LAKSHMI NARASIMHA - DVD Rip
Year: 14 January 2004
Cast: Yuvaratna Balakrishna, Asin, Rakshita (SA), Prakash Raj, K. Viswanath, Murali Mohan, Ahuthi Prasad, Paruchuri Venkateswara Rao, Sudha, Suneel, M.S Narayana, LB sriram , Krishna Bhagavan, Devi Charan
Director: Jayant Paranj
Size: 900 MB
STORY
Lakshmi Narasimha (Bala Krishna) is a strict police officer who does not mind making his own rules to bring justice to the public. Once he was indirectly affected by the goon Dharma Bhiksham (Prakash Raj) which costs him his sister and lots of properties of his native village. But Dharma Bhiksham does not know that it was Lakshmi Narasimha who got affected by him.
After a few months, Lakshmi Narasimha is transferred to Vijayawada. Dharma Bhiksham rules the mafia world from Vijayawada. Though, a strict police officer - he compromises with Dharma Bhiksham and takes bribes to the tune of one and half crores. He takes the bribes and then invests all the money into rehabilitating his natvie village affected by Dharma Bhiksham. Dharma Bhiksham comes to know about it and rebels against Lakshmi Narasimha. The rest of the story is all about how Lakshmi Narasimha puts an end to the life of Dharma Bhiksham using illegal methods.
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GAMYAM - DVD RIP
Year: 29 February 2008
Cast: Allari Naresh, Sharwanand, Kamalinee Mukherjee, Rao Ramesh Rao, Bhramanandam, MS Narayana, LB Sriram, Vidyasagar, Ravi Prakash, Hema
Director: Radha Krishna Jagarlamudi
Movie type: Road trip
Size: 700MB
STORY
Abhiram (Sharwanand) is a filthy rich youngster. He falls in love with a medico called Janaki (Kamalinee Mukherjee), who is a good Samaritan. Janaki is an idealistic girl who believes in doing social service and treating the people around with love and care. Abhiram is a selfish guy who just wants Janaki, but not her noble traits. In the process, they are forced to separate. The rest of the story is all about the road trip Abhiram takes place while searching for his love and discovering his inner-self.
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LITTLE SOLDIERS
Year: 2 Feb 1996
Cast: Kavya, Aditya Y.S, Sudhakar, Giri babu, Rohini Hattangadi, Kota Srinivasa Rao, Brahmanandam, Heera Rajagopal, Ramesh Aravind, Rallapalli
Director: Gunnam Ganga Raju
Movie type: Comedy
Size: 286 MB
STORY
Nasir Hussain got the process down to a science. When he started off during the late sixties and continued to dominate the commercial Hindi film scene during much of the seventies, his formula was quite simple. He knew the parameters, rather limitations, of commercial cinema and he played within those boundaries churning one success after another in Jab Pyaar Kisee Se Hota Hai, Dil Deke Dekho, Caravan, Teesri Manzil, Hum Kisee Se Kum Naheen and the like, never attempting to look beyond realm of the make-believe world that his characters moved in, never trying to achieve beyond the means of entertainment cinema. His formula was quite simple - trust the crime angle to deliver the payoff. Building up a regular emotional drama, setting up conflict points, resolutions and endings, which was, and still is, the prototype for a majority of the movies run the inherent risk of wrong emphases, side-stepping over key issues, and unsatisfactory endings. On the other hand, relying on a crime element has the already built-in advantage that the setup directly dictates the resolution, meaning, a good setup leads to a better resolution, without having to look elsewhere to deliver the final emotional payoff. A funny setup, like 2 desperate guys kidnapping a rich lady expecting a huge ransom have their tables turned on them, when the husband wants her wife to be killed to inherit her riches, naturally flows into a even funnier resolution, when the wife teams up with the kidnappers and teaches her husband a lesson. Introduce the crime element right at the beginning, surround with foot-tapping music, make the characters as dynamic and as vibrant as possible, one almost can formulize this Nasir Hussain genre.
