Ganguly now gets the IPL snub

Hours after chief coach John Buchanan announced in his presence that the Kolkata Knight Riders would have four "rotating captains" this IPL season, Sourav Ganguly, who led the team last year, hit back saying "these are all opinions" and "tomorrow I can jump out and say we need four batting coaches, four John Buchanans and Shah Rukh Khan can say we need six Andy Bichels."
"These are all opinions... I think it is his (Buchanan's) idea, he wants to do that. We've to wait and see whether it actually happens in the team or not. It's too premature to say anything on that because he feels that's the way Twenty20 cricket should be played," Ganguly told NDTV.
Earlier, at a press conference where it was announced that the Knight Riders were doing away with the single-skipper concept to split leadership duties four ways, Buchanan took most of the questions while Ganguly sat alongside.
Before Ganguly could reply to a question whether he was upset, Buchanan put his arm around him and said, "Yes, he's obviously upset. After all, he's the king of Kolkata." Ganguly simply smiled and said: "I'm not upset." He later said that the plans hadn't been discussed with him and that he got to know of the move through the media. Buchanan, meanwhile, explained the thought-process behind the move. "We have high-calibre players in the side. Many of them are experienced players. We are going to use their experience. Some of the players have better knowledge of our opponents. So we need more players giving in their inputs," he said.

Better luck next time Nithin

The theme of a don who lives in a den in an island and forms a group to train kidnapped children into criminals for doing anti-social elements for person benefits is already told in the yesteryear super hit film ‘Rakshasudu’.
‘Drona’ is a rehash of the story with bit of changes here and there. Starring Nithin, Priyamani in the lead cast, J Karuna Kumar has debuted as director with this film, presented by D Saraswathi and produced by DS Rao on Saikrishna Productions banner.
Story
Drona (Nithin) is the only son of Mukhesh Rushi and Sita. Drona’s father Mukesh Rushi is an honest and dedicated Police officer. Drona likes his mother Meenakshi (Sita) so much and love her as his own life. When he was a child Drona steals his father’s revolver to scare his friends. On knowing this his father scolds him, consequently Drona leaves his home and gets lost.
After 10 years, he comes back to his parents with the name Chandu. A Neighboring girl Indu (Priyamani) likes Drona/Chandu a lot. On a fateful day, she finds out that Chandu is none other than the long lost boy, Drona.
What are the consequences that made Drona to comeback after 10 years and get introduce in a disguise? Why was Sarkar group searching for Drona? To get the answers watch ‘Drona’ on screen.

Performance of Cast
Nithin looks determined on screen to taste success and has dedicated himself to come out with a slick performance. He has succeeded in his attempt but the long known vintage plot drags his meticulous trails back and doesn’t reap what is expected out of it.
More than Priyamani, her body acts in the film with abundant glamour in almost all scenes. She has been roped in to give the oomph factor and it does bolster the movie.
Mukhesh Rushi and Sita as Nithins parents gave a good performance. *Kelly Dodge, debuted as a villain with ‘Don’ (Nagarjuna starrer), he has appreciably portrayed the role of Sarkar. Dr.SivaPrasad also did well as Mama. Raghubabu, Sunil, Venu Madhav as Nalla Balu, have done well within the scope of their roles. Bob Anthony as Dange has displayed some good acting skills this time around.
Work of the Crew
Anup Rubens, the music director of ‘Jai’ scores in the background music but it’s a disappointing act when it comes to the songs. The numbers are badly orchestrated and are a major con for the film.
Photography by Bhupathi is beautiful and riveting. Art director Prakash’s work is laudable with the construction of the Den set and for the songs. Fights composed by Selvam Prakash have a touch of realism and is neat. Editing by Gautham Raju is average. Overall, the making value of SaiKrishna Productions is good.

