putaani party ( kannada : ಪುಟಾಣಿ ಪಾರ ಟಿ , english : the kid gang ) is a 2009 kannada language feature film .

produced by children 's film society , india , the film was shot in a village called honnapura situated near the town of dharwad in south india .

the film uses local actors , most of them first timers who are new to the medium of films .

the film has a particular dialect of kannada that is spoken by a few in that part of india .

this film has been scripted and directed by ramchandra pn , a graduate of the film and television institute of india , pune .

his earlier film suddha had won the best indian film at the osian 's cinefan festival of asian films , new delhi , 2007 .

putaani party is his second feature film and his first in kannada language .

putaani party

jayashree rajagopalan writes about indian children ' s films . - putaani party included . . .
happy to note that ' putaani party ' gets mentioned even after six years of its making .
putaani party shown in a school in dehadun on the 19th of april , 2016 . thank you sudarshan juyal , taru
m umbai - based p n ramachandra won this year ' s prestigious national award for the best children ' s film putaani party .
a friend tells me that ' putaani party ' was screened at the tinsukia orange film festival on 2nd april 2013 in tinsukia , assam .
putaani party ( the kid gang ) 78mins / 35mm / cinemascope / dolby / kannada / india / 2009 . a film by ramchandra pn
an article whose title is ' claps , whistles and cheers for putaani party
- reflecting the mood of the children who saw the film recently at mangalore .
enjoy latest south indian kannada full movies super hit children ' s comedy adventure movie puttani party ( the kids party ) starring : sharukh mulla , ranjeeta . . .
' putaani party ' ( 2009 ) directed by ramachandra p . n . , tackled a subject few have ventured to broach with any seriousness or honesty : the right of children to det
had a screening of putaani party at mysore on the 10th of october under the aegis of mysore film society and a intresting post screening discussion after it . thanks manu mysore , vn laxhminarayana
the best children’s film award was shared by putaani party in kannada and keshu in malayalam . jeeva and anba karaus shared the best child actor award . telegu film magadheera bagged awards for special effects and choreography .
17 . overview chillar party  chillar party is a 2011 indian children ' s film directed by nitesh tiwari and vikas bahl and produced by ronnie screwvala  it also features ranbir kapoor in an item - number . chillar party won the 2011 national film award for best children ' s film . 17
the best children’s film award was shared by ‘putaani party’ ( kannada ) and ‘keshu’ ( malayalam ) . jeeva and anba karaus shared the best child actor award . ‘magadheera’ ( telugu ) awards for special effects and choreography .
' putaani party ' to be screened at kairali theater in tiruvanantapuram at 6 . 15 pm on 16th may and 11 . 15 am as a part of the kerala at icffk ( international children ' s film festival of kerala .
democracy is the best we have . but what needs to be seen is whether governance is reaching the grassroot level . we need to have structures that ensure this process . putaani party deals with one such structure that involves children .
trailer of the kannada feature film ' putaani party ' ( the kid gang ) ಪುಟಾಣಿ ಪಾರ್ಟಿ produced by : children ' s film society , india scripted and directed by : ramchandra pn details of the film putaani party ( the kid gang ) 75mins / 35mm / cinemascope / dolby / kannada / india / 2009 . in a small village in south india , a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .
had a screening of putaani party at chhabildas school at dadar in mumbai this morning for the high school kids arranged by the ngo sujaya foundation - thanks batul for coordinating it . it is always wonderful to have the reactions of kids to the film . . .
some are . but communication mostly happens through dialogues so i see no problem . putaani party was also criticised for being dialogue heavy , but i felt those many dialogues were required as it was a film that showcased children initiating a dialogue about issues and trying to find their own voice .
the eminent film maker from mumbai pn ramachandra has made a leap in to a children film titled ‘putaani party’ ( the kid gang ) that cater to a small village in south india where a group of elected representatives children discover own voice and how they implement their rights is systematic and constitutional .
putaani party is a film that talks about children ' s right to self - determination and governance . it has been shot in dharwad and mostly local actors have been used . it has been produced by the children ' s film society of india ( cfsi ) . it is my second feature film .
manipal : ramchandra p . n . , an award winning film - maker , delivered a talk on “cinema and censorship” at the school of communication ( soc ) auditorium on tuesday , august 18 , 2015 . ramchandra p . n . who is credited for works like ‘suddha’ and ‘putaani party’ educated a packed hall of enthusiastic media students . . .
‘putani party’ ( the kid gang ) has music by vijaya prakash and it is edited by arunabha mukerjee . ranita jadhav , sharad anchatgiri , gurudut jodhi are in the lead cast .
suresh gujar , my associate calls me the other day to tell me that ' putaani party ' has been screened by cfsi at vasai in mumbai along with a few other cfsi film . happy that it was screened . . still wondering if a system could be worked out by cfsi , the producers and the exhibitors of the film , to keep in loop the concerned filmmakers whenever such screenings happens .
“bankrupts penetrates ones mind and consince with its own taka tak way” . i am sure like his earlier films ( suddha and putani party ) this film will fetch ram accolades at national and international levels .
my active association with mysore film society dates back to the day they screened ' putaani party ' in october , 2014 . sometime later , in march 2015 , v n laxminarayana a retired lecturer in mysore and the motivating force behind the society expressed a desire to screen my new film ' haal - e - kangaal ' ( the bankrupts ) . he had heard about this film from my bangalore based filmmaker friend ms prakash babu .
12 . indian children ' s films 12 101 chodyangal abhayam athisayan ayyappantamma neyyappam chuttu baaja balak - palak bari theke paliye bharath stores the blue umbrella ( 2005 film ) care of footpath charandas chor chillar party chithrakuzhal chithrasalabhangalude veedu ente mamattikkuttiyammakku gattu gippi goopy bagha phire elo goopy gyne bagha byne halo ( 1996 film ) hawaa hawaai hirak rajar deshe i am kalam jadu ka shankh jagriti jajantaram mamantaram keshu lilkee mahek makdee manjadikuru manu uncle mr . india my dear kuttichathan naunihal ( 1967 film ) neel rajar deshe oomakkuyil padumbol oridathoru puzhayundu poovarasam peepee putaani party raja aur runk ramayanam ( film ) rani aur lalpari safed haathi shiva ka insaaf sonar kella stanley ka dabba t . d . dasan std . vi b taare zameen par thanga meenkal thutturi tomchi tora ( film ) woh ghar yeh hai chakkad bakkad bumbe bo
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i had extensively done such screenings in parts of karnataka with my first feature suddha ( the cleansing rites ) thanks to an exhibition grant provided by the hubart bals . the children ' s film society of india ( cfsi ) , the producers of my second feature ' putaani party ' ( the kid gang ) have their own exhibition set up where they screen some of their films in association with the local district administration and the theater exhibitor ' s association . yet to gauge audience reactions , i had also screened the film , on my own , in some fifteen alternative venues , again in karnataka .
in their initial days , the villagers were skeptical . but these days they always manage a hot debate each time they screen the film – making people realise the importance of conservation and the need to respect nature . after the screening , they are invariably invited to dinner at any one of the houses . by mid night they are back in the town of tiptur , back to their daily lives . thus relentlessly and ferociously they have been going on for quite some time now . they now want to start a film club , the preview screening of ‘putaani party’ was the first film in their list . it amazed me that they had wanted to screen the film for the tiptur school kids for six months now !
19 . market analysis movie year budget box - office rating koi mil gaya 2003 30 crore 80 crore 7 . 0 taare zameen par 2007 12 crore 88 crore 8 . 6 chillar party 2011 25 crore 63 crore 7 . 5 i am kalam 2010 3 crore 6 crore 7 . 9 bum bum bole 2009 5 crore 12 crore 7 19
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a group of elected representatives of kids in a small village find their own voice when they outsmart their adult counterparts to set right those things that they think are undesirable to their constituency .
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a ' gram panchayat ' ( village governing body ) in rural india facilitates the functioning of the ' makkala samiti ' ( children ' s committee ) . this is a children ' s body elected by the children themselves . the committee acts as a pressure group in trying to get the local governance react to various social issues that it raises . guided by a sympathetic school teacher , the children ' s honesty and persistence ruffles many feathers among the adults . some of the adults have been using the ' makkala samiti ' for their own needs . what follows is a subtle cat and mouse game , by the end of which the children hope to get their voice heard .