Gunnam Gangaraju, the writer-director of the movie, seems to follow similar footsteps. Get the core point of the movie dripping in crime, weave the plot around the element, and show a logical resolution to the setup. Gangaraju raises the ante in "Little Soldiers" by mixing the thriller genre with kiddie picture. Another potential landmine, the kiddie picture. Make the kid characters mature enough and make them sound adult, the charm and innocence that is usually associated with the kid's picture is lost (Most of the AVM's movies that were released around the early 80s involving a variety of animals and obnoxious kid characters would vouch for this). Make the kid characters really innocent and make them sound too much childish, the charm factor would lose its effect in a matter of minutes and the script is left with the unwanted burden of immature characters. It is precisely for this reason that most of the makers stay away from children's movies, since the line is too fine and the path is too treacherous. Bapu's "baalaraju kadha", Gulzar's "kitaab", Satosh Sivan's "abhayam" and to a certain extent Shekar Kapur's "Masoom" serve as the prime examples for kid pictures. Even among them, the sometimes sentimental and sometimes philosophical "baalaraju kadha" and overtly sentimental "Masoom" pale in comparision to Gulzar's "kitaab", where the script is seen through the eyes of the 8 year old kid, who runs away from his home unable to handle the pressures of coping up with studies at school and the over-bearing of his concerned guardians at home (this plot is interestingly similar to Sivan's "abhayam", made much later, with a young Tarun portraying a role reminiscent of Master Raju's "kitaab")
The trick lies in deciding the right language for the kids. How well a kid's character comes across the screen is decided by how well the kid's speak is written in the script, reflecting and duly respecting the age of the kid and his maturity level at that age. "ammaa naaga daevataa, maa ammaa naanna lani kalipi maa jeevitam ellappuDoo sukha SaantulatO vardhillaeTaTTu varameeyi" - now this dialogue coming out of a 5 year old kid sounds jarring, distracting, and more over, very irritating. The serious disconnect between the age of the character and the type of speak certainly derails the emotional attachment the audience has with the character, whereby any subsequent dialogue spoken by that character is handled with oodles of salt. "ammaa, naenu first vocchaa" rushes the kid into the arms of the waiting mother, "aem subject lOnae" asks the mother suprisingly/disbelivingly, "class lOnchi bayaTiki first vocchaa" proudly proclaims the 3 year old kid. The 3 year old kid walks into a store, looks around and grabs a toy plane. She walks to the counter pulls out her baby purse and gives the store keeper a fake 50 rupee bill. He looks at the kid, at the fake bill and in a condescending tone says "ivi nijam Dabbulu kaavammaa". Spat comes the reply "idi nijam plane kaadu kadaa?". Situations as these illustrate the understanding of the writer the kid's age and their mental makeup. What would become quite obvious at a later age, starts off being curious at a young age. What turns into a complex situation at a later age, seems so simplistic at a young age. The mettle of the writer lies in looking at the complex scenarios of later day age through the simplistic lens of a young age, offering amusing, and sometimes practical and realistic solutions.
Carrying the plot of the movie on their shoulders, the lyrics moves the story along, letting the audience glimpse at the unseen facets of a character or a situation that does no normally come across or which could not normally be put forth in the spoken word. Sirivennela thrives in such situations. "gooTi biLLa aaDadaam, sixeru koDadaamu", "correct game kaadu ayinaa baane undi", "cheruvu lOna dookudaam eetalu koDadaam", "buffaloes kadi bathroom kaadaa mari?" thus goes the poetic conversation between a servant and the kid. Again with the emphasis on the mental make-up of the kid. Sirivennela comes down to the level of a 3 year old and poetically puts across a casual conversation. Also interesting is the prosaic style that he adopts for such conversational type lyrical word. Take the tune out of the words, the lyrics sound like a normal conversation. "tannula koddee pencil lannee swaaha chaestaavae, tinavae tallee anToo unna annam tinavaemae, bunny paeru chepitae oorilO andaroo baabOy anTunnarae, daani brother anTae nannae mundugaa antaa tantunnaarae". The words never leave the ground, the thought never grows beyond the age, and yet the simple observations sound funny and witty.
