Masala padam
Baradwaj Rangan's interview of Iraivi (lengthy, with spoilers)
2024.05.16 10:05 Existing-Area-9093 Baradwaj Rangan's interview of Iraivi (lengthy, with spoilers)
Spoilers ahead…
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.
submitted by Existing-Area-9093 to kollywood [link] [comments]
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.
2024.03.06 13:20 FlopManiSaarFan Loneliness, togetherness, forgiveness, acceptance and responsibility in this single sequence. Beautiful pair to be watch throughout the film. Abhiyum Naanum aka Salikathe Padam. Radha Mohan was a breath of fresh air when the industry was spamming mass masala contents
submitted by FlopManiSaarFan to kollywood [link] [comments]
2023.12.09 10:40 rajinis_bodyguard Not your usual 'pei padam' - Conjuring Kannappan
Bored on a Saturday, suddenly made plans to watch this movie in theatre with my relatives. The theatre was half filled and I expected another masala pei padam to pass time on this lazy afternoon.
All actors acted decently and Anand Raj and Reddin Kingsley comedy scenes were hilarious. Satish as next door boy was good to see. Except few lagging scenes and keeping logic in the dead end of your mind, the screenplay was entertaining thoroughly. Nasser and Regina could have been given more screen time but they did good. Cinematography was amazing and suprised it was U1 musical, despite only 1 song and BGM.
Felt relaxed in the end and the post end credit scene had a very important message to youngsters. It seemed to be natural extension of the core concept of the movie. Kudos Satish and Selvin Raj Xavier.
At times, it felt similar to Inception, and Sundar C block'buster' movies. But overall, I felt good after leaving the theatre and the ticket price was worth it (Big theatre in tier 2 city).
Wonder why there was not much crowd for this movie, most of the audience went to watch either Animal or Parking.
P.S : குடிமகன் saving the hero and the subsequent dialogue was too funny to watch.
submitted by rajinis_bodyguard to kollywood [link] [comments]
All actors acted decently and Anand Raj and Reddin Kingsley comedy scenes were hilarious. Satish as next door boy was good to see. Except few lagging scenes and keeping logic in the dead end of your mind, the screenplay was entertaining thoroughly. Nasser and Regina could have been given more screen time but they did good. Cinematography was amazing and suprised it was U1 musical, despite only 1 song and BGM.
Felt relaxed in the end and the post end credit scene had a very important message to youngsters. It seemed to be natural extension of the core concept of the movie. Kudos Satish and Selvin Raj Xavier.
At times, it felt similar to Inception, and Sundar C block'buster' movies. But overall, I felt good after leaving the theatre and the ticket price was worth it (Big theatre in tier 2 city).
Wonder why there was not much crowd for this movie, most of the audience went to watch either Animal or Parking.
P.S : குடிமகன் saving the hero and the subsequent dialogue was too funny to watch.
2023.12.02 04:43 kameswara25 This guy is the english speaking vadak version of itisprashant.
If you had watched Tried & refused production on youtube, you will know what I'm talking about. He makes separate videos making fun of misogyny and inappropriate things in older Indian movies that obviously hadn't aged well.
But yesterday orediya 180 deg jump adichu man was giving muttu to Animal, had animal been a straight telugu film with a telugu hero, this guy would have been very critical of it. Also why is it that many north Indian critics like him praised Jawan instead of roasting it is beyond my understanding. Jawan was just a well crafted masala movie with a shit script, editing etc. He also first is calls the movie to be below average and if audience like the movie still, he would once again post a video saying that I rewatched it and now it makes sense nu ( Leo ku apdi pannan). First rightfully called it a bnda padam ( leo fans here, calm down, agree to disagree, leo was total crap except Vijay's acting and Trisha scenes) but then he changed his views and praised some aspects of the movie.
https://preview.redd.it/2qg00q85ys3c1.png?width=400&format=png&auto=webp&s=91dc2084d57b877286bddfa4e7eb37a2cb95fbde
submitted by kameswara25 to kollywood [link] [comments]
But yesterday orediya 180 deg jump adichu man was giving muttu to Animal, had animal been a straight telugu film with a telugu hero, this guy would have been very critical of it. Also why is it that many north Indian critics like him praised Jawan instead of roasting it is beyond my understanding. Jawan was just a well crafted masala movie with a shit script, editing etc. He also first is calls the movie to be below average and if audience like the movie still, he would once again post a video saying that I rewatched it and now it makes sense nu ( Leo ku apdi pannan). First rightfully called it a bnda padam ( leo fans here, calm down, agree to disagree, leo was total crap except Vijay's acting and Trisha scenes) but then he changed his views and praised some aspects of the movie.
https://preview.redd.it/2qg00q85ys3c1.png?width=400&format=png&auto=webp&s=91dc2084d57b877286bddfa4e7eb37a2cb95fbde
2023.11.10 08:47 rk_howard_roark Dharani, the forgotten.