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a gram panchayat ( village governance body ) in rural india , encourages and facilitates the functioning of a kid’s body elected by children themselves . these kids , unbound by the baggage of personal gains , work with diligence , acting as a pressure group to inspire the adult governing body to act on socially relevant issues . many adults try to influence them for their own personal benefits . but guided by a sympathetic and honest school teacher the children fight back with integrity and persistence . a subtle game of cat and mouse ensues between the children and adults before their voice if finally heard .
tera jalwa jalwa ho tera jalwaa . performance . ( hindustan ki kasam ) . . rashid hussain rgr peer bahora
ermine their own future and quality of life . shot on location at a village named honnapura in dharwad district , the plot concerns a bunch of children trying to form a local self - government body . when their solutions and bracing commonsense make the villagers see reason , their popularity and acceptance rises , to the chagrin and spite of the powers that be . as the balance of power in the village tilts to and fro , the children fight against all odds to get their point across to an apathetic world of adults . the film was widely praised for its deft use of locations , dialects and , above all , of actors most of who had no prior acting experience , let alone on screen . the film was awarded the swarna kamal ( golden lotus ) for best children ' s film at the 57th national awards .
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the indian children’s film industry lacks the attention enjoyed by its adult counterpart , commercial cinema , yet several indian films for and about children have created a distinct space for themselves . this article examines four indian children’s films that delve into contemporary socio - political i…
on 10th oct 2014 . friday 6 . 00 pm @ namana kalamantapa . all are welcome ph : 09448092049
i am speechless . . . wonderful movie . . . excellent in every aspect of movie making . . . pramod hassan on you tube
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hailing from karnataka , p . n . ramachandra is best known for making critically acclaimed short films , television serials , documentaries as well as feature films . his first feature film , suddha ( tulu ) , which was filmed in 2004 won the best indian film category at the 2006 osians cinefan festival . . .
in a small village in south india , a group of elected representatives of children discover their own voice as they outsmart their adult counterparts to set right things that they think are undesirable to their constituency .
the director , who earlier won laurels for his tulu film suddha , talks about his award winning kannada film and more .
there have been attempts to empower children in matters relating to them the world over . the powerful makkala panchayat attempt at kundapur is one example and i had even made a documentary on it . i had heard about the bal panchayat experiment in rajasthan and children ' s parliament in arnavayil village , tamil nadu as well .
in brazil ' s barra mansa also , there is something called the children ' s participatory budget council in their municipality . here elected children are allocated a budget where they get to decide on which areas they will spend it on . i felt the need for the spirit of these initiatives to be on celluloid and thus the film happened .
whether one wants or not , a child is made aware of politics at a very young age . what is important is the kind of politics they are exposed to .
cfsi is the distributor and interested people can obtain copies of the film from them . from my side , i am letting people know about the film through the internet . i am also working on sending this film to various film festivals .
take taare zameen par for instance . while i ' m not sure if it is really a children ' s film , it is considered so . i find that the structure , style and narration of the film are fine tuned to the star who is acting in it rather than the child . the mainstream rarely gets into the children ' s film category as its a risky proposition financially .
therefore it has to piggy bank on a star , an animal , a supernatural element or a mythological character . if i want to make a feature film on a child desperate to prepare and eat gobi manchurian - - the dish that he likes - - i find it difficult to find private financiers .
my mantra for any film is to keep it simple , more so in the case of children ' s film .
for starters , a separate national award for children ' s films is encouraging . also karnataka government ' s initiative of giving subsidies to childrens ' films is a one of its kind in the country . further cfsi has been consistently producing children ' s films over the years . they have also been dubbing them in various languages .
there is freedom in the usage of style and treatment that a director enjoys at cfsi . it also holds film festivals in association with local bodies for children . whether these films have reached a large section of children in india is a different question . there is reluctance on the part of the mainstream film distribution system to pick up films from cfsi and vice versa . this is very sad because the quality of some of the cfsi films is top class .
i decided to get into film - making after i saw girish ' s gatashraddha . he has been consistently making films of his choice . his commitment towards the medium is unquestionable . people trust him to deliver . at some point in my life , i would like to achieve this status . he is an inspiration to many of us .
like i said girish kasaravalli . then there is aravindan , bunuel and kundan shah .
i believe that there are two ways of making a film - - either make films on one ' s own strength or piggy bank on a popular name and thereby get finance to make the film . i prefer the former for there is little room for maneuvering when compared to the latter .
of the few recent mainstream kannada films that i have seen , i liked chaitaniya ' s crisp narration in aa dinagalu . girish ' s kanasemba kudureyanneri also impressed me with its non - linear structure . only girish could have pulled off such a film . also although i haven ' t seen vimukthi , i admire sheshadri for having attempted a project like that .
also i have ensured that the dialogues are not the kind that adults would mouth . so i see no problem there . having said all this , i am also not for including dialogues just to create a dramatic edge so as to gain more applause .
yes . right from college days in udupi , i have been associated with theatre . i there on went to study in pune film institute and here i am today .
two feature length documentaries which have been in the making for eight - nine years are now on the verge of completion . meeyaru house is one of them . it is on the demolition of an ancient house and the memories and lifestyle that get buried with it .
the second one is mumbai montage . it is a montage of various personalities who have migrated to mumbai from karnataka . from former defense minister george fernandes to a semi - educated rag picker , many have been featured here .
besides these i am also collaborating on the screenplay of a film being made on the agricultural situation in india . i will also be directing it .
i guess they should do what sudhir mishra calls riyaz . make your film even while you are not making it !
m . s . reddy bhujangaraya sarma m . v . s . haranatha rao ( dialogues )
as lord rama . it received the national film award for best children ' s film .
the film has all child actors , about 3 , 000 in number . they were chosen from 25 - 30 schools in and around hyderabad and secunderabad .
this article is issued from wikipedia - version of the 11 / 29 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
to mk raghavendra greetings . i have today sent you a dvd copy of my new feature film called ' haal - e - kangaal ( the bankrupts ) ' . i was wondering if you could see the film at your convenience and give an opinion on it . * * * * * * *
i watched your film and found it very interesting conceptually . but here are some critical comments :
it is a very personal film , i think , about the dreams film students have , the compromises they make and where they finally go . i would say that it is very , very pessimistic . it shows how most lives are actually wasted . 20 years after graduating people are forced to tell lies to those who were once closest to them – to look better than they are . it is also about the end of friendships
its difficulty is that it is too personal . it is like making a film only for those who have gone through the same experiences . there will be very few who will feel what you feel by watching your film – which should be your purpose .
the reason , i think , that you film remains too personal to be effective with any kind of general audience is the format . a film as a conversation between two people is ok but then too much pressure will be put on the actors – which they should be able to handle .
i don’t think your actors are capable of holding the audience’s attention . an outside person will not find them interesting . in a film school and hostel you would have become involved with ordinary people in deep relationships . but such relationships evolve over two to three years . you can’t use ‘ordinary’ people as actors because they have to become interesting to us – hold our attention – from the very first frame . you actors are too ‘average’ as people to do that .
the script is ‘realistic’ in the sense this is the way people actually talk , this is what happens in real life . but cinema cannot be realistic in that way . cinema must also be expressive . it cannot show such ordinary things like people farting and shitting and expect audiences to be interested . you script would have had to be much sharper , come to the emotional gist and give much more emphasis wherever required . there would have to be exaggerations .
