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Tamil superstar Dhanush made his Hindi-screen debut in Raanjhanaa. Tamil superstar Dhanush made his Hindi-screen debut in Raanjhanaa.

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Dhanush: 5 Finest Movies!

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Dhanush’s  5  Finest

Enai Noki Paayum Thota

Dhanush, playing a 20-year  old is a  bit of stretch  but this is where the  age-old convenient  suspension-of-disbelief comes in handy. The  mating games are  played with  an enchanting elegance. This is romance  in the purest cinematic sense, ethereal and  unattainable, cadenced and  magnetic, shot with an eye  and ear for  workaday sublimity. Director Gautham  Menon lets  the couple  find and  celebrate idealized  love in  routine places.

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Even as we  savour the couple’s  moments together  the narrative takes a sharp swerve into  violence. The restless narrative shifts to Mumbai  for action scenes which are as  elegantly  shot as  the romance.  Menon never allows  any awkwardness  to  seep into his  cinema  even as he negotiates  impossible genre  jumps like  a seasoned trapeze artiste. There is something uniquely  ingratiating  in  the  clasp of courtship and  mayhem that Menon here. While Dhanush  thinks  a clean-shave look entitles  him to ever-youthfulness, his co-star has  a much less challenging role.

Megha Akash reminded  me of Urmila Matomdkar   in Ram Gopal Varma’s Mast. The exploited actress locked in a  gilded cage, pining to be  liberated through love… Enai Noki Paayum Thota is  a film of many  virtues  about characters who  do not shy away from their  vices. There is a remarkable sense of  headlong apprehension in the scenes. Both the romance and  action are perched dangerously in a steep space where they can easily topple  over into an abyss. The fluency of  director Gautham Menon’s  directorial language  holds together the  disparate  dimensions  of life that we  sometimes weigh against the  powers  of love  to heal rather than hurt.

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[tnm_video layout=”mnmd-post-media-wide”]https://www.youtube.com/watch?v=2zyEs5tTaK8[/tnm_video]

Vada Chennai

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Dhanush  has the  Tamil audiences eating out of his hands.  He can do anything, ANYTHING, he likes. The fans  are with him. The slobbering  raves for his  new film are  proof. In Vada Chennai  he plays  Anbu, a carrom player(like Siddharth in Chandan Arora’s Striker)  who repeatedly ends  up  in jail where he  befriends  dons gangsters and dons’ and gangsters’ cronies .The brutality is  kept at bay. The director  Vetrimaan has  had enough of it in his last film.

To give the  very routine gangster  drama an epic feel, director  Vetrimaaran(who earlier directed that  raw  Vissaranai about  police atrocity)  spreads  the  narrative and  the characters into a stretched-out sprawl. The  mounting is  impressive.

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[tnm_video layout=”mnmd-post-media-wide”]https://www.youtube.com/watch?v=q5GG5HJ1hVk[/tnm_video]

So is Dhanush’s changing hairstyle over the decades. He is lanky enough to carry off the  role of a teenager  in  the  first flush of love. The object  of Dhanush’s adoration  is Padma(Aishwarya Raj) who  plays that emboldened  impassioned street-smart  sweetheart whom  Dhanush loves to kiss in his films.When a  local goon(there are so many of them  it’s impossible to  keep track) heckles  the  couple Dhanush’s Anbu gets murderous. The  scenes of  gangwar and internecine rivalry are  shot on suitable dark dingy desolate locations so that glorifying violence  is never an  option.

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But celebrating it, is. Director Vetrimaaran seems  suitably awed  by the  antisocial world that  his characters inhabits. Every characters is a potential  law breaker. This fact we are given to ingest from the start. Dhanush’s character  is constantly in a crowd of potential rioters and murderers. He  is  the  Common Man  with an axe to grind. He gets to grind it in grating leisure. We  are  often invited to  participate  in  the  wages  of  lawlessness.