Used to love his works. Except the interval facepalm atrocity I enjoyed watching Kuruvi back then. Osthe was the worst miscast that can happen for a bhai padam remake but the movie wasn’t bad. Dharani and Lingusaamy during their prime made the best rewatch worthy masala films. Dharani had the potential to rise to the top tier mass masala directors of today. Where did Dharani disappear?
submitted by rk_howard_roark to kollywood [link] [comments]
2023.10.06 12:32 Environmental_Act501 Leo & A History of Violence
'Ghilli' yepdi Telugu la vandha Mahesh Babu & Director Gunasekhar's 'Okkadu' oda remake oh
'Pokkiri' yepdi Telugu la vandha Mahesh Babu & Director Poori Jagannath's 'Pokkiri' oda remake oh
'Nanban' yepdi Hindi vandha Aamir Khan & Director Rajkumar Hirani's '3 idiots' oda remake oh
Adhe maadhiri, Hollywood la vandha 'A History of Violence' ngra oru padathoda official remake dhaan indha 'Leo'.
Padathumela irukura curiosity la, 'aHoV' movie ah paathutu vandhu opinions and theories solla dhaan seivaanga.
Also, indha padame oru graphic novel la irundhu adapt pannappattadhaala, adhayum silar padichittu vandhu pesa dhaan seivaanga.
Adhuku dhaan indha Kollywood subreddit.
Idhellaam pudikalanaa... FB pakkamo, Twitter pakkamo po... anga VJna massu... Loki classu... Anirudh masterpiecu... nu pala post varum, anga poi fire vidu.
This is my 1st post even mentioning aHoV.
But it's irritating to see some cringens making kikibiki comedy on those who saw aHoV & write good posts about Leo.
Leo is the most awaited movie of this year.
So silar oru effort ah potu aHoV padatha paathu, theories and speculations a post podraanga.
Unnaala andha effort ah podamudiyala nu unaku inferiority complex ah irukkunaa... andha posts ah scroll panneetu po.
Illa... straight ah Leo dhaan paappen nu nee nenachaa... straight ah padatha paaru.
Many Vijay fans eh aHoV ah paathutu, idhu inga yepdi irukkum nu excited ah dhaan discuss panneetu irukkaanga.
Lokesh, for some reasons, could have felt that it would be better if audience had seen aHoV and that's why he let people know that it's an official remake.
Also, trailer ah paakkum bodhu apdiye 'aHoV' movie eh dhaan nu theriyudhu.
So speculations and fan theory laam adhigam ah dhaan varum.
Padam vandhadhukku apramum, idhellaam aHoV la irundhadhu, idhellaam pudhu aspects nu pesa dhaan seivaanga.
Hollywood la andha padam, vera pace la, vera flavour la kuduthuruppaanga.
Inga, namma audience ku yetha maadhiri, konjam masala serthu, hero ku extra buildup vechu kuduppaar Lokesh.
Adhula yedhellaam nallaa irundhuchu, yedhelllaam seriyilla nu people discuss pannadhaan seivaanga.
Idhellaam irukka koodaadhu nu nenaikureenaa... unaku indha sub la enna velai?!
Let people express their opinions and interpret the movies from their viewpoint.
submitted by Environmental_Act501 to kollywood [link] [comments]
'Pokkiri' yepdi Telugu la vandha Mahesh Babu & Director Poori Jagannath's 'Pokkiri' oda remake oh
'Nanban' yepdi Hindi vandha Aamir Khan & Director Rajkumar Hirani's '3 idiots' oda remake oh
Adhe maadhiri, Hollywood la vandha 'A History of Violence' ngra oru padathoda official remake dhaan indha 'Leo'.
Padathumela irukura curiosity la, 'aHoV' movie ah paathutu vandhu opinions and theories solla dhaan seivaanga.
Also, indha padame oru graphic novel la irundhu adapt pannappattadhaala, adhayum silar padichittu vandhu pesa dhaan seivaanga.
Adhuku dhaan indha Kollywood subreddit.
Idhellaam pudikalanaa... FB pakkamo, Twitter pakkamo po... anga VJna massu... Loki classu... Anirudh masterpiecu... nu pala post varum, anga poi fire vidu.
This is my 1st post even mentioning aHoV.
But it's irritating to see some cringens making kikibiki comedy on those who saw aHoV & write good posts about Leo.
Leo is the most awaited movie of this year.
So silar oru effort ah potu aHoV padatha paathu, theories and speculations a post podraanga.
Unnaala andha effort ah podamudiyala nu unaku inferiority complex ah irukkunaa... andha posts ah scroll panneetu po.
Illa... straight ah Leo dhaan paappen nu nee nenachaa... straight ah padatha paaru.
Many Vijay fans eh aHoV ah paathutu, idhu inga yepdi irukkum nu excited ah dhaan discuss panneetu irukkaanga.
