in telugu as gharana mogudu which is a bigger hit than original version and in hindi as laadla.
anuraga aralithu is a 1986 kannada film based on a kannada novel anuragada anthapura written by h. g. radhadevi. the film starred actor rajkumar along with madhavi, geetha and pandari bai. it was directed by: m.s. rajashekhar. the music director and composer was upendra kumar. song lyrics were by chi. udaya shankar. the film was highly successful at the box office. it was later remade in tamil as mannan, in telugu as gharana mogudu which is a bigger hit than original version and in hindi as laadla.