there is very little art direction . here again , you seem to be showing people dressing like this and having such a location because that is ‘real’ . but this makes the visuals very dull . i am not saying that you should have posh clothes / location but that the locations / costumes have to express something . you should also develop your characters to make them interesting as characters different from each other and dress very differently . here it looks like the actors have come to the location wearing whatever they have . both actors look ordinary and are boring as people .
trips should have been more interesting – given his professed experiences . ( is he based on the utpal dutt character in ray’s agantuk ? ) but he comes across unconvincingly . no person with so many experiences could be so dull . he does not hold our attention even for a moment – which is necessary . if he is lying , lokesh does not seem disbelieving as he should have .
the story maternity leave is a confusing story and , i think , cannot make a good film script . since so much time is spent relating it , all this time looks badly spent .
to convey what you are trying to say , which is deeply felt , you need to distort , use techniques which are not simply realist . the camera would also need to be used more creatively .
j ) the best moment in the film is when lokesh brushes his teeth and trips says anu doesn ' t like the taste of nicotine . that is very expressive .
thank you for taking time off and watching the film and making an effort to write your opinion on it . the sum of your opinion seem to be this : - it has a limited audience because it is a personal film , a pessimistic film , and the format does not work because the actors in the film can not hold attention . the script , camera , characterization and art direction are realistic with out any exaggeration or distortions ; and hence dull . correct me if i am wrong . can you throw some light on what do you mean when you say that your actors are too average as people or look ordinary and boring as people ? does it mean they are bad actors , or does it mean their characters are boring and average ?
1 . i think the dialogues and actions are too full of the mundane . any artistic venture needs to eliminate the mundane .
2 . this handicaps the actors . their personal charisma might have contributed / compensated but they are not able to do this . 3 . they may not be bad actors by themselves but they do not give arresting performances - necessary , given the fact that nothing except the two occupy screen time . 4 . the actor who plays lokesh sounds / looks better in the youtube clip where he talks abut the film than in the film itself . in the film he could have been more relaxed . 5 . when i say that it has a limited audience i mean that it is too private a film . it is unlikely to mean to other people what it obviously means to you .
dear mk raghavendra thanks again for the clarification . i think i now am beginning to figure out what do you mean by realistic / mundane . i did see agunthuk when it was first made . it occurred to me that there could be a bit of similarity when a cinephile friend of mine told me so . the characters in the film are a combination of the characters of a few people , i think , i know . i also am of the opinion that a film need not necessarily mean the same thing to other people what it means to the director . i have a blog , which i write occasionally . can i post this opinion of yours on it ?
so , here is it - the other point of view seen from the prism of film realism .
it is a prism that i had kept at an arms distance , when i was making haal - e - kangaal .
naveen sunag is an independent film maker based out of uk . he is a graduate from the vgik film school in russia . his views after watching the film the bankrupts ( haal - e - kangaal ) : -
the bankruts ( haal - e – kangal ) , a film made by dear friend , film maker p . n . ramchandra effectively narrates the intellectual ,
emotional , ethical , cultural , professional so on and so forth , bankruptcy of the society .
it is a productive piece that shows the decadence of the present world around us . a world of adjustments , easily jumping to conclusion and passing on judgements on one another .
needless to say both actors have done good justice to the characters they have played . in all the film engages the audience well and the content of the film makes them sit back and watch till the end .
thanks ram for making such a beautiful film and let me watch it .
recently , chaitra acharya , asked me a few questions regarding tulu cinema , on which she is doing research . here is the response .
' i do not hold a brief for tulu movies , except the fact that i originally hail from a tulu speaking area of karnataka , i am sympathetic to the cause of tulu films and my first feature film is in this language . i do believe that more and more films should be supported , made and exhibited in regional languages like bhojpuri , awadi , konkani , tulu etc . . - films that reflect the unique multiple cultures that these languages represents .
it is often said that language is inseparable from culture . destroy a language and you have destroyed its culture . the tulu people , though living in only two districts of the state of karnataka in india take pride in their language . among other things , it is a home to a matrilineal system of family , it is rich in its oral traditions especially the epics , the literacy rate here is almost 100 % , it is environmentally rich and traditionally , more than the gods that we know of , it is the humane but benevolent sprits who are being worshiped here . despite its negotiations with globalization , the distinct nature of the tuluva culture is still noticeable .
the foot print of the tulu film industry , if there is one , is just two tulu speaking districts .
although there are sizeable number of tulu speaking people in bangalore , mumbai and even in the middle east , these centers could at best be a secondary market for the tulu film industry .
since the money invested in a tulu film would come from its limited local audience , the making costs of such a film too would have to be limited . the budget of many tulu films work around the subsidy that the government of karnataka gives for films made in the state .
of late , i have been told that the making cost of a tulu film has increased and that there are investors who are willing to pump in heavy money , thanks to the monetary success of a few tulu films . i have my doubts if the limited audience the industry has would sustain such heavy budgets in the long run , as we see has happened in bhojpuri films .
i see the development of tulu films in the following possible paths . initially , the tulu films found its support base in chennai , as the entire kannada film industry was based there . the tamil films during those days were know for their melodrama , and the tulu films made by tuluva migrants involved with filmmaking there , mirrored this .
this continued even when the kannada film industry gradually sifted to bangalore , and when tuluva migrants involved in the kannada film industry in bangalore started to make tulu films . there are other set of filmmakers who were the tuluvas working in the action department in the mumbai film industry . they too made tulu films , mainly to be in touch with their culture . so , the films they made were mainly action oriented .
but the imputes to the tulu film industry , i would like to believe , came from within - from mangalore and other centers in coastal karnataka . locals took up to making tulu films , taking this as a semi - profession . they probably has other business or professional interests to look after , but within their own limits they tried to consistently make tulu films .
and finally , off late , there are semi professional theater actors who have ventured into film making , taking off from where they left in their highly successful comic stage plays . they have managed to bring in the audience back to the screens , for they have their own loyal following in theater . how long will this trend last , only time would tell .
i do not believe that there is a tulu way of film making or for that matter a kannada way of film making or a hindi way of film making . there could be an indian way of film making that borrows heavily from natyashastra , the ancient treatise for performing arts .
many of the formal devices prescribed in the natyashastra are found in most indian films , including tulu films - insistence on incorporating all the rasas ( roughly translated , emotions ) and focusing on one , the characterizations , the structure and even the use of music , song and dance etc . . .
as far as the content goes , with some exceptions , tulu films have not really reflected upon the socio - economic and environmental developments of the area , over the years . although there are a few films made based on the tulu folk lore , bringing tulu culture into tulu cinema has normally come to mean that you show tulu landscapes , traditional practices and rituals .
it is only when tulu cinema dwells on the issues that the tulu land is presently dealing with , that there could be a truly tulu way of film making - issues pertaining to indiscriminate use of natural resources , caste equations , the impact the industry has had on environment and the displacement it causes , the growing intolerance in an increasingly polarizing world etc . . '
nostalgia sucks , but for some strange reason , i have cut one frame of the negative film of an unused take of my diploma film that i had done at the film and tv institute of india ( ftii ) in 1990 and i have preserved it over the years . a diploma film is the final exercise that any student does at ftii .
my film ' s name was gotala ( the mess ) and since it was in black and white , it was 30 minutes in length . the ones who choose color then , had to go only up to 20 minutes .