Lokesh, for some reasons, could have felt that it would be better if audience had seen aHoV and that's why he let people know that it's an official remake.
Also, trailer ah paakkum bodhu apdiye 'aHoV' movie eh dhaan nu theriyudhu.
So speculations and fan theory laam adhigam ah dhaan varum.
Padam vandhadhukku apramum, idhellaam aHoV la irundhadhu, idhellaam pudhu aspects nu pesa dhaan seivaanga.
Hollywood la andha padam, vera pace la, vera flavour la kuduthuruppaanga.
Inga, namma audience ku yetha maadhiri, konjam masala serthu, hero ku extra buildup vechu kuduppaar Lokesh.
Adhula yedhellaam nallaa irundhuchu, yedhelllaam seriyilla nu people discuss pannadhaan seivaanga.
Idhellaam irukka koodaadhu nu nenaikureenaa... unaku indha sub la enna velai?!
Let people express their opinions and interpret the movies from their viewpoint.
2023.06.04 12:07 balajih67 Kaadhar Basha Endra Muthuramalingam Review
Cast: arya, Siddhi Idnani, Prabhu, Bhagyaraj and others
Director: Muthaiah
Genre: Rural Action Drama
Synopsis: Heroine goes to find Kathar Basha. Who is he and why she does so and what happens later forms the rest of the film.
My review: Paisa Vasool. There is something aesthetic about watching men in veshti fighting hand to hand or with aruva, and in the mud and sand. The film is not much different from jis earlier films, same family subplot, fight for the girl, fight for the land with some local dialogues and kathi sandai.
Like Viruman, film will do well in B and C, but not in the A centers where audience expect a certain level of logic and style. Tailor made masala padam for the masses which will be celebrated in single screens.
I personally loved it. The rustic setting, kathi and aruva sandai, gore and violent action, along with some family emotions and sentiment with some real tearjerker scenes towards the end.
Summary: watch only if you dont care about logic and in mind for some entertainment. All the Tamil cinema elitists who claim to want to improve tamil cinema and searching for logic and creativity in every scene, kindly stay away.
My rating: 4/5
submitted by balajih67 to kollywood [link] [comments]
Director: Muthaiah
Genre: Rural Action Drama
Synopsis: Heroine goes to find Kathar Basha. Who is he and why she does so and what happens later forms the rest of the film.
My review: Paisa Vasool. There is something aesthetic about watching men in veshti fighting hand to hand or with aruva, and in the mud and sand. The film is not much different from jis earlier films, same family subplot, fight for the girl, fight for the land with some local dialogues and kathi sandai.
Like Viruman, film will do well in B and C, but not in the A centers where audience expect a certain level of logic and style. Tailor made masala padam for the masses which will be celebrated in single screens.
I personally loved it. The rustic setting, kathi and aruva sandai, gore and violent action, along with some family emotions and sentiment with some real tearjerker scenes towards the end.
Summary: watch only if you dont care about logic and in mind for some entertainment. All the Tamil cinema elitists who claim to want to improve tamil cinema and searching for logic and creativity in every scene, kindly stay away.
My rating: 4/5
2022.04.17 08:32 MrHyde1701 KGF Ch 2 Non-spoiler Review... from someone who once turned off Ch 1 after 20 minutes
I'm someone who enjoys well executed films of any genre, because I try to appreciate/assess each film according to the genre conventions & creative intentions behind that film's respective genre. But even though I usually like a good 'mass padam' (Sphadikam, Kaththi, Bahubali etc) just as much as a good 'art' film (Vidheyan, Merku Thodarchi Malai, Masaan etc), I had found the first 20-30 minutes of KGF Ch 1 intolerable for the following reasons:
1) the epilepsy/migraine triggering editing - no exaggeration, there were relentless cuts literally every 2 seconds (that too for unnecessary reaction shots & such).
2) The first fight scene wasn't shot or choreographed in a particularly interesting manner.
3) The child actor playing Rocky really hammed up his already over-the-top dialogue. Not to mention the by-now groan inducingly repetitive "Amma paasam" & തള്ള് scenes.
4) The love track - I only saw the cringey AF beginning of it, and that was when I noped the f*** out of the film.
But a few months ago, I was feeling kind of down and played it on Prime again on a whim... The first act was still pretty bad imo, but as the actual plot & worldbuilding began to be revealed (especially from the pre-interval block onwards), I found myself getting more drawn into it, and realizing that unlike other logic & physics defying masala padams, the makers of KGF had actually given a pretty smart (yet simple) explanation for stuff that would usually make one roll their eyes - the story is narrated from the beginning by a really old dude (who is also shown to enjoy rousing the masses - represented by a waiter in the film - as well as be a bit unreliable; he accidentally jumps forward in his narration at times etc). So most of the R-E-A-L-L-Y over the top seeming stuff could have actually happened in a slightly more believable way, but kelavan athil masala ketti exaggerate cheythu തള്ളുന്നതായി karuthaan oru option padam tharunnundu.
