Megastar Chiranjeevi will be teaming up with successful director Koratala Siva after wrapping up SyeRaa Narasimha Reddy. The script work has been completed and the official launch will take place early next year.
Telugu360 has exclusively learnt that the makers of this film have roped in star heroine Nayanatara as the leading lady. Though it was speculated that Tamanna is the forerunner for this big budget film, reliable sources revealed that Koratala Siva finalized Nayanatara because she suits Chiranjeevi’s age and also has the talent to match his acting mettle. Nayanatara is playing the female lead in Chiru’s upcoming film SyeRaa. So, she will share screen space with Chiranjeevi in back to back films.
Nayanatara is currently one of the busiest actresses in South cinema. She has lined up numerous biggies in the coming months. Despite the entry of a bunch of new heroines and a stiff competition from her peers, Nayanatara is ruling the roost in Telugu and Tamil.
Actor Karthi’s most awaited dark fantasy film Kaashmora is all set for a big opening at the box office tomorrow morning. The ambitious project is tipped to be a super horror thriller with an interesting backdrop. The film has various elements like action, horror and comedy, and Karthi was seen posing an intriguing look in the posters and the trailers. Directed by Gokul and produced by SR Prabhu, the film has Nayanatara and Sri Divya as the female leads . Karthi will be sporting three different avatars in the film. Made on a grand budget, Kashmora will feature eye popping graphics and considerable amount of VFX accounts. Amidst a lot of expectations, Kaashmora is releasing in a grand way tomorrow. Let’s us see if Kashmora is worth the wait till now.
Kaashmora story happens 700 years ago. Raj Nayak ( Karthi ) is the intrepid warrior of Vikrantaka Kingdom. Raj Nayak’s strategies make the kingdom emerge victorious through many wars and success gets into his head. Nayak becomes womanizer, eyeing princess Ratna Mahadevi (Nayanatara) and tries to marry her forcibly. Thus confrontation between Ratna Mahadevi and Raj Nayak breaks down and what actually happened later, needs to be watched on big screen
Set in present day Kaashmora ( Karthi ) is a self-proclaimed exorcist, who earns money by tricking the people that he can exorcise ghosts etc. His father ( Vivek) plays a role of fake Baba and whole family works as volunteers in the baba ashram – cheating superstitious people.
This tricky family ends up in an old fort in which Raj Nayak’s spirit lives in waiting someone to release. Rest of the story is how this family led by Kaashmora ( Karthi ) deals with the spirit/ghost of Rajnayak ( Karthi).
Kaashmora is a multi-genre movie, but the main theme is heavy influenced from 2009 super hit film Arundhati. War theme in the flashback reminds us of epic scenes in Bahubali movie.
Movie starts off with introducing voodoo, spirits concept and appears as if a serious one, but director cleverly drives audience into sarcastic, satire mode. He subtly takes on the superstitious people’s beliefs and in parallel generates horror comedy – which is a hot genre in Telugu, Tamil now. Best part of the dig at fake babas in this movie is the dialogue diction and body language of the Baba’s associates. Comedy actor Vivek and other artistes in his ashram as caretakers have generated some good relief. Sri Divya is a student who does thesis on spirits, tries to follow Kaashmora expecting to film sprits with help of him.
In second half, flashback stands out for its art work and grandeur. Karthi was fantastic with his performance as Nayak. Nayanatara fits the bill in her relatively short role.
Karthi was fantastic with his performance as Nayak. In other two roles, as Kashmora and spirit of Raj Nayak , he did good. Nayanatara fits the bill in her relatively short role.
Santosh Narayan’s background score elevates many scenes. Three out of the 4 songs are OK to watch on screen. ‘Thakida Thakida’ and ‘ Dhukku Dhukku Saar’ are OK, should have been better.
Cinematography by Om Prakash should be appreciated. VFX is good in parts; sometimes appear grand and other times pale. It is understandable because of budget constraints.
