Lingaa Telugu Movie Trailer
You can watch Lingaa Telugu Movie Trailer here:
You can watch Lingaa Telugu Movie Trailer here:
Breaking Milestone To "KATHI"
Tamil cinema celebrated it's Silver Jubilee in recent days.That days all gone now. There was a time when movies ran for 100 days or even more than that. In those days, not so long ago though, people used to make a movie in 50 days and its theatrical run at times went beyond 175 days. It is probably the vice verse now with the makers taking close to 175 days to complete a movie and only a blockbuster movie is able to achieve the coveted 50 day mark in theaters.
In such a competitive scenario, Ilayathalapathy Vijay’s Kaththi has managed to cross its victorious 25 days run today (15th November) in notable number of screens. As we all know the movie is already a blockbuster and it is fascinating to know that it attracts the audience even after a solid 4 week run at the theaters.
Congrats to Vijay, ARM and team.
A.RMurugadoss copied Kaththi, claims Gopi
The new case updated is that filmmaker A.R. Murugadoss had stolen the script of his Tamil blockbuster "Kaththi" from an aspiring writer named Minjur Gopi. Gopi has appealed in a Chennai court, stating that he had met Murugadoss thrice after the director offered to produce his film. He further claims he had discussed his story and script with Murugadoss over the telephone, who had even suggested a few changes. Kaththi's opening on Deepavali was eventful: a multiplex was ransacked just as it had begun selling tickets by an unruly mob which was peeved over the film's Sri Lanka connection. The Kaththi producer's association with the island nation was resented in Tamil Nadu known for its deep sympathy for Lankan Tamils. Somehow, Vijay and Murugadoss worked out a deal with the protesting groups and released the movie as planned on Deepavali. And it has been shaking and stirring the box office.
Gopi is one among the innumerable men and women in showbiz who allege that their plots and even scripts have been plagiarised or stolen. Sometimes, they are right, but it now remains to be seen whether Murugadoss is indeed guilty of what he is being accused of. P Sanjai Gandhi, president of IPR Attorney Association, opines that if a script is registered in the Copyright Registry in Delhi and if a person can prove that this work has been plagiarized, the offender can be sentenced to six months to three years' imprisonment by the district court. However, he is unsure whether self-addressed, sealed script sent through registered post will be considered as strong evidence in court.
Vikram's ugly look in 'I' done by famed NZ studio
Chennai: A New Zealand based studio, known for its stunning visual effects in Hollywood movies, has done the make up for Vikram in ace director Shankar's upcoming mega budget Tamil film 'I'.
Meanwhile, the official teaser of the film has crossed over 18 lakh views in a day.
The hero, Vikram, also plays the role of an eye-sorish man and make-up for the character was done by Weta Digital, which offers digital production services, including special visual effects, animation besides art work, make-up.
"We wanted aesthetic eyesorish looks," P.C. Sreeram, cinematographer of the movie, said in the 'Making of I', audio-visual presentation.
Director Shankar said he approached Weta as the job was challenging. "This is the first time Weta is doing an Indian film."
Weta is noted for the making of apes in the 'Rise of the Planet of Apes' and the 'Dawn of the Planet of Apes.'
The studio won academy awards for best visual effects in movies, including James Cameron directorial 'Avatar' and Peter Jackson's 'Lord of the Rings'.
Portion of 'I' shot in China, says Shankar
Shankar says that about 25 per cent of 'I' was shot in China.
"About 25 per cent of the film was shot in China. We shot some action sequences and a song under very extreme climatic conditions," Shankar said in the making video of 'I'.
"For the stunt sequences, we hired the best in the business from China. The action you see is the combination of Chinese martial arts and international style fighting," he said.
The film, which has been on floors for over two years, is slated to release Deepavali.
Oscar-winning composer A.R. Rahman has scored tunes for 'I', which is reportedly made on a budget of Rs 150 crore, and produced by Aascar Films.
Want to do a movie by Shankar: Arnold Schwarzenegger
Chennai: Celebrated Hollywood action film icon Arnold Schwarzenegger Monday expressed his desire to act in a movie of ace film director Shankar and also invited him for the making of "Conan the King", a proposed sequential in the Conan series.
"What about me? I have come all the way for a job interview with you," he told director Shankar at a glitzy audio launch function of Vikram starrer Tamil movie "I" which is slated for release soon.
Praising a group of professional body builders who walked the ramp as part of promo events for the audio launch of the film, he said he too wanted to perform in a Shankar directorial.
Arnold's first ever visit here has a symbolic significance for the movie as Vikram is portrayed as a body builder in "I."
Eleven macho men who walked the ramp gave Arnold a special salute which he acknowledged with warmth.
He shook hands with the men and lauded Shankar for using their services in the movie. He described Chennai as a beautiful city.