In any case, I ended up quite liking the ambitious & different second half and climax of Ch 1 and so, was somewhat interested in Ch 2 as well. But then, I noticed how many critics I follow were actually giving it a significantly more positive review than the first one, saying that it addresses nearly all the flaws of its predecessor, while being way more epic etc, and this made me even more cautiously optimistic.
So finally, I watched KGF Ch 02 last night (Kannada with English subs)... And damn. Like, DAMN that was a good mass movie. So many things to like about it, and very little to dislike/criticize compared to the first one: The editing did vastly improve and even elevated the storytelling in most places (except ofc, for a promising car chase sequence which was ruined imo by too many cuts to black); visuals that oozed grandeur, power, & darkness in equal amounts, and heck;even the dumb 'romance track' from the first film at least had some point in this one (though you may still dislike how underwritten both that character & the relationship is).
But if there's one unique thing that makes KGF Ch 2 unlike any other mass padam (including its own predecessor) it's the film's AUDACITY. We've heard of people saying "Dream big" etc - but this director, from one of the smaller regional industries of India, has actually done it: Prashant Neel had built up an even more larger-than-life than usual "monster" through the first film... and then in this one, Neel has ACTUALLY given his monster an opponent powerful enough to pose a believable threat to him. The extreme (to put it mildly) acts he makes this "monster" commit throughout this film - elevated by Yash, who's added some decent acting this time, to his already stratospheric heights of swagger - which no director yet had the AUDACITY to put on screen... and actually making it all work as a solid film within the INDIAN (not just Kannada) cinema culture... THIS is what makes KGF Ch 2 a must-watch in theaters imo.
The film does both some really different stuff, and a few familiar stuff but on a whole different LEVEL than any other Indian commercial blockbuster till date; It really is the new benchmark or gold standard for the genre, that too for the entire country. So to anyone who's already made up their mind about this film's quality (or lack thereof) without even watching it, based on their very valid dislike of the first one... I'd say you're mostly right about Ch 1, but probably at least partially wrong about Ch 2 (I mean, yes - art is subjective, and disliking even this film is fine. It's only the improvement in nearly all areas of filmmaking, and how big a deal it deservedly has become within its own genre that's undeniable imo). But if you're someone who loves cinema & great theater experiences in general, do you really want to risk missing out on a film that's going to be talked about for at least a decade (for reaching a whole new high in its genre) on the big screen?
For this reason alone, I personally think it would be worth watching the beginning of KGF Ch 1, skipping from adult Rocky's intro to after Tamannah's item song (you get rid of most of Ch 1's cringe that way), and then watching the more interesting latter half of that film ... in preparation of a far superior, and possibly historically significant (for Indian commercial cinema at least) experience on the big screen. Just adding my two cents to KGF's mountains of gold :)
P.S. If there's one real storytelling negative here (even by commercial cinema standards), it's how a couple of character motivations - especially with regards to sparing enemies - seem inexplicable. Oh, and my personal wishful thinking that the antagonists - who are still quite impressive - had gotten some more screentime & writing devoted to them. Maybe some for the poor love interest as well. But other than that? KGF Ch 2 is commercial cinema GOLD & lightning in a bottle.
submitted by MrHyde1701 to MalayalamMovies [link] [comments]
1) the epilepsy/migraine triggering editing - no exaggeration, there were relentless cuts literally every 2 seconds (that too for unnecessary reaction shots & such).
2) The first fight scene wasn't shot or choreographed in a particularly interesting manner.
3) The child actor playing Rocky really hammed up his already over-the-top dialogue. Not to mention the by-now groan inducingly repetitive "Amma paasam" & തള്ള് scenes.
4) The love track - I only saw the cringey AF beginning of it, and that was when I noped the f*** out of the film.
But a few months ago, I was feeling kind of down and played it on Prime again on a whim... The first act was still pretty bad imo, but as the actual plot & worldbuilding began to be revealed (especially from the pre-interval block onwards), I found myself getting more drawn into it, and realizing that unlike other logic & physics defying masala padams, the makers of KGF had actually given a pretty smart (yet simple) explanation for stuff that would usually make one roll their eyes - the story is narrated from the beginning by a really old dude (who is also shown to enjoy rousing the masses - represented by a waiter in the film - as well as be a bit unreliable; he accidentally jumps forward in his narration at times etc). So most of the R-E-A-L-L-Y over the top seeming stuff could have actually happened in a slightly more believable way, but kelavan athil masala ketti exaggerate cheythu തള്ളുന്നതായി karuthaan oru option padam tharunnundu.
In any case, I ended up quite liking the ambitious & different second half and climax of Ch 1 and so, was somewhat interested in Ch 2 as well. But then, I noticed how many critics I follow were actually giving it a significantly more positive review than the first one, saying that it addresses nearly all the flaws of its predecessor, while being way more epic etc, and this made me even more cautiously optimistic.