Director’s Portrayal
The director has earlier worked in the direction division of SS Rajamouli and debuted as a director with ‘Drona’. The way he rendered the story line is good but the story is a stale and creates a feel of Deja vu. The director relied more on action and glamour rather than the script which is the heart for any movie. His efforts should be appreciated but it’s a big question if it will bring the audience to cinema halls to make the movie a hit.
Criticism
‘Rakshasudu’ starring Chiranjeevi and Radha was a super hit film of those times and ‘Drona’, the new comer in the same line is disappointing. The storyline has not been properly altered to suit present society and the director has missed to make changes in it.
Flicking a story from the past is not new nowadays, but a sensible filmmaker will surely make his director’s touch felt in the script which will make it a big hit if rehashed. But, the makers of ‘Drona’ didn’t do it and this negligence won’t go unnoticed which will cost them bitterly. Karuna Kumar should rework his skills and make a better comeback next time.
For Nithin, alas! What can we say expect it’s a sad disappointment for the actor who looked forward eagerly to a hit. Let’s hope he gets lucky next time.
Verdict: Disappoints at many instances

Arundhathi - A Historical Vengeance

Mallemala Entertainments production ‘Arundhathi’ has been in the making since almost two years and it is expected to be worthwhile. Starring Anushka as the protagonist, Kodi Ramakrishna has directed the movie, produced by Shyam Prasad Reddy.
Producer Shyam Prasad and director Kodi always have a niche for making a step ahead in graphical visuals and ‘Arundhathi’ is no different. The glam doll Anushka is now donning the role of a princess who gets reincarnated in contemporary times. She is clad in traditional costumes which gives a fresh look for the riveting actress.
Sankranthi always bought good luck for many producers and Shyam Prasad Reddy is one among them who released ‘Anji’, a hit movie earlier and is now pinning hope on ‘Arundhathi’.
Revenge is a theme that has been made in cinema since it’s inception but this movie has the backdrop of a Royal family from Gadwal Province and reincarnation amalgamated with it which raises expectations. Anushka plays the role of a young woman in the present and a fearless princess in the past.
Sonu Soodh will be seen in the role of a wizard who has a vendetta on Arundhathi and tries to kill her in the next birth. Shayaji Shinde is her protector in the role of a faker. The promos displayed an elegant Anushka at first and a daring princess who faces hurdles from her enemies during the end. Made in a budget of more than 13 crores, the flick boasts of spectacular graphic visuals, extravagant sets and a novel theme. Anushka has got enough scope to perform and it might give an image makeover for her.

Laadam’: mindless gangster flick

Laadam” (horse-shoe) is a mindless gangster flick with an oft-repeated storyline and a cast dominated by artistes from Andhra Pradesh who worsen the proceedings with awful performances leaving one with the feeling of having watched a badly dubbed version of a B-Grade Telugu movie.
The bad blood between gangsters Paavadai (Kota) and Vembuli (Jaya Prakash) takes a turn for the worse when the latter bumps off the male offspring of the former.
A computer geek Kunjithapatham (Aravindh) is hired to kill Vembuli within 16 days.
Angel (Charmee) helps the hero complete his rather predictable task.
Direction, performances, music and the cinematography - the vital ingredients of a movie - are as useful to this one as a hole in a bucket.
Director Solomon possessing a track record of interesting fare like “Kokki and Lee” has obviously run out of ideas

Twenty: 20 is surprisingly good

It is said that miracles cannot be designed, they just happen. But actor Dileep has almost designed a miracle as the producer of the Malayalam film Twenty: 20, in association with the the actors' forum Association of Malayalam Movie Artists (AMMA).
In the bipolar world of Malayalam Cinema, ruled by two giants -- Mammootty and Mohanlal -- it would be suicidal to cast both of them in a film and fail to give them equal importance. Dileep achieves this impossible feat with his trusted team of writers -- Sibi K Thomas and Udayakrishna, and veteran director Joshiy.
The film is made as a fundraiser for AMMA, where every actor worth his salt makes an appearance (even if it is blink and you miss kind of role).
Now, coming to the most intriguing part of the process, that is the plot; you maybe forgiven, if you feel this is going to be run of the mill stuff in the beginning.

