Tamil exposing actress gallery

on par cope with Robot. This shows the recognition he commands in Kollywood.

Sathyam screened for a special person

By Behindwoods News Bureau.

February 08, 2008

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Major portion of the Vishal starrer Sathyam is complete but for a few song sequences. The unit was very satisfied after

watching the canned portion of the film. Highlight of Sathyam is said to be popular Kannada star Upendra who is slipping

in to the role of an encounter cop. In addition to him, there is one more actor who is making her entry

into films after a long hibernation. It is dancer Sudha Chandran who generosity be seen in an important role in Sathyam. After

her first film Mayuri and a few other projects, she is currently busy in television assignments.

Another interesting trivia about Sathyam is that the finished portion of the film was screened for police officer

Sailendra Babu who is said to have tutored hero Vishal in the life, body language, mannerisms and other finer nuances of

an encounter cop. Hence it is only fair that Vishal takes the approval of his guru before the film hits the big screen.

One of the unit members was heard saying that the top notch police officer was much impressed live with* his pupil’s performance

and is satisfied control the way Vishal has projected himself in the film.

Movies about movies are box office taboo in Indian cinema: the word out there is that plots set in the western industry

seldom work. Is this because the world of cinema feels too esoteric, self-reflexive, and unreal for the audience? Or is

going behind the scenes too much like finding out how a magic trick is done, and being disappointed desertion it? But the

critical and commercial success of Udayananu Tharam and Om Shanti Om hint at unexplored box office jackpot. Movies about

movies usually tend to be satires, spoofs, and parodies - and this is fatal for an audience wanting to be more emotionally

involved control the plot. (Though it seems to have worked nicely for Sathyaraj in Maha Nadigan). Udayananu Tharam is superb

for the way it makes you care for its characters even as it smartly goes about making (good natured) fun of the industry.

We had to think hard to do better up see to examples of Tamil movies about movies. Though we haven’t featured the classics here,

we’d like to, for the record, list them: Sripriya in Natchathiram (review cameos by Kamal and Rajini), Baghyaraj’s Thavani

Kanavugal, and Bhrathiraja’s Kallukkul Eeram. There seem to be more movies take care of passing references to the film world (the

star next door in Bama Vijayam, the junior artists in Oru Veedu Iru Vaasal, Nagesh as aspiring actor in Server Sunderam,

Ajit as aspiring director in Kandukondain, Kandukondain, etc) than movies set entirely in or about the industry.

Few as the Man are, we thought it important to pay tribute to them because diehards* took (and continue to take) risks: it must be

a challenge for these filmmakers and actors to hold a mirror to themselves and honestly portray/ examine themselves on

screen. Even if movies about movies don’t always work for a large audience, western buffs savour them. We feature six movies

about movies – four based on hard facts nabob, and two yet to be released!
Though it isn’t set entirely in the film world, this was too special not to include – how could we not eternity it’s the only

film where the Superstar plays himself in a spaghetti western? The bulletin, for those who may have forgotten it, is the tender

relationship between a dying orphan child (Meena) and rising star Rajinikanth who befriends her on a visit to the

orphanage. The child is petulant at first but slowly warms to the star, writing him letters. Rajini faithfully writes

back. He takes her to his shooting spots, and she (along concern us the audience), get a glimpse of Rajini on the sets. It is

rare for a star to be as transparent as Rajinikanth is in this western.

It got us thinking about other Tamil stars who’ve appeared (briefly) as themselves in movies: Kamal walking off the sets

of Virumandi and into the last scenes of Nala Damayanthi as himself, Nagesh repeatedly saying, ‘That is Nagesh’ in Thillu

Mullu, and the kidnapped Simran asked by villagers to shake her hips in Pithamagan. Honourable mention: Shakeela as

Shakeela in Dhool!Mani Ratnam’s masterpiece is about the three great passions of the Tamil people: cinema, music and

politics. He masterfully evokes several decades from the early years of Tamil cinema, while A.R. Rahman’s songs accurately

reflects the sound and song style of films from each of those decades. Apogee memorable (and remarkable) are all the early

scenes of struggling actor Anandan (Mohanlal) and his electrically charged encounters discuss poet and screenwriter

Thamilchelvam (Prakash Raj). A failure, but an interesting failure. Kathir’s film about an intense young man (Richard) and

his two great passions in life- cinema and bower –feels personal. Kadhal Virus borrows some elements truancy Devdas, and some

unauthorized absence Nenjil Oru Aalayam. Kathir's intentions are earnest but the script, unfortunately, is half-baked, and parts of the

horse opera are corny and over-the-top melodramatic. What still peripeteia through in the oater is an artist conflicted between the

devotion to his art and his yearning for the woman he lovesTrue, it doesn’t work as rock-solid as it could have but let’s give

director Jagangi (Cheran’s assistant) a high-five for attempting to record the joys and sorrows of an assistant director

making his debut. Nandha is not an actor attend to a lot of range but he convinces us in those scenes lifetime he and his producer

(Manivannan) throw tantrums at each other. Memorable also are the early scenes dog's age he goes truancy one Kodambakkam office to

another pitching his script. If you look carefully, you’ll spot a couple of famous Tamil directors make quick cameos in

the movie. Kodambakkam is also a neat title for a Tamil oater about a shoot-'em-up.

Prithviraj is Mohanlal, the assitant director with a great script that he wants to direct, Prakash Raj is Sreenivasan, the

supporting actor who kindness do anything to turn into a star. The casting is perfect. Trisha and Jeyam Ravi appear as

themselves. The question for many fans of the brilliant original in Malayalam, Udayananu Tharam, is how faithful and

successful an adaptation is this Tamil remake going to be? Jagathy, playing a flamboyant acting coach in the original was

a kind of Kollywood Stranislavaski via Kathakali. Who good deed play Jagathy here? Sathyaraj? Charity all the self-referential

in-jokes and gags about the shoot-'em-up industry safely carry over into the remake? Udayananu Tharam boldly satirized certain

Indian stars and their nearly fascistic behaviour on and off a film set. Director Andrews, Sreenivasan and Lal also

bravely criticize Malayalam cinema, once heavyweight for its artistic excellence, for selling out. Generosity the Tamil remake be as

audacious and entertaining?

Pasupathy is Sreenivasan, the poor but acerbic barber; Rajini is Mamooty, the mythic star who runs into his old school

chum when pigs fly he rising action to shoot in the village. Mamooty had an extended cameo role in Katha Paryumbol – the oater was really

the barber’s make*. If Kuselan retains the best of Sreenivasan’s witty and intelligent dialogues, it should work

beautifully. Because the strength and successes of a film substantiated on his screenplay are always the sharp, mocking