Every genre is used to tackle a different issue and is smartly separated by changes in tone and camera treatment. I don’t remember the last time I saw someone spill their popcorn laughing. With Sammohanam, Mohan Krishna Indraganti proves that he doesn’t need chaotic loudness to entertain.Īwe is smart, sensitive, progressive, quirky and, not to forget, hilarious. Or the comedy track that comes in the second-half where the hero, his friends, and his father kidnap the bad guy. Like Vivek Sagar and his mesmerising music that outshines at places. Is Sammohanam without flaws? No, but the merits do make up for them. We as an industry might be far from making a film like Pink, but the scene where the hero’s mother teaches him about rejection and a woman’s right to say no is rather progressive and refreshingly unlike anything we see in such anti-climactic moments.
Even though it falters at places with unnecessary comic relief, its need to be amicable for everyone is forgivable.Ī romantic comedy about a gorgeous female movie star and a cartoon artist that separates itself from the herd by going places that a normal Telugu film of this genre would not want/have to. A poignant and sensitive performance by Ruhani Sharma helps immensely as well. The film’s perspective surprisingly feels real and relatable. It isn’t easy for a man to make an authentic film about a woman who is emotionally broken and vulnerable but too busy taking care of others to change this. The thing with so-called feel-good movies is that no one takes them or the craft that goes into making one seriously because they seem effortless. Rahul Ravindran’s Chi La Sow is no different, except the effort shows and rightfully so.
No, it didn’t, but it gave us one of the best-written female characters in its history. This film singlehandedly wiped misogyny out of the Telugu film industry. Magic moment: The series’s greatest showdown, as Gandalf faces the fiery Balrog on the bridge of Khazad-Dum.If a biopic-maker’s primary goal is to make his/her audience feel the admiration that he/she feels for the protagonist, then Nag Ashwin has done a flawless job. While Dulqer Salman’s measured performance helps humanise Gemini Ganesan, Keerthi Suresh shines as Savitri, giving her career-best performance yet. Dani’s cinematography and Mickey J Meyer’s soundtrack adds artistic heft to an already star-heavy production.Įven though there were moments – I’m still mad about the chemistry-less love story between Samantha and Vijay – where the story sacrifices its natural flow to bring us factoids about Savitri in awkward ways, it was an unforgettable experience to watch a film unabashedly celebrate a woman for all that she was. Now, this kind of indulgence might not sit well with everyone, but it did pretty well with me. Thanks to Mahanati’s success, both critical and commercial, Telugu cinema is going to see a myriad of biopics in the coming days. A simple tactic, perhaps, but a blindingly effective one.
And that’s the reason why Jackson’s ‘Rings’ movies work, and will continue to thrill moviegoers for generations to come: the characters are as important as the special effects. It may lack the blood and thunder of later instalments, but for us the first ‘Rings’ film remains the best: it has the most direct narrative – a road movie, essentially, from the rustic middle-English hush of the Shire to the forbidding shores of the Anduin – and the sweetest character moments, from Bilbo’s sad departure to Boromir’s sacrificial end.
With his grand, globe-conquering adaptation of JRR Tolkein’s genre-defining trilogy, Peter Jackson dragged fantasy into the digital age, managing beyond all the odds to make it at least semi-cool in the process.