Khaleja On లొకేషన్
Friday, July 23, 2010
Jhummandi Naadam Movie story
Balu (Manoj Manchu) has only one mission in his life - to become a great playback singer like SP Balu. He challenges a landlord in his village and comes to Hyderabad to become a singer. Captain Rao (Mohan Babu) stays in the opposite house. He is an old-fashioned man who hates the lifestyle of new generation. Sravya (Tapsee) is an NRI girl who stays in her father’s friend Captain Rao’s house. She is in India to do documentary on traditional Telugu music. Balu acts as a local guide to her and in the process, they fall in love. Captain Rao doesn’t like them fall in love. The rest of the story is all about Captain Rao’s restrictions and how the lovers emerge unscathed.
Artists Performance:
Manoj Manchu: Manoj Manchu comes up with another rocking performance in this movie. His styling and dialogue delivery is more like of those characters we see in comic books and video games that are developing using comic books. His performance in the confrontation scene leading to interval is good. He matched the screen presense and comedy timing of Mohan Babu in the scenes involving both of them. Telugu Movie Reviews
Tapsee: K Raghavendra Rao gives Telugu film industry another commercial heroine in the form of Tapsee. She has good camera friendly looks and reminded me of Rambha in many ways. She is effervescent and bubbly. She is good at acting too. It is no wonder that she grabbed many projects before the release of her first movie. She is going to be a good glamorous heroine in Telugu. It is up to her to choose right projects to make herself a performing actress too.
Others: Mohan Babu plays the third most important character in the film. It is nice of Mohan Babu to allow others (including comedians) to have satires on him (especially ‘I appreciate you’ dialogue). He is comical most of the time and performed with extreme passion in intense scenes. Brahmanandam entertains though his comedy is of old-fashioned type. Ali is humorous as ‘naa name ranjith. Naa game encounter’. MS Narayana is extremely funny as the sidekick of Mohan Babu. Suman, Dharmavarapu, Apoorva, Sudha, Ahuti Prasad and Aishwarya are adequate. Tanikella Bharani is powerful in a small role.
Artists Performance:
Manoj Manchu: Manoj Manchu comes up with another rocking performance in this movie. His styling and dialogue delivery is more like of those characters we see in comic books and video games that are developing using comic books. His performance in the confrontation scene leading to interval is good. He matched the screen presense and comedy timing of Mohan Babu in the scenes involving both of them. Telugu Movie Reviews
Tapsee: K Raghavendra Rao gives Telugu film industry another commercial heroine in the form of Tapsee. She has good camera friendly looks and reminded me of Rambha in many ways. She is effervescent and bubbly. She is good at acting too. It is no wonder that she grabbed many projects before the release of her first movie. She is going to be a good glamorous heroine in Telugu. It is up to her to choose right projects to make herself a performing actress too.
Others: Mohan Babu plays the third most important character in the film. It is nice of Mohan Babu to allow others (including comedians) to have satires on him (especially ‘I appreciate you’ dialogue). He is comical most of the time and performed with extreme passion in intense scenes. Brahmanandam entertains though his comedy is of old-fashioned type. Ali is humorous as ‘naa name ranjith. Naa game encounter’. MS Narayana is extremely funny as the sidekick of Mohan Babu. Suman, Dharmavarapu, Apoorva, Sudha, Ahuti Prasad and Aishwarya are adequate. Tanikella Bharani is powerful in a small role.
Saturday, July 17, 2010
A R రెహమాన్ Komaram Puli
A R Rahman composing music exclusively for a Telugu film, simultaneous makes notwithstanding, is a rarity. Director S J Surya, whose last collaborative effort with Rahman was for Nani (Mahesh Babu, Ameesha Patel), convinces the Mozart of Madras to compose music for Komaram Puli starring ‘Power Star’ Pawan Kalyan and a debutante Nikeesha Patel in the lead roles.