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OKARIKI OKARU
Year: 9th October 2003
Cast: Sriram, Arti Chabria, Vijay, Radha Kumari, Balayya, Ahuti Prasad, Ravikanth, Devan, Tanikella Bharani, Sana, Jahnavi, Gowtam Raju, Duvvasi Mohan, Jr. Relangi, Dharmavarapu Subramanyam
Director: Rasool
Movie type: Love
Size: 1.34 GB
STORY
Kameswara Rao (Sriram) is forced by his grandmother (Radha Kumari) to accompany her to Kaasi pilgrimage. Swapna Rao (Arti Chabria) is a NRI girl coming back from USA along with his grandfather (Balayya) on a vacation. Their trains stop at a place due to bad weather. These people are forced to spend few days together because connection to the outside world is cut. During this time, Kameswara Rao and Swapna Rao introduce themselves to each other as Rahul and Subba Lakshmi respectively. They fall in love with each other. By the time they want to express their love to each other, they were separated.
Swapna Rao goes back to USA. Kameswara Rao joins a company that promised him a job in USA. The entire second half revolves around how they find each other.
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SURYA S/o. KRISHNAN
Year: 14 Nov 2008
Cast: Surya, Sameera Reddy, Simran, Divya Spandana
Director: Gautham Menon
STORY
Krishnan (Surya) and Malini (Simran) had a love marriage. They have an elder son Surya (Surya) and a younger daughter. Surya unable to complete his engineering due to his chivalrous activities, returns home after the course. During the journey he comes across Meghna (Sameera Reddy) and immediately proposes to her taking inspiration from his father. But Meghna refuses as she does not believe in love at first sight and tells him that love begins after friendship. However, Surya finds Meghna's house only to know that she is leaving for the US for post-graduation. He gets depressed,but goes home to fulfill the responsibility of building a home for his aged parents. When he expresses his wish to see Meghna, Krishnan agrees to his abroad trip. He gets the Visa for three months as he had boldly expressed his intentions to the embassy officials.
Surya lands at Berkeley University and Meghna is surprised at his commitment. They fall in love, but unfortunately before their return to India, Meghna dies in a blast. Unable to forget her, Surya gets addicted to smoking, liquor and drugs. Malini advises him to go far away and find his real self to overcome the depression. Surya heads to Kashmir and then to Delhi. On learning that a small boy was kidnapped for Rs 2 crore ransom, he rescues him. After his return, another girl called Priya (Divya Spandana), a close friend of his sister, proposes to him But Surya having made up his mind joins the Army and soon becomes a Major. At the same time, Krishnan suffers from throat cancer and Surya unable to see his agony, goes away from him. Finally Krishnan dies, but Surya a committed soldier completes the mission of rescuing a girl.On his return, Surya cremates Krishnan, though his memories haunt him. Malini consoles him that life has to go on whether someone is there with us or not.
PLUS: Surya has excelled in his performance both as father and as son. While on one hand he appears old with a lean body as the father, on the other hand he has a fresh and young look as a17-year-old son first and then with six-pack body as a army man. Not only with regard to the physique, but also in showing various emotions, Surya has done a good job. He excels in the roles of both the father suffering from cancer and the disillusioned lover. Sameera Reddy is good as his lover and has not resorted to any unnecessary exposure. Divya Spandana is spotted as the girl next-door. Simran has compiled all her experience in playing Surya's mother's role. The director's ability in showing the montage during Krishnan and Malini love affair is impressive. Camera work by Ratnavelu is excellent while Harris Jayaraj's tunes are okay.
MINUS: The unnecessary dragging of scenes especially after the death of Sameera Reddy tests the audiences' patience of. In spite of the classic narrative style, the film lacks the real ingredients. The screenplay is quite stagnant and will make the audiences uncomfortable. Tunes by Harris Jayaraj have the Tamil style. Though the director has tried his best to portray the human emotions, they are not just digestible for the Telugu audiences. The love between Divya and Surya is also not properly established.
REMARKS: The film has been said to be a tribute to Gautham Menon's father as indicated in the end but has turned out to be a tame affair. One can understand the angst of losing a parent, but trying to prepare a subject exclusively with the same theme would not gel well with the audiences. Any idea that comes from the mind of the director should aim to impress the audiences. Mere preparation to force the idea may not do well always.
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