KOMARAM PULI MOVIE REVIEW

Film: Komaram Puli

Cast: Pawan Kalyan, Nikisha Patel, Manoj Bajpai, Sharanya, Shriya (in guest appearance), Ali, Nasser, Girish Karnad, Charan Raj, Brahmaji, Haneefa, and others

Music: A.R.Rehman

Lyrics: Chandrabose

Cinematography: Binod Pradhan

Editing: VijayanAction: Tinu Varma

Art: Anand Sai

Produced by: Singanamala Ramesh

Banner: Kanakaratna Movies

Story, screenplay and directed by : S J Surya

Release date: September 10, 2010

Theater watched : Hollywood,Guntur.

Rating:

Pawan Kalyans New film Komaram Puli Telugu Movie review:

well The kushi combination expect A.R Rahman seems to be not worked for pawan kalyan this time. The film was very boring and long awaited chiru family fans are very dissapointed after wacthing this film.

Story:

When Coming in to Story Komaram Puli (Pawan Kalyan) is an upright IPS officer and wants to change the police system. He saves Prime Minister of India (Girish Karnad) from an assassination attempt in Bangkok. So PM honours him with award. On the same dais Komaram Puli asks PM to provide a team of honest police officers to change system and instill sense of discipline in the police department. He is provided a team and a special office. Within no time he brings change and people start perceiving the police system in different way. One day, a mother of a missing police officer calls him and asks him to find out the whereabouts of her son and that leads to direct confrontation with a don Al Saleem (Manoj Bajpai). He soon learns that the nexus between police officers and this Al Saleem is deeper. How Komaram Puli brings down the empire of Al Saleem forms rest of the story. In between, a girl posing as lady cop Madhumati (Nikisha Patel) also romances with him.

Artist Performance:

Pawan Kalyan mouths some clap worthy dialogues especially pre-climax dialogues are superb. And also he oozes ‘power’ in looks, in eyes and in his body language. Pawan Kalyan shoulders the film and tries to lift the interest in even lousy situations and in badly written scenes. Especially when he gives speech after the death of two police officers in the second half, it makes us to think for a moment. He also looks very handsome in this movie.

Sharanya as mother is superb. Her dialogues are impressive. The other scene-stealer in the movie is Shriya. She looks damn hot in her ‘Docheyi ..’ song. New heroine Nikisha Patel has good physique and has put in her best effort even though her character is not etched well. She may get noticed for her sizzling beauty. Manoj Bajpai is okay but his makeup is gawdy. .Nasser is okay. Ali’s comedy is poor.

Technical and Other Performance:

A.R.Rehman’s music is good for ears, than on screen. Technically the film is not that great to talk about. Binod Pradhan’s camera and editing are tacky. Moreover the D.I and Visual effects are awful. It is clearly visible that director has ‘wasted’ lots of money for ‘unnecessary things’ like filming climax scene amidst planes, a lengthy action sequence in Bangkok, unimpressive but costly sets for songs. That expenditure has not enhanced the visual splendor. As a director, S J Surya has not shown any inspiring moments like he did in his early films - Vaali and Khushi. His script is mediocre and some of his scenes are illogical. Climax scene is similar to the recently released ‘Gaayam 2’.

Movie Analysis:

First things first. Komaram Puli is a big letdown. The main villain of the film is obviously - the director. S J Surya fools the audiences with silly script, laughable situations. With run-of-the mill story, tacky narration by the director, B-grade visual effects, dragging action episodes the film induces boredom. But Pawan Kalyan tries hard to save the film with his stunning performance. Pawan Kalyan completely shoulders the movie with his some impressive monologues. His ‘power’ packed dialogues are main strength. S J Surya who gave one of the biggest hits in Pawan Kalyan’s career with Khushi has tried to put Pawan Kalyan in different angle in this cop-action drama. But the script (or lack of it) is predictable, and the narration is lethargic. The movie looks like another version of Sai Kumar’s Police Story kind of films. You have seen such stories umpteen times, right from Rajashekar’s early movies to Sai Kumar’s cop dramas.

The film is interesting only in two scenes – before the interval and when Pawan delivers heart-warming dialogues after the death of two police officers in the second half. Those scenes are clap worthy. Some of the dialogues make us glued to the seats despite the proceeding seem illogical, thanks to Pawan Kalyan. The entire romantic drama between Pawan Kalyan and the heroine in the first half is boring. First of all the script itself is monotonous. Some of them are very laughable. Lack of entertainment is another drawback. Songs on screen are pale. But fans can enjoy Pawan Kalyan’s power packed dialogues in the second half. Shriya’s item song is another paisa vasool material.

Final View:

Except Pawan Kalyan’s performance, Komaram Puli is badly made movie. Pawan Kalyan tries to save it with his clap worthy monologues, but the movie’s script is illogical, scenes are mediocre, direction is awful. Director S J Surya is the main villain of the movie. He has taken producer and hero for a ride. On the whole, it is a big letdown.