Raanjhanaa

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Aanand Rai’s Varanasi-based love story was volatile  vibrant and vital, brazen and brilliant. The film captured the essence of  a mismatched chalk-and-cheese alliance through vivacious vignettes from the lead pair Dhanush and Sonam Kapoor’s lives as they sang their way through  some of A R Rahman’s finest songs in recent times. The film marked the coming of age of Sonam Kapoor as  an actress worth watching. Anil Kapoor just can’t stop beaming.

[tnm_video layout=”mnmd-post-media-wide”]https://www.youtube.com/watch?v=2C4ALIpOcrw[/tnm_video]

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Shamitabh

Dhanush’s synchronicity with the Big B, so crucial to the plot, proves him to be an actor of remarkable resources. Thankfully, like Balki Dhanush is a Big B fan later, an honest artiste first. The writer-director takes the voice of Mr Bachchan (in other words, the voice of the nation) and puts it on Dhanush, that intelligent Tamil actor who is rapidly emerging as the inheritor to Kamal Haasan.It really can’t any more audacious than this…though admittedly there’s no telling what Balki would dare to do next.

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[tnm_video layout=”mnmd-post-media-wide”]https://www.youtube.com/watch?v=CzJfGRrHlxY[/tnm_video]

Karnan

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I have seen innumerable seething simmering films about social injustice. None   so tense and  implosive.  I’ve seen  any number  of  angry heroes. None as  angry as Karnan. As played by Dhanush he is the voice of a voiceless village. The hand that won’t  hold itself back. The  face  of  the  social protester who  is no posterboy. He  will act.

[tnm_video layout=”mnmd-post-media-wide”]https://www.youtube.com/watch?v=pgfUzQ8nzBY[/tnm_video]

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He  will kill. He  won’t be stopped. Dhanush  is  so volatile  I  have never felt more compromised,  more  a part of  socio-economical system that allows  a handful to have all the wealth and  power. To be  honest I have never seen film like Karnan. It  rambles and roars, dances and  writhes  as  it explores the  dynamics of exploitation with a straightforwardness that eschews any  kind of  cinematic deceit. And yet  strangely enough it is filled with  allegorical  allusions and metaphors including a  masked girl  child indicative  of  the faceless victim, and  a  donkey with its two front  legs tied which Karnan frees before the  climactic violence(get it?)

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Why On  Earth Is Sushmita Sen Smoking A Cigar In Aarya’s First  Look?

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Aarya

Season 3  of Aarya is being shot as  you read this, and naturally Sushmita Sen is  super-kicked about it, so kicked that she has put  out a  video where she is seen  in the  best Lady Boss version of herself.

Alarmingly, she is seen puffing away at a  cigar, to  complete her Badass Lady Boss image.

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 There was a  time when women smoking  cigarettes  in Hindi cinema signaled vampishness. If a female actor was  shown smoking it meant she had evil designs  over the  hero, and life in general.

 Sushmita being Sushmita, a cigarette won’t do. A  cigar it is, to go with her formidable image. The last Bollywood actor I saw smoking a cigar  on screen was Premnath in the 1970s. Back then so  many  people didn’t die of cancer  by smoking.

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 These are  different far more dangerous  and deadly times.

Sushmita is an iconic  actor.She  needs to be more careful about the image  she projects . Smoking  a  cigar doesn’t  enhance a woman’s(or a  man’s) muscle power. Nor does it make her look cool.

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About shooting for the third season of Aarya  Sushmita says, “Aarya is synonymous with my name.  I have lived as Aarya for two whole seasons and the love received by the audiences has only encouraged me to do more. Walking on the sets of Aarya Season 3 makes me feel at home and gives me  a sense of empowerment. I’m grateful to the entire team at Disney+ Hotstar, Ram Madhvani Films and Endemol Shine India for the vision of creating Aarya and taking it to newer heights with every season.”

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Shah Rukh, Deepika, John Will Meet The Media  On Monday At 4 pm(But There’s  A Catch)

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Pathaan

Pathaan has effectually discredited the  efficacy  of media interactions to promote  a  film. The  film’s lead actors Shah Rukh  Khan, Deepika Padukone  and John Abraham did not conduct any  press or portal interviews  to  promote the  film.