Multi-genre mix output came out Good.
It’s a horror comedy, fantasy and period movie
Humor, sarcastic approach on sprits and fake baba
Second half flashback episodes
Oya Oya Song
Length: Movie runtime is 2 hour 40 minutes , at least 15 minutes – mainly those lengthy comedy scenes can be chopped of easily
Artists: Except main cast, others are unfamiliar Tamil native artistes so Telugu audience may find it much tamil flavor. Whereas for Tamil audience obviously this is not any issue
Few people may not understand few digs the director aimed at, but for those who get it they are good
With average first half, decent second half Kaashmora may do decently in India. In overseas too, if promoted well, this movie might have a decent run. If you are a person who likes a horror movie filled with some humor, some fantasy and grandeur, Kaashmora is for you. You may watch it once.
Telugu360 Rating 2.75/5
Release Date : October 28, 2016
Director : Gokul
Music director: Santhosh Narayanan
Production Company: Dream Warrior Pictures
Cinematography : Om Prakash
Starring : Karthi, Nayantara, Sri Divya
Supposedly a science-fiction thriller, Inkokkadu story revolves around a mysterious power boosting drug called ‘Speed’ , a baddie named ‘Love’( Vikram) who produces this adverse drug , and a RAW agent Akhilan ( Vikram).
After the Indian embassy in Malaysia is attacked, India’s premier investigation agency RAW reaches out to its ex-undercover agent ‘Akhilan’ and requests him to investigate the incident.
Four years ago Akhilan and his wife Meera ( Nayanatara), both investigating officers, tried to bust the drug manufacturing empire of ‘Love’ in Kashmir. In that operation, Meera was killed, as revenge Akhilan thinks that he killed ‘Love’.In current day, after initial investigation in Indian embassy case,he finds that ‘Love’ was not dead.
Rest of the story is about how ‘Akhilan’ and ‘Love’ confronts with each other.
These kind of fictional stories have an advantage to mesmerize the audience with their wider scope including racy narration, smart action episodes, also have acceptance of audience for cinematic liberties. Also, there is ample scope to incorporate some imaginative sequences.But,ironically director Anand Shankar doesn’t seem to be in content with any of the above said parameters.On paper,the story seems interesting, but the execution falls flat and clueless at times.
This kind of theme gets acceptance from audience only if proper homework is done. In one of those scenes, Nayanatara tells Vikram a way to crack secured Malaysian government info systems. Guess what? She tells pressing Ctrl + Alt + Del + 3 skips you from the authorization window, and provides access to the secured systems.In another scene, Nayanatara image searches for a criminals’ matching details in “World Popularity database”. Similarly there are many other laughing stock points in the movie.Though the concept of ‘Speed’ drug appeared interesting initially, it fizzles out as the movie progress.There is not much comedy in the film to keep the audience interested.
Nitya Menen plays RAW agent Aarushi who is a case officer to assist Akhilan. Her role is very limited.One of the finest actors of our time, Chiyaan Vikram is wasting his prime time career with poor selection of scripts. Instead of preferring to wear complicated getup roles, he should focus on stories that appeal to audience. His performance as Transgender character name ‘Love’ is worth admiring. He portrays the body language of transgender with ease. Also, he looked cool as a RAW officer.
Cinematography, Action choreography are good but songs are a big let down. Except Halena Hale Hale Halena , no other song is watchable on screen. On the whole, the director’s inability to handle the script is visible through out.
– Chiyan Vikram’s performance in both characters Akhilan and Love. He is the show stealer.
– Couple of action episodes
– Halena song
– Basic point is interesting
– Poorly conceived scenes
– Insipid fiction elements such as mystery drug
– Characterization of ‘Love’ is not consistent
– Bad second half
First half of Inkokkadu/Iru Mugan is OK with decent story establishment and action episodes. It is the second half that totally spoils the show. Overall, Inkokkadu is yet another disappointing fare from talented actor Vikram. One can wait for DVD. The box office prospects look very bleak.