Interestingly, the hero in the film is depicted like a young Arnold, a body building champion then with features like a curly hair style. Amy Jackson is the actress in the movie.
The Hollywood actor also invited Shankar in making Conan the King. "How about that..How about [making] King Conan,? he asked Shankar.
Smiling, Shankar nodded his head and gave him a thumbs-up amid thunderous applause.
Profusely thanking the fans, Aascar Films Ravichandran, the producer, and Shankar for inviting him for the function, he ended his brief speech with his famous punch line of "I will be back."
Arnold got a rousing reception from the thousands of fans in the huge Nehru Indoor Stadium here.
Superstar Rajinikanth and Kannada superstar Puneet Rajkumar were among the host of celebrities who participated in the event.
Heroines say ‘I do’, producers say ‘We don’t’
With Amala dropped from a film after announcing her marriage, the question returns. Why does the Tamil film industry persist with the outdated idea that married actresses cannot play romantic leads? Subha J. Rao finds out
When actress Laila, who redefined bubbliness in Tamil cinema, walks down the streets of Mumbai, where she lives with her husband and two children, she still gets admiring glances. Sometimes, she is mistaken for a college girl. But when South Indian producers and directors call the actress, all they offer are ‘mother’ roles. “Why should I play the hero’s mother? I don’t look like one,” argues Laila.
When reigning queen bee Simran swapped the arc lights for a life with her love in 2003, lead roles all but dried up, except for a meaty role in Gautham Menon’s Vaaranam Aayiram. Madhoo, the Roja girl, marked her return to Tamil films as a mother in Balaji Mohan’s rom-com Vaayai Moodi Pesavum. After marriage and children, Nadiya, the South Indian film industry’s eternal sweetheart, has got ‘dignified’ roles, not lead roles.
Married actresses just don’t get to play romantic leads in Tamil cinema. Immediately after the popular Amala Paul recently announced her marriage with director Vijay, news came of her being dropped from Telugu movie Vastah Nee Venaka, the makers claiming that her being married would affect the film’s takings.
It’s a problem actresses face, admits a top director. “Producers tend to think that married actresses lack ‘desirability’ and won’t draw in audiences. That mentality has to change. Married male actors flaunt their children with pride and still have women fans, don’t they? Why is this not applicable for actresses? Does talent vanish overnight after marriage?”
A producer, on condition of anonymity, defends the case. He points out that even a top-billed Kareena Kapoor was not successful after marriage in teeny-bopper roles — love story Gori Tere Pyaar Mein did not set hearts racing. Even an Aishwarya Rai, who took a break after getting pregnant, managed only a couple of films after marriage. In reality, though, Hindi films have been far more forgiving than Tamil ones. Dimple Kapadia famously got some of her most fantastic and seductive roles after marriage and kids. More recently, Vidya Balan has attracted author-backed roles, and Kajol starred in Fanaa and My Name is Khan.
“Why don’t audiences and producers understand that a woman has so much to give even after marriage or children?” asks a Tamil director. “Why can’t they be given maternity leave and welcomed right back?” Agrees Laila: “We go through so many experiences; a new range of emotions are within our reach now; things that we have lived, felt.”
As Suriya says, after a point, actors should not matter; only characters should. “An actor’s job is to camouflage himself into a character and ensure the audience never sees the actor on screen. Where does one’s personal status get into this equation?” he wonders. It remains a blind spot, though, in the Tamil industry. Things will change, says G. Dhananjayan, chief, South Business, Studios, Disney-UTV, when South India embraces the multiplex culture. This would mean more mature audiences with fewer hang-ups. “It’s up to the industry to tap their talent and write roles to suit their new status,” he says, pointing out that Meena was perfect as a homemaker in Malayalam blockbuster Drishyam.
The question, though, is not about ‘correct’ roles. The question is, if much-married actors can woo heroines half their age, why can’t a married actress get the same roles she did a month before she got married? Balaji Mohan, whose Kaadhalil Sodhupuvadhu Yeppadi and Vaayai Moodi Pesavum were both multiplex darlings, agrees: “People must have the ability to look beyond this.” But clearly, both industry and audiences still have a long way to go.
Different in small screen
Interestingly, leading ladies on the small screen, especially Hindi TV serials, have managed to hold on to lead roles, even romantic ones, after marriage. Think of the fragile-looking Sangita Ghosh. She scorched screens every evening with her smoking-hot chemistry with the much younger Ruslaan Mumtaz in the just-concluded Jee Le Zara. Then there’s Shilpa Shirodkar, who took a break after marriage only to make a comeback with the popular series Ek Mutthi Aasmaan, where she plays the lead — a domestic worker with dreams for her children. A gracious Poonam Dhillon plays the lead inEkk Nayi Pehchaan, a story about a loving but illiterate wife of a business tycoon who learns to read, thanks to her bahu’s efforts.
