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Bunny rejects a massive deal for Pushpa: The Rule

Stylish Star Allu Arjun is completely focused on Pushpa: The Rule and he is not in a hurry to commence the shoot. Sukumar is giving the final touches to the script and the pre-production too reached the final stages. The shoot is expected to start in the mid of August and the film will release next year. The makers received a massive non-theatrical deal and the asking price was more than Rs 100 crores. Allu Arjun straightaway rejected the deal and he asked the makers not to lock any early deals.

Mythri Movie Makers closed all the non-theatrical deals of Pushpa: The Rise in advance and they would have pocketed more if the deals are closed right before the release. Bunny is not in a mood to close any deal for now. There are also talks that Bunny and his father Allu Aravind will involve in the film’s business as Mythri could not handle the business of the first installment well. There was an issue with the Hindi rights of the first part and Goldmine Telefilms was made as a partner in the Hindi theatrical version. To avoid such deals, Allu Arjun is personally taking care of all the deals.

Rashmika Mandanna, Anasuya, Fahadh Faasil and Sunil will reprise their roles in Pushpa: The Rule. Devi Sri Prasad scores the music and Mythri Movie Makers are the producers.

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Allu Arjun gets a powerful villain on board?


Stylish Star Allu Arjun returned back to work with Pushpa and the shoot commenced a couple of days ago. Sukumar is the director and Pushpa is set in Chittoor and is about the red sandalwood mafia. Sukumar has been in the hunt for the right actor to essay the role of the powerful lead villain. After Vijay Sethupathi said no, Sukumar was puzzled and he considered several Bollywood actors to get a pan Indian appeal. But he wasn’t convinced with the actors and he decided to go ahead with Tamil actor Arya.

Arya played the lead villain in Allu Arjun’s Varudu. The actor is now in talks for the antagonist in Pushpa. An official announcement would be made once things are final. Allu Arjun and Rashmika are currently shooting for the first schedule in Maredumilli forests. Mythri Movie Makers are the producers and Pushpa releases next year. Sukumar got a new look designed for Allu Arjun and the top actor plays a lorry driver in this film. Devi Sri Prasad is on board as the music director.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Is it fair ‘ Bharath anu Nenu ‘ team ?

Stylish star Allu Arjun is currently doing the movie “Naa Peru Surya” in the direction of writer Vakkantham Vamshi. Release date announced to be on 27th April 2018 on the day when shoot began in August 2016. Usually in industry there is a tradition if any big hero announce the date others won’t announce same date unless it’s a Dussehra or Pongal or any other big festival that can accommodate more movies. But Mahesh & team appears to be ignored unwritten rule.

Mahesh- Koratala movie Bharat Anu Nenu (BAN ) was supposed to be released during Pongal 2018. But they could not finish the movie due to various reasons. So now they planned release of BAN also on April 27 date and Allu Arjun booked that date long back.

Bunny camp is determined to stick to Apr 27 as they planned that date long back and they are progressing as per the planned schedule. Moreover, there have been instances in the industry where one camp changed the date of their release after discussions. But it is surprising to see BAN team did not explore the option of any such discussions before announcing their release date.

Anyway it would interesting to watch how the fight for screening theatres ends and who emerge winner at box office.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

DJ Effect: Pooja Hikes her Fee


Dusky beauty Pooja Hegde made her debut in Tollywood with Varuntej’s Mukunda. With back to back debacles, the actress is struggling to gain popularity. Here recent Bollywood biggie Mohenjo Daro with Hrithik Roshan ended up as a huge dud and it was during this time a golden opportunity knocked Pooja. She has been roped in to play the female lead in Allu Arjun’s next movie Duvvada Jagannadham. This Harish Shankar directorial is one of the most awaited films.

Pooja Hegde’s presence from the film received wide response and the actress has been approached by many filmmakers. The latest update is that the actress hiked her fee and she signed her next beside Bellamkonda Sreenivas and the film will be directed by Sriwas . She reportedly charged Rs 1.5 crore for the film and the makers are happy to pay the quoted figure. The film is expected to start rolling from August this year.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

Allu Arjun voice over for Charan is just a rumour


Since morning speculations are rife that Ram Charan is eyeing a Kannada remake after wrapping up his current project with Sukumar. As per the reports in some of the media houses, star producer Allu Aravind is vying for the Telugu remake rights of Kannada film Bahaddur which released in 2014.