A retired Supreme Court Judge Vishvanathan (played by Madhu) returns to his Tharavadu to spend his autumn years with his family. You get a sense of deja vu thinking that there will be conspiracy and mayhem by his relatives eyeing his wealth. But there is surprise in store for us as the story moves into uncharted waters. Arun (Indrajith), one of the grandsons of the Judge is accused of killing a fellow student during a ragging incident at a medical college in Bangalore. This brings in an upright police officer in the form of Suresh Gopi [Images].
The plot then lays the platform for the entry of the two megastars in the roles they are most loved for -- Mammootty as a very successful lawyer Ramesh Nambiar (protege of Judge Vishvanathan) and Mohanlal as another variant of the feudal Themady Devan Prathapa Varma, who stylishly folds his mundu before getting into action, though later he is seen in blazers and trousers.
It is the game of one-upmanship between the three heroes till the end when all the pieces of the jigsaw fall into place.
Dileep's role can be termed as an extended guest appearance in the second half. Jayaram too has an important cog in the narrative wheel. But we doubt whether the screen time provided to him does justice to the actor.

The comic brigade -- Innocent, Harisree Asokan, Cochin Haneefa, Kalpana, Jagadeesh, Jagthy Sreekumar, Salim Kumar, Suraj Venjaramood and Bijukuttan -- is in full force here. They make the atmosphere jovial when the going gets heavy.
The female leads except for Bhavana have very little to do in this enterprise. Gopika and Kavya Madhavan [Images] vanish from the scene very quickly.
It is disappointing to see that youngsters like Prithviraj, Jayasurya and Kunchako Boban are reduced to group dancers in Nayanthara's item number.
We may have heard that too many cooks spoil the broth but, if handled with care, they can spread interesting smorgasbord. And Twenty: 20 proves this fact.

Just about okay

A fat man and a hot babe together are sure to arouse our curiosity. And this is what director Sai Kiran Addivi is banking in his direcorial Telugu debut, Vinayakudu.
The movie is the romance between fat Karthik (Krishnudu) and sophisticated Kalpana (Sonia). Kalpana is an urbane, independent, strong, confident and to some extent arrogant girl, who is the only daughter of her parents. She works in an ad agency where she is quite domineering. Karthik joins the same ad agency (with the help of his friend Altaf). Coincidentally Karthik and Kalpana stay in the same residential complex (Sonia stays in her friend Sandhya's flat as her parents have gone abroad for six months, while Karthik stays with his sister played by Sathya Krishna).
Initially Karthik and Kalpana cannot stand each other. Karthik is roly-poly boy with a cherubic face. He does not understand the urban lingo and ways as he is from a small town. Compared to him, Sonia is sharp and smart. She does not like it when Karthik is asked by the boss (producer Prem Patra) to work with her. But situations arise whereby she is forced to be with Karthik. The innocent Karthik starts loving Kalpana, who is seeing another boy Rajeev (fixed by her parents). She later breaks up with Rajeev. It's said hate at first sight leads to love at second sight. Will Kalpana go through these emotions?
On the face of it, the movie is a simple story about two people. As we go further into it, we are introduced to another 'love story' between the second lead pair of Altaf and Sandhya (Poonam Kaur), who play Karthik and Kalpana's friends. The film has some freshness in the main story idea and in certain parts. Sai Kiran, in his attempt to show the ad agency atmosphere, also pays more attention to certain ads which are part of his corporate tie-ups.
Karthik is shown to be a totally innocent person. Do such people really exist today?
The story isn't without cliches. For instance, the scenes where Karthik conveniently comes when two men are trying to 'misbehave' with Kalpana on a lonely road, or when Karthik gets drunk, or where Rajeev bribes the cops, or for that matter the Shalini episode. The Shalini episode (the girl in question flits in and out of ad agencies and gets involved with most men)was rather stretched and one wondered how Ankita agreed to play that role.
Then there is the leisurely pace of the story which gets tedious. There is not much action or drama happening and to some extent a sense of ennui is experienced. There is a marginal difference in the second half where the pace picks up albeit negligibly. However, it does not make much of an impact. Perhaps the director wanted to tell the tale in languorous fashion
but it has to sustain the viewer's interest.
Sai Kiran has tried to make a sincere debut. For a change there was a total break from the usual humour and the routine comedians. Sai Kiran seems to have kept the commercial elements in mind while telling the story rather than focusing on the story. Perhaps he could have paid more attention on building up the love story -- the instances shown are not enough to show how Kalpana falls for Karthik. One felt that the events leading to the climax are rather flimsy.

