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other language enna movie kaanan povunnathu athil ninnu athu pratheekshichu thanne aanu...........
ennal malayalam movie yil avar ulkkollaan madikkunna pala karyangalum innum undu...........oru pakshe treatment, camera, theame, tech aspect okke chilappo padathil holywood style aayal polum ishtapettennu varum......pakshe storyline, performance okke malayalikalkku oru dharana undu athu thanneavar kooduthal avar pratheekshikkum.
ippo ivide thanne fahad fazil jatti ittu abinayichaal polum aarkkum issue alla...........ennal prithwi ittal athine vere tharathil aanu audience kanunnathu..............athu manassilakkiyaal nallathu.
Aa karyam njaanum @Maryadaraman support cheyyunnu. Malayaliyude double standard thanne aanu ithu. Avar Tamil industryil support cheyyunna pala genre filmsinum Malayalathil support cheyyunnilla.
9 nalla padam thanne aavum.
Malayaliyude taste ippo iyyide aayi aanu adhapathichathu. 90's 80's periodil Mammottyude Samrajyam pole ulla padangal Malayalam touch ottum illathathayirunnu. Annu avar iru kai neeti sweekarichu. Annu padam engane enne nottam ullu. No matter whether it has a Malayali touch or not.
Ippo Malayali touch ennokke parayum. Enthanu ee Malayali touch? Aadu 2 pole ulla padangal aano.
Ippozhathe audience thanne aanu Malayalam industryude shatrukal.
Kure nalla padangal arhicha vijayam kittathe poyi like Take Off, Mayanadhi etc though they were not disasters.
Pinne ippo ulla trend starsinte personal swabhavam nokki aanu aalukal cinema kaanunnathu. Pandonnum illatha oru bad trend aanu ippo Malayalam industryil kaanunnathu.
Dark shadesoo..nadan/urban onnum alla basic problem.. Padam entertaining alla. Ezra urban setupil Vanna dark shade padamalle..Adam dark shade aan. Avayellam hit aayth entertaining aaythond aan.
Prithvi 3 karyangal sredhikkchal nallatha.
1. Padathinte genre variations nokkathe..screenplay engaging aano enn nokknm. Ath connect aakumo enna athma parisodhana nadathnm.
2. Cheyyuna padangalil oru mix kond varanm. Oru AAA Poleyoru all centre movie idaykk enkilm cheyynm. Experiment cheyyunond kuzhappamilla ...pakshe athumathram cheythal seriyakilla.
3. Paniyariyavuna aalkkare promotion veykknm. Malayalathil ettvm kooduthal budget Varuna movies rajuvinte aan. Athukond marketing sredhichilenkl pineedu athepole biggies create cheyyunulla space undavilla..kaaranm ultimately this is a business!
Ranam - An existential thriller that needed more individuality, fewer Hollywood-isms - Baradwaj Rangan
https://baradwajrangan.wordpress.com...ollywood-isms/
Ranam, written and directed by Nirmal Sahadev, is the latest entry in the subgenre called Prithviraj Makes a Hollywood Movie in Malayalam. The plot beats are pure Hollywood, beginning with a man (Aadhi, played by Prithviraj) whose nondescript day job (as an auto mechanic) hides the fact that he is affiliated to a drug gang (which is headed by Damodar, played by Rahman). Aadhi’s desire to break away from this life of crime, his nightmares, his messed-up relationships (a miscast Isha Talwar plays Seema) — the screenplay reads like a series of checkboxes of tried-and-tested gangster-drama tropes. Which isn’t necessarily a bad thing — Gautham Vasudev Menon makes similar films in Tamil. But those films feel rooted to an extent. They feel like films about Indians who also watch Hollywood films. Ranam, on the other hand, feels like it wants to be a Hollywood film. It plays like Drive-meets-Heat. It ends up wannabe.
There is, for one, the non-stop voiceover. Of Detroit — where the film is set — Aadhi says, “America’s most dangerous city.” Of Gwinn, where the story ends up, Damodar says, “The heartland of American decay.” The lines, many of them giggle-inducing, strive for the bite of Bogart-era pulp — but with the inflections of the modern day. Of the much-older Aadhi, Seema’s teenage daughter, Deepika (Celine Joseph), says, “Garage grease and old-school muscle — it’s so sexy man!” Of his rootless existence, Aadhi says, “I wish life had signboards.” It’s like watching a weird kind of dubbed movie, which belongs neither here nor there. To his enemies, Aadhi says, “We can do this two ways, guys. The nice way or the hard way.” You expect him to wield a baseball bat as a weapon — and he does. I guess we should feel grateful Aadhi doesn’t chew gum and wear a reverse baseball cap.
Prithviraj, to be fair (and as always), doesn’t coast along. (Given the intensity of his characters, you wish he occasionally did a larky film that required him to do nothing but coast along.) Aadhi is a tough role. The first time we see him, he is lying on the road, blood oozing from gunshots. But when, in a flashback a few minutes later, he zooms out of a container in a shipyard with stolen loot, leading to a car chase, the mix of doomy existentialism and gas-pedal excitement doesn’t gel. The pacing is off. The rhythm of the performances is all over the map. The personal and professional lives of Aadhi never mesh satisfactorily. And the writing is filled with clunkers, as when Damodar points to a movie playing on TV (Enga Veettu Pillai) in order to compare MGR’s rags-to-riches story to his own. (The recipient of this musing is a Caucasian!) The film gets better towards the end, but by then, it’s way too late.
Last edited by pvnithin; 09-26-2018 at 05:41 PM. Reason: Formatting
Lifetime share 2cr below. Disaster
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