Why it's Key: This suspenseful scene is a
textbook example of Hitchcock's brilliant manipulation of viewer
identification. A symbolic object that becomes critical to the plot, the cigarette lighter is introduced a few minutes into this masterful thriller, which preserves the basic premise of the original novel but adds plenty of Hitchcockish variations.
Key Scene:Guy (Farley Granger), tennis professional, finds himself in the same train compartment as Bruno (Robert Walker), an eccentric fan who strikes up an awkwardly intimate conversation. Aware that Guy wants a divorce so that he can marry a senator's daughter, Bruno suggests that they swap murders: Bruno will kill Guy's wife if Guy will kill Bruno's father. Rattled by this proposal, Guy hastily departs, leaving behind his lighter, which Bruno pockets. A gift from his girlfriend, Ann, it bears the inscription "A to G" and is engraved with two crossed tennis rackets - a neat emblem of Bruno's "criss-cross" scheme.
Bruno keeps his half of the perceived
bargain and plans to frame Guy by placing the lighter at the scene of the
murder. On his way, though, he drops the lighter down a sewer and has to
retrieve it through a grating. At that moment, Guy is playing a tennis match
that he must win quickly if he is to stop Bruno.
Alfred Hitchcock generates suspense
by cross-cutting between both men's desperate exertions: Bruno thrusting his
arm deep into the dark storm drain and Guy lunging for every ball on the sunlit
court. Here Hitchcock, as usual, complicates the process of audience
identification. The viewer roots for the villain to reach the lighter that he
needs to incriminate the hero - a response that attests to the sly ingenuity of
Hitchcock's film-making!! The video contains a detailed analysis of the scene.
Some movies rest on their
artistry. Some artistry rests on you. Be sensible when you watch it - it takes
half an hour to grow. It's an exotic delicacy about a fragile, imperfect
human connection with some never before seen scenes on screen.
Richard
Swersey: In some cultures, when you burn yourself, it's a ceremony. It's called
self-immolation!! My uncle used to do it all the time. It was a great trick!!
He'd put the stuff on it, light it, and it would just go out when he went like
this (moves bandaged hand back and forth).
Richard
Swersey: After I lit it, I suddenly remembered: It's alcohol that burns, but
doesn't burn up. Lighter fluid just burns... and then I thought, "It's
okay. It's better this way."
Ram Charan: Asalu neeku RACHA ante emito telusaa!!
Jr NTR: DAMMUanedi pattukunna katthi lo kaadu blood lo vundaali!!
Ravi Teja: Edayinaa aata aadalante veyyalsindi DARUVU!!
Imagine an intro song in which the hero plays hockey using a football on a cricket pitch. Bizarre, thy name is Ravi Teja!! This scene and many others showcase his character in the most bizarre way. Adding to the surprises, the movie has got Vidya Balan and Nitya Menon as male comedians, footage of NTR, Chiranjeevi and Jr NTR from earlier franchisees of Man Vs Yama movies, funny reference to Rajamouli's Eega, and the hero donning the combo role of Kanchana and Chandramukhi to eliminate goons in a fight sequence. The movie has got enough elements to tickle your funny bone.
Daruvu is a socio-fantasy film with an age old yet successful formula of "Man meets Yama," but with a twist in the tale. The movie has many moments of glory coupled with right concoction of comedy and emotions. Certain moments make you fall from your chair laughing and certain moments are syrupy tearjerkers. But nothing takes you out-of-bound because everything seems to be controlled and calculated. It's one of the few movies in recent past where the second half outsmarts the first and has got a perfect interval block and a soul-stirring climax.
Ravi Teja's character is full of energy and this time he is revered for his cameo in negative role than the usual positive one. This guy has loads of talent, so next time he should be eclectic and judicious in selecting films that proves him as a versatile actor. Unlike the past debacles, Veera and Nippu, he didn't try anything super-humanish. He effortlessly carries the film on his shoulders, but nothing can hide poor writing and bad execution and this movie also falls prey to it. So the few good moments and high octane second half stand as saviors for this film.