So finally, I watched KGF Ch 02 last night (Kannada with English subs)... And damn. Like, DAMN that was a good mass movie. So many things to like about it, and very little to dislike/criticize compared to the first one: The editing did vastly improve and even elevated the storytelling in most places (except ofc, for a promising car chase sequence which was ruined imo by too many cuts to black); visuals that oozed grandeur, power, & darkness in equal amounts, and heck;even the dumb 'romance track' from the first film at least had some point in this one (though you may still dislike how underwritten both that character & the relationship is).
But if there's one unique thing that makes KGF Ch 2 unlike any other mass padam (including its own predecessor) it's the film's AUDACITY. We've heard of people saying "Dream big" etc - but this director, from one of the smaller regional industries of India, has actually done it: Prashant Neel had built up an even more larger-than-life than usual "monster" through the first film... and then in this one, Neel has ACTUALLY given his monster an opponent powerful enough to pose a believable threat to him. The extreme (to put it mildly) acts he makes this "monster" commit throughout this film - elevated by Yash, who's added some decent acting this time, to his already stratospheric heights of swagger - which no director yet had the AUDACITY to put on screen... and actually making it all work as a solid film within the INDIAN (not just Kannada) cinema culture... THIS is what makes KGF Ch 2 a must-watch in theaters imo.
The film does both some really different stuff, and a few familiar stuff but on a whole different LEVEL than any other Indian commercial blockbuster till date; It really is the new benchmark or gold standard for the genre, that too for the entire country. So to anyone who's already made up their mind about this film's quality (or lack thereof) without even watching it, based on their very valid dislike of the first one... I'd say you're mostly right about Ch 1, but probably at least partially wrong about Ch 2 (I mean, yes - art is subjective, and disliking even this film is fine. It's only the improvement in nearly all areas of filmmaking, and how big a deal it deservedly has become within its own genre that's undeniable imo). But if you're someone who loves cinema & great theater experiences in general, do you really want to risk missing out on a film that's going to be talked about for at least a decade (for reaching a whole new high in its genre) on the big screen?
For this reason alone, I personally think it would be worth watching the beginning of KGF Ch 1, skipping from adult Rocky's intro to after Tamannah's item song (you get rid of most of Ch 1's cringe that way), and then watching the more interesting latter half of that film ... in preparation of a far superior, and possibly historically significant (for Indian commercial cinema at least) experience on the big screen. Just adding my two cents to KGF's mountains of gold :)
P.S. If there's one real storytelling negative here (even by commercial cinema standards), it's how a couple of character motivations - especially with regards to sparing enemies - seem inexplicable. Oh, and my personal wishful thinking that the antagonists - who are still quite impressive - had gotten some more screentime & writing devoted to them. Maybe some for the poor love interest as well. But other than that? KGF Ch 2 is commercial cinema GOLD & lightning in a bottle.
2022.02.15 16:49 weallfalldown123 I watched 250 Indian Movies over the COVID-19 Pandemic and made a List of ones Diaspora Desis May Enjoy
Like many other South Asians in the diaspora I had a negative opinion of Indian cinema because my earliest exposure to it was 3.5 hour melodramatic masala movies. But honestly I can say starting in the late 2000s a new wave of Indian cinema came forward with a lot of interesting plot lines. Just some notes:
This list consists mostly of most 2010+ films, with a few 2000s era films. I specifically chose not to include older movies because 1) the list would become way too long and 2) I know a lot of people aren't interested in older films and wanted to avoid making the list seem like a film school watch-guide. Also this list is NOT comprehensive by any means. I watched what I watched, and decided to share what I liked. So feel free to add to it! :) Movies with an ~ = personal fave
You can find most of these films on Netflix, Amazon Prime Video or a website called eInthusan.
