Friday, October 27, 2006

Angelina to adopt Indian baby

Hollywood actress Angelina Jolie plans to adopt an Indian baby to add to her growing international brood, media reported today.

The big-hearted actress and partner Brad Pitt have already applied to adopt a tot from an Indian orphanage, the Daily Mail said quoting sources.

The celebrity couple, who are currently in India for the filming of Jolie's latest movie "A Mighty Heart" hope to be able to bring the child home by Christmas, the source was quoted as saying.

"Brad would prefer a boy no older than 18 months to even out the sexes, but Angie has told him she can't guarantee she won't fall in love with a little girl," the source said.

Talking about the celebrity couple's latest adoption plans, a source told US magazine Globe: "Whichever they end up with, they'd like to name the child India to honour its homeland."

Between them, 31-year-old Jolie and 42-year-old Pitt already have three children to look after -- five-year-old Maddox, who was adopted from a Cambodian orphanage in 2002, Zahara Marley Jolie, an Ethioplian baby girl adopted last year, and their biological daughter Shiloh Nouvel Jolie-Pitt, who was born in May this year.

The Tomb Raider star had said in the past that she would want to have one big multi-cultural family, with kids from all across the world.

"I want to create a rainbow family. That's children of different religions and cultures from different countries.

"I believe I'm meant to find my children in the world and not necessarily have them genetically," she said.


Source: The Hindu

Thursday, October 26, 2006

Rajnikanth highest paid actor in India

Bollywood star prices seem a laugh as you travel down South where, without fuss and headlines, Tamil star Rajnikanth has become India's highest paid actor.

He is paid more than the Khans or even the Big B. With each new film Rajnikanth breaks his own record as India's highest paid actor.

He is getting Rs 16 crore for his next film Sivaji. That is about Rs 6 crore more than what he got for his last film Chandramukhi.

The math is mind boggling for outsiders. Bollywood's biggies like Aamir, Shah Rukh, and Salman don't earn more than Rs 7 crore each for a film. And their films are distributed around the country.

But those who produce Rajni's films say Tamil Nadu's ageing superstar is worth the price. Chandramukhi, Rajni's last film, earned Rs 50 crore at the box office, which is a record in Tamil Nadu.

"We make enough money on a Rajni film. So much so that we can make another film. So we don't have any problems paying him this much," said Ram Kumar Ganeshan, Producer, Chandramukhi.

At 56, it is a record-breaking run that seems to be unchecked. Except four years ago, the film Baba, which by Rajni standards was a flop. It earned only Rs 20 crore.

Source: NDTV.com

Wednesday, October 25, 2006

Mammootty does well in Pothen Vava

The difficulties of living as an irreligious or secular person forms the premise of the Mammootty-starrer Pothen Vava.

Written by Benny P Nayarambalam, with a proven track record of handling such characters deftly, the film is directed by Joshiy. Usha Uthup, the original diva of Indi-pop is as an added USP.

Pothen Vava offered a heady mix for sure. But how much kick we get out of the mix is the matter of concern. Surely, you get high initially with Usha Uthup showing the energy reminiscent to that of Philomina's character in the Godfather. This is followed by Mammootty's grand second entry (the first one happened before the flashback) and incessant flow of witty dialogues, which builds Vava's character and the supporting players.

Our spirits soar as the film proceed to tell the story of Vava (Mammootty) born to a Christian mother (Usha Uthup) and Nampoothiri (Nedumudi Venu) father who have divorced when he was just a baby. The court gave the baby to the mother and ordered that baby will have the right to choose his religion when he is mature enough. But the selection never happens and Vava continues his nameless, religion-less existence, till one dramatic event forces him to select a religion.

Vava decides to be Christian, but his mother puts the condition that Vava seeks his father's permission before taking the final plunge. Till now, the going is great. We empathies with Vava's travails and when the things loosen up, the humour picks up.

The downward spiral begins post-intermission when Vava chases down his father who has now become a renowned Carnatic singer and saves him after a life threatening accident. It was an attempt on the singer's life for his property.

This film could have been outstanding if it had not taken this angle and gone with the main thread itself till the end like he did in Kunjikoonan and Chandupottu. But the makers here chose the tried and tested route, which leads to a very contrived climax.