Sai Kiran has chosen a good music director Sam Prasan and a good cameraman PG Vinda. Sam Prasan's music is quite lilting. The fusion piece Vara Veena (with English lyrics) is quite interesting composition-wise though the purists may have their reservations. The music certainly has a different melody and rhythm. Vinda does a good job.
Moving on to performances, one finds Sonia is full of joie de vivre. She displays the confidence, arrogance and smartness required of the character. She has good screen presence too. Krishnudu fitted the role to a T. However, he could have been better in the emotional sequences. The second lead pair are just about okay.
All in all, an okay watch.

Poetry is passion for Prasoon Joshi

Prasoon Joshi admits that writing lyrics isn't the only challenge he loves while working on movies. He loves to collaborate on the scripts too, as he did with Rakeysh Omprakash Mehra's ‘Delhi 6’, and ‘Rang De Basanti’. The 37-year-old writer is best known for his lyrics in these films, as well as ‘Ghajini’, ‘Taare Zameen Par’ and ‘Fanaa’. Over eight years ago, he also wrote for the hit music video ‘Mann Ke Manjeere’ produced for a women's advocacy group. The video has reportedly reached over 26 million households via six satellite music television channels across South Asia and North America.
I have been a voracious reader from my childhood. And I think I have been writing ever since I remember. I was producing handwritten magazine and books when I was about ten and perhaps even earlier. Poetry for me is something that also exists outside the film industry. I wrote poems in my teens without ever thinking of films. And that is why I continue creating non-film poems. I wrote a poem not long ago on the terrorist attacks on Mumbai and the poet in me is always looking at the social issues. I like using words that intrigue me and the listeners.

'Gulaal' - lethal mix of grimy morals

The blossoming of Anurag Kashyap into a formidable storyteller who bends all rules of filmmaking
acquires a startling new definition with 'Gulaal', which is about student unrest and intense politicking.
'Gulaal' emblazons itself across the screen as a deft and brutal film on the culture of decadence in a typical north Indian setting. And it spares no room for niceties as it is a powerful portrait of a culture that thrives on bullying tactics.
The homage to the cinema of Vishal Bhardwaj is rampant in 'Gulaal'. Somewhere in the brilliantly-cohesive soundtrack we even hear strains of Lata Mangeshkar's 'Pani pani re' from Bhardwaj's 'Maachis' in the film where life is lived by the gun and the mantra for survival is deception.
The world of 'Gulaal' is crowded, claustrophobic and potent. The writer-director spares us none of the details in bringing to life a world where unlicensed guns and unchecked lawlessness rule. This is the kingdom of anarchy. Enter at your own risk.
In many ways Kashyap's portrait of a world on the skids is borrowed from the mafia films of Martin Scorcese. The same disregard for human life defines Kashyap's collage of queerly egocentric characters in 'Gulaal'.
In 'Gulaal' human lives get snuffed out with anarchic disdain. The location and mood are perfectly pitched to deliver an ambience of uncouth vigilanteism. Men who are mean because it's their only trick of self-preservation and women who scheme against unsuspecting men by using their sexuality tumble out of the crowded canvas.