The movie is entertaining in the first half and engrossing in the second half. You will be surprised to see such a second half in a Ravi Teja film. Though impratical, the director has shown new ways to give the hero a good samaritan tinge. The fast pace of certain scenes makes you aghast and gives an edge-of-the-seat aura to the film. But Alas!! Like loads of other Telugu films, this movie also has its share of half-baked supporting cast. The comedians Brahmanandam and Vennela Kishore shine all through the film, but heroine Tapsee, villian Sushant Singh and other negative characters in the second half have a subdued presence.
As all that glitters is not gold, Daruvu has its shades of dark. Poor graphics in the yamalokam set give us a feeling of characters walking on an uneven terrain. Lengthy narration could have been curtailed and certain lifeline moments should have been packaged well. Some scenes are silly and serious at the same time, they take you on a joy ride for some time and suddenly give a deep impact to give a turnaround to the story. Despite being illogical, scenes such as Amma, Naanna oh Nimmakaya breaks you into laughter. Again all the credit goes to Ravi Teja.
Vijay Anthony's music in the mass entertainer, except for the song Athili Chirabara Mass Raja, is thumbs down. It's there to extend the movie's length and otherwise does no good. To churn out a number that's appealing to local masses you need the magical touch of Devi Sri Prasad and nothing beats him. He only can understand the local flavor and deliver entertaining mass numbers in the present era. As a tribute to him, Dinka Chika is used many times in the film and it becomes a character's signature as well. Most of the times, the background score is loud and too darn loud.
Bottom-line:Daruvu, as the title says is "sound of mass," but with a "touch of class." The movie is a laugh riot and a treat for Ravi Teja fans with right dose of songs, fights, chases and twists. In the land of pseduo-successful Rachas and Dammus, this comes like a whiff of fresh air. Barring few flaws in script and execution, the movie is an entertainer and has primarily got two things that most of the films don't possess - SOUL and STORY!!
Do you know him??; War hero; Mr Gatsby doesn't exist!!; Gatsby, what Gatsby??
The
Great Gatsby is crammed with loads of sparkles,
extravagant sets, lavish pools, rich sequined gowns, the bright lights of 1920s Times Square, and
many more. Sometimes I shudder at what Baz Luhrmann makes of Fitzgerald.
Gauging by Bachchan's accent, something awful I might say. The saddening part for Amitabh Bachchan fans - His name
doesn't feature in the main credits. So guess the length of his role??!!
There's also a pretty big
mistake in the trailer of the film. It misspells the famed Ziegfeld Follies (http://en.wikipedia.org/wiki/Ziegfeld_Follies).
I wonder if they will correct this before the movie comes out.
Keeping all aside,
the biggest disappointment with this movie is that we have to wait until
Christmas to see it!!
Film-maker
Darren Aronofsky (http://www.imdb.com/name/nm0004716) purchased the rights of the Japanese animated thriller Perfect Blue, not because he wanted to remake it,
but because he wanted to use one particular shot of person screaming in a
bathtub in the movie Requiem for a Dream. He was so obsessed with the film that one can also
notice many similarities between Black Swan (He got an Oscar nomination for this one) and Perfect Blue. This shows Aronofsky's love for
the Japanese film and the influence it's had on him.
The legend of music and the
wizard of romance team up to bring the most awaited album of 2012 -Neethaane En Ponvasantham(Tamil)/Yeto Vellipoyindi
Manasu(Telugu). I suspect
Gautham Menon might collate all the important details of music discussions and
recordings and release the DVD/Blu-ray of "The Making of Music ofNeethane En Ponvasantham,"
something like the "Collector's edition." Gautham Menon seems to have
gone all prepared to the recording sessions - with photographs all over the
internet during the music-making and now videos being used in teasers. If he
really releases that, music lovers and Ilayaraja fans are in for a treat.
Again
it will depend on the film's success. Gautham Menon'sVinaithandi Varuvaaya(Tamil), after box-office success,
had a collector's edition release, with few BGM tracks on CD. Similarly,
if Neethaane En Ponvasanthamsucceeds,
he might - given the fact that he got the process of recording in
photographs/video and he has been using them to drive the marketing of the film
- so far at least. So, let's keep our fingers crossed. If things shape out
well, like a Director's Cut, we will be blessed with a Music Director's Cut!!