Innovative sound, magical beats, mirthful marriage of varied musical genres; all these that have become more prominent post Rahman’s eminent international embellishments, are all served in delightful doses in this soundtrack. But what about the proverbial striking the right chord, whose echoes linger in our hearts long after the movie phases out from bountiful publicity overdoses? What about songs that touch our hearts than those that just make us tap our feet? Those are few and far between.
A rampant rant about Rahman’s songs in Telugu that the lyrics, for most part, act as mere fillers with scant attention to sensible poetic aesthetics is accentuated in this soundtrack, even when this is a straight Telugu movie, unlike the usual dubbed ones through which Rahman’s popularity among Telugu movie lovers thrives. More so, when the single card lyricist here is Chandrabose, and not Vennelakanti or such others that usually word Rahman’s dubbed soundtracks.
Moving beyond the gripe about lyrics and the other forlorn complaint about pronunciations by playback singers (which by the way applies not just to Rahman’s songs), this is a fairly enjoyable soundtrack with at least three songs that grow on you.
Power Star, the quintessential hero worship track, is high on frenzied and eclectic mix of sound and is sung by Vijay Prakash and Tanvi Shah.
Even though the zippy yet zingy rendition of Shweta Mohan (whose Chinukai Varadai from Village lo Vinayakudu is a piece of delight) sounds like it was technically altered for that effect, Amma Thalle, sounding a wee bit like Theekuruvil [from Kangalal Kaithu Sei, one of those rare Tamil films with Rahman’s music that hasn’t been dubbed into Telugu] is an interesting number with underlying classical music flavor. Naresh Iyer does his part with equal finesse.
Maaraalante in Rahman’s rousing vocals, KMMC choir’s spirited chorus and Chandrabose’s stirring words that change starts with you and within you, is a rabble rousing song that will work well on the screen.
Drenched in Javed Ali’s fabulous vocals that even sprinkle a tapori nuance when uttering chekumukE, sasimukhE, and Suchitra’s deliciously husky voice, Maham Maaye, is one hell of a catchy track, even with the absence of a myriad mix of beats like other tracks. The sound of cymbals, least expected in such a song, adds a perky charm to this number that has Chandrabose, in his inimitable style, coming up with quirky phrases like meesam molichenu manasuki and using words like teeyaga that could mean both sweet/opening and challaga as both cool/showering.
Bravo Rahman and his ladies singing Dochey for giving us a sensual song with rap, jazz and even the bygone era aura of a melodious ditty through echo effect at appropriate lines. Singapore’s singing duo Lady Kash, handling the rap bit and Krissy, singing the opening lines, with Shreya Goshal’s seductive yet sweet vocals make this an alluring track.
Nammakameeyara is the only track in this soundtrack that I went back to instantaneously after the first listening. Despite slight traces of Aparanji Madanude [Merupu Kalalu] in the opening portions and overall lyrical essence of O Paalanhaare [Lagaan] this is a strikingly soothing prayer track in a magical confluence of gifted voices like Chitra and Madhushree. Wonder what kind of contribution Harini made to this track for she is barely audible. Rahman is probably the only contemporary music director that has composed quite a few delectable devotional/bhajan tracks, in commercial films, like O Paalanhaare [Lagaan], Ishwar Allah [1947 – Earth], Ek Tu Hi [Pukar], Aparanji Madanude [Merupu Kalalu], Pal Pal [Swades], Man Mohana [Jodhaa Akbar], Piya Haji Ali [Fizaa], Khwaja Mere Khwaja [Jodhaa Akbar], Arziyan [Delhi 6], Maherbaan [Ada], each outshining the other.
Rahman’s straight compositions for Telugu have never been as magical as his straight compositions for Tamil or Hindi. Directors are perhaps to be blamed for that idiosyncrasy but S J Surya, this time, extracts a better soundtrack from Rahman for Komaram Puli than Nani, which probably augurs well for the movie.