Coming of Age [HINDI: Udaan~, Mard Ko Dard Nehi Hota~, Dangal~, The Lift Boy, Gully Boy~, Kai Po Che, Yeh Ballet~, Poorna, The Blue Umbrella~, Black, Oye Lucky, Lucky Oye, Like Stars on Earth~] [TAMIL: Sarvaam Thala Mayum, Kannathil Mutthamittal~] [BENGALI: Kia and Cosmos~] [MALAYALAM: Ustad Hotel, North 24 Kaatham]
Women Focused [HINDI: Lipstick Under my Burkha, Secret Superstar, Pink, Thappad~, Pagglait~, Soni~, Anarkali Aarah, Gone Kesh, Haramkhor, No One Killed Jessica~, The Dirty Picture, Gulaab Gang, The Last Colour] [TAMIL: Sethum Aayiram Pon~, Aruvi~] [MALAYALAM: Helen~, 22 Female Kottayam, The Great Indian Kitchen~, Biriyani] [KANNADA: Gantumoote~, Nathicharami] [ASSAMESE: Village Rockstars~]
Romantic-Comedy [HINDI: Motichoor Chaknachoor, Bareilly ki Barfi~, Barfi, Love per Square Foot, Finding Fanny, Maska, Jaane tu ya Jaane Na~, Welcome to Sajjanpur, EMI] [TELUGU: C/o Kancharapalem~] [MALAYALAM: Om Shanti Oshana~, Maheshinte Prathikaaram, Thrike, Thinkalazhcha Nishchayam]
Romance [HINDI: Love and Shukla~, Highway~, Sir, The Sky is Pink~, Photograph, The Lunchbox, Delhi 6 ] [TAMIL: Nila, Sillu Karupatti] [MALAYALAM: Annayum Rasoolum, Halal Love Story] [MARATHI: Shala, Muramba, Bonus]
Drama [HINDI: Masaan~, Shahid~, Haider~, Manto~, Ramprasad ki Thervi, Liar's Dice~, Bhasmasur, Trapped, Dhobi Ghat~, Mee Raqsam, Serious Men, Jamun, Kaagaz, Darbaan, Milestone~, Umrika, Choked Paisa Bolta Hai, Dharm~] [MARATHI: Sairat~, Natsamrat, Deool, 1000 Ruppee Note, Astu, The Disciple~, Lagaan, Amal, Ekh Cup Chya] [MALAYALAM: Ave Maria~, Thondimuthalum Dhriksakshiyum~, Thottapan~, The Trap, Bhayanakam, Ee.Ma.Yau, Adaminte Makan Abu~, Pathemari, Vikruthi, Trance, Joji~, Aarkkariyam] [TAMIL: Paradesi~, Kuttram Kadithal~, Pariyerum Perumal~, Sometimes, Uriyadi, Mandela, Kanchivaram~]
Crime [HINDI: Udta Punjab~, Andhadhun~ (Lighthearted), Antardwand~, Titli, Shor in the City~, Autohead (TW: disturbing), Gangs of Wasseypur~, Gangs of Wasseypur 2, Talvar, Kahaani~, Detective Byomkesh Bakshi (Lighthearted), A Wednesday ] [MALAYALAM: Nayattu~, Drishyam~, Drishyam 2, Kaanekkaane] [TAMIL: Kattradhu Thamizh*, Anniyan]
Action [HINDI: Sonchiriya~, Paan Singh Tomar, Madras Cafe, Chintu ka Birthday, AK vs. AK, Sardar Udham~, Mangal Pandey, Taxi No. 9211] [TAMIL: Asuran~, Jai Bhim~, Singam, Vada Chennai, Aaranya Kaandam~, Watchman, Sarpatta Parambarai~, Karnan~, Maanaadu~, Kadaseela Biriyani] [MALAYALAM: Jallikattu~, Unda, Take Off, Kappela~, Minnal Murali~ (Comedy)] [TELUGU: Brochevaruevarura, Bahubali, Bahubali 2,]
Comedy [HINDI: Badhaai Ho, Zed Plus, Peepli Live~ (Dark Comedy), Chopsticks, Hindi Medium~, PK~, Kaamyaab, Angrezi Mein Kehte Hain~, Tere bin Laden~, Ye Hai Bakrapur, Mimi~, Ujda Chaman, Sare Jahaan Se Mengha, Bala, Stanley ka Dabba, Dharam Sankar Mein, Padman, Filmistaan, Lage Rahe Munna Bhai~, Khosla ka Ghosla~, Munna Bhai MBBS, 3 Idiots] [TAMIL: Jigarthanda~, Soodhu Kavuum, Monster, Joker (Dark Comedy), Thamizh Padam 2, Super Deluxe~, Powerpaandi] [MARATHI: 15 August, Balak Palak] [MALAYALAM: Janamithri, Amen~, Driving License] [TELUGU: Cinema bandi]
Feel Good [HINDI: Dhanak, Hichki~, I am Kalam] [TAMIL: K.D.~] [BENGALI: Shonar Pahar~] [MALAYALAM: Kumbalangi Nights~, Android Kunjappan Version 5.2.5, Kunju Daivum~, Sudani from Nigeria~, Njan Prakashan] [NEPALI: Pahuna~] [MARATHI: Elizabeth Ekadashi, Harischandrachi Factory] [KANNADA: Rama Rama Re]
Independent [HINDI: Ankhon Dekhi~, Newton~, Ship of Thesus~, Eeb Allay Ooo~, Milestone~, A Death in the Gunj, Kshay~, Axone, The President is Coming] [KANNADA: Thithi~, Ondalla Eradalla] [MARATHI: Imago~, Killa] [TAMIL: To Let~, Baaram, Merku Thodarachi Malai~, Radiopetti] [BENGALI: Labor of Love~, Tope: The Bait]
submitted by weallfalldown123 to ABCDesis [link] [comments]
This list consists mostly of most 2010+ films, with a few 2000s era films. I specifically chose not to include older movies because 1) the list would become way too long and 2) I know a lot of people aren't interested in older films and wanted to avoid making the list seem like a film school watch-guide. Also this list is NOT comprehensive by any means. I watched what I watched, and decided to share what I liked. So feel free to add to it! :) Movies with an ~ = personal fave
You can find most of these films on Netflix, Amazon Prime Video or a website called eInthusan.