I'm ecstatic and super charged up for the release!!
I am not surprised at the hatred of some towards Department forthe reason that when you do anything completely different from a beaten path many tend to pounce upon you with claws and knives. When Oliver Stone made Natural Born Killers most reviewers said it’s a piece of visual crap, exhibitionistic, he lost his head etc., which then in the later years came to be recognized as a cult classic. When DW Griffith cut to a close up they said how can a man be shown cut in half and when the camera moved in a Georges Meiles film they said how can a point of view suddenly move.
Anyways the norm of critics these days is to bury the baby evenbefore it’s born and kill the mother for giving it birth. It’s incredible to see the sadistic glee they take in running the Director down on a personal level even more than they run down the Film.
They accuse me of chaotic self-indulgence. I don't know what that is but a Film eventually is a self-expression of a subject matter which I as a maker chose to tell in a certain style and in Department I chose a graphic pattern in terms of angles and movements which were intended to represent the mindsets of the characters the film is dealing with.
A photographic image is a combination of the look of the location,the lightning, the costume, themake-up, the look of the actor etc. and any camera will only record whatever is kept in front of it. Then of course there are the features of lensing, angles, movement perspectives etc., which would be employed as per the intended effect.In Department it's the rapid swish pans and some hitherto unseen movement perspectives, which bothered some people, but the same were also liked by lots of others.
Also the rogue method I employed for Department is an alternativemethod I proposed but not as a replacement to a conventional method. The conventional usage of the cameras used for Department have been already used in Slumdog Millionaire, 127 Hours and many other films the world over. In Department it's their unconventional rapid movements, which created problem for some.
In Department I just attempted to do a realistic story with characters that intrigue and make one think rather than spoon feed and I attempted to package that in a never before seen visual style and some people got it and some didn't.
It goes without saying that at the end of the day a Film’s likability is about its content and its narrative grip and the technical style employed doesn't matter to the viewer.
But having said that a constantly evolving innovative usage of the medium does add and sometimes also gives an emotional tone to the content and film eventually in its purest form is an emotional experience.
Thank God... Finally Saif
is back to what he's good at rather than saving the world. But it surprises how this trailer got some dislikes and the number is fast increasing. There seem to be lot of
angry souls who are victims of Saif's last film. So here's another one from
Saif Ali Khan's Illuminati Films to hit the screens. This one's directed by "Being Cyrus" director Homi Adajania - Surprises galore!! Hope this one will be a block-buster unlike the last
one.
Super charged... Super excited... Looks like a real cute film :) :)
In a
land where film-makers have cinematic eye for detail this rare genius believes
in cinematographic eye for detail. The man who pioneered the use of steadicam
in Indian cinema takes on the existing norms of cinematography with his newly
founded love - Canon EOS 5D camera. He used few of them without a Director of
Photography and abracadabra... RGV's Departmentis
ready!!
The
camera moves through hitherto unknown places in the action sequences and gives
freedom for the stunt-coordinators to gain perfection. Some low shots make
you feel that ants are carrying the camera. Camera behind the car steering, the
movement of striker on a carom board, tea-pan being taken to the cup for the
tea to be strained, Amitabh stirring a tea cup, and many such camera movements
make you perturbed. The constant movement of characters and the chase
sequences through crowded areas are a mark of vintage Varma.
This
movement would take the world of cinematography by storm and enables RGV to
reinvent the cinematic language thus creating an enhanced impact of the
characters' expression on audience. Classic school of film-making may term
the camera angles to be too casual and can't be called cinematic, but
breaking rules is RGV's mantra. He breaks them to the core in Department with
his patented technique of including upside-down frames and long
sequences. An amazing single shot in the second half shows RGV's
film-making prowess.
RGV's
constant exploration of the nexus between the underworld and the law, and
showcasing it with new modes of storytelling using his cranky camera forms
the crux ofDepartment. The
movie encompasses the nexus of business and crime called politics, crime and
business of politics, and the politics and business in crime with
finesse. The frantic pacing of an often told tale of cops cleansing the
city keeps you on edge of the seat. Of all the members of the cast, Amitabh
emerges as a winner. RGV takes his favorite actor to the next level in terms of
styling and characterization. His lively presence adds life and gives a
comic tinge to the proceedings.