Innovative sound, magical beats, mirthful marriage of varied musical genres; all these that have become more prominent post Rahman’s eminent international embellishments, are all served in delightful doses in this soundtrack. But what about the proverbial striking the right chord, whose echoes linger in our hearts long after the movie phases out from bountiful publicity overdoses? What about songs that touch our hearts than those that just make us tap our feet? Those are few and far between.
A rampant rant about Rahman’s songs in Telugu that the lyrics, for most part, act as mere fillers with scant attention to sensible poetic aesthetics is accentuated in this soundtrack, even when this is a straight Telugu movie, unlike the usual dubbed ones through which Rahman’s popularity among Telugu movie lovers thrives. More so, when the single card lyricist here is Chandrabose, and not Vennelakanti or such others that usually word Rahman’s dubbed soundtracks.
Moving beyond the gripe about lyrics and the other forlorn complaint about pronunciations by playback singers (which by the way applies not just to Rahman’s songs), this is a fairly enjoyable soundtrack with at least three songs that grow on you.
Power Star, the quintessential hero worship track, is high on frenzied and eclectic mix of sound and is sung by Vijay Prakash and Tanvi Shah.
Even though the zippy yet zingy rendition of Shweta Mohan (whose Chinukai Varadai from Village lo Vinayakudu is a piece of delight) sounds like it was technically altered for that effect, Amma Thalle, sounding a wee bit like Theekuruvil [from Kangalal Kaithu Sei, one of those rare Tamil films with Rahman’s music that hasn’t been dubbed into Telugu] is an interesting number with underlying classical music flavor. Naresh Iyer does his part with equal finesse.
Maaraalante in Rahman’s rousing vocals, KMMC choir’s spirited chorus and Chandrabose’s stirring words that change starts with you and within you, is a rabble rousing song that will work well on the screen.
Drenched in Javed Ali’s fabulous vocals that even sprinkle a tapori nuance when uttering chekumukE, sasimukhE, and Suchitra’s deliciously husky voice, Maham Maaye, is one hell of a catchy track, even with the absence of a myriad mix of beats like other tracks. The sound of cymbals, least expected in such a song, adds a perky charm to this number that has Chandrabose, in his inimitable style, coming up with quirky phrases like meesam molichenu manasuki and using words like teeyaga that could mean both sweet/opening and challaga as both cool/showering.
Bravo Rahman and his ladies singing Dochey for giving us a sensual song with rap, jazz and even the bygone era aura of a melodious ditty through echo effect at appropriate lines. Singapore’s singing duo Lady Kash, handling the rap bit and Krissy, singing the opening lines, with Shreya Goshal’s seductive yet sweet vocals make this an alluring track.
Nammakameeyara is the only track in this soundtrack that I went back to instantaneously after the first listening. Despite slight traces of Aparanji Madanude [Merupu Kalalu] in the opening portions and overall lyrical essence of O Paalanhaare [Lagaan] this is a strikingly soothing prayer track in a magical confluence of gifted voices like Chitra and Madhushree. Wonder what kind of contribution Harini made to this track for she is barely audible. Rahman is probably the only contemporary music director that has composed quite a few delectable devotional/bhajan tracks, in commercial films, like O Paalanhaare [Lagaan], Ishwar Allah [1947 – Earth], Ek Tu Hi [Pukar], Aparanji Madanude [Merupu Kalalu], Pal Pal [Swades], Man Mohana [Jodhaa Akbar], Piya Haji Ali [Fizaa], Khwaja Mere Khwaja [Jodhaa Akbar], Arziyan [Delhi 6], Maherbaan [Ada], each outshining the other.
Rahman’s straight compositions for Telugu have never been as magical as his straight compositions for Tamil or Hindi. Directors are perhaps to be blamed for that idiosyncrasy but S J Surya, this time, extracts a better soundtrack from Rahman for Komaram Puli than Nani, which probably augurs well for the movie.
Saturday, July 10, 2010
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