Coming of Age [HINDI: Udaan~, Mard Ko Dard Nehi Hota~, Dangal~, The Lift Boy, Gully Boy~, Kai Po Che, Yeh Ballet~, Poorna, The Blue Umbrella~, Black, Oye Lucky, Lucky Oye, Like Stars on Earth~] [TAMIL: Sarvaam Thala Mayum, Kannathil Mutthamittal~] [BENGALI: Kia and Cosmos~] [MALAYALAM: Ustad Hotel, North 24 Kaatham]
Women Focused [HINDI: Lipstick Under my Burkha, Secret Superstar, Pink, Thappad~, Pagglait~, Soni~, Anarkali Aarah, Gone Kesh, Haramkhor, No One Killed Jessica~, The Dirty Picture, Gulaab Gang, The Last Colour] [TAMIL: Sethum Aayiram Pon~, Aruvi~] [MALAYALAM: Helen~, 22 Female Kottayam, The Great Indian Kitchen~, Biriyani] [KANNADA: Gantumoote~, Nathicharami] [ASSAMESE: Village Rockstars~]
Romantic-Comedy [HINDI: Motichoor Chaknachoor, Bareilly ki Barfi~, Barfi, Love per Square Foot, Finding Fanny, Maska, Jaane tu ya Jaane Na~, Welcome to Sajjanpur, EMI] [TELUGU: C/o Kancharapalem~] [MALAYALAM: Om Shanti Oshana~, Maheshinte Prathikaaram, Thrike, Thinkalazhcha Nishchayam]
Romance [HINDI: Love and Shukla~, Highway~, Sir, The Sky is Pink~, Photograph, The Lunchbox, Delhi 6 ] [TAMIL: Nila, Sillu Karupatti] [MALAYALAM: Annayum Rasoolum, Halal Love Story] [MARATHI: Shala, Muramba, Bonus]
Drama [HINDI: Masaan~, Shahid~, Haider~, Manto~, Ramprasad ki Thervi, Liar's Dice~, Bhasmasur, Trapped, Dhobi Ghat~, Mee Raqsam, Serious Men, Jamun, Kaagaz, Darbaan, Milestone~, Umrika, Choked Paisa Bolta Hai, Dharm~] [MARATHI: Sairat~, Natsamrat, Deool, 1000 Ruppee Note, Astu, The Disciple~, Lagaan, Amal, Ekh Cup Chya] [MALAYALAM: Ave Maria~, Thondimuthalum Dhriksakshiyum~, Thottapan~, The Trap, Bhayanakam, Ee.Ma.Yau, Adaminte Makan Abu~, Pathemari, Vikruthi, Trance, Joji~, Aarkkariyam] [TAMIL: Paradesi~, Kuttram Kadithal~, Pariyerum Perumal~, Sometimes, Uriyadi, Mandela, Kanchivaram~]
Crime [HINDI: Udta Punjab~, Andhadhun~ (Lighthearted), Antardwand~, Titli, Shor in the City~, Autohead (TW: disturbing), Gangs of Wasseypur~, Gangs of Wasseypur 2, Talvar, Kahaani~, Detective Byomkesh Bakshi (Lighthearted), A Wednesday ] [MALAYALAM: Nayattu~, Drishyam~, Drishyam 2, Kaanekkaane] [TAMIL: Kattradhu Thamizh*, Anniyan]
Action [HINDI: Sonchiriya~, Paan Singh Tomar, Madras Cafe, Chintu ka Birthday, AK vs. AK, Sardar Udham~, Mangal Pandey, Taxi No. 9211] [TAMIL: Asuran~, Jai Bhim~, Singam, Vada Chennai, Aaranya Kaandam~, Watchman, Sarpatta Parambarai~, Karnan~, Maanaadu~, Kadaseela Biriyani] [MALAYALAM: Jallikattu~, Unda, Take Off, Kappela~, Minnal Murali~ (Comedy)] [TELUGU: Brochevaruevarura, Bahubali, Bahubali 2,]
Comedy [HINDI: Badhaai Ho, Zed Plus, Peepli Live~ (Dark Comedy), Chopsticks, Hindi Medium~, PK~, Kaamyaab, Angrezi Mein Kehte Hain~, Tere bin Laden~, Ye Hai Bakrapur, Mimi~, Ujda Chaman, Sare Jahaan Se Mengha, Bala, Stanley ka Dabba, Dharam Sankar Mein, Padman, Filmistaan, Lage Rahe Munna Bhai~, Khosla ka Ghosla~, Munna Bhai MBBS, 3 Idiots] [TAMIL: Jigarthanda~, Soodhu Kavuum, Monster, Joker (Dark Comedy), Thamizh Padam 2, Super Deluxe~, Powerpaandi] [MARATHI: 15 August, Balak Palak] [MALAYALAM: Janamithri, Amen~, Driving License] [TELUGU: Cinema bandi]