It has also been widely speculated that Allu Aravind is planning to rope in Stylish star Allu Arjun to lend voice for a crucial part in this film. A close source to Geetha Arts said that the project was in talks way back in 2014, but due to various reasons it didn’t take off. The source added that Allu Aravind was keen to remake the film in Telugu ,but it is not likely to happen in the near future as the production house and Ram Charan are busy with other commitments.

The source added that it is ludicrous that even before a project was officially announced how could the details about the the actor giving voice over can be confirmed.

Both Ram Charan and Allu Arjun are currently busy shooting for their upcoming films.

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.

S/O Satyamurthy Review

The much-awaited film from ace director Trivikram starts out with an ominous censor certificate that puts the movie length at 162 minutes. You expect plenty of fireworks because the starcast itself calls for a Tollywood party – Stylish star Allu Arjun, Kannada Superstar Upendra, Mollywood cutie Nitya Menen, Samantha, Rajendra Prasad, Sampath, Rao Ramesh, Ada Sharma, Sneha, Sindhu Tholani, Vennela Kishore,  Kota, Brahmanandam and of course, late MS Narayan. With that kind of a starburst and the scale of budgets of a generous producer like Radhakrishna, one would expect Trivikram to deliver a blistering output that will glow on screen. Instead, what you get is a not so entertaining stuff and despite a lavish extravaganza and touchpad characterisation – the persona of the film slips and something  pulls down the rating of the film in the wake  of Trivikram’s celluloid capabilities.

Get it straight, there is nothing wrong with the film or the plot or the characterisation. The story itself is narrated first like a trailer of thirty seconds with visuals cut and pasted across the length of the film and then winds its way back to the inception. Anand (Allu Arjun) is the son of Satyamurty (Prakash Raj) with a networth of Rs.300 crores. Prakash Raj dies in a car accident and the world of Anand and his family of brother, his mother and himself is turned upside down. They lose the crores because half the net worth is leveraged or no, half the networth is in equity shares or wait, there is a land parcel. Whatever the rigmarole, Anand sells the assets and pays the dues disregarding the advice of Rajendra Prasad (friend of Prakash Raj) to dupe the public and make away with the debts. Because of the values that Prakash Raj instilled in Anand and because of the goodwill of his father, Anand takes the onus of repaying all the debts by fair means. And he embarks on a journey – first to earn something to pay off his niece’s school fees. This journey takes him on voyage of self-confidence as he gains good name wherever he goes – Rao Ramesh who breaks the marriage of Allu with his daughter Ada Sharma, Samantha who gets smitten by his level-headedness in giving up three hundred crores. Destiny takes him to Rajendra Prasad again because his daughter Samantha  is in love with Allu (Anand). Anand now enters into a bet with Rajendra Prasad to get original title deeds of a property in the custody of a quasi-government authority Upendra who heads dozens of villages and maintains an army of 600 (Looks like double the number of “300”) and marry his daughter. Upendra has another daughter Nitya Menen – and there is a twist in the tale but that comes after  a lengthy characterisation. On the whole, the story despite a complicated structure is not inexplicable. It is just about a young man who is determined to keep the reputation of his dead father high long after he’s gone  and how he succeeds thanks to a strong set of values imparted by his father.

What helps the film is the framework of story-telling with utmost dignity and class. Performance by Allu Arjun breathes life into many listless moments of canned jokes and quotations and the pet peeves of Trivikram on middle class moralities and values. His dancing skills are outshined by his emoting this time – using variety of accents and impressive one-liners, Allu Arjun packs quite a punch. Upendra with a baritone voiceover by Ravi Shankar makes his formal screen appearance after interval and gives an electrifying performance – something steals the thunder from everybody including Allu Arjun. His character has the X factor that elevates the second half despite everything else coming unstuck. Rajendra Prasad whose chemistry with Allu Arjun worked in “Julayi” extends that in this film with greater length and impact. He gets many genuine laughs especially the scene where Ravi gets killed while eating lunch with Upendra. Rajendra Prasad gets the best one-liners in the film. Samantha doesn’t have the depth in her acting to supplement the over-dosage of giggly vivacity she gave us since her first film. Nitya Menen has been grossly under-utilized and she gets short shrift in every frame  – at the cost of Samantha. Since Nitya’s next film is a Mani Ratnam release, this role is neither fulfilling nor memorable. Prakash Raj – whose character is the reference point for the entire movie and climax hardly gets to speak. His dialogues must be about half a page, Trivikram could have highlighted more instances of what made Prakash Raj such a principled man – you could have built a few scenes highlighting him because the message kept ringing that he was a man who stood for public good through Anand but not from Satyamurty himself. Others like Kota Srinivas Rao and MS Narayan have a handful of impactful dialogues. MS Narayana, especially brings out tears with his hug with Rao Ramesh – it’s a pity he died while shooting for this film. The result: dubbing for MSR is done by- someone else. Brahmanandam’s character has become ad nauseum – again, demand for a “Bakra” and all that. There has to be a saner way to bring Brahmanandam to life. If one has laughed heartily in the film  – and that happens in 3-4 scenes, it is not always with Brahmi on screen.Sampath is wasted. Fights by Peter Heins are well-composed: the fight with water hosesand the one in Upendra’s house stand out for their variety. Music by DSP is not in the same league of Trivikram’s or Allu Arjun’s earlier films. All songs are mass beats or fast beats. 