And  yet Pathaan  is  a blockbuster.

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 This  weekend  the Pathaan producer Aditya  Chopra  of  Yash Raj Films  took a call on behalf  of  the Pathaan team  to do one media  meet at the Taj Land’s End in Mumbai  on Monday January 30 at 4 pm.

The  three principal actors  and  director Siddharth Malhotra  will address  the  media.

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 But  here’s the catch: the media will not be allowed to ask any questions. There will be no  Q& A s or  one-on-one  interactions.This  basically means that the  Pathaan  team will  have an opportunity to  say what it wants  to the media. But the  media will have no say.

Make what  you will of this  one-way traffic.

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A  source close  to Yash Raj informs  me that this is  the   pattern  regarding the media that  Yash Raj will follow for  future  releases: no  press meets  no promotional  engagements.

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Fake Projects of Pathaan Director Being Planted In Media

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Pathaan

Siddharth Anand Denies Considering  Any Project With  Deepak Mukut

A  word of caution to those marketing and publicity wizkids  who think  it’s okay to  plant fake stories  on (fake) projects  with the Pathaan director.

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 It is  not.

Such baseless announcements  are meant only to  raise  the equity  of the  producers  with whom Siddharth   Anand’s name is  linked. One  such  producer whose name  has cropped up after the  spectacular success of  Pathaan is  Deepak Mukut.

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There were  reports  everywhere that Siddharth Anand’s next would  be with Mukut.

Turned out to be a false rumour.

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A  source in the  know informs, “Siddharth now has to complete Fighter  starring Hrithik Roshan and  Deepika Padukone  for Yash Raj.Then  he  is   committed to direct the sequel to War 2 for  Yash Raj films.  They will then start  work on the  next film in the Pathaan  franchise. There is no scope  or  room for any outside  projects  for Siddharth Anand. So every announcement  that  you read of a  new film  to be  directed by Siddharth Anand  for an  outside  producer is likely to  be  a hundred  percent fake.”

When I asked Siddharth Anand  about the  supposed project  with  producer Deepak Mukut he promptly replied,  “NOT AT ALL.”

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Pink Director’s Next  Featuring Yami As A Crime Reporter To Stream From February 16

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Yami

Anniruddha Roy  Chowdhury whose  Pink  featuring Amitabh Bachchan and Taapsee Pannu was one of  the  most important  films of  2016, is all set to  release his  next  Hindi film.

Entitled LostAnniruddha’s film , based on true  events, will see Yami Gautam Dhar(that’s  what the actress calls herself after her marriage)  as a crime journalist. LOST is an emotional social thriller that represents a higher quest, a search for lost values of empathy and integrity.

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Inspired by true events, Lost is a story of a bright young woman crime reporter in her relentless search for the truth behind the sudden disappearance of a young theatre activist.

Lost

Lost

Says Aniruddha  “The shoot of LOST has been an incredible journey. I have been eager for the release of our hard-worked venture. The film is a realistic highlight of media in a social context and I am sure that it will give the audience a compelling watch. I am curious about its release and see the responses it shall get. I hope they will welcome it with open hearts.”

Yami Gautam Dhar  who plays  the lead  of  the  crime reporter  says,   “I can’t be happier and more proud of the film’s selection for the opening night at CSAFF. I feel like its one that the people will connect to and will be the one that you cannot miss, especially in the current age and time. I have loved playing this role because it was such a special experience, it allowed me to explore so many layers of emotions as an actor and the entire team has worked really hard on it. I genuinely cannot wait for the film’s release, especially to see the reactions of the audience to it.”

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The crime investigation  drama boasts a stellar cast. Along with Yami, the film will feature Pankaj Kapur, Rahul Khanna, and an ensemble of younger talent, including Neil Bhoopalam, Pia Bajpai, and Tushar Pandey, in pivotal roles.

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