again for some strange reason , mathi azhagan the cameraman who shot my diploma film had preserved a copy of the script of gotala for all these years . mathi was a faculty in the cinematography department at ftii when i was studying . he had just graduated from the state film school in chennai and he had already shot my song exercise .
in 2009 , i had been to the lv prasad film institute to conduct a documentary film workshop . mathi was a faculty here . i had lunch at his house , after which he carefully opened a file from a cupboard and showed me the contents . it was a copy of my script and shot breakdown of gotala . he treated it as something valuable . you can down load the script
i myself see gotala , today , with mixed feelings . believe it or not , the plot goes like this , lord krishna comes down to earth to supply some trishuls ( an ancient indian weapon ) to a group of fundamentalists who call themselves ' pandurangists ' . in the process of doing so , he falls in love with a lady and takes her back into the skies .
i wanted a title song recorded for the film , which was supposed to be the anthem of the ' pandurangist ' . i met a few music directors in pune , but things did not work out . there was a person in udupi , my home town , with whom i had participated in a theater workshop . he knew singing and accompanied it by playing the harmonium .
i went to his house situated in a temple premises in a village near udupi to ask him if he can compose the song . he read the script , looked up with a grim face and sternly said something like this , ' you do know what they did to salamn rushdie , don ' t you ? would you like it if we also do the same thing here ? you guys will learn a lesson , if we also do it here .
i was taken aback . he was otherwise very friendly and amicable . but he got offended by this modern version of ' krishna leela ' or the ' play of lord krishna ' . it was a time when the implications of different versions of our epics had not yet taken the overt political tone that it has now taken . it was a year since ayatollah khomeini had issued a fatwa calling for the death of rushdie for his wok ' satanic verses ' .
two years later the babri masjid mosque at the disputed ram janabhoomi ( birth place of lord ram ) site was demolished in frenzy by right wing groups after a ceremonial procession centered around a chariot carrying the image of ram went all over india and culminated in ayodhya , the place of the site .
i came back to pune , convinced in my mind that there won ' t be any song in the film . thanks to my sound recordist chandidas mishra ' s initiative , the night before the shooting , we recorded the song sung and composed by nirmal pandey , who also acted in the film . nirmal ' s theater stint with bv karanth helped him do this .
i completed the film and went back home , since i was the first one in the schedule . sharmaji was the head of production at that time . when i came back after a few months , he told me that the film will not get a censor certificate because of its content . i do not remember if he meant that the institute did not sent it for certification at all ; or if it was sent and was rejected .
without a censor certificate , the film was not considered for the national awards or the international film festival of india . it was shown at the initial versions of the mumbai short and documentary film festival , of which one of the curators was amrit gangar . that was about it , as far as teh film goes .
i had a vhs copy of the film that got fungus infested . after many repairs , my vhs player too stopped working . ever since i dumped both of them , i have been wanting to go to the institute and make a digital copy of the film for myself , if nothing else just to see where is it that i had stared .
the script of gotala , as i see it now , is structurally a bit flawed . but as i read it again , it still haunts me . i am not sure that i can make it today into a feature film without aligning it to the conformist ideology of a film like
' indian cinema - form and content ' is an essay i had written twenty six years back , while i was studying at the film and tv institute of india . this exercise was a part of our course , where we had to write something about sociology of indian cinema .
anil zankar was my supervisor on this one . i remember while in my third year he asked me if he could publish parts of this in a marathi language book that he was editing on indian cinema .
i found this in the attic of our house in udupi , my home town . the version uploaded in the one that has been typed , if i remember well , by the tutorial section at the ftii . i have scanned it as i have found it - so it has some typo errors , some spelling errors and the likes .
i am now amused by certain assumptions that i have made , but the essay makes a broad point that indian films over the years have not come out of the mythological framework that has been thrust upon them ever since we have seen and known cinema a century ago , both in form and content . hence , the regressive nature of our mainstream cinema .
i still stick by this broad point , more so when i see recently released films like ' bajrang baijaan ' or ' msg : the messenger ' .
it was clear during the very conception of the film ' haal - e - kangaal ' ( the bankrupts ) that it would be difficult to find a conventional release for it . despite this , the small crew that the film had , did get enrolled into the making of this film . they found it worth giving their time and effort for the film and i am thankful for them .
we shot the film in 2013 , had a rough cut in 2013 itself . i then met a producer who had once asked me to come to him , if i had an edit in hand . it would be easier to for him to ' pick ' the film because half the work was already done . he met me , heard me patiently and told me that he would be needing a minimum of 25 lakhs of rupees to be put into publicity and marketing for any film to have a conventional release , however limited it maybe .
' if i had that kind of money , i would put it into real estate ' , he added . very logical . he already had two such small films that he was involved with , as a co - producer - either he had supplied his equipments to the film making team or let them use his post production facilities .
small films act as fillers between two big films in multiplexes . many times they are given non - viable slots for exhibition and sometimes i wonder if even the electricity cost of the exhibitor of that particular screening would be covered at all , with such small films .
so , i participated in the market section of the mumbai film festival conducted by the mumbai academy of motion pictures ( mami ) in 2013 where i had about twenty meetings with prospective buyers , distributors etc . .
the game was to chase these people during the three to four days the event was held and pitch the film in five - ten minutes , to each of them . some people did take a liking to the project , asked me to follow up and i when followed up , emails were not replied .
' work - in - progress ' lab at the international film festival in goa did not select this film . the few existing international post - production grants followed suit ; the nerves started getting into me .
i had shown this film to a few friends , who were fired up after watching the film . some said , it was too verbal , but it portrayed the reality of the film industry , the subject matter of the film . others said , it was a bit too long . some liked one actor ' s performance , while some others preferred the other actor . some liked the unsettling structure that was employed in the film , some asked me , ' why ? ' .
taking this interactive process to the next level , i showed the rough cut of the film to the second year direction students at the film and tv institute of india , thanks to sandeep chaterjee , head of the department of direction at the institute ; and to the manipal school of communication students who were conducting a film festival under the guidance of hs shubha .
based on the reaction and feedback that i received , i made certain changes in the film , mainly incorporating certain jump cuts into the structure of the film .
satisfied , i finalised the sound in march 2015 . that ' s when i gathered the courage to send the film to film festivals . while i was waiting for some of these film festivals to respond , it occurred to me that i should arrange some screenings of this completed film , albeit at alternative screening venues .
so , i thought i should have a whirlwind tour of karnataka with ' haal - e - kangaal ' ( the bankrupts ) using the same network .
, into screening the film in kalamandira , one of the biggest halls in mysore . they took aid from the karnataka chalachitra academy . the academy helps film societies in karnataka to screen movies that are deprived of mainstream theaters .
so , on 13th of august 2015 the bankrupts ( haal - e - kangaal ) had its premiere in mysore .
lakshminarayana lauded the techniques used in the film , opined that there were many extraneous elements that were packed in the film . later on during dinner time , i asked him if these extraneous elements overshadowed the main concern of the film , he vehemently denied , saying that these were essential to the very nature of the film and to what it proposes to says .
the next day , there was one a show in bangalore at the indian institute of human settlement ( iihs ) . filmmaker subasri krishnan heads the media lab of iihs . when i wrote to her to ask her if they would want to screen the film at the iihs , she had instantly agreed . i was pleasantly surprised as i thought they have a history of showing documentaries and not fictional work .
matthu kanaja ' ( fig fruits and the wasps ) is making its film festival rounds presently , helped arrange a screening at the ' kv subanna aapta mandira ' ( kv subanna intimate theater ) at bangalore on the 16th of august , through the film study circle run by samuha gopinath .