‘Babu Bangaram’ is the story of a compassionate cop, ACP Krishna (Venkatesh). Unlike typical cops, he is very sensitive, even goes out of the way to help the bad guys as well. One day, ACP Krishna meets the gorgeous Sailaja (Nayanatara), who runs a mess. After realizing that her entire family is dependent on Sailaja’s income, ACP Krishna tries to help her. He also learns that her father is a suspect in a gruesome murder case. Sailaja’s father Sastry witness the murder of an IT officer, orchestrated and executed by the local MLA Puchappa (Posani Murali Krishna) and his friend mafia don Mallesh Yadav (Sampath). Typical Telugu movie plot has Sastry framed as a suspect.
Learning the Sailaja’s hardship and her father’s troubles with the law, ACP Krishna helps them out and brings the MLA and the mafia don to justice.
Director Maruthi, who was successful in developing situational comedy around the hero’s characterization in his previous movies, tried to repeat the same formula. His attempt to generate comedy based on ACP Krishna’s compassionate character (like the comedy with Nani’s absentmindedness in Bhale Bhale Magadivoy) wasn’t very effective. No proper story and mediocre screenplay do not help the movie. In earlier interviews, Venkatesh and Maruti have mentioned the movie to contain ample situational comedy. The reality is that a number of comedy scenes appear to be forced without any context. “30-years industry” Prudhvi stole the show in the first half. In the second half, Bramhanandam and Posani do their bit.
Director Maruthi didn’t take proper care to establish Venki’s character. Right after the interval, ACP was shown as a transformed person, from an easy-going and compassionate guy to a serious guy. And then again director, does comedy scenes on Venky.
However, Babu Bangaram doesn’t test your IQ levels. It is easy going on the audience. Venkatesh and Maruti tried to create a full-fledged commercial movie, however they failed to realize that at Venkatesh’s age it is really difficult to pull off. Also, there are no high points in the movie. Nayanatara’s role has very few scenes and her fans will be disappointed. Posani Krishna Murali excelled in his character.
Mostly filler songs, could have been much better. ‘Mallela Vanala ..’, ‘Raaka Raaka vachindi…’ songs which were a chartbusters before release also look very good on screen. Sonam Bajwa’s special appearance item song which is also title song ‘Babu Bangaram..’ , in the second half is beautifully shot. ‘Tikku Tikkantuu..’ bit song was shot on popular TV show Jabardhast’s transgender actors and may appeal to mass audience
· Story (Wafer thin) fits Venkatesh’s image
· End to end easy going movie
· Prudhvi, Posani characters
· In second half, couple of action blocks to cater Venky’s action image came out well
· Comedy scenes failed to generate any laughter.
· Songs could have been better
· Clichéd story
· Non engaging screenplay
Director Maruthi missed his opportunity to make it to big league. ‘Babu Bangaram’ is a kind of movie which you won’t regret either watching or skipping. At the box-office, movie can be a success in the B & C centers and will possibly generate a decent revenue in the A centers with the long weekend, catchy title and Victory Venkatesh’s image. In overseas, prospects of this movie are relatively grim. If you don’t mind a template comedy, watch it.
Nayanatara, one of the leading heroines down south, is riding a success wave in Tamil with back to back hits in 2015. She is currently busy with a bunch of upcoming films and recently gave nod to Victory Venkatesh’s next film.
The latest update reveals that Nayanatara will soon team up with talented South Indian actor Vikram for an actioner. To be directed by Anand Shankar, the film is tipped to be a cop drama and Vikram will don khaki in the film. This will be the first time both Vikram and Nayanatara are going to share the screen space.
The regular shooting will flag off year early next year and Shibu Thameens will pool in money for the film.
Nearly 10 years after her entry into film industry, talented and gorgeous South Indian actress Nayanatara is going to dub her own voice in Tamil for an upcoming film titled Naanum Rowdydhaan.