Rana
Daggubati plays an ordinary man with conscience and believes in honesty. He is
a star in the movie and gets a full length role with more screen presence than
Sanjay Dutt. He delivers a lot in the action sequences as per the
demand. Sanjay Dutt as a cop shines in some scenes esp. the action
sequences where he performs the role with elan. Madhu Shalini got a role of her
lifetime, but she along with Mumbaiya dialect speaking Abhimanyu
Singh are simply absurd. As a fan of Quentin Tarantino, RGV seems to have taken
these characters from Natural Born Killers, but Woody Harrelson and
Juliette Lewis would run away if they see these two on screen.
Confusions
galore over Department - It's not just that the police in this
film are indistinguishable from the mafia, or that the mafia is
indistinguishable from the politicians. When the nexus is established in the
second half you feel relaxed. There are some scenes in the movie where you wait
for an epic moment to occur. But alas, nothing of that epic sort happens,
or even mini epics. Instead, you are left wondering what the point of that
scene was. Some scenes don't fit in the narrative and seem to be forcibly fit.
Careful guys, shabby editing can kill a movie. Another thumb down moment
in the film is the much hyped Nathalia Kaur's item number 'Dan Dan Cheeni.'
Company was
a journalistic probe into the politics within an underworld organization and
in DepartmentRGV
dons a journalistic cap to fathom the depth of politics within the police
department. The way of capturing drama along with the subject matter and action
sequences stands out in Department. The script is interesting, but
its execution can drive you crazy. The rest is a criss-cross of crossers,
double-crossers that you might have seen earlier in a gang-war film. The
only difference between loads of other gangster flicks and Department is RGV's
restless camera. You will stay puzzled after the movie thinking about
the difference between an illegally legal business and a legally illegal one!!
Department is
yet another path-breaking product in the crime genre of Hindi cinema that
resorts to unconventional storytelling. A strong
idea and an intent to tell a story in the most genuine way makes a truly great
director. A real director always tries to satisfy his storytelling quest, not
the audience. And only in this he achieves perfection and RGV proves it again.
A
lovely pairing, an impressive promo, native music style, and the song
"Main Pareshaan" pulled me toIshaqzaade.Habib Faisal is one of the coming
of age directors trying to make a thumping impression on the celluloid. His
history dates back toDo Dooni
Chaar,an excellent portrayal
of a middle class family full of realistic characters, and he was part of the
successful Band Baaja Baraat wagon penning the screenplay and dialogue. He's also
got some dismal ventures under his sleeve and the aforesaid ones are obtained
after winnowing the wheat from the chaff. His film-making style in Ishaqzaade reminds me of Telugu director
Teja who's made many such movies and was once revered, but now he's painstakingly
swallowing people's abuse for being repetitive.
Coming
toIshaqzaade, Faisal's
direction transformed a formulaic story into an intriguing one. He's struck a
perfect balance with the love story and the political rivalry in a town in
UP. The local flavor exuberates in every scene with picture perfect
visuals and Hemant Chaturvedi's camera effectively captures the raw
and rustic flavor of the land without which the story would have lost its
spice. The awesome chemistry between the lead pair with a choc-a-bloc of raves
and rants lights up the screen and you love watching them fall in love.
The
finely etched characters of the lead pair add to the sheen of the
film. Parma (Arjun Kapoor) is an unapologetic skunk who harbors intentions
of rising to the top of his family tree by proving himself. Zoya
(Parineeti Chopra) is a bubbly girl who has more pluck than the male members of
her family. She's a firecracker and no body dares to match her wits and if
someone does then her incisive, acid tongue comes into play and chills
run down their spine. There is no physical attack from her end but the physical
damage is already done.