soodhu kavvum ( english : evil will befall ) is a 2013 tamil black comedy-crime film directed by nalan kumarasamy .

it features vijay sethupathi and sanchita shetty in the lead roles .

the film was released on 1 may .

the main concept is about how silly talk has engulfed people 's day-to-day life and modern society .

soodhu kavvum received positive reviews from critics and become a commercial success .

soodhu kavvum

rohit shetty’s next “golmaal 4” is not a remake of the tamil hit “soodhu kavvum” .
' soodhu kavvum ' , directed by debutant nalan kumarasamy , features upcoming star vijay sethupathy .
there are no critic reviews yet for soodhu kavvum . keep checking rotten tomatoes for updates !
the director will soon be engrossed with the pre - production of
soodhu kavvum
remake .
soodhu kavvum is the sleeper hit of the year , with impressive attendance at multiplexes on weekends .
people looking for online information on soodhu kavvum , zurich film festival will find this news story useful .
fast approaching its 50th day , soodhu kavvum is already declared a superhit and has grossed handsome revenues .
vijay sethupathy ' s
soodhu kavvum
will be remade in hindi with imran khan in the lead .
looking for movie tickets ? enter your location to see which movie theaters are playing soodhu kavvum near you .
despite having been declared a super hit , soodhu kavvum is still ruling the roost albeit with reduced shows .
despite being in its 4th week , soodhu kavvum is going great guns and is reaping super hit collections .
the remake rights of ' soodhu kavvum ' have already been bought and it is being remade in telugu and kannada .
actor rajasekhar will soon be seen in telugu comedy ' gaddam gang ' , a remake of tamil blockbuster ' soodhu kavvum ' .
rohit shetty’s next “golmaal 4” is not a remake of the tamil hit “soodhu kavvum” , says the official publicist of the film .
ethir neechal
,
soodhu kavvum
,
klta
and
kbkr
all predominantly used comedy throughout the film .
out - of - the - box , path - breaking , different , daring…nalan kumarasamy ' s soodhu kavvum deserves all these adjectives .
filmmaker rohit shetty’s next “golmaal 4” is not a remake of the tamil hit “soodhu kavvum” , says the official publicist of the film .
in a report by daily news and analysis , rohit shetty said in a telephonic interview ,
though i have the rights of the tamil film soodhu kavvum , i want to clarify that golmaal 4 is not a remake of that . i will make soodhu kavvum later .
sanchita ' s imaginary character in ' soodhu kavvum ' was received very well by the audience . the story was about four misfit kidnappers .
' soodhu kavvum ' , directed by debutant nalan kumarasamy , features upcoming star vijay sethupathy , who has half a dozen films to his credit .
soodhu kavvum
, directed by debutant nalan kumarasamy , features upcoming star vijay sethupathy , who has half a dozen films to his credit .
vijay sethupathy and nalan kumarasamy’s soodhu kavvum is about a motley crew of kidnappers and how their botched attempt cascades into a series of interesting events .
nalan kumarasamy’s soodhu kavvum is an uninhibited , intriguing comedy drama revolving around a bunch of small time kidnappers and their trials and tribulations with life .
we just learnt that rohit shetty ' s golmaal 4 will be a remake of tamil black comedy , soodhu kavvum , starring ajay devgn in lead .
the soodhu kavvum star has a whole bunch of films lined up this yearvijay sethupathi is one of the most innovative actors in kollywood at the moment .
soodhu kavvum
revolves around four misfit kidnappers , a politician ' s son and a psychopathic police officer , who handles an investigation about a kidnapping case .
the lead cast for the untitled kannada remake is yet to be finalised . talks are also on for the telugu and hindi remake of
soodhu kavvum
.
there are quite a number of indian films that are scheduled to be screened this year and soodhu kavvum is the only tamil entry from among the other indian films .
tamil hit movie soodhu kavvum ( in pic ) will be remade into hindi by hit film - maker rohit shetty . the movie will go on the floors mid 2014 .
it is a big may day release for tamil films on labour day weekend . there are three tamil films releasing – ethir neechal , moondru per moondru kathal and soodhu kavvum .
nalan kumarasamy ( again of the pizza fame ) on - boarded himself to the screenplay and directing platform with soodhu kavvum . the industry needs more people like him . he’s awesome .
tamil hit movie soodhu kavvum ( in pic ) will be remade into hindi by hit film - maker rohit shetty . the movie will go on the floors mid 2014 . . .
chennai express
director rohit shetty is all set to remake the tamil crime - comedy drama
soodhu kavvum
(
evil engulfs
) with imran khan in the lead .
while ' soodhu kavvum ' is going steady with 70 - 80 percent occupancy in cinemas , ' sukumarudu ' is dwindling with mixed responses from audiences and critics alike ,
trinath added .
what does it take to make an engaging , convincing and entertaining movie ? a solid story , solid performances and good direction , nalan kumarasamy proved with soodhu kavvum and his choice of actors .
one of the biggest hits of the year , ' soodhu kavvum ' is currently being remade in hindi as well . rohit shetty will be producing the film with imran khan in the lead .
the low - budget film
soodhu kavvum
, about four misfit kidnappers that came out may 1 , has reportedly raked in rs . 5 . 2 crore in two weeks in tamil nadu .
the list of movies are court , fandry , gulabi gang , i . d katiyabaaz , liar’s dice , lucia , monsoon shootout , ship of theseus , titli , sulemani keeda and soodhu kavvum .
apparently , rohit was impressed with the soodhu kavvum plot and had evinced interest to produce / direct it in hindi under his own banner . utv movies , fox movies and endemol india were also keen on acquiring the hindi remake rights of soodhu kavvum . however , the movie has fallen into the laps of rohit . the hindi version will undergo extensive tweaking of the plot in the second half .
right upon its release soodhu kavvum has completely bowled over both critics and fans alike . the excellent opening is also proof to the fact that the movie is here to stay for a long time .
there were reports that the fourth instalment of the hit film franchise “golmaal” is inspired by the 2013 tamil hit film “soodhu kavvum” . the official publicist of the film on thursday shunned all such claims .
hopefully we can get more of them out here , with subtitles , and on home video for outsiders to see . if you can find soodhu kavvum , see it , you ' ll thank me .
since then , both directors and producers seem to have got bolder , as have the theatres , offering to the audience films like jigarthanda and soodhu kavvum , which combine noir , action , and comedy .
chennai : despite good opening in the domestic market , tamil crime - comedy ' soodhu kavvum ' and telugu romantic - drama ' sukumarudu ' have failed to keep the cash registers ringing in the overseas market .
debut director nalan kumarasamy’s soodhu kavvum is a comedy thriller , about a petty kidnapper and how things can get complicated when he accidentally messes up with his own rules . vijay sethupathy plays das , the film’s lead .
rohit shetty ' s ' golmaal 4 ' is reportedly a remake of the 2013 tamil black comedy ' soodhu kavvum ' which was directed by nalan kumarasamy and had vijay sethupathi and sanchita shetty as the lead pair .
chennai : southern actress sanchita shetty , who rose to stardom with her performance in tamil crime - comedy ' soodhu kavvum ' , wants to star in the remake of the film in other southern languages as well .
while there might be a perception that south remakes can be loud and bombastic , soodhu kavvum directed by nalan kumarasamy is a subtle comedy , more on the lines of delhi belly , than shetty ' s golmaal trilogy .
a leading daily revealed that ajay devgn and rohit shetty ' s golmaal 4 would be a remake of the 2013 tamil black comedy soodhu kavvum ( evil engulfs ) . however , all these reports are not true . . .
however , the director is under tremendous pressure to work with shah rukh khan after singham 2 . in that case , the task of directing soodhu kavvum could go to director shimit amin ( who directed chakde india ! ) .
actor rajasekhar will soon be seen in telugu comedy ‘gaddam gang’ , a remake of tamil blockbuster ‘soodhu kavvum’ . while the star has acted in several remakes over the years , this film in particular was very challenging for him .
rockline productions believe that
soodhu kavvum
has a universal concept that will be accepted in any language . apart from hindi , the film is expected to be remade in other regional languages , including telugu , kannada and malayalam .
soodhu kavvum
: dark tamil comedy shows it means to make a film is just to make audiences laugh . unarguably the funniest film of the year ,
soodhu kavvum
is powered by the presence of poster boy vijay sethupathy . a box - office blockbuster , it revolves around four misfit kidnappers who try something way out of their league . imran khan will feature in the hindi remake of the film , which will be produced by rohit shetty .
chennai , may 14 ( ians ) despite good opening in the domestic market , tamil crime - comedy
soodhu kavvum
and telugu romantic - drama
sukumarudu
have failed to keep the cash registers ringing in the overseas market .
' soodhu kavvum ' collected rs 15 . 68 lakh in us , while aadi pudipeddi - starrer ' sukumarudu ' raked in merely rs 89 , 735 ,
according to a tweet posted by trade analyst , taran adarsh on his twitter page .
soodhu kavvum was released in the year 2013 , some songs of the official soundtrack are sudden delight by rob mass , come na come by chinna , ellam kadanthu pogumada by kovai jaleel , kasu panam by andony dasan . listen the soundtrack online !
chennai : filmmaker nalan kumaraswamy ' s second tamil directorial is titled
kai neelam
, which will be a sequel to his blockbuster
soodhu kavvum
. he also plans to work on a third part to complete a trilogy .
my second
soodhu kavvum
collected rs . 15 . 68 lakh in us , while aadi pudipeddi - starrer
sukumarudu
raked in merely rs . 89 , 735 ,
according to a tweet posted by trade analyst , taran adarsh on his twitter page .
mani seiyon’s kattappava kanom is based on an interesting premise ( on characters whose lives revolve around a feng sui fish ) , but , on the whole , it fails to create the magic of soodhu kavvum ( 2013 ) , which was lot more wacky .
“the original was widely appreciated . hence , we had to push ourselves to give a product that’s as good as or better than ‘soodhu kavvum’ . i think we’ve achieved that . it’s for audiences to watch the film and give their verdict , ” he said .
klta , reportedly made for rs . 3 crore , collected rs . 12 crore at the box office , while
soodhu kavvum
and
ethir neechal
, both made under rs . 5 crore , collected rs . 8 crore and rs . 12 crore respectively .