Kashyap's narrative provides us with no fullstops. The editing by Aarti Bajaj is so relentless in its pursuit of variable moods and situations that the audience is often left behind in efforts to keep track of the goings-on. The soundtrack too perpetually races ahead of the visuals.
Shakespeare
meets Quentin Tarantino in 'Gulaal'. With 'Dev D' and now 'Gulaal', Kashyap has proved himself a master of basic storytelling. He pulls the plug on cinematic pleasantries and takes us straight to the core of the characters, often rotting and evil.
The royal politics of separatism rubs shoulders with the politics of sex and power in a heady brew that the Shakespearean tragedies had patented a century ago. And yet Kashyap's stimulating cinematic language embraces its literary antecedents without losing focus on ugly facets of contemporary Indian life.
Kashyap begins with college ragging when we are introduced to the callow hero Dilip Singh (Raj Singh Choudhary) who's locked up by a bunch of bullies with a naked woman(Jesse Randhawa). The two strike an empathetic cord that takes them on a nightmarish journey through the scummy world of north Indian politics where brother kills brother and love gladly betrays love.
'Gulaal' is many things at the same time. As a portrait of small town politics it bludgeons you with its lethal mix of grimy morals, slimy characters and perverted politics. The stench of corruption is conveyed with the same intensity as the odour of sweaty bodies running through dirty gullies in pursuit of the next victim.
At heart 'Gulaal' is a portrait of a civilisation that's rapidly receding into chaos but thinks it's just karma that propels them into annihilation. At the core there's an unspoilt uncorrupted relationship in 'Gulaal' - that between the aggressive student leader Ranajay Singh (Abhimanyu Singh) and his protege Dilip.

It's no coincidence that Dilip tells his soulmate Anuja that he feels vulnerable without Ranajay.
Beneath the politics of power and sex, 'Gulaal' hides a tender longing for bonds that transcend the barrel of the gun.
'Gulaal' sees an authentic set of actors playing characters who are completely at one with the director's dark vision. Outstanding in different ways are Abhimanyu Singh as the self-disinherited royalty, Pankaj Jha as the over-age college bully, Kay Kay Menon as the unscrupulous Rajput leader and Aditya Shivastava as the illegitimate heir of a subverted princedom who dotes on his kid sister (Ayesha Mohan).
And then there is Piyush Mishra as narrator, conscience and cynic. In fact Mishra plays many roles and defines the chaos of the plot with songs that sing of old forgotten values in new power-packed parodies.

Court: allot ‘nagara’ to DMDK; ‘railway engine’ to Praja Rajyam

New Delhi: The Supreme Court on Friday asked the Election Commission to allot a common symbol, ‘nagara’ (drum), to actor Vijayakant’s Desiya Murpokku Dravida Kazhagam (DMDK) to contest the Lok Sabha polls in Tamil Nadu and Pondicherry.
A Bench consisting of Chief Justice K.G. Balakrishnan and Justice P. Sathasivam also asked the Commission to allot ‘railway engine’ to Praja Rajyam, led by actor Chiranjeevi, and ‘whistle’ to the Lok Satta party to contest the Assembly and Lok Sabha elections in Andhra Pradesh.

Aloo Chaat’ is neither funny nor new

“Do you have a boyfriend?” Aftab Shivdasani, dimpling with mischievous intent, asks his prospective bride. “Neither do I!”. Ha ha…
“We could go out at least two evenings every week after marriage,” Aftab promises. “You could go on Saturdays, I on Sundays.”
Ha ha ho ho…
Robbie Grewal’s first cinematic outing “Samay” featured Sushmita Sen as a tough cop and his second feature was a mushy ode to first - “Mera Pehla Pehla Pyar”. This time Grewal falls as flat as a cold chapati while attempting this groom meets bride tale in a Punjabi household bustling with uncles, aunts and other relatives.
Trouble is, we don’t see much of the domestic action jumping out of the screen to claim our attention. The characters including the ever-dependable Kulbhushan Kharbanda behave like a crew from a long-running serial straying into a film about life in a family serial.
Every actor behaves as though he’s playing a part for the camera. The talented Manoj Pahwa playing a tawdry sexologist talks directly into the camera.
Is he the narrator or just the excitable orator? Are we watching a film on contemporary mores as opposed to conventional attitudes? Or is this a script that Basu Chatterjee decided to throw away for its lack of punch?