Despite
some meticulous effort by the director to spin a perfect yarn, the film falters
as it meanders into second half and gives you a pause. Extremely
predictable happenings kill the joy of movie-watching and the same happens with
this film. Except for the twist-in-the-talish ending, every scene in the latter part of the
film can be predicted miles before. The display of utterly
eloquent cinematic language in the first half suddenly struggles searching
for words in the second half. Tongue-in-cheek moment is when more bullets than
a JP Dutta film are fired in the film and miraculously no one dies. Like many others this movie has also fallen prey for cinematic liberties.
How do
you feel when someone cuts the wings off of his/her best asset? - Without a
second thought you would speedily cut the wings of that person who's committed
such a heinous crime. After watching this film everyone will run after Habib
Faisal's life for diluting Parineeti Chopra's angry and independent Zoya and
transforming her into a sob sob gal, oppressed and bashed throughout, and for
draining all sparks of life from her. The inflection point in Parma's
character, he traversing through dark emotional terrain, his struggle to resurrect
his love and a subdued Zoya makes the movie struggle to find a tone. Everything
happens in a jiffy and you feel the need for a scene or more in the
second half for proper character reincarnation of Parma.
By the
time the end arrives, the audience tries to don a thinking cap and their
creative juices trickle down. They are hooked to the screen expecting for
something unexpected to happen and feels happy if their imagination is mirrored
on screen or curse the director for making them take a step back. That's an
innovative move from the director tweaking the pre-conceived notions. Despite
the flaws, the movie's fascinating and
shines at many places esp. all through the first half, but your patience levels
are tested in the stale second half. The phenomenal background score of Ranjit
Barot needs a special mention and one can't resist swaying to the lilting
tunes of Amit Trivedi.
The new "Five Point
Someone" in Gabbar Singh style!!
1) eclectic (adj):selecting or employing individual elements from a variety of sources, systems,
or styles.
The director synthesized some familiar and not-so-familiar scenes into enticingly enjoyable
film. The way he spun a perfect yarn to please "Power Star" fans, who are
earnestly waiting for a hit film, is commendable. He found his groove and his muse
in Spaghetti Westerns and created the wild wild west aura in the opening scene
and the composer complements with western-style guitar strums.
Both should be fans of Clint Eastwood and his definitive westerns. Needless to
say, anyone coming out of RGV stable pays homage to Sholay and Classic Hollywood. The dialogues for Pawan Kalyan's role of a comical yet powerful police officer are written with utmost care and perfection. Harish Shankar, take a bow.
2) analogous (adj):similar or equivalent in some respects though otherwise dissimilar.
The film is less of a remake and more of an original. Although the key elements
and characters are taken from "Dabbang," the movie went through major metamorphosis. Salman Khan, Sonakshi Sinha, Arbaaz Khan and Sonu Sood were four pillars in
the original but in the Telugufied version it's only Pawan Kalyan who's donned the role of foundation, pillars, roof and everything else. Excessive emotions, unwanted scenes,
love story of Arbaaz (in the original) are curtailed to present a tailor-made
platter for Pawan fans that's heavy on witty dialogue and "expect the unexpected" punches. On the flip side, unlike the original version, the hero fails to establish an emotional bond with the audience.
3) hilarious (adj):characterized by or causing great merriment.
Surprisingly, Ali gets
more screen presence than Brahmanandam. Both got well written comic roles and
their dialogues shine as always, and there are umpteen references to Pawan's earlier films that add the much needed fun element to the movie. Harish Shankar retained most
of the supporting cast of "Mirapakaya" and they surprise with their
performances. In the second half, the "Antakshari" scene with mockery of Dr. Rajasekhar (the actor) becomes the nerve
center of the film's comedy. Jayaprakash Reddy's cameo, Samba (Ali) writing the
punch lines, Brahmandam carrying larger than life cut-out of Pawan Kalyan, etc., are some rib-tickling moments
that linger for long time.
4) misfit (n):something
that does not fit or fits badly.
Pawan's earlier film and
this one had a common problem - the choice of the female leads Sarah Jane Dias
(in Panjaa) and Sruthi Hassan (in this film). Both look uber cool as urban
lasses but lose their sheen when they drape themselves in half-sarees. Sruthi could
not ooze the villagish aura that's required for the role and was a definite misfit.