After making her debut in Tamil with Rajinikanth’s Chandramukhi in 2005, Nayanatara hasn’t dubbed for any of her characters in Tamil movies till now. In Telugu, she gave her own voice for Krishnam Vande Jagadhguram.
Nannum Rowdydhaan is being produced by actor Dhanush and has Vijay Sethupathi in the lead role. Vignesh Shivan is the director for the film.
[intro]A promising debutant director Ashwin Saravanan makes a sophisticated and riveting ghost horror film that is sure to win many hearts.[/intro]
The genre of “cursed horror” cinema gets a redefining presentation by an exciting debutant director Ashwin Saravanan in “Mayuri” (“Maya” in Tamil). In all of 143 minutes, this 25-year old director presents a gripping story of an aspiring actor Mayuri (Nayantara) with plots and and sub-plots and a finish that delivers a knock-out punch to the audience who travel with the story from the start.
To give away the story in a horror film is to spoil the beauty of cinema that can goose you. But if an outline be told, here’s how it goes. The central theme of the story revolves around a village called Mayavanam in which mysterious deaths are happening whenever someone is trying to uncover the mystery shrouding the death of innocent patients of a mental asylum – all of them buried in a graveyard there. The most-famously buried victim is a young lady Maya Mathews who delivers a baby but gets killed by the inmates – and her looming spirited presence hovers around the area of Mayavanam. The urge to investigate the truth takes a writer Vasanth (Aari), episode writer Madan (Uday Mahesh) and finally Mayuri (Nayantara) to the forbidden periphery of Mayavanam at different times with bone-chilling consequences. What is the real truth behind the killings? What is the truth behind the mysterious death of a rich lady Maya Mathews who is killed by the inmates of the Asylum after delivering a baby? Who survives this saga and who dies in the search?
If you want answers to some or more questions that get thrown up in the narrative, “Mayuri” is a riveting watch – that will be the cult-classic amongst the genre of horror films in recent times. What makes the film different is the many rules the director breaks in a quest to give the mother of all horror films of our generation. Here’s why this film deserves wider reach.
Firstly, instead of using the conventional approach of using spooky angles and awkward close-ups, director Ashwin uses the elements of a good story with many characters and plots who lead normal lives despite having dysfunctionalities typical of modern life – lust for money, affairs, divorce and all that. Because of this, the genre collapses many elements of a normal story of love, friendship and betrayal into a single horror film which is itself a feat – and then builds a three-act screenplay which builds the tempo gradually, initially seeming disconnected but as the layers of the story unravel, the dots are all connected in the end. This is what makes the film a treat to watch – breaking new ground in narrating a horror film.
Secondly, it uses Cinema as a medium within cinema itself to give us a paranormal experience that psyches us occasionally. For example, Steven Spielberg used TV as a central backdrop in the epic film “Poltergeist” as the spirits communicate with the mortals in a house and then stake claim on their lives. In “Mayuri”, the big multiplex screen in front of you becomes a centrepiece of communication used by the ghostly spirit in the movie trying to tell the truth. If this sounds unclear, it will get clear when you actually watch the movie’s climax which entirely runs like a visual canvass within a running movie on a multiplex screen. In this process, the director gives us the eerie moments at unexpected places and times – in a multiplex, in parking lots, in your living room, when you open the door besides the compulsive shots in the forest and at lonely times in the night. The high-point of the narrative is there are no visceral pleasures enjoyed by the Cameraman Sathyan Sooryan in focusing unnecessary angles at objects or human beings who are embedded in the story. A lot of the characters in the story are inter-linked to each other in more ways than what is obvious in the narrative – a standpoint that disarms you into making conclusions that distract you.