Mammootty does a good job as Vava. But later, even though he tries hard to retain the sparkle of the first half, the situations let him down.

Usha Uthup as Mariamma Vakkeel is also good, but her presence is not utilised well.

Gopika as Gladys, the former assistant of Mariamma, who now looks after her professional commitments and appears in court for her son whenever he is entangled in a legal wrangle (wonder why our heroes have to be Tharvadi Themmadi, why not ordinary folks like they were in the past?) exudes charm.

On the whole, Pothen Vava is better than Mammootty's recent outings. But it could have been even better.

Source: rediff.com

Ajith all the way in Varalaaru

Varalaaru was titled Godfather. And so, first off, a clarification. The movie has nothing to do with the mafia. It is all about Ajith, Ajith and Ajith (literally), as the star plays four roles in three!

The film opens with Kanika (playing Ajith senior's wife) dancing for Shankar (Ajith, grey-haired, smoking a pipe) against the backdrop of Innisai. The theatre goes wild. His son, Vishnu (Ajith Number 2), is introduced with Illamai, a peppy number by Aslam. It is to create the idea that the son is a spoilt brat, and is conveyed well. The usual rhetoric of father telling son to behave responsibly and son replying in the rudest possible way goes on. The father asks Vishnu to visit a village called Thothapuram and take over a project. There, he meets leading lady Asin, who has come for a social work project. Asin picks up from her lively but mature performance in Ghajini.

Now comes the song Deepawali � a lively number that is well filmed at a beautiful location. Sonu Kakkar's strong and Kalpana's pleasant voices make it really enjoyable. Ajith and Asin also strike good on-screen chemistry, although Ajith struggles with the dancing at times.

Arguments between father and son provide instances where the dialogue writer makes his presence felt. Nice comic touches are added by Suman Shetty and Ramesh Khanna.

By this time, strange events start taking place. Ajith junior first attempts raping Asin's friend, thereby risking his marriage. He then attempts to even kill his father. Ajith Senior decides to take his son for a mental check-up, where he is given shock treatment for split-personality disorder. At the intermission, Ajith 3 has arrived.

Until this point, the film appears to be nicely packaged and paced.

Just when you expect the story to move ahead and reveal who the third Ajith is, an untimely song puts on the brakes. Beautiful art direction and music makes up for the broken link, but the story does not take off too well. You are now presented with song packages at too-short intervals.

The second half is mostly a display of director K S Ravikumar's obsession with flashbacks. Ajith 3 is a rowdy, who lives with his mother (Kanika) and is out to take revenge by killing Ajith Senior.

After his story, Ajith Senior has another flashback to offer -- by far the most interesting in the movie. It opens with Ajith's brilliant dance performance on Innisai. Ajith senior is a trained Bharatnatyam dancer who picks up feminine characteristics that eventually cost him his marriage with Kanika and, subsequently, his mother. Kanika goes on to ridicule his masculinity. Outraged, Ajith rapes her and Kanika becomes the mother of twin boys.

The plot is as clear as a mirror. From here begins the clich�d part of the movie, where everything starts looking predictable. They continue until the climax, with a couple of interesting revelations at the end as the only saving grace.

Use of the time-slice method by the director reminds you of Shankar's flicks, but this is visually good and not overdone.

Varalaaru is undoubtedly the only must-watch release this Diwali. Watch it for a display of all the elements of Ajith's versatility and range of emotions. His performance in the woman-like role will compel you to applaud his genius. Asin does a decent job, and A R Rahman's music compliments Ajith's performance. The background score by Rahman also gives you a kick, time and again.

Overall, a good offering from the director of Padayappa.

Source: Rediff.com

Samanyudu belongs to Jagapathi Babu

Telugu film Samanyudu adds to Jagapathi Babu's repertoire of hero-oriented films, thanks to director Ravi C Kumar's deft handling of the subject which makes for interesting viewing.





Samanyudu is not just any other story about a hero trying to rid society, especially politics, of scum, as the director focuses on cleansing the heart and mind of politicians.