You can't relate her to Sonakshi Sinha who's perfectly fit in the jar of a village belle and can
be preserved till eternity. Another misfit is Nagineedu, the villain who's been adored for his towering presence in his earlier films, is given a miniature role. Ohhh my gosh what they expected from Happy Days 'Appu/Gayatri Rao' by making her an oversexed village gal is still indecipherable.
5) verdict (n): an
expressed conclusion; a judgment or opinion.
Power Star's
powerful/comical/emotional/entertaining/energetic/enigmatic/playful performance in the
title role will be revered till next life. Devi Sri Prasad's music is already
on top of the charts and his formulaic use of Baba Sehgal for the title track
came out well. The background score is bland and in typical Devi Sri style, the theme and the signature tune were stretched till their death. Watch out for "Pilla" and "Kevvu Keka," I
bet you can't hold your feet together. We jumped from our seats and joined
loads of dancing gangs in the theatre. The film is a peculiar example of an old
wine in a new bottle where you like both the wine and the bottle. Naa anchana prakaaramu ee cinema kona oopiri tho vunna Telugu cine parisramaku oxygen cylinder laantidi.
Very very intrigued. The
first teaser trailer of Salman Khan's "Ek Tha Tiger." Is it India's
answer to the Bourne series or a parody of that??!! I hope the makers didn't learn lessons from other Indian Bond / Bourne franchisees - "The Hero: Love story of a spy" and "Agent Vinod." Anyways, let's make way for Jason Tiger!!
Why it's Key: This is
the only scene where you can see Pacino and De Niro together in the entire
movie. Michael Mann's stupendous display of screenwriting can be seen in this
commendable scene.
Key Scene: It is
essentially a conversation between two men who seem to exist only in each
others' universe. They discuss the discipline of their chosen professions and
reflect on their ultimate intentions while having coffee. Although they come
from the opposite sides of the law, they are civilized amidst the chaos that
has, and is about to ensue. Excellent display of war of wits by the characters
is shown by the use of incisive dialogue. They go so far as to kindly let the
other know that when times comes, neither of them will hesitate to let instinct
take over and do what they think has to be done.
Favorite
Line:
Neil (Robert
Di Niro): "I do what I do best, I take scores.
You do what you do best, try to stop guys like me."
Mark "Rent-boy"
Renton: I don't feel the sickness yet, but it's in the post. That's for sure.
I'm in the junkie limbo at the moment. Too ill to sleep. Too tired to stay
awake, but the sickness is on its way. Sweat, chills, nausea. Pain and craving.
A need like nothing else I've ever known will soon take hold of me. It's on its
way.
You can go ahead and read
the book if you haven't. Take it from me, you will be talking like a Scot
junkie for the next few days. "Choose life. Choose a job. Choose a career.
Choose a family. Choose a big television. Choose washing machines, cars, compact
disc players and electrical tin openers..." so does the opening voice-over
says in this 1996 cult crime drama film from Danny Boyle, the director of Slumdog Millionaire. I LOVE the
movie and LOVE the soundtrack. Gross yet stylish, that's
"Trainspotting" for you.
Why it's Key:A great work of the trio "Mani Ratnam - Ilayaraja - P C Sriram" that contains many stupendous moments of film-making.Nayaganisn't just a splendid homage to Francis Ford Coppola'sThe Godfather.It's also one of the best examples of how mainstream Indian film-makers effortlessly synthesize diverse influences to produce a hybrid form that nods both to orient and occident. The film was nominated asIndia's official entry for the 1988 Academy Awards. In 2005, the Time Magazine includedNayaganin its list of"All-Time 100 Best Films".
Key Scene:The movie's centerpiece is a vendetta sequence that referencesThe Godfatherbut also establishedMani Ratnam's mastery of composition, shot breakdown, and narrative rhythm.Neela (Saranya), wife of an up-and-coming smuggler Velu Naiker (Kamal Hassan) has been gunned down by his rivals, the Reddy brothers. Naiker swears revenge before his wife's cremation rites have been completed. Thus begins Nayagan's most chilling sequence, in which Naiker consolidates his position in the underworld.Through a series of cuts, edited to a rhythmsimilar to the sequence inThe Godfatherwhen Michael Corleone avenges his brother Sonny's killing, the Reddy brothers die one by one. The sequence seamlessly weaves together several gorgeously composed shotsthat depict Naiker's goons killing one brother while frolicing with prostitutes and another at the parking lot. Naiker takes the third brother himself by shooting him in the eye through a peephole.The sequence lasts a few minutes but lingers in the mind long after the film is over.