Thirdly, the director uses forty to fifty per cent footage in Black & White photography which makes the film get under your skin from the beginning. Infact, after the first twenty-five minutes of watching which comes with a powerful prologue sound episode that is linked to the main character of the film, you actually wonder whether you are watching a bygone era B&W film. This makes all the scenes that freak you out that much more impactful –a facet that is used with selective care by other film-makers. Parts of B&W footage were used by directors like RGV and others (“Vaishali”). In this aspect, Sathyan Sooryan, the cinematographer stands out for his work in both the color and B&W frames, it is nothing short of award-winning work and elevates the technical brilliance of a horror film like never before.
Fourthly, the director uses no gimmicks to use props of one image or character to scare you, that is the easy way out. Instead, the props change and come at unexpected moments. Cinema is one prop you can say, but the projection of it comes only in climax whereas most of the other times, the scares come in at regular frequency throughout the film. The principal ghostly character in the film – surprise, surprise, never reveals the face – and that gives as Ashwin says, an atmospheric feel of the spirit throughout the film that lingers on for some time after you leave the hall.
Lastly, the music of the film has to be more than surreal to carry the magnitude of the spookiness in the film which has zero relief except in one or two solitary funny lines thrown on marriage and infidelity. Rohan Ethan Yohaan is the music composer who lifts the many moods of the film with emphatic orchestration. When the credits roll, it is pertinent to observe so many talented violists and members of elite orchestras of East-European/Russian origin who were assembled to form the many overtures composed by Rohan. For any horror film, music forms the fulcrum of impact and director Ashwin uses the talent of Rohan to give consistently arresting scores throughout the film. Since this genre is dominated by the films with rich composing talents used in Hollywood, it is no mean feat to have a score for this film as used by Rohan Yohaan – he uses three signature tunes, of which the one associated with the reappearance of ghost repeats episodically until the climax. If you thought the music of “The Conjuring” which collected Rs.100 crores was the high-point of BGMs, ‘Mayuri’ will stump you with what natives in India are capable of scoring.
On the whole, the film is capable of wider appreciation because of the effort which translated into near-perfect film for a genre of this kind. The only areas in which it falters is in not giving any relief to the audience which commercial cinema gives even in genre kinds. Between the likes of Ramsay brothers and Ram Gopal Varma films at extreme ends, there has to be a better path, a middle path to show ghost horror films in better light. Ashwin Saravanan succeeds in giving us a taste of that capability. Editing by T.S.Suresh is good but could have been better to enhance the audiences’ understanding. At a few crucial juncture, editing cop-out makes the audience take time to understand what is happening really to wind the complex story to its logical ending. A few characters like the forest ranger and the paramour of Editor could have been omitted to make the story seem more compact. The only glaring logical flaw in the film has been that most of the explorations in pursuit of the mysterious spirits happens without any thought of taking help from the police or psycho-therapist or the mandatory Spirit-Dictor. It may be a first of its kind to attempt a story without the presence of any of these characters, but in the effort to strip the story of these all-pervading characters, director Ashwin gives a logical miss. Why, when so many inmates are dying in a god-foresaken mental asylum, neither the police nor the law-enforcing Human Rights activists cordon off the place and dig out the truth themselves is not clear. Quite ridiculous that the story contrives the law-enforcing agencies as virtually non-existent in the quest for knowing the unknowns.
But for these, performances by all characters stand out. Lakhmi Priya as Nayantara’s friend Swathi, and Aari as the hero give breakthrough performances. Nayantara has dialogues fewer than a K.Vishwanath heroine – it won’t even add up to a paragraph in the film – but she steals the show with a clean and nuanced performance. The rest of the characters do ample justice to their roles and nobody over-acts which is a rarity in Tamil films. If you ignore the few logical fallacies, this film is a must-watch for lovers of horror stories. The quality of dubbing into Telugu is also superior and exemplary – no place you get the feeling of watching a dubbed film and producer C.Kalyan seems to have taken good care. You won’t get the luxury of giggling at your neighbour often during the duration of the film which is itself a major achievement.