The plot, if you want to know, is about a Punjabi NRI who, in order to convince his family to let him marry a Muslim girl, brings home a tourist as his girlfriend.
“Thank God he didn’t bring home a guy,” someone quips as this bargain basement version of “Dilwale Dulhaniya Le Jayenge” chugs along at a dull though inoffensive pace.
“Aloo Chaat” is a Punjabi comedy that you’ve been seeing on television for years and is now being screened on a much larger screen and a far smaller intellectual level.
Aftab Shivdasani and Amna Sharif share some watchable moments together. But these moments are squandered in the wrong movie with the wrong plot.

Praja Vijayabheri - Parade Grounds, Secunderabad

It seemed that the message of CHANGE from the God of the Masses (Chiranjeevi) had reached the mighty heavens. The Sun god and the Rain god, who had just planned to play spoilsport, were convinced that CHANGE should begin with them. A cool evening with a nice breeze was their answer. Bay of Bengal, with an immediate purpose, traveled over 350 kms west, conjuring itself into a million roaring people, to watch the spectacle that belongs in the front pages of the history books. The message of CHANGE has ignited a spirit of love that melted down the barricades that separated audience as more than a million eye balls, in rare unison, were glued to the stage without an occasional blink.
From the middle of such a breath taking, death defying arena came the horn of a trumpet and the beat of a drum, which faded the sound of the thunderbolt into insignificance and muted the empty noises of the adversaries forever. Yes, Chiranjeevi has announced the war on over 60 years of horror in Andhra Pradesh. The cunning pact of corruption between Naidu and Reddy would be forced to expire in just about a month, and their misdeeds will be subjected to scrutiny. Justice, in its purest form, would prevail to weed out tracts of bad governance with surgical strike precision.

“In 2004 elections, congress has allotted 45 seats and TDP has allotted 60 seats to BCs. The present CM and the ex CM had the unique record of not alloting even 1 seat to BCs in their native districts in 2004. Congress has just announced 89 seats to one community”, said Chiranjeevi, “And this has to Change. PRP will allot 100 seats to BCs.”
Chiranjeevi said that Praja Rajyam will strive to provide clean drinking water, quality education and adequate medical care to all the citizens of AP including those living in remote rural areas. He said that the Party focuses not on fancy schemes but strives to provide for all the basic needs of its citizens. He added that his government will stop farmers’ suicides and strengthen law and order to provide a secure environment for the people.
With a welfare plan that answers the most intriguing problems of today’s society and the support of people who asks not for a government that advocates showy schemes but for a rule that provides for their basic needs, Praja Rajyam sets itself up for a landslide victory.
Why would gods of heaven object to the God of the Masses when all of their plans for earth will be taken care of!

Aankhen Kholl Hariboll is different

What is this, a devotional album, a pop one or something else? You can say it is a mix of religion and pop, in the sense that it is a pop album with a religious name. The songs have been rendered by young crooner Ashish. He is from Kolkata but is settled in USA. The album contains eight tracks and the music has been provided by Sheizwood. The songs are either fast, peppy or melodic. The songs have been penned by various lyricists. Meant for the young generation, the songs smell Indian. The songs in the album are different. Ashish debuted in the music scene with his album ‘Bewafaa’ in 2008.
Ashish says, “Music is my passion and I wanted to gift the audience good quality of melodies and I am grateful to T-series for giving me this wonderful opportunity.” He was trained in music from his singer mother and brother Ahin Kumar. Other than singing, he is an electrical engineer also interested in cricket. But music is his first love!

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Stone pelting at Chiranjeevi in Ravulapalem !!!

Praja Rajyam Party president Chiranjeevi on Monday virtually experienced the fact that there are not just bouquets, but also brickbats in politics.A disgruntled party worker pelted stone at Chiranjeevi, as he was addressing a road show at Ravulapalem in East Godavari district