There are many such scenes in the film - Naiker avenges his foster father's death, the hospital scene, the first interaction between Naiker and Neela (and the divine BGM that complements it), Naiker visiting his daughter's place, the climax scene where his grandson asks whether he's a good man or a bad man, and many more.Every scene was nurtured to perfection and given a unique treatment that stood as a hallmark of screenwriting.If anyone had asked me what's my favorite movie of all time?, I'd probably chose this one without a second thought. Mani Ratnam's movies display precision and poise and replace the declamatory dialogue dear to Tamil movies with meaningful pauses and crisp lines.Nayaganis one of the best examples of Mani Ratnam's cinema and a welcome addition to the postGodfathergangster-film tradition.
Watch this video from 4:05 to 7:05
That's all folks, I will be back soon with SEEN this SCENE # 2.
At times, a movie scene is
remembered more than the movie for various reasons.
1) It sets a milestone for
the narrative and the movie changes its course from that scene.
Eg: When
"Amelie" finds an old metal box filled with childhood memorabilia,
she tracks down the now-adult man to return it to him and later becomes a secret
matchmaker and guardian angel by solving people's problems)
2) It introduces some key
elements/characters to the plot, and many scenes are inter-weaved around that
scene making it complex and pivotal.
Eg: Most of the scenes in Alfred Hitchcock
films.
3) It involves
sophisticated camera movement to show realistic and dramatically significant
background and middle ground activity. Actors range about the set transacting
their business while the camera shifts focus from one plane of depth to another
and back again.
Eg: The first scene in the jury room of "12 Angry
Men," where the jurors are getting settled into the room. It's also the best example for sequence shot.
4) It acts as an indicator
in non-linear films and there's a back story from that point. It helps in
establishing a perfect flaskback-intercut-with-realtime-scene.
Eg: The accident
scene in "Amores Perros."
5) It brings the
protagonist and antagonist together, maybe for one time and they discuss about
the IFs and BUTs of the situation they are going through.
Eg: Al Pacino and
Robert Di Niro in the famous restaurant scene from "Heat."
There can be many
interpretations of such scenes. This feature talks about the pivotal scenes in history of cinema that changed its course and the way the audience look at movies.
One of the art world's
most recognizable images, Edvard Munch's "The Scream," sold for a
record $119.9 million. This painting inspired the trademark Macaulay Culkin
expression in "Home Alone" series.
A fairly common line that people generally use, I've come across
it in numerous sitcoms and rom-coms too. Here it gives a taste of the character
ofRobert Pattinson who is
growing upand hopefully so
will all those "I want a bella in my mouth" chicks. Violence, dread,
masochistic and Cronenberg? Oh yeah!! Looks like "The Fly" all over
for me. I can't wait for this one. Ohh, there's a God and he hates "The
pansy Pattinson," this looks intriguing. Those chicks who obsess over
"Twilight" should definitely watch this movie. The tagline outta read"Pattinson grew up. What about
you?"
That
was exactly the same thing I was telling a Twilight fan girl over chat the
other day. One just needs to rememberBullet
Tooth Tony's(from Guy
Ritchie's "Snatch")evergreen
truthwhen referring to the
Twilight fans,"One
should not underestimate the predictability of stupidity"and the rest will fall in place. Also,
let's not forget the famous quote of Stephen King - "Twilight is about how
important it is to have a boyfriend." After taking so much of load she
didn't care to reply, alas!! But still, Pattinson's face is woody in most of
the scenes."This
dude simply can't act" - Remember Me!!
I am a
little worried for this film because the original novel, by Don DeLillo, it was
based on has very average reviews. This is usually a sign the film is not going
to do well. On the positive side, it looks like it's shot very well, it hasPattinson who is dying to prove
himself and it has Paul Giamatti who is the film industry's "Resident
Midas."I have a lot of
faith in David Cronenberg, let's see if he lives up to it.