WE ARE FAMILY MOVIE REVIEW

Director: Siddharth P Malhotra
Cast: Kajol, Kareena Kapoor, Arjun Rampal, Aanchal Munjal

Release date: 3september2010.

Rating:

We are Family Hindi Movie Review:

Story and Movie Analysis:

By now the world knows that Karan Johar’s We Are Family is an ‘official’ remake of Hollywood flick Stepmom (1999). What many might not know is that even the original wasn’t absolutely original and derived its roots from a 1950 film No Sad Songs For Me or the 1995 American TV series The Other Woman .

Here you have a screenplay originally credited to five Hollywood writers and Indianized by two Bollywood counterparts. By Indianizing Karan Johar doesn’t intend to place the plot in India. The producer can’t get over the NRI fixation and this time stations his story in Australia. Also perhaps an Indian setting could have been less convincing for the fact that a sauteli maa won’t be as sought after as the successor for the kids in a country where extended joint families would be a better bet. The nuclear NRI family setup gives more significance to the being of a stepmom.

For the makers, adding own elements equates to populating the plot with three kids instead of two in the original. Of course director Siddharth Malhotra, an erstwhile assistant to Sooraj Barjatya, also appends a marriage ceremony as an epilogue to the narrative.

The story is about Aman (Arjun Rampal) and Maya (Kajol) who are divorced yet cordially connected for the sake of their three kids. Aman has found new love in Shreya (Kareena Kapoor) and wants her to warm up to his kids. Despite Shreya’s genuine attempts, the kids give her a cold shoulder. And Maya doesn’t want Shreya to be anywhere in the close vicinity of her children. Until she is diagnosed of cervical cancer! Having only a few months to survive, Maya’s prime concern is the future of her kids and suddenly she sees Shreya as her ideal substitute.

Malhotra’s storytelling is crisp and he doesn’t splurge any screen-time in elaborating the background account of Aman and Maya or what lead to their separation. You never know or wish to know what went wrong between the two but at the same time also wonder what makes them so amiable despite the divorce. But you surely wish to know what happened to Karan Johar’s Indian culture endorsement when, in a scene, the mother apologizes to her eldest daughter for being responsible for her uncool persona by not allowing her to booze or have fun with boys. A sequence straight out of Baghban (the Rimi Sen – Hema Malini sequence), it doesn’t go in sync with the family feel of the film but culminates more prudently.

The terminally-ill protagonist in the film evidently brings back memories of Karan Johar’s earlier production Kal Ho Na Ho . But this one doesn’t succeed in becoming as optimistic and cheerful as the earlier attempt. Though the dying protagonist in both films believe in living life to the fullest, the female patient in We Are Family largely shapes the film as a tearjerker unlike the lighthearted effervescence of SRK’s KHNH . Also unlike KHNH where the therapeutic procedure was restricted to a single hospital scene in the climax, here the medical ordeal of Kajol is prolonged in the second half. Thankfully Malhotra evades the inevitable death sequence like in KHNH but not before including a long-drawn-out family photograph sentimental scene.

Like any Dharma Production is expected to do, even this one touches you heart strings with its poignant moments. The track of the eldest daughter who is more mature amongst the trio and her dislike towards Shreya shapes up interestingly. The theatrical clashes between the Kajol and Kareena adds density to the drama but at several instances you feel not much tension is buildup between the two and the drama reaches its pinnacle ahead of time. This clash of the titans faintly reminds of the Sridevi-Urmila Matondkar conflict from Judaai (1997) and concludes in a similar manner with the two women getting in sync.

Artist Performance:

Both Kajol and Kareena come up with convincing performances. Kajol as the matriarch is authoritative and confident as always. Watch her in the scene where she breaks down or where she reveals about her imminent death to her kids. Simply superb! Kareena gives a mature performance as the career-woman who moulds herself as a prospective mother. Arjun Rampal adds grace to his character and is decent in his part. He never exerts too much yet doesn’t get lost in the female dominated film. However his bearded look in the final scene was absolutely uncalled for. Aanchal Munjal as the elder daughter is poised and remarkable. The younger daughter Diya Sonecha tries too hard to be cute with her mugged up lines but is only partly amusing.

Other departments:

Mohanan’s cinematography comprises of too many close-up shots and with an almost ‘in-house drama’ one doesn’t get to see much of Australian exteriors. But no complains since the story doesn’t drift for external beauty. Editor Deepa Bhatia keeps the narrative tight though the climax could have been crisper. Shankar-Ehsaan-Loy’s musical score isn’t something you take home after the film. Niranjan Iyengar’s dialogues are decent but you can predict instances when the emotional lines would be repeated in the film for the effect.

Final View:

This is the kind of film where all the moms and stepmoms of the world are assured to cry buckets. Watch it for some ‘familiar’ entertainment.