with every film that he has acted in , vijay sethupathy has always managed to raise the bar to an entirely new level . as a grey - haired , 40 - year old with psychotic tendencies , speaking broken english , vijay sethupathy in soodhu kavvum is truly unbelievable .
chennai , june 5 ( ians ) after tamil horror - thriller
pizza
, it is the turn of debutant nalan kumaraswamy ' s tamil crime - comedy
soodhu kavvum
which will soon be remade in kannada . the remake rights have been bought by rockline venkatesh .
a story about four misfit kidnappers ,
soodhu kavvum
was reportedly made on a budget of rs . 2 crore . the film , which is still running in cinemas in tamil nadu , managed to collect over rs . 8 crore within the first two weeks of its release .
debutant mani seiyon’s kattappava kanom is fun for the most part but it isn’t funny enough and the lack of it isn’t a bad thing . it’s just one of the films that would have worked big time if it was funnier and wackier , say , a la nalan kumarswamy’s soodhu kavvum .
tamil hit movie soodhu kavvum ( in pic ) will be remade into hindi by hit film - maker rohit shetty . the movie will go on the floors mid 2014 . this will be the first independent movie to be produced by rohit shetty under his own banner rohit shetty entertainment pvt ltd .
the hindi remake of tamil film
soodhu kavvum
was announced in 2013 . according to reports , director rohit shetty will be helming the film which is about four misfit kidnappers . imran khan has been chosen to play the lead role . it is not clear as to when the film will go on floors .
the thegidi actor seems to be eager to work with his mates from his short film daysactor ashok selvan , who worked in a few short films with friends before making his feature film debut with soodhu kavvum , says he’s keen to collaborate with them again . he says some of his friends are waiting with scripts [ … ]
rohit ' s last release
chennai express
created several records at the indian box office . following the film ' s stupendous success , expectations from the director have soared . besides the remake of
soodhu kavvum
, rohit is also working in other couple of projects including
singham 2
and
golmaal 4 .
has success got into soodhu kavvum star’s head ? read on to find out…the actor who’s doing quite well for himself is now in a legal tangle with a production house . apparently , vijay sethupathi signed on a film with studio 9 two years ago and took rs 20 lakhs from them as an advance from them . [ … ]
soodhu kavvum ( evil engulfs ) : a botched kidnapping attempt leads to much confusion . definitely one of the best films of 2013—that acts both as a social commentary with a brilliant mix of sarcastic and situational humour , a satire that never fails to bring a chuckle and also makes you ponder about the state of politics in india .
the talented actor releases a unique trailer , keeping the plot under tight wrapsafter making it big in the tamil film industry with two back to back superhits – pizza and soodhu kavvum , vijay sethupathi turns producer with his next flick orange mittai . having made a name for himself in kollywood as a versatile actor , vijay seems [ … ]
while all big - budget films such as
alex pandian
,
kadal
and
aadhi bhagavan
failed to keep the cash registers ringing , the five that kept the business going at the box office included
kanna laddu thinna aasaiya
( klta ) ,
soodhu kavvum
and
ethir neechal
by debutant directors .
this page hosts the chennai box office collection of movies . it also includes movie analysis , trade analysis and public reaction to the movie . people looking for current top ten movies , chennai box office , movies online , movie reviews , movie analysis , public response for a movie , will find this page useful . soodhu kavvum box office collection .
southern actress sanchita shetty , who rose to stardom with her performance in tamil crime - comedy soodhu kavvum , wants to star in the remake of the film in other southern languages as well . the remake rights of soodhu kavvum have already been bought and it is being remade in telugu and kannada .
if given an opportunity , i would love to star in the remakes . it ' s one of the films i can never disassociate myself from . i have already been approached by the producer of its telugu remake , but i ' m more interested in the kannada version as it ' s my mother tongue ,
sanchita stated . sanchita ' s imaginary character in soodhu kavvum was received very well by the audience . the story was about four misfit kidnappers . one of the biggest hits of the year , the film is currently being remade in hindi as well . rohit shetty will be producing the film with imran khan in the lead . meanwhile , sanchita is awaiting the release of tamil horror - thriller pizza 2 : villa .
rumour is that golmaal 4 is a remake of tamil film soodhu kavvum . but film makers says all these rumours are false and baseless and they are working on a original script it seems . checkout the other video to know more ! ! subscribe to bollygoogly : - click here ► urltoken stay connected with us on : facebook at urltoken follow us : urltoken
a dark comedy that never forgets its basic rule to entertain . it ' s darker themes are ingeniously conveyed , but never does soodhu kuvoom lose its ability to make us laugh !
tamil producer cv kumar has acquired the remake rights of recently released kannada independent film ‘lucia’ . the film will be remade in tamil or telugu . “c . v . kumar , producer of ‘pizza’ and ‘soodhu kavvum’ now officially holds the rights to make ‘lucia’ in tamil and telugu . they will start shooting in march , ” posted pawan kumar , director of lucia on his twitter page .
the tamil industry has been open to fresh stories and young talent in the last two years . even bigger production houses are coming forward to support new stories , but what we lack is content . while a legion of young filmmakers are on the rise , industry is still toying with the idea of making commercial film for the masses ,
said kumar who also delivered two more hits -
pizza
and
soodhu kavvum
.
i am most curious to see how soodhu kavvum will be received — the noir - comedy isn’t a genre we dabble in all that often — but of at least one thing there is little doubt . these brave little films are here to stay . vijay sethupathi the poster boy of this cinema , was welcomed in his first scene with cheers and claps usually reserved for mass heroes making their entry . it’s the sweetest sound i’ve heard in years .
it’s difficult to discuss soodhu kavvum — which centres on a botched kidnapping ( sorry , “kednaping” ) attempt — without spoiling it for the first - time viewer , because it isn’t about what happens so much as how these things happen . it’s about the vibe . it’s about the parking valet who bathes and changes into fresh clothes and applies sacred ash on his forehead and then sits down to have a drink , delivering an impassioned rant about the futility of reading newspapers .
from the very beginning , from the minute a lowly mnc employee rolls off his bed in a tiny house whose walls bear a poster of t . rajendar , nalan kumarasamy’s soodhu kavvum is a demonstration of what’s possible when movies are made for the sheer joy of making movies . there isn’t a single calculated moment , something cynically aimed to satisfy this segment of the audience or that one . everything is organic , the events rooted in a nutty story and sprouting through a brilliant screenplay .
rohit shetty is the only hindi film director in recent times to direct two successful tamil movies . as of now , rohit shetty is keen on directing the remake version , which is unlikely to be a rs 100 budget movie for which the film - maker is famous for . however , the director is under tremendous pressure to work with shah rukh khan after singham 2 . in that case , the task of directing soodhu kavvum could go to director shimit amin ( who directed chakde india ! ) .
meanwhile , down south , a new cult star was emerging . tamil actor vijay sethupathi ' s craze in the south was growing film by film . he picked offbeat projects and soon in a market filled with masala fare , his hard work was getting recognized . in 2013 , sethupathi starred in the critical and commercial hit soodhu kavvum ( english : evil engulfs ) . the dark comedy co - starring national award winning actor bobby simha was supposed to be remade in hindi as golmaal 4 but apparently not .
soodhu kavvum is the story of three friends , two of whom are pretty much jobless bums . the third guy has a job for about 6 minutes into the movie . the story is about the alternate job the three of them pick up - kidnapping . they don’t pick up that new job profile on their own . they become assistant to a veteran , small time , part crazy kidnapper and his lady friend who focuses on kidnapping middle - class family members and deals in the , you know , volume game .
sudhish kamath ( good night | good morning ) , q ( tasher desh , gandu ) , nalan kumarasamy ( soodhu kavvum ) , hemant gaba , ( shuttlecock boys ) , sandeep mohan ( hola venky ) , raja sen , suparn verma ( aatma ) , abhinav shiv tiwari ( oass ) , pratim d . gupta ( paanch adhyay ) , anu menon ( london paris new york ) , rajshree ojha ( aisha ) , and gautham menon ( ye maaya chesave ) made a movie with a single story , and it ' s awesome .
the other may day release is thiru kumaran entertainments soodhu kavvu , which is being marketed by studio green . the film has vijay sethupathi and sanjita shetty in the lead and directed by nalan kumarasamy . santosh narayanan has provided hit music for this thriller which has ua certificate .
soodhu kavvum is the debut feature from nalan kumarasamy , one of the leaders of the new wave of tamil filmmakers led by him and karthik subbaraj . the film stars tamil indie superstar vijay sethupathi and tells the darkly comedic story of a team of desperate kidnappers looking to turn a quick buck . this is another film i didn ' t get a chance to review because the theatrical print didn ' t have the promised subtitles , but upon catching up with the film on blu - ray ( the dvd doesn ' t have subs either ) , i ' m sold .
‘ soodhu kavvum ’ marks a hat - trick of successes for vijay sethupathy after the thriller ‘ pizza ’ and the situational comedy ‘naduvula konjam pakkatha kaanom’ . his knack of choosing good roles and working with new directors brimming with ideas will stand him in good stead , as also the work he puts in to portray each character . he put on weight and grew a beard to play das , and the look fits him to a ‘t’ . his chemistry with shalu ( sanchita shetty ) , who has a terrific screen presence and does a neat job in her debut movie , is a treat to watch .
` soodhu kawum ` features vijay sethupathi and sanchita shetty in leading roles . the film ` s ensemble cast also consists of karunakaran , ramesh boby kottarakkara and ashok selvan . debutant nalan kumarasamy has directed this action - thriller and cv kumar has produced it . the film ` s music director is santhosh narayan
