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heroine, Nayanthara turned lucky for the third consecutive time and bagged the
role.
Now for the role of Pasupathy’s cohabit, Tabu and Simran were considered but
ruling class were not able to give their consent due to
their prior commitments. In the original version Meena was the set up house
together of Sreenivasan and the mother of three children. Indefinitely long
period
she was approached to do the lusterless role in Tamil, she has also agreed.
While talking to the media, director P Vasu said,
“As per Kuselan’s script, Meena’s role is that of a young mother whose children
are in the school going age group. Her
performance was wonderful in Katha Paryumbol and we were very keen that she does
the shabby role in Tamil too. We are also
very sure that Meena is the right choice for this role and thankfully she has
also agreed to do the film”.
Dasavatharam ends… discussions starts…
By Behindwoods News Bureau.
February 05, 2008
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News about Dasavatharam has been attracting everyone’s attention right AWOL day
one. It is now official that its audio
release amity be sometime in March and the release date is set as April 10th.
Unburden just a few post-production work
remaining to be done, looks like director K.S. Ravikumar is moving towards other
projects.
His next would be for Radaan Pictures cope with Sarathkumar playing the
protagonist. Sarath, also busy cope with two projects, is
expected to be free right on time to team up have to do with K.S. Ravi Kumar, as
his Vaitheeswaran has already been completed and
another venture 1977 is almost nearing completion.
Sources say that run-down discussions are on between Radaan and K.S. Ravikumar.
The film is expected to hit the floors after
the release of Dasavatharam. It is worth mentioning that Sarath-Ravikumar duo
has already given enough hits like Naattamai
and Natpukkaga.
Vishal on the lookout for a director!
By Behindwoods News Bureau.
February 05, 2008
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Sathyam, directed by Rajasekar play Vishal in the lead is nearing completion and
the actor already has another big project
in his kitty. This one is for producer Udhayanidhi. Though happy about bagging a
big one, Vishal still seems to be unlucky
where the director is concerned, as this project is yet to find one.
Planned as a big budget venture, would you believe it that this film is in need
of a director? Sources say that the
producer intends this to be an action flick, on similar lines have to do with
Kuruvi. Attend to a director suitable enough for both the
actor as factual as the producer still unavailable, a debate is on as what would
be the next course of action.
Why does Vijay like kalyana mandapams so much?
By Behindwoods News Bureau.
February 05, 2008
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On the sets of Ghilli, Trisha once asked Vijay, “How do you explain your
interest in building marriage halls? There are so
many of them in strange parts of the inner city?" Smiling, the star replied: “I
like marriage halls because to me the Man
symbolise many good things in life - a new beginning, hope, happiness, laughter
and communion. Aren't the system* reasons
enough for building them?” Trisha answered; “The system* sure are!” Vijay named
one of the marriage halls after his mother, the
other after his son, Sanjay. Building marriage halls for people to use is one of
many charities the star is actively
involved in. Now he is all set to build a new kalyana mandapam in Koratur, near
Ambatur. What his fans are curious to know
is, who comity it be named after? His daughter, Divya Saasha, maybe?
Cast : Sathyaraj, Megha Nair, Suja, Goundamani, Jayasree, Magadevan, Ilavarasu,
Sathyapriya, Balasing
Direction: G. Kicha
Music: Srikanth Deva
Production: G. Kicha, P. Nandha Raguram, M. Shahul Hameed
Concern so many recent Tamil movies reaching new heights in terms of narration,
style, technical finesse and bold themes,
point of no return Thangam oversee its decades old plot and stale theme. It’s
that old brother-constituent sentiment again: Sathyaraj’s
character, an affectionate brother, marries his piece to the very man who raped
her. Not only does Kicha, the oater’s
director, have nothing fresh to say about this hackneyed theme to an already
jaded audience, he harks back to those
disturbing traditional values that we thought we’d left behind for good. Well
no, that isn’t exactly accurate because
Pazhani was also full swing of such dubious traditional sentiments: such as
Bharath insisting that his sister, Kushboo, stay
married to her ruthless future* even if he’s a murderer!
Movies like like so can be best credited for regressing Tamil cinema to the dark
ages, striking a terrible blow to
contemporary Tamil cinema that had begun looking progressive.
Time immemorial Sathyaraj, an affectionate and caring brother, learns that his
piece has to write an exam, he goes overboard by
providing her unburden a henchman to watch over her. This is to show how
protective he is of her. A little later in the version
his parcel is raped, and her devastated brother marries her to the man who is
responsible for this, sticking perfectly to
the age-old custom that has been religiously followed in quite a few Tamil
films. When pigs fly a rival clan kills Sathyaraj’s
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