Feel Good [HINDI: Dhanak, Hichki~, I am Kalam] [TAMIL: K.D.~] [BENGALI: Shonar Pahar~] [MALAYALAM: Kumbalangi Nights~, Android Kunjappan Version 5.2.5, Kunju Daivum~, Sudani from Nigeria~, Njan Prakashan] [NEPALI: Pahuna~] [MARATHI: Elizabeth Ekadashi, Harischandrachi Factory] [KANNADA: Rama Rama Re]
Independent [HINDI: Ankhon Dekhi~, Newton~, Ship of Thesus~, Eeb Allay Ooo~, Milestone~, A Death in the Gunj, Kshay~, Axone, The President is Coming] [KANNADA: Thithi~, Ondalla Eradalla] [MARATHI: Imago~, Killa] [TAMIL: To Let~, Baaram, Merku Thodarachi Malai~, Radiopetti] [BENGALI: Labor of Love~, Tope: The Bait]
2021.06.21 23:28 olasaustralia2 Average Malayalam Masala Padam starter pack.
 | submitted by olasaustralia2 to Lal_Salaam [link] [comments] |
2021.04.29 05:33 DesiAlexa RDT YouTube Playlist - April 29, 2021
submitted by DesiAlexa to u/DesiAlexa [link] [comments]
2015.10.15 12:33 mindscreen Lakshmi Devy -- Heroine of Masala Padam : Acting for Film & Television C...
 | submitted by mindscreen to acting [link] [comments] |
2015.10.10 05:04 that_70_show_fan This week in movie releases - Oct 9, 2015
Hindi:
Starring - Aishwarya Rai Bachchan, Irrfan Khan, Shabana Azmi
Marathi
Starring - Santosh Juvekar, Prarthana Behere
Telugu
Starring - Anushka Shetty, Rana Daggubati, Allu Arjun, Prakash Raj, Nithya Menen, Catherine Tresa, Vikramjeet Virk, Krishnam Raju, Hamsa Nandini, Baba Sehgal
Tamil
Starring - Narain, Soori, Srushti Dange
Starrring - Shiva, Bobby Simha, Gaurav, Laxmi Devy
Kannada
Starring - Anoop Sa. Ra. Govindu, Aditi Rao, Rakesh Adiga, Madalasa Sharma, Avinash, Jai Jagadish, Jaggesh
Starring - Arun Sagar, Anushree, Shrunga, Shwetha
Starring - Ayush, Neha Patil, Manasi, Vardhan, Raghavendra
submitted by that_70_show_fan to IndianCinema [link] [comments]
- Jazbaa
Starring - Aishwarya Rai Bachchan, Irrfan Khan, Shabana Azmi
Marathi
- Biker's Adda
Starring - Santosh Juvekar, Prarthana Behere
Telugu
- Rudramadevi
Starring - Anushka Shetty, Rana Daggubati, Allu Arjun, Prakash Raj, Nithya Menen, Catherine Tresa, Vikramjeet Virk, Krishnam Raju, Hamsa Nandini, Baba Sehgal
Tamil
- Kathukkutty
Starring - Narain, Soori, Srushti Dange
- Masala Padam
Starrring - Shiva, Bobby Simha, Gaurav, Laxmi Devy
Kannada
- Dove
Starring - Anoop Sa. Ra. Govindu, Aditi Rao, Rakesh Adiga, Madalasa Sharma, Avinash, Jai Jagadish, Jaggesh
- Ring Master
Starring - Arun Sagar, Anushree, Shrunga, Shwetha
- Titlu Beka
Starring - Ayush, Neha Patil, Manasi, Vardhan, Raghavendra
2011.03.13 23:59 CloudOfEiderDown Best Hindi/Indian comedy cinemas of all times?
My favourites:
submitted by CloudOfEiderDown to india [link] [comments]
- Angoor
- Golmaal
- Chupke Chupke
- Pushpak
- Hera Pheri
- Garam Masala (of Priyadarshan, based on Boeing-Boeing, a play on Broadway)
- Rang Birangi (where Utpal Dutt played Insp. Bhatawadekar)
- Andaz Apna Apna
- Jaane Bhi Do Yaaro
- Gunda (so bad that it's good)
- Seeta Aur Geeta/Chaalbaaz
- Khatta Meetha
- Chashme Baddoor
- The Angrez
- Aditya 369
- Tamil Padam