soodhu kavvum doesn’t quite explode the way you expect it to — i couldn’t put my finger on it , but i think the pacing in some stretches is a bit off — but that’s a small price to pay in the face of such riches . this is the kind of film that marries tamil cinema with cinema from beyond . from the former , we get a line like “ yen da en nanban - a adiche ? ” — a clever reworking of a cliché that invites not eye - rolls but laughs . and from the latter we have such surreal moments as the small song that reunites hero and heroine in heaven . . . in the middle of a torture scene .
kannan would direct the film . [ 5 ] [ 6 ] kannan subsequently opted out of the film , noting that he was unhappy on the first - copy production agreement which had been put in place , and was replaced by comedian srinath , who had previously directed muthirai ( 2 . delays in starting the film led to reports that santhanam would be replaced by siva karthikeyan in the lead role , but this proved to be untrue . [ 8 ] the team confirmed the title would be vallavanukku pullum aayudham in june 2 . anirudh signed on as music composer . [ 9 ] anirudh however dropped out of the project in early july 2 . santhosh narayanan , who had achieved success for his work in pizza ( 2 . soodhu kavvum ( 2 .
review : a man forced to leave home after building a shrine for actress nayanthara , a driver thrown out of his job at a five - star hotel after driving off in a fancy car belonging to a guest , an it employee sacked for not succumbing to the whims of a bossy co - worker , a doctor who would rather make films than treat his patients ( a la ‘power star’ ) and finally , a schizophrenic kidnapper who keeps talking to an imaginary moll – this is the motley group of characters who populate ‘soodhu kavvum’ . into this mix are thrown in a politician for whom nothing matters more than truth and honour , his not - so honest son out to make a quick buck and a cop whose fists talk more than he does . when their paths meet , chaos ensues .
often called tamil cinema’s vicky donor for taking sexual content to the families , this is a surprisingly subtle and truly modern tamil romantic comedy by writer - director r . s . prasanna , which , like soodhu kavvum , has pushed the boundaries of the unexplored characters and situations further . while vicky donor tried making as many sperm jokes as possible and thrived on the humour , here the jokes work because of the choice of words and visuals that make for family - friendly sexual humour . the director says that they didn’t even want to use the word sex in the film because the rest of the subject matter and the plot revolved around an unusual problem . we are so amused by the storytelling that we don’t really realise how the filmmaker has sneaked in the possibility of premarital sex even in arranged marriage .
my story review : can an awfully melodramatic story line be rescued if shot in some exotic locations . . .
director karunakaran , who has made some fine romantic dramas in the past like toli prema , ‘darling . . .
mr chandramouli review : if you are looking for time pass entertainment then the film is a one - time wa . . .
[ usa ] july 09 ( ani ) : comic book creator stan lee h . . .
[ usa ] july 09 ( ani ) : weeks before hollywood rapper . . .
[ u . s . a . ] , july 9 ( ani ) : european film association . . .
the times of india , tnn , updated : may 10 , 2016 , 02 . 29 pm ist
synopsis : das ( vijay sethupathy ) is a kidnapper with a conscience and carries out small jobs to earn a livelihood . his team comprises pagalavan ( simha ) , sekar ( ramesh thilak ) and kesavan ( ashok selvan ) . they pick up arumai prakasam ( karunakaran ) , the only son of politician jnanodayam ( m s bhaskar ) , only to find out that he had been planning his own kidnapping to wrest some money from his dad to start a business . things get complicated when psychopathic cop brahma ( yog japee ) is brought in to handle the investigation .
nalan kumarasamy establishes himself as a director to watch out for in this laugh riot of a debut movie . carrying off a dark comedy is no mean task , but nalan hits the target right in his first attempt . his writing is crisp , the lines are down to earth and funny , the characters well - etched and the screenplay has no dull moments . what’s more , all characters are given due importance and the screen space they require , thanks in part to editor leo john paul , but it is the director’s clarity of thought and vision that shines all through .
in fact , the other debutants , simha and radio jockey ramesh thilak , too come out with good performances , bringing in the laughs at regular intervals with their mannerisms and dialogue delivery . karunakaran does not have much screen space in the first half , but comes up with a riotous performance in the second half . veterans m s bhaskar and radha ravi aren’t taxed much , but yog japee does a bravura act as the tough as nails brahma , who gets his comeuppance at his own hands .
dinesh krishnan impresses with his camera work , but it is santosh narayanan who takes the movie a notch higher with his eclectic background score . though the movie features only one full song ‘ kaasu panam ’ , the soundtrack has other gems like ‘ mama douser ’ and ‘ come na come ’ and a background score that will remain with you long after you exit the theatre . with a smile ! ! !
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rohit shetty ' s ' golmaal 4 ' will be remake of south film . . .
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shraddha kapoor of
aashiqui 2
has reportedly been approached to play the female lead . confirming the news , senior film journalist sreedhar pillai tweeted ,
rohit shetty ( singam & chennai express fame ) 2 remake nalan kumarasamy ' s # soodhukavvum in hindi with imran khan and shraddha kapoor .
rohit shetty will be producing the film under his home production in association with a & pgroups ; and rockline productions , which holds the remake rights for the film .
the black comedy entertainer , which was released in may this year , opened to positive reviews from critics . the film earned over ₹50 crore at the worldwide box office and was declared a hit .
this is not the first time that rohit shetty is remaking a tamil project . in the past , the
golmaal
director remade tamil super hit
singam
, starring ajay devgn in the role of a righteous cop . the film was a box office success and even joined the elite ₹100 - crore club .
there have been nearly 155 tamil films released in 2013 . out of that to choose 10 best tamil films is difficult . most of the releases were crass commercial , mindless entertainers , or rom - coms which may have worked at the box - office .
here ` s sify . com ` s pick of 10 films that were sensible and had something new in story telling or presentation . it also showcases exciting new talent that has emerged in tamil cinema . some of them may be influenced or inspired by noir films from world cinema , but what is important is they fitted into the tamil milieu .
director – nalan kumarasamy , producer – cv kumar what worked – a dark comedy , path breaking in its format and still could entertain with lead actors ` rocking realistic performance . it was refreshing in its concept and treatment .
it is one of the wittiest films i have seen in recent times . it ' s a rarity nowadays to see a film with out - of - the - box story line laced with sensible humour . the film has done exceptional business in tamil , and i ' m sure it will be bigger hit in kannada as well ,
venkatesh of rockline productions , told ians .
rockline venkatesh is known for producing kannada blockbusters such as
super
,
preethse
and
mourya
.
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urltoken
chennai , june 11 ( ians ) one hundred films in just five months is a number the tamil industry could be proud of , but what dampens the filmmakers ' spirit is that only five out of them were hits . the big question plaguing the industry is : why isn ' t it able to generate content - rich films , let alone blockbusters ?
one of the common reasons is the dependency on stars , feels tamil filmmaker seenu ramaswamy .
i agree these superstars give a rs . 100 crore business , but when their films fail at the box - office , a lot of money is going down the drain . instead of investing so much in them , if producers choose to fund quality films made by newcomers , then the probability of success will be higher ,
seenu told ians .
the other two hits were
vishwaroopam
and
kedi billa killadi ranga
( kbkr ) .
if a film made on rs . 5 crore can yield the same profit as a rs . 100 crore film , then i don ' t see the need to always dream of making a big budget film . big actors should also be open to working with debutant directors , who guarantee success ,
said seenu .
the actors may be hesitant in working with new talent , but the industry is more receptive to newcomers , admited producer c . v . kumar who entered filmdom last year riding on a small budget out - of - the - box successful movie ,
attakathi
.
even though films such as
samar
and
vathikuchi
had the spark , they failed to ignite the fire because they were made for commercial purposes .
all my films to date have been with aspiring filmmakers with promising and different stories . since i can ' t cough up crores of rupees , i carefully choose subjects that i want to convert into films and invest in them ,
he said .
the genre of a film , too , is important , said kbkr director pandiraj , who credited the success of his film to the subtle use of comedy .
audiences love to be entertained and , therefore , it makes sense to pack a good amount of comedy in the script . it is very important to use comedy to drive home a thought , instead of making slapstick references ,
pandiraj added .
the poor content is pushing audiences towards content - rich hollywood films , said trade analyst trinath .
iron man 3
and
life of pi
did amazing business here .
there is no need to compare tamil cinema with hollywood , but with access to so many western and foreign films , audiences find it easy to discard regional films . with films such as the ' iron man ' series and ' avengers ' doing well , it ' s important to make quality films ,
trinath said .
he admited hollywood is giving stiff competition to tamil films at the box - office .
' iron man 3 ' raked in over rs . 1 crore on its opening weekend in chennai , but a week later theatre owners had to reduce the number of shows because they had to make way for tamil releases . competition is growing stronger between tamil and english films at the box - office ,
he added .
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pointing out that big stars are a big draw in the foreign land , another trade analyst , trinath said :
it ' s extremely tough for a film with unfamiliar actors to stir the box - office abroad .