The story revolves around Chandra and his siblings who carry on the unfinished task of their father. Chandrasekhar, an editor, wants to reform politics, especially politicians, with the help of his newspaper. His focus is on the home minister, Bhagwanraju (Saikumar), who gets wind of Chandrasekhar's intentions and eliminates him.

His adopted son Chandra along with his siblings plans to expose the evil deeds of Bhagwanraju. He videographs Bhagwanraju's plot to kill the chief minister and with this he makes Bhagwanraju fulfill the promises made by him to the people during elections. This irks Bhagwanraju who plans to eliminate Chandra. How Chandra exposes the home minister forms the crux of the film.

The film focuses on changing the mindset of the home minister through some sentiments. Like his daughter who hates her father for his corrupt ways.

Jagapathi Babu performs very well, and Saikumar, for once, gives a restrained performance. The comedy track by M S Narayana is good.

After Jagapathi Babu, the film belongs to director Ravi Kumar who took on an old theme and shied away from the beaten track while presenting it. Music by Vandemataram Srinivas fails to appeal. Kamna Jethmalani has nothing to do but appear glamorous.

Source: Rediff.com

Sunday, October 22, 2006

Hundreds pay homage to Srividya

People from all walks of life thronged the Victoria Jubilee Town Hall here on Friday to pay homage to noted actor Srividya who passed away at a private hospital in the city on Thursday evening. A cross-section of society comprising Ministers, politicians, those associated with the entertainment industry, housewives and students, were present. The crowds lined up the hall well before the body was brought there at 10.45 a.m.




Noted director Sreekumaran Thampi, who had done some of the best films and television serials with Srividya, and K.B. Ganesh Kumar, MLA, were among those who accompanied the body from her residence. Chief Minister V.S. Achuthanandan; Congress leaders M.M. Hassan and G. Karthikeyan; Kerala Congress (B) chairman R. Balakrishna Pillai; were among those who paid their last respects.

The former Chief Minister and Congress Working Committee member A.K. Antony condoled the death Srividya. Mrs. Elizabeth Antony placed a wreath on behalf of Mr. Antony, who is away in Delhi.

Veteran actor Madhu who co-starred with Srividya in a number of films was among the prominent personalities present at the hall.

K.K. Rajiv, who directed the popular television serials, `Venal Mazha,' `Swapnam' and `Avicharitham,' reminisced his association with Srividya. "She was an uncompromising professional who strived for perfection. Her commitment to work was something the youngsters should emulate," Rajiv said. `Avicharitham' won a number of awards, including the State television award for the best actress.

Poet Balachandran Chullikad, who, of late, took to acting, traced his association with Srividya back to 1986 when he was a student at Maharaja's College, Ernakulam. "The passion for literature and music cemented our camaraderie. I got acquainted with her on the sets of the late J.C. Kuttikadu and once I took to acting, I got a chance to work with her in television serials too," he said.

Balachandra Menon said their love for music cemented their friendship. "She liked the song `Ragangale... ' in my film Tharattu and we used to sing the song on the sets of the film. She had expressed a desire to sing a duet with me and the song Aana koduthalum... ' in Oru Paingili Katha was a hit," Menon said.

Her last public appearance was at the award night organised by the Kerala Film Critics Association at Vithura on April 16. "Braving illness, she came to receive the `Chalachitra Prathibha Puraskaram' instituted by the association and made a highly philosophic speech," secretary Mannarakayam Baby said.

All those associated with her had similar incidents to narrate and most of them felt

Music skill


Srividya never got a chance to develop her skill in music. She became highly philosophical in the final phase of her life and was an ardent devotee of Sai Baba.

She had written and composed a number of bhajans and had held a programme in the city itself.

When Vayalar Smaraka Samithy organised a music programme here in connection with the installation of the bust of Vayalar Rama Varma, the late G. Devarajan had offered her a chance to sing the song Katte vaa kadale vaa..' The song was rendered by her mother M.L.Vasantha Kumari in Chathurangam. Srividya could not present the song at the programme, as she was busy with television serials.

When the body was taken to the cremation ground of the Karamana Grama Samudayam around 12.45 p.m., a huge crowd was waiting outside braving the heavy rain. The body was cremated with State honours.

Source: The Hindu