After decades of wait, a multiple superhero movie got released. Two
years of planning by Paramount pictures went into making this movie with an
ensemble characters. In 2010 during second half of "Iron man 2," Tony
Stark met Nick Fury and Black Widow. 2011 was the year when world was
introduced to ancient time warrior "Thor" and his mighty hammer.
Later in 2011 during the climax of "Captain America," he finds
himself in a time capsule. In this way Paramount has set up this whole thing
and created an ambitious project, and it's paid it enormously in terms of
profits and we got our heavy dose of entertainment. It's an absolute chaos when
all these superheroes come together on screen!! Welcome to "The
Avengers" - A unique concept of bringing together different superheroes in
one movie to fight against the evil for world peace. The heart and soul of the
film is the last 30 min that's just awesome & splendid. Hulk and Iron man
steal the show. Loki does his best as the cool evil. Don't miss this film :) :)
Jalsa: Yuddam ante satruvuni
champadam kadu satruvuni odinchadam
Dammu:
Yuddam ante gelavadam odadam kaani champadam chaavadam kadu.
The central theme of "Dammu" is based on the above
mentioned quotes.It is a
tailor-made film for Jr. NTR fans that takes him to the next level in terms of
performance.Boyapati Seenu
etches him as a person who relies on his thinking and reasoning rather than
getting carried by the stream. Hence the reactions and emotions are controlled
and sophisticated. The sensitive side of a macho hero is a nuance that is least
explored in our films and Jr. NTR shedding tears in the middle of bloodshed
comes as a surprise.It seems
like he's gonna embark on his political journey with this film.Lot of preaching, many dialogues
abusing the ruling party, and how people made fools of themselves bringing them
to power is evident in many scenes. The one thing that does not leave NTR's
films is the reference to clan, surname, blood, etc.God save the actor.
Though it's a simple drama detailing the rivalry between two
belligerent feuds, it depends heavily on the characterization of the people in
the story. But alas!! some characters are elevated whereas some are grossly
wasted. Bhanupriya in the mother’s role is left silently weeping all through,
without make-up, but she could not relive her role played in
"Chatrapthi" for which she's revered till eternity. And how can
someone rope in Trisha and do not instill any romance in the movie?Now I could see a reason why Sruthi
Hasan walked out of the film.Karthika
is refreshing, she adds some spice with her peppy lines and comical touch. The
underlying message of the film is that we live in a male chauvinist society
where men are protectors and a royal family is incapable of dignity merely
because it doesn't have a male child. It implies that women basically don't
count and they are still treated as an instrument of progeny.God save the film-maker's thinking.
Boyapati Seenu, please wake up and smell the coffee,"Simha" was a surprise
package that worked for a bunch of reasons,but every day is not Sunday and one
can't recreate the magic with same formula again and again. One can see the
traces of all the past films of Jr. NTR (Aadi, Simhadri, Samba, Brundaavanam
etc) in this one.Even though
Dammu is well-presented, and several dialogues shine, the fatal flaw is its
plot that was in use when dodos existed.Some
scenes are innovative and cause loads of adrenaline rush, but the causative
factor for such scenes makes them illogical. The movie is primarily aimed at
male audience who likes violence, one person thrashing many goons,
self-exploding Jeeps, Sumos, Scorpios and what not!! The fight sequences are
dragged like chewing gum, though enticing at the beginning they lose their
steam in the end. As the story unfolds in the second half one is bored to death
with the clichés.God save
Telugu cinema.
The film's loaded with a magniloquent background score filled
with loud chants and trumpets. M M Keeravani tried to create some magic
(apparently from bits and pieces copied, err, borrowed from OSTs of world
cinema) but failed miserably making it a tiresome musical experience.I can't understand why Keeravani is
not giving any melodies??Where
has gone the musical wizard who gave us Jaamu Raatiri (Kshana Kshanam), Telusaa
Manasa (Criminal), Awarapan Banjaarapan (Jism) among others?? What we get from
him are mass numbers that are remembered for their offensiveness of the lyrics.God save Telugu music.