star actors have bigger market overseas and manage to generate revenue too . take telugu films such as ' naayak ' and ' baadshah ' , for instance - these films took a gargantuan opening , thanks to the star actors involved in it ,
trinath told ians .
telugu film ' life is beautiful ' , which did mediocre business domestically , was a hit in the us market because of director sekhar kammula . he has a great market value abroad and most of his films have done well there ,
said trinath .
aadi ' s
sukumarudu
, a story about selfish nri transformed by family , reportedly netted rs 3 . 4 crore on the release day worldwide . it released worldwide may 10 .
initially , few films used to release internationally , but nowadays every other film is eyeing an international release . while it ' s good that films want to cater to global audience , it is very important to have good content ,
the distributor told ians .
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is an engaging film , with ingenious characters and entertaining situations , writes s saraswathi .
stars vijay sethupathy and sanchita shetty , alongwith ms bhasker , ramesh , simhaa , ashok , karunakaran , yog japee and radha ravi in significant roles .
it is a norm in tamil cinema to create a grand opening scene for the lead actor like a thrilling chase - and - rescue mission or daredevil stunts or a peppy dance number . the opening scene in
, however , has our hero dass ( vijay sethupathy ) getting beaten up by a teenage girl with volleyball after a failed attempt at kidnapping . this hilarious scene has the audience in splits and sets the mood for the movie .
dass , a small - time smuggler , wants to graduate to the next level , kidnapping , which he believes is more exciting and lucrative . upset by his failed attempt , he goes to the bar to vent out some steam . he finds himself in the company of three desperate jobless friends pagalavan ( simhaa ) , kesavan ( ashok ) and sekhar ( ramesh ) .
dass convinces them that he has the perfected the art of kidnapping and asks them join him . having no other alternative , they do .
soon they become successful , and can pull off a series of kidnapping without any hitches .
things move smoothly until one day , they decide to raise the stakes and kidnap a inister’s son . what follows is complete mayhem , and the real fun begins .
a very peculiar , but extremely lovable character in the film is shalu ( sanchita shetty ) , who plays the love interest of dass . what is exceptional about this character is that it is not real ; shalu is a figment of his imagination and is visible only to him . the sexy shalu is the ideal male fantasy , who evokes a lot of laughter with her absurd dialogues and action .
what sets the film apart is that in spite of being a comedy film , there are no typical comic one - liners or forced comic situations . the predicament of the characters provides the comic element to the film . even the most serious dialogues in the gravest situations make the audience laugh uncontrollably .
there is some good all around performance , especially simhaa and ramesh , who manage to steal the show with their unpretentious and honest performance .
full credit goes to the director , nalan kumarasamy , for transforming a simple plot into an extremely engaging film , with ingenious characters and entertaining situations .
good cinematography , crisp editing and the refreshing non - conventional background score make this film even more distinctive . a must - watch .
what is a r rahman doing at a dubai mall ? reader talib sends us a picture .
013 saw films with different and interesting themes . while a majority stuck to the time - tested formula , some interesting films were made in 2013 by new filmmakers .
everything about the film was different : the story , the dark humour , dialogues , treatment and above all the performance of vijay sethupathi .
another edge - of - the - seat thriller from the director of chithiram pesuthedi , anjatheand yudham sei and nandalala .
the film is dark in all senses as the entire story happens in one night in chennai . it talks of some very pertinent issues including capital punishment .
it took director ram seven years to make his second film , after his highly appreciated kathrathu thamizh .
and he didn ' t disappoint . thanga meenkal , about the bond between a father and daughter is a poignant tale narrated in brilliant fashion .
it was the only tamil film selected for the indian panorama at iffi , goa .
it was also screened at the international children ' s film festival in children ' s world , a non - competitive section .
inspired by a british crime thriller , vidiyum munn is directed by a newcomer . but never once is this apparent .
the film narrates the story of a sex worker who tries to save a little girl from being dragged into prostitution , and about the four men chasing them .
another film with an unusual theme : the touching story of a father and his autistic son .
this is not a film that you expect in tamil . in his debut film , prasanna r . s shows exemplary courage in making a film on a young man who discovers that he suffers from erectile dysfunction a few days before his marriage .
prasanna showed maturity in handling such a tricky subject without letting it become crude or vulgar .
kalyana samayal saadham dealt with a serious issue in an entertaining way , and there lies its success .
aadi ' s
sukumarudu
, a story about selfish nri transformed by family , reportedly netted rs . 3 . 4 crore on the release day worldwide . it released worldwide may 10 .
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today , there is a strong possibility that you may face unexpected job changes . . .
shah rukh khan ' s g . one from ra . one could come . . .
though there were a host of entertaining tamil comedies that were made this year ( vanakkam chennai , sonna puriyathu , raja rani , theeya velai seiyyanum kumaru ) , a bunch of sleekly executed , well - packaged , leave - your - brains - behind action entertainers ( biriyani , thalaivaa , arrambam , singam 2 ) , an equal number of half - decent , realistic above average films ( pandia nadu , aadhalal kaadhal seiveer , paradesi , thagararu ) and emerging , new , exciting talent ( neram , pizza 2 , idharkuthane aasaipattai balakumara and a couple of other plagiarised but well - executed films ) , it makes no sense to rank them because they are almost as good as the others in their respective space . hence , for this year’s list , we decided to pick five films that have actually redefined tamil cinema . they aren’t all perfect , but were certainly the most creative , standout tamil films of the year . films you must watch and can recommend to people who haven’t watched tamil films and not be embarrassed .
this film is a joy to watch , full of laughs and unpredictable situations with great wit , dark humour and satire . think jaane bhi do yaaron done as a ‘kednap’ caper . the masterstroke is not that all characters are bad , but in the fact that the villain is the only good guy in the film . this is our society today where evil always wins . barring one terrible visual effect shot of a car crash , this is a film so wicked that it has you rooting for the bad guys and makes you hate the good ! writer - director nalan kumarasamy , the winner of the first season of nalaya iyakkunar , is one of the most exciting filmmakers of our times with his ability to turn a cliché on the head . it can be safely said that this dark comedy is a rarely explored genre in tamil cinema .
is there a more interestingly composed film this year ? mysskin hits peak form as a storyteller with the most evolved sense of visual grammar in this part of the world . telling us a story about a hunter and the hunted where the tables turn soon , mysskin constructs this dark , gritty , moody , atmospherical , bizarre modern day fable by borrowing elements of experimental theatre and mime to create surreal imagery of human metaphors — where characters physically borrow traits of the animals they represent . the lines ( barring one monologue towards the end that substitute the mandatory flashback ) barely matter because mysskin is more interested in the drama . but for overstatement , this is a film that’s mostly brilliant .
this is going to be a controversial choice , but india’s biggest independent filmmaker deserves this mention . who else has the audacity to spend rs . 95 crore to make an uncompromising ua film during times when every filmmaker is trying to make a u film to get government tax exemption ? and that too as a spy thriller — a genre that’s rarely been presented the way in the scale it deserves , knowing very well that spending rs . 95 crore means setting yourself up to gross rs . 250 crore just to break - even . as the film cuts between past and present and sucks you into the thick of action in breakneck speed , what you would have missed out on is the fantastic layering of elements . vishwaroopam is the most - layered film of the year and with every watch , you will find something that kamal haasan has planted in it , waiting to be discovered . the sequel set - up scene at the end is an embarrassment , but the rest is sheer genius .
this has one of the most fundamentally flawed protagonists who is solely responsible for his alienation , one filled with self - pity , irresponsible enough not to complete his education because of eloping with a girl and then has the cheek to complain about the education and teaching system . but overlook this ridiculous stand , and what you get is a heart - warming story about a father - daughter bond . a film treated with great restraint and understatement , one that rarely lapses into melodrama . it’s never easy to direct and act at the same time , but director ram manages to extract a fantastic performance from even the child actor sadhna . but the reason it won me over is the painstaking cinematography . we haven’t seen better use of landscape in storytelling , and the director of photography arbindhu saara has literally climbed mountains for seconds of diegetic credibility and exhaustive coverage of ambience and location . world - class visuals .
rendavathu padam : having watched the film , one can safely say that is as mad and zany as it gets in tamil cinema . three roommates — best friends — have a secret each they have hidden from each other . secrets that make them more connected than they know . c . s . amudhan’s film after his full - fledged spoof tamizh padam is going to surprise the film industry with its content and distributors don’t know what to make out of it . so radical that it cannot be categorised as good or bad . rendavathu padam is genuinely different , outrageously mad , inconsistent in tone and has every possibility to become a cult film . best watched without the slighest clue about what to expect . which is why all trailers that have been released mislead and don’t tell us anything about the plot . can’t wait for this to hit the screens .