What undermines the film is the length – you could knock off forty minutes and still convey the kernel of the message. Trivikram has, for the first time faltered in this film. IN his bid to make an intelligent film, he lost his sharpness and clarity of thought. It is not clear how the Rs.300 crores networth ended up, how  it shrunk the lifestyle of the hero, what the company’s business is that suddenly skyrockets the valuation to ten crores, what is the connection of property papers lying with Prakash Raj and the business he is in. There is title justification but if only Satyamurty’s character is illustrated well, more key messages of relevance to today’s youth would have registered; it is important to inherit the values more than the assets of your elders. For a long time, Allu keeps mouthing clever aphorisms from Ramayana and Mahabharata which bore you like a vegetarian meal without salt and sambar. In spite of the load taken by the hero in preserving his dead father’s goodwill, there are inconsistencies in Anand’s character. He uses a short cut to fabricate stamp papers at the behest of his friend, he doesn’t reveal to Upendra first that he is not in love with his daughter but with someone else. There are inconsistencies with Upendra too – for twenty years, everybody except his wife knows his super-violent streak – that is highly implausible. Treatment-wise, the film is burdened with the same  genres that Trivikram likes to deal with. If you take “Julai and “Atharintiki Daaredi”, and mix them up with a bigger starcast, you get the experience of “S/o…”. Trivikram has mellowed in his aggression in violence and his story-telling is still a pretty above-average throwback to the old movies of B&W era where producers and directors collaborated with a mission to deliver quality films  – high in production values and high in morality. In fact, if you take many of Trivikram’s dialogues which have received dizzy heights of popularity, there is an undercurrent of old movies’ one-liners which are repackaged with modern makeup. For example, “Luck has come to give you a shake hand but Misfortune has jumped the gun to give you a lip-lock kiss.” Or something to that effect. These kind of dialogues were dime a dozen in old Tollywood films but Trivikram’s copywriting approach has sharpened the wordiness – despite sounding repetitive. He will also use one or two Telugu words which are incomprehensible to the current generation who ceased to have Telugu as their third or even optional language in curriculum. For example, in this film just like “Ayimoolagaa (Or Diagonally)” used in “Jalsa”, he uses “Manovarthi” or “Manovyatha” in the context of divorce. He creates that spark of curiosity to learn a word or two in Telugu which is lost on today’s generation. But if he has to take his story-telling to the next level, he has to prove his mettle lies beyond assembling an army of artistes, giving stars a good push, and trying genres different from each other. Otherwise, the dangers of familiarity will breed contempt. This film is alright in frames and conveys a compact story but there is no extra factor or layering in the screenplay or characterisation that makes you watch his movies again and again  – hoping to catch a new glimpse every time. He has the spark to move out of comfort zone – this movie should be a wakeup call to move out of that comfort zone in making films that test new genres and content delivery; he has the grip on narration, sense of good cinema with appeal for family audiences – even if he forgot to entertain much in this film – but he has to concentrate on more aspects than verbosity that got him massive fan base. “S/o…” finally ends in a climax that surprises you and despite a rocking first half, it leaves many things unanswered and a big void in entertainment that he forgot to fill. You can watch it once with many lags and drags but don’t bet on this film becoming a blockbuster.

Rating : 3/5

( Reviewed by Sridhar.S )

Telugu360 is always open for the best and bright journalists. If you are interested in full-time or freelance, email us at Krishna